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Essays on arthur miller
Essays on arthur miller
Aristotle and tragic hero
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Analysing the Portrayal of Eddie Carbone as a Tragic Hero
A View from the Bridge by Arthur Miller is a dramatically tense
tragedy that presents the story of the downfall of an ordinary man.
The play examines the tragic consequences of Eddie Carbone's inability
to understand himself and his actions. This predominantly takes the
form of his prejudice towards his cousin and his inappropriate
attraction to his niece. It is set in the 1950s and was written while
Miller had become interested in the lives and work of Brooklyn's
dockworkers and longshoremen.
Miller uses the character of Eddie to express his viewpoint that the
tragedy of the ruined life of an ordinary workingman is just as
significant a subject for tragedy as that of any ancient king, God or
"Caesar from Syracuse or Calabria". He presents Eddie as an equally
valid antihero. Antiheroes, or Tragic heroes, are as Aristotle wrote
neither wholly good nor wholly evil but a mixture of both. Eddie is
not an evil man, but he acts selfishly, inappropriately and
recklessly. Antiheros, unlike heroes, have fatal flaws. These enable a
contemporary audience to empathise and identify with his fatally
flawed relationships and disastrous choices. Being able to relate to
Eddie will let the audience feel the dramatic tension of the
situations he is placed in.
According to Aristotle a traditional tragic hero is a person who finds
himself in a situation where he seems deprived of all outward help and
is forced to rely entirely on himself. A View from the Bridge is
recognisable as a tragedy because Eddie is a tragic hero even though
he is a stereotypical 1950s ordinary American. He is tragic because he
refuses to take the help and advice offered by his lawyer, Alf...
... middle of paper ...
...f instead of trying to gain control of the
other characters, he would have perhaps succeeded rather than causing
complete destruction.
By the end of the play, Eddie cannot see any view from the bridges of
Brooklyn; he only has eyes for Catherine. Unfortunately, Catherine,
like Rodolpho, sees all number of possibilities and dreams that lie
ahead of her. Although bridges connect things, they are also a symbol
of the way things are divided. Catherine needs to move across these
bridges, but Eddie dies fighting to hold onto her.
Eddies story is a tragedy because it is about how he handles his
hubristic character, the result of his disastrous choices and his
drastic change in fortune. It takes the audience on a roller coaster
of dramatic tension, ending up with his unfortunate and unnecessary
death, leaving the audience in mourning for such a tragic hero.
Have you ever felt so much guilt and shame that you want to kill yourself? Francis Cassavant in Heroes, by Robert Cormier, is a realistic and relatable character who has suffered from this feeling ever since he was little. Even as a child, he has felt unusual and out of place compared to everyone else. Francis’s characteristics determine his actions throughout his story and motivate him to join the army, beginning his expedition as a so-called “hero”.
In what could have been Chris McCandless’s last contact with humanity he tells his new comrade, Wayne Westerberg, “If this adventure proves fatal and you don’t hear from me again I want you to know you are a great man. I now walk into the wild” (Krakauer 3). For 112 days Chris lived off the harsh Alaskan land. For anyone who is brave enough to travel on the stampede trail and cross the treacherous Teklanika River you will come across the Fairbanks City Transit System Bus 142. Once a backcountry shelter for hunters, trappers, ranger patrols, and for a short time Chris McCandless, Bus 142 now serves as a memorial for Chris McCandless. Travelers will make the trip to witness the basic resources Chris had at hand and the courage it took to make it as far as he did into his journey. Chris was not unaware of the dangers of the Alaskan wilderness. He was fully informed of the challenges he would face and was confident, maybe even hubristic, that he could overcome them. Non Supporters would argue this makes Chris a fool, reckless, brash, or even border lined unintelligent while in fact it is quite the opposite. Chris was a hero because he knew his differences and embraced them, his ambition and strive for perfection took his life, and he followed his dreams no matter the cost.
A tragic flaw, a fatal flaw, hamartia, a personality defect -- people can call it what they like, but ultimately, a tragic flaw is a personal fault in a character that leads to his downfall. The person who has the tragic flaw is known as the tragic hero. However, there are several more components that make up a such an individual. One idea is that tragic heroes in a story are usually dynamic; they change at least once throughout the narrative. An example of a tragic hero is King Creon in the play Antigone, but real people can be regarded as tragic heroes as well. Like Creon, in the play Antigone by Sophocles, Drew Barrymore should be considered a tragic hero because both have high status, noble qualities, and a tragic flaw. They recognize their flaws and suffer the consequences.
Ethan Frome is a man torn between what he wants to do, and what he should do. Life in a rural town can be tough, but when faced with complications, it can be almost unbearable. When Ethan decides to marry his distant cousin, Zeena, his life turns down a long and lonesome road. Ethan's lack of assertiveness and decisive action only worsens his already lonesome and stressful life.
Jon Krakauer, fascinated by a young man in April 1992 who hitchhiked to Alaska and lived alone in the wild for four months before his decomposed body was discovered, writes the story of Christopher McCandless, in his national bestseller: Into the Wild. McCandless was always a unique and intelligent boy who saw the world differently. Into the Wild explores all aspects of McCandless’s life in order to better understand the reason why a smart, social boy, from an upper class family would put himself in extraordinary peril by living off the land in the Alaskan Bush. McCandless represents the true tragic hero that Aristotle defined. Krakauer depicts McCandless as a tragic hero by detailing his unique and perhaps flawed views on society, his final demise in the Alaskan Bush, and his recognition of the truth, to reveal that pure happiness requires sharing it with others.
