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Weaknesses and strengths of a tragic hero
Weaknesses and strengths of a tragic hero
Characterization a mystery of heroism
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Tragedy and American Drama As we have learned in the past, the style of literature evolves as time changes. Different events in the world had influenced these changed. The different movements that created its definitions of their work and how we use these definitions today to classify a piece of literature what period it belongs to. The American dramas, The Death of a Salesman, by Arthur Miller and Glengarry Glen Ross by David Alan Mamet are tragic plays. Analyzing the main character of each drama: Willy of The Death of the Salesman and Shelly of Glengarry Glen Ross will determine if both, neither or one of them possess the features of a tragic hero by the descriptions of Aristotle and Arthur Miller. According to Aristotle, “A man doesn’t become a hero until he can see the root of his downfall. ” What is the root of the hero’s downfall? This is what Aristotle calls hamartia or flaw (“Tragic”). Willy Loman lives …show more content…
Miller is implying that the tragedy of nobility is no greater to a tragedy of an ordinary man. The consequences of both noble and common character’s action and flaw is leading them to their demise; in Shelly’s situation is job loss and probable jail time. The essay also mentioned “…tragic feeling is evoked in us when we are in the presence of a character who is ready to laydown his life, if need be, to secure one thing-his sense of personal dignity…Tragedy, then, is the consequences of a man’s total compulsion to evaluate himself justly (Miller 3).” We have witnessed this when Willy committed suicide thinking it is the last resort to help his sons to be successful by using the insurance money the family will receive after his death. After Shelly was identified to be one of the culprits of the crime, he desperately pleaded and offered bribe to his boss to be forgiven of his crime and not to face the chance of jail time with no success. “ John: John: … my daughter…
Hamartia: a fatal flaw leading to the downfall of a tragic hero or heroine. Derived from the Greek verb hamartanein, meaning to “miss the mark” or “to err”, Aristotle introduced the term to describe the error of judgment which ultimately led to a hero’s tragic downfall. In the play, Romeo and Juliet, William Shakespeare uses teenage love to portray the importance of moderation and vigilance. Although Romeo and Juliet are known as “star-crossed lovers, it does not negate the fact that they are impetuous in their love; fate may have designed their punishment but because of their recklessness it may not have needed to.
Miller, Arthur. Death of a Salesman. The Bedford Introduction to Literature. 8th ed.Ed. Michael Meyer. Boston: Bedford, 2008. 1908-1972. Print.
Set ages apart, Arthur Miller’s Death of a Salesman and Sophocles’ Oedipus Rex provide different perspectives on the topic of tragedy and what is defined as a tragic hero. Although Oedipus would be thought of as better representing the tragic hero archetype due to tradition and time period, the modern tragic hero of Oedipus Rex is more of a dismal one. Through analysis of their respective hamartias, it is exemplified that the New York businessman with his humble story proves to be more thought provoking than the King of Thebes and his melancholic tale. **By incorporating a more relatable character and plot, Arthur Miller lends help to making Willy Lowman spiral toward his own downfall while building more emotion and response from the audience than with Oedipus. When Oedipus learns of his awful actions, this invokes shock and desperation.
Introduction Death of a Salesman and Glengarry Glen Ross are two plays which attempt to validate the key values that have been strongly advocated for by capitalism. The two plays dwell on somewhat similar themes, but these themes are presented in different styles. Both Miller and Mamet hold a similar interpretation of success in that the success of the main characters in the two plays is measured from a material standpoint. According to Miller and Mamet, these characters will do anything within their reach to stay ahead of other members of the society (the system/principle of capitalism), but as fate would have it, tragedies befall them in the end. Nevertheless, Miller and Mamet interpret these themes from different perspectives.
Gioia, Dana, and X.J. Kennedy. "Death of a Salesman" Literature: An Introduction to Fiction, Poetry, Drama, and Writing, Compact Edition, Interactive Edition. 5th ed. New York: Pearson; Longman Publishing, 2007. 1212-1280. Print.
The tradition of the tragedy, the renowned form of drama based on human suffering that invokes an accompanying catharsis, has principally become a discontinued art. Plays that evoke the sense of tragedy-the creations of Sophocles, Euripides, and William Shakespeare-have not been recreated often, nor recently due to its complex nature. The complexity of the tragedy is due to the plot being the soul of the play, while the character is only secondary. While the soul of the play is the plot, according to Aristotle, the tragic hero is still immensely important because of the need to have a medium of suffering, who tries to reverse his situation once he discovers an important fact, and the sudden downturn in the hero’s fortunes. Arthur Miller’s Death of a Salesman is the modern tragedy of a common man named Willy Loman, who, like Oedipus from Oedipus Rex by Sophocles, exhibits some qualities of a tragic hero. However, the character Willy Loman should not be considered a full-on tragic hero because, he although bears a comparable tragic flaw in his willingness to sacrifice everything to maintain his own personal dignity, he is unlike a true tragic hero, like Oedipus, because he was in full control of his fate where Oedipus was not.
