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Aristotle's theory of tragedy
The portrayal of Hamlet as a tragic character in Hamlet by Shakespeare
The portrayal of Hamlet as a tragic character in Hamlet by Shakespeare
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Tragedy. It is a word that has a powerful meaning to it. Both plays have a distinctive tragedy that occurs, which I found important. Every person on this universe can relate to a tragedy. The degree to which an audience can relate or even just sympathize with the tragic hero determines the quality of the tragedy. That being said, in order to produce a tragedy, it is necessary to have a tragic hero. Aristotle sets forward characteristics that all tragic heroes should have in common. Included are hamartia, peripeteia, anagnorisis, and consequence. Hamartia, or the hero's tragic flaw, is his error or transgression or his flaw or weakness of character. Peripeteia, is the reversal of his fortune. The tragic thing that happens to him. Anagnorisis is when the hero discovers …show more content…
With strong similarity to Hamlet, the cause of fortune's reversal is revealed to Oedipus supernaturally. Oedipus learns about the king's murder, and his own guilt, from a seer. Like Hamlet, he jumps at the challenge to find out who is guilty of the king's murder in order to bring justice. He sets himself up for a fall as he tries to win his people's hearts: Thus I associate myself with the oracle And take the side of the murdered king. As for the criminal, I pray to God – Whether it be a lurking thief, or one of a number – I pray that that man's life be consumed in evil and wretchedness. And as for me, the curse applies no less (sc 1.32). Unfortunately for him, it does turn out to be himself. Even then, he acts with justice and does not show partiality for his own well-being. This proves his good character, and tends to transform him into an honorable hero in the audience's eyes despite his initial transgression. Such redemption is in stark contrast with Hamlet, which does not portray this kind of nobility, and instead finds its hero again murdering in cold blood. Finally, a tragic hero faces a dramatic demise, often by his own hands. Aristotle claims that this fate should
In addition, the final aspect of a tragic hero is a sudden change in course of action, caused by their major flaw, which brings about their p...
A tragic hero is an individual who possesses a fatal flaw in their character that will bring about their own destruction or suffering. Aristotle believed that “A man doesn't become a hero until he can see the root of his own downfall. (Aristotle #1)” This Ancient Greek philosopher also believed that each tragic hero has four characteristics. The first of these characteristics is that a tragic hero is born with either wisdom or high integrity, and in some cases both.
A tragic hero is defined as a hero who makes a judgement error and it inevitably leads to his or her death as defined by aristotle. Aristotle is one of the most famous philosophers of ancient Greece. He had guidelines for the best tragedies and what has to be involved in the characteristics of a tragic hero. There were five non-negotiable traits that to be in a part of the tragic hero. 1.)They had to either be of noble or royal birth or had to have wisdom. 2.)They had to have hamartia which is a tragic or fatal flaw. Most tragic heroes died, few rarely survived. 3.)They must have a reversal of fortune brought about the heroes main error which causes them to die. 4.) The hero has to have anagnorisis or an epiphany, which is when the hero
Tragic heroes are composed of the following characteristics: nobleness/wisdom by birth, a tragic flaw, reversal of fortune by the tragic flaw, and anagnorisis. Being excessively honorable can be a person’s tragic flaw. In Julius Caesar, written by William Shakespeare, Brutus is shown to be a tragic hero. Born a nobleman, Brutus was Caesar’s close friend. However, he betrayed and murdered Caesar, which eventually led to Brutus’s death. Ultimately, Brutus’s tragic flaw was his honor and his demise was his death.
If one were to push a boulder up a hill with a gentle incline, it would be rather difficult to discern that pivotal moment when it is poised for a split-second at the summit. In tragedy, this moment is known as the ultimate peripeteia or the point of no return for the protagonist. From this point on, the protagonist moves downhill with increasing momentum and decreasing control over where they're headed. Act 3 of Hamlet is filled with dramatic and powerful moments that are each in their own way, minor peripeteia. However, there is only one critical action that lies precisely at the peak or the turning point. This action involves Hamlet's decision not to slay Claudius while he prays. Although the remaining actions may be within centimeters away, they all posses certain vital flaws that prevent them from occupying the spot reserved for the actual ultimate peripeteia.
“Tragedy is an imitation of an action of high importance . . .” states Aristotle in his book Poetics (as cited in Kennedy & Gioia, 2010). Without a doubt, he observed and analyzed countless plays throughout his life and in Poetics, he writes a broad description of what a tragedy should contain (Kennedy & Gioia). Specifically, to Aristotle, tragedies require a “Tragic Hero.” What makes this literary character unique from the other heroes of literature? The most obvious and central difference is that the hero in question always experiences a disastrous reversal of fortune, which follows the recognition of a previously unknown truth (Kennedy & Gioia). He must be “a man not preeminently virtuous or just” (Poetics part XIII, trans. 1909), yet he still must be a “good person” whom the audience grows to respect and because of this, deeply pities and fears for throughout the play (Poetics part XIII). Despite being a person of high estate and influence, surprisingly, the hero in the Greek tragedy is someone we can relate to in his humanness. Furthermore, his fall “from happiness into misery” is “brought upon him not by vice or depravity but by some error of judgment” (Poetics part XIII)—his hamartia. The Oxford English Dictionary translates this Greek word as, “The fault or error, which entails the destruction of the tragic hero” (Oxford English Dictionary, 1989).
Most readers are aware of the many famous deaths or acts of death within the Shakespearean plays. And when the main characters die in Shakespeare’s plays, indeed, the readers would categorize the play as a tragedy. The problem with any tragedy definition is that most tragic plays do not define the tragedy conditions explained or outlined by Aristotle. According to Telford (1961), a tragedy is a literary work that describes the downfall of an honorable, main character who is involved on historically or socially significant events. The main character, or tragic hero, has a tragic fault, the quality that leads to his or her own destruction. In reading Aristotle’s point of view, a tragedy play is when the main character(s) are under enormous pressure and are incapable to see the dignities in human life, which Aristotle’s ideas of tragedy is based on Oedipus the King. Shakespeare had a different view of tragedy. In fact, Shakespeare believed tragedy is when the hero is simply and solely destroyed. Golden (1984) argued the structure of Shakespearean tragedy would be that individual characters revolved around some pain and misery.
A tragic heros is someone who faces adversity and has courage and they have similar characteristics throughout different literature. A hero often times experience a downfall, but confronts the situation in a way that causes them to be given the title of a tragic hero. Aristotle once stated about tragic heroes and recited “A man doesn’t become a hero until he can see the root of his own downfall.” Aristotle also came up with six characteristics that all tragic heroes have. Romeo is a prime example of a tragic hero by the quick judgements he makes due to his love for Juliet. He decides to attempt suicide when he sees Juliet faking her death, this shows his character falls in love too fast and too hard. The way he loves Juliet is Romeo’s downfall
Hamlet’s sanity began to deteriorate when learned that his father’s death was not an accident, but rather a foul deed committed by the newly crowned King of Denmark. “If thou didst ever thy dear father love – Revenge his foul and most unnatural murder” [Act I, v l .23-25]. As a mysterious ghost appeared in the terrace, Hamlet learned of a murderer that would prove his fealty towards his father. As he contemplated the appalling news recently brought to his attention, the control Hamlet had over his actions was questioned. “O villain, villain, smiling, damned villain! My tables meet it is I set it down, That one may smile, and smile, and be a villain. At least I am sure it may be so in Denmark,” [Act I, v l. 106-109]. Hamlet’s hatred toward his father’s killer caused him to relate the tribulations between murder and the aspects of Denmark as a country together. As with most of the conflicts Hamlet faced, his lack of ability to avenge his father’s death, furthered the deterioration of his life and surroundings.
In his classic work "Poetics" Aristotle provided a model of the tragic hero. According to Aristotle, the tragic hero is more admirable than the average person. This results in the tragic hero being admired by the audience. For the audience to accept a tragic ending as just, it is crucial that the tragic hero be responsible for their undoing. At the same time though, they must remain admired and respected. This is achieved by the tragic hero having a fatal flaw that leads to their undoing. One of literature's examples of the tragic hero is Achilles from Homer's The Iliad. However, Achilles is different from the classic tragic hero in one major way - his story does not end tragically. Unlike the usual tragic hero, Achilles is able to change, reverse his downfall, and actually prove himself as a true hero.
On the other hand, another type of tragic hero exists, the modern tragic hero. This type of hero is a product of a clash between the individual and the social environment. Arthur Miller, the famous playwright, said, “each person has a chosen image of self and position, tragedy results when the character’s environment denies the fulfillment of this self concept.” (LATWP, 640). This is a contrast from Aristotle’s classic tragic hero because the hero is no longer born into nobility but gains stature in the action of pitting self against the cosmos, and the tragedy becomes, “the disaster inherent in being torn away from our chosen image of what and who we are in this world.”
Aristotle sees tragedy of being made of pity and fear. When tragedies occur in people’s lives it appears fear and pity is always an accompanying trait. Aristotle finds these two emotions to be staples in creating the perfect tragedy play. A tragic hero is the direct spawn of creating a tragic play.
Courageous and admirable with noble qualities defines a heroine. In Aristotle’s Poetics he describes a tragic hero as a character who is larger than life and through fate and a flaw they destroy themselves. Additionally, Aristotle states excessive pride is the hubris of a tragic hero. The hero is very self-involved; they are blind to their surroundings and commit a tragic action. A tragedy describes a story that evokes sadness and awe, something larger than life. Furthermore, a tragedy of a play results in the destruction of a hero, evoking catharsis and feelings of pity and fear among the audience. Aristotle states, "It should, moreover, imitate actions which excite pity and fear, this being the distinctive mark of tragic imitation." (18) For a tragedy to arouse fear, the audience believes similar fate might happen to them and the sight of the suffering of others arouses pity. A tragedy's plot includes peripeteia, anagnorisis, hamartia and catharsis. Using Aristotle’s criteria, both characters in Oedipus The King and The Medea share similar qualities that define a tragic hero such as being of noble birth, having excessive pride, and making poor choices. They both gain recognition through their downfall and the audience feels pity and fear.
A tragic hero can be defined by several different factors; the hero usually has a major flaw that prevents him from seeing the truth that lies in front of him, which contributes to the character’s peripeteia due to mistaken judgement. This mistake then leads to achieving anagnorisis, usually at the end of the play, but is too late to change anything, and results in death.
Aristotle defines a tragic hero as a man of exceptional quality and greatness of noble birth whose tragic flaw leads to his own downfall. In addition, the hero's downfall must result in increased self-knowledge and self-awareness. Faustus, being a doctor who has studied logic, medicine, law, and divinity, is cle...