The Chinese Exclusion Act of 1882 was tailored to cripple the immigration of Chinese into the United States, because they were deemed inassimilable and seen as uncivilized, unclean and filthy, creating an anti-Chinese fervor (Zia). This era promoted resentment towards Chinese which further escalated, with the Johnson-Reed Act of 1924 that extended to other Asian groups. Nonetheless, this did not prevent Chinese immigrants from entering the United States. Chinese found loopholes in the law that allowed them to bring their family members as ‘paper sons’. The 1906 earthquake in San Francisco destroyed municipal records, which catalyzed immigration from China by allowing Chinese-men to claim US citizenship and bring their family from China (Takaki 8). The Adventures of Eddie Fung depicts the story of a young-man born in China and his immigration to the US as a ‘paper son’ in the 1930s. His significance correlates to the contradiction developed by US deeming Chinese as inassimilable, and presenting Eddie enduring his hardships but maintaining his inner-American spirit. The book portrays his life in Chinatown, Texas and serving for the US military during WWII, which allowed Chinese to experience the preliminary steps in gaining acceptance in the US (Takaki 14).
In Campbell’s A Hero With A Thousand Faces, the author explains all seventeen steps of the hero’s journey, and how many fictional characters achieves some of them throughout a transforming moment of their lives. However, he never spoke of the Journey in the non-fictional world. After reading and analyzing the life the Wright Brother’s I concluded that they also went through the same steps while inventing the first aeroplane, and that their invention shaped our culture for the better.
The Hero's Journey is a theory created by Joseph Campbell and expresses the idea that most heroes are essentially the same person embodied in different ways. Lawrence C. Rubin describes the monomyth as, “The hero, or mythic protagonist, from birth to death is on a journey, replete with demons, both inner and outer, challenges both great and small, and a cast of characters, some enemies, others allies and companions” (265). The 2001 animation Osmosis Jones is no exception to this assumption. In the film, a white blood cell named Osmosis Jones goes on an epic adventure to save the life of Frank and prove himself to the people of his community. In the beginning of the movie, Osmosis starts off as an egotistical jerk who believes he can do everything on his own; however, as the film progresses, Osmosis realizes that sometimes two brains are better than one. Jones finds out the hard way that without a helping hand, there is little he can achieve alone. Osmosis’s journey through the monomyth develops the theme of teamwork because help from others proves to be essential to Osmosis’s triumph.
A tragic hero is defined as a person of high social rank, who has a tragic flaw or flaws that lead to their downfall. These heroes’ downfalls are usually either complete ruin or death. Tragic heroes face their downfall with courage and dignity. While many characters in Julius Caesar could fit these conditions, the person who fits the role of a tragic hero the best is Marcus Brutus. Brutus develops into a tragic hero throughout the play, and this is shown though his qualifications of a tragic hero, his high status, his tragic flaws, and his courage in the face of his death.
Campbell once said “A hero is someone who has given his or her life to something bigger than oneself”. Joseph Campbell was an American mythologist who discovered that all cultures’ myths and stories were essentially the same, and that all people follow the journey of an archetypal hero no matter where they are from, or what they believe in. Odyssey, Speak and Wonder Women reflect the modern day need for the hero’s journey as the characters face a call to adventure, trials, and the return and betterment of the hero’s home.
Countless quest narratives – ranging from modern texts all the way back to ancient texts – have all conformed to a certain archetypal structure. Christopher Vogler writes:
An English proverb states, “ A hero is a man who is afraid to run away”. I agree with this proverb, because when you see a hero in a comic book, they have super cool back stories, are not afraid to fight, and stare danger in the face and not blink. They are not afraid of anything. That’s nice to look up to, but they are not real. Our definition of a hero is too much for one man to become, you can do something honorable, heroic, but you will never actually be a hero because it's too much, in real life. Heroes don’t just do it so they can get paid, or respect. What really determines whether someone is a hero is if they choose to do something about it in a bad situation. We have people that do heroic acts, for example, people putting their lives before others. Those people cannot be heroes because they get paid to do it, they are, firefighters, cops, and military, they get paid to help people, so they aren't considered a hero.
In addition to the other qualities of the tragic hero, it is necessary for the tragic hero to develop from
Throughout history, there have always been heroes. Those strong-willed, brave individuals who perform courageous acts for fame and glory are prevalent in most cultures.. Societies have these heroes as standards of their cultures’ moral codes. Every society has their own definition of these codes are, so a unifying definition of hero can be hard to achieve. However, Philip Zimbardo says “Simply put, then, the key to heroism is a concern for other people in need—a concern to defend a moral cause, knowing there is a personal risk, done without expectation of reward.” With this basic definition, I will be examining various epic heroes I’ve studied throughout the course of my senior year for characteristics. From the copious amounts of studying, I’ve deduced that Achilles, Odysseus, Aeneas, Socrates, Gilgamesh, Beowulf, and Arthur all have characteristics that make them heroic.
Comparative Character Analysis of Classical Vs. Modern Tragic Protagonists. A hero/ heroine is described as the principal male/ female character in a literary or dramatic work or the central figure in an event, period, or movement. The classic tragic hero was defined by Aristotle in the fourth century as, “someone who is highly renowned and prosperous” (LATWP, 639), suggesting that there is a “natural right ordering and proportion of traits within the human being that if violated, produces calamity” (LATWP, 639). The book goes on to define classical tragedy as one that “involves the inevitable destruction of a noble person by means of character flaw, usually a disproportionate measure of a specific human attribute such as pride, jealousy or indecision” (LATWP, 639).