Miller, Arthur. “Death of a Salesman”. Literature: An Introduction to Fiction, Poetry, Drama, and Writing. Ed. Dana Gioia and X.J. Kennedy.10th Ed. New York: Pearson, 2007.
They argue that the character Willy Loman fits the mold of a tragic hero, a misguided man unaware of his flaws who comes to discover them through his journey but ends up dying in a tragic way in the end in grand release of tension. However, Willy Loman doesn’t reach the standard of a high status that is required to be a tragic hero. He is simply a typical man, a simple salesman. Willy is not even great at being a salesman or even a husband and father, the only roles he plays in his simple life. He never comes to discover his many flaws, he is deluded until the very end. The only consistency Willy has with a tragic hero is the tragic end. But the audience does not experience a catharsis of emotions, the audience can anticipate the miserable way Willy goes out but when it happens there is still a lingering air of unresolved misery and , especially for his
The tragedies Hamlet, Oedipus the King, and Death of a Salesman have strikingly different plots and characters; however, each play shares common elements in its resolution. The events in the plays’ closings derive from a tragic flaw possessed by the protagonist in each play. The downfall of each protagonist is caused by his inability to effectively cope with his tragic flaw. The various similarities in the closing of each play include elements of the plot, the reflection of other characters on the misfortune of the tragic hero, and expression of important themes through the dialogue of the characters.
Miller, Arthur. Death of a Salesman. Literature: An Introduction to Fiction, Poetry, and Drama. Seventh Edition. X.J. Kennedy, and Dana Gioia. New York: Addison Wesley Longman, Inc., 1999
Miller, Arthur. Death of a Salesman. Literature: An Introduction to Fiction, Poetry, and Drama. Seventh Edition. X.J. Kennedy, and Dana Gioia. New York: Addison Wesley Longman, Inc., 1999. 1636-1707.
The tragic hero is defined by Aristotle as "a great man who is neither a paragon of virtue and justice nor undergoes the change to misfortune through any real badness or wickedness but because of some mistake” (Aristotle n. pag.). There are a few principles that Aristotle believes to form a tragic hero: the protagonist should be a person of power and nobility, who makes a major error in judgment and eventually comes to realization of his or her actions (Aristotle n. pag.). In Arthur Millers’ play, Death of a Salesman, he has twisted Aristotle’s belief of a tragic hero, and has created his own. Although Miller has twisted Aristotle’s belief, Sophocles’ play, Oedipus Rex, has a tragic hero (Oedipus) that follows the flaws, dignity, and acknowledgment of the truth that Aristotle believes in to make a tragic hero. It is essential for them to recognize their position and role in the play. Due to the fact that Willy Loman and Oedipus experience tragic flaws throughout their respected plays, they both have nobility, and they both realize the fact (anagnorisis) that they made an error in their life (hamartia). Through their fatal mis-steps, their pride and ego, predominately affect their familial lives, which in turn causes them to realize the truth that they are tragic heroes.
Aristotle defined tragedy in his respected piece Poetics that defined the tragedy and many other forms of literature. Many tragic heroes such as Oedipus Rex and Romeo and Juliet fit well into this mold of a tragic hero as defined by Aristotle. For example, they were flawed but well intentioned and their lives ended in a catastrophic death. Those plays, and many others in the genre, had all the elements of a tragedy: plot, character, thought, diction, melody, and spectacle. They were fantastic displays of misery that aroused pity and fear in the audience.
As Abraham Lincoln said, “Character is like a tree and reputation like a shadow. The shadow is what we think of it; the tree is the real thing.” Character is made up of principles and values that give one’s life direction, meaning and depth. Famous figures such as Benjamin Franklin and Thomas Jefferson have believed that one can only experience true success and happiness by making character the foundation of our lives. However, in the play, Death of a Salesman, Arthur Miller depicts the last days of a tired old salesman who throughout his life, believed that personality will make one successful. However, this salesman, who goes by the name of Willy Loman, was not granted happiness and fulfillment. These come from developing character. Thus, Willy’s failures as a businessman, husband, and father stem from his failure of character.
Tragedy did not end with the modern age. Instead, it has found new form and is perhaps more recognizable with the common man as its protagonist. Traditional tragedy is intended to create in the audience pity and terror for the tragic hero's condition. Most of us see enough of ourselves in Willy that we sympathize with him, even when we disagree with him. Furthermore, it is difficult for late-twentieth-century Americans not to feel terror when considering how the forces that destroyed Willy might destroy us as well. Perhaps that fear is, indeed, the very heart of the tragedy Arthur Miller created.