Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
King lear character analysis
Interpretations of Aristotle's definition of tragedy
Describe the qualities/traits of a leader as per the trait leadership theory
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: King lear character analysis
Aristotle’s True Tragic Hero
According to Aristotle, a tragic hero is one of noble upbringing who undergoes a reversal of fortune. The hero must then realize that their peripetia is a direct result of their own tragic flaw. King Lear in William Shakespeare’s King Lear and Willy Loman in Arthur Miller’s Death of a Salesman both share the tragic flaw of being blind to reality, but Lear fits the remainder of Aristotle’s description more accurately. It is evident that Lear holds these tragic qualities because he is born of a noble birth, receives pity, and is able to see the truth. On the contrary, Willy Loman lacks these same characteristics. As a result, he fails to accept his mistakes unlike Lear did, proving that the one who more precisely
…show more content…
follows Aristotle’s theory will achieve the ultimate goal of self-realization and acceptance. When a tragic hero is born into nobility, they find themselves growing up in a powerful community of others similar to themselves.
This community is important for a noble person, especially a king, as it acts as support and a place of acceptance. King Lear makes the irrational decision of banishing the loyal Cordelia, and splitting the kingdom between his two cunning daughters, Goneril and Regan. Even though this tragic error leads Lear into a grueling state of madness, he knows he has a kingdom that will accept him once he gets back on track to reality. Acceptance from people such as knights, servants, or other noble people make it a lot easier for one to accept themselves. On the other hand, no acceptance from a community of supporters makes it extremely harder. Willy Loman is a proletariat of the lower class, forever wishing to become one of a high status. He repeatedly dreams of becoming accepted in the powerful bourgeoisie, and shares this with sons Happy and Biff by explaining, “Tell you a secret boys. Don’t breathe it to a soul. Someday I’ll have my own business, and I’ll never have to leave home again” (1.30). If he did own a business, that would mean he would officially move up social classes, become well-liked, and be part of a community. Since this community is not present in Willy’s life to accept and appreciate him, he does not feel the need to accept his mistakes as Lear does. Lear finds his true self again as he is welcomed back into his noble kingdom, while …show more content…
Willy has nowhere to be welcomed as he was never originally a part of a supportive community to begin with. A tragic hero is not only noble, but one who receives pity and empathy from readers and the characters surrounding them.
This pity often leads to assistance, since people do not want to see this hero suffer more than they deserve to. Even though Cordelia is banished by Lear, it is evident she will always care for him. When she hears the news of her father going mad upon the heath, she feels sorry for him and immediately seeks help from soldiers and a doctor to find him. Cordelia’s pity on Lear ultimately helps him understand his flaws and realize his daughter’s loyalty. This empathy from others helps the hero to accept himself as he understands he has loved ones who accept him as well. When no one takes pity or pays attention to the tragic hero, it is difficult for them to grasp the reality of their terrible situation. Willy’s family may speak to each other about Willy’s troubles, but do not take extreme actions to reach out to him. Instead of discussing his suffering to his face, Linda just tells the sons, “Don’t- don’t go near him!” (1.55). If Happy or Biff actually went near him, they’re supportive words could have brightened his mood and made him feel better about himself. Biff also proves that he does not feel sorrow for Willy as Cordelia does with her father. Biff explains to Willy, “What is this supposed to do, make a hero out of you?” This supposed to make me sorry for you?” (2.130). After discovering the rubber hose that Willy is attempting to commit suicide with,
Biff finally confronts him about it. He does not ask what is wrong, or what he can do to help, yet simply states he is not one to take pity. If his family takes a moment to step in Willy’s hoes, they will understand his situation and be there for hi, making it easier for him to accept himself. Knowing that people are there for the hero through thick and thin is necessary for escaping the reversal of fortune, and is why Lear reached self-realization, and Willy did not. The most significant aspect of Aristotle’s theory is the tragic hero’s ability to come full circle and seek the truth. They cannot fully accept their imperfect selves if they are oblivious to their own mistakes. Luckily, King Lear is able to understand his hamartia as he admits his errors to daughter Cordelia, when he asks for her forgiveness while she passes away in his arms. Fortunately, Lear’s recognition of the fact that his overwhelming sense of pride and foolish decisions leads to downfall, allows him to take the blame, forgive and accept himself. In Willy’s life, he refuses to believe the reality and falsehood of the American dream even when Biff tries to explain it. Willy only seems to believe that Biff is blaming his own personal failures on him when he states, “You’re trying to put a knife in me- don’t think I don’t know what you’re doing!” (2.130). Willy fails to see that no matter how hard he pushes himself and children, the American dream is simply not right for them. Biff argues to his father, “Will you let go for Christ’s sake? Will you take that phony dream and burn it before something happens?” (2.133). Willy’s longing for success and popularity is being blown out of proportion, but he fails to accept this truth. Because he cannot accept this flaw, he cannot accept himself as a human being and what he has accomplished in life, as Lear was able to. Understanding one’s own fault is what ultimately makes one a tragic hero, and is what leads Lear to redemption. If one does not accurately follow Aristotle’s theory on tragic heroes, it not right to call them a true tragic hero. It is evident that Willy does not reach King Lear’s heroic standards as he is not noble, does not receive pity, and is not able to see the truth in his mistakes. It is because he lacks in those areas that leads him to giving up and committing suicide. If he were able to accept his true self, he would have come full circle to live a more positive life for his family. According to Aristotle, King Lear is the true tragic hero who is able to reach self-realization and acceptance, the ultimate goal that Willy fails to achieve.
In this quote, Aristotle believes Oedipus to be one of the best examples of a tragic hero. He also states that all tragic heroes have flaws which are the main causes for their downfalls. Oedipus is an example of a classic tragic hero while Willy Loman is a modern tragic hero however, both Oedipus and Willy have similar flaws. They both experience hubris because they struggle with reality due to their arrogance and self-pride. As a result, these characters inflict harm to themselves due to their lack of right judgement. In addition, these tragic heroes are blind and fail to see the tragic flaws in which they have.
Willy Loman is not the only victim of his tragic flaw. The rest of the Loman family is also affected by Willy's problem. Willy's wife, Linda, is the only one who supports and understands Willy's tragic flaw completely. Linda supports every far-fetched claim her husband makes. She is even described as having “infinite patience” whenever she is conversing with Willy (Miller 99). Willy's two sons, Biff and Happy, are also affected by his flaw. Happy, when in the company of two ladies, claims that Willy is not even his father, and “just a guy” (Miller 91). Later in the play, Biff decides that he does not want to be in his father's life anymore. Biff's problems are simply too much for Willy to handle with his current state of being, even though Willy needs Biff in his life. After both internal and external conflict, Biff reveals to Willy that Willy had been lied to for a number of years, and that the life he lives is essentially a lie (Miller 104).
Willy Loman’s character is capable of making errors. He believes he is a very successful salesman and well liked. He also thinks that the company likes what he is doing. He once said, “I’m the New England man. I am vital in New England” (Miller pg. 32) Because of his false belief about his success Howard fired him. After he got fired charley offered him a job, but he refuses to accept, because he is too proud and jealous to work for Charley. His actions were wrong because at no time was a successful salesman. He is not a powerful character. Willy lives in his fantasies where he is the man. Who goes out to another place and comes out rich, he is love by everyone and admired by his family. In real life, he is lazy and does not live up to his own ideals. “As Aristotle explains, a tragic hero must be one of noble character and must fall from power and happiness.”(Www.ccd.rightchoice.org/lit115/poetics.html) but Willy neither has a noble characteristic nor does he fall from power because he does not have a position of power.
A tragic hero is a protagonist with a fatal flaw which eventually leads to a character's downfall. The tragic hero is often introduced as happy, powerful and privileged, and ends up dying or suffering immensely due to their own faulty action. John Proctor’s, the protagonist in the play, flaw that lead to his “downfall” was his inability to accept his fate and his pride in which he holds in the town of Salem, Massachusetts. John Proctor had displayed the four characteristics of a tragic hero goodness, superiority, a tragic flaw, and has an eventual realization
While both Oedipus Rex and Death of a Salesman can be described as tragedies, Willy Loman is not an example of a traditional tragic hero like Oedipus. To be labeled as a tragic hero, the character must experience an anagnorisis, a peripeteia, and must have hubris and a hamartia. Oedipus has all of these qualities, which is what makes him a prime example of tragedy. Oedipus’ tragic flaw, his discovery of what he has done, and his consequential destruction because of his discovery are all necessary to be termed a hero of tragedy. Although Willy Loman has a tragic flaw that is even comparable to Oedipus’ in that it results in his blindness from reality, he, however, does not experience a revelation as to why his demise is inevitable. Without such an experience, Willy is not a hero of tragedy.
The idea, one is not born a hero, but must become one, can also be applied to tragic heroes. “The hero’s fall is the result, to use Aristotle’s term, of hamartia: an error or transgression or a flaw or weakness of character…. According to [Aristotle’s] interpretation, every tragic hero has some moral Achilles’ heel that brings him or her to a bad end.” (Rice and Watson 2). Blanche, from Tennessee Williams’s play, A Streetcar Named Desire, and Oedipus, from Sophocles’s play, Oedipus the King, are both protagonists who become tragic heroes. They have misfortunate pasts, free choice, tragic flaws, a reversal of fortune, and cruel punishments. Both Oedipus and Blanche share the common characteristics of tragic heroes, but have their own unique personalities and perceptions.
At the beginning of the play it is evident that he cannot determine the realities of life, and so he repeatedly contradicts himself to establish that his conclusion is correct and opinion accepted. These numerous contradictions demonstrate that Willy is perturbed of the possibility that negative judgements may come from others. Willy strongly believes that “personality always wins” and tells his sons that they should “be liked and (they) will never want”. In one of Willy’s flashbacks he recalls the time when his sons and him were outside cleaning their Chevy. Willy informs Biff and Happy the success of his business trips and how everyone residing in Boston adores him. He mentions that due to the admiration of people he does not even have to wait in lines. He ultimately teaches his sons that being liked by others is the way to fulfilling one’s life and removing your worries. These ideals, that one does not need to work for success, demonstrate Willy’s deluded belief of achieving a prosperous life from the admiration and acceptance of others. This ultimately proves to be a false ideology during his funeral, when an insufficient amount of people arrive. Willy constantly attempts to obtain other’s acceptance through his false tales that depict him as a strong, successful man. In the past, he attempts to lie to his wife, Linda, about the amount of wealth he has attained during his
...s personal failure and betrayal of his soul and family through the meticulously constructed artifice of his life. He cannot grasp the true personal, emotional, spiritual understanding of himself as a literal “loman” or “low man.” Willy is too driven by his own “willy”-ness or perverse “willfulness” to recognize the slanted reality that his desperate mind has forged. Still, many critics, focusing on Willy’s entrenchment in a quagmire of lies, delusions, and self-deceptions, ignore the significant accomplishment of his partial self-realization. Willy’s failure to recognize the anguished love offered to him by his family is crucial to the climax of his torturous day, and the play presents this incapacity as the real tragedy. Despite this failure, Willy makes the extreme sacrifice in his attempt to leave an inheritance that will allow Biff to fulfill the American Dream.
In The Tragedy of King Lear, particularly in the first half of the play, Lear continually swears to the gods. He invokes them for mercies and begs them for destruction; he binds both his oaths and his curses with their names. The older characters—Lear and Gloucester—tend view their world as strictly within the moral framework of the pagan religion. As Lear expresses it, the central core of his religion lies in the idea of earthly justice. In II.4.14-15, Lear expresses his disbelief that Regan and Albany would have put the disguised Kent, his messenger, in stocks. He at first attempts to deny the rather obvious fact in front of him, objecting “No” twice before swearing it. By the time Lear invokes the king of the pagan gods, his refusal to believe has become willful and almost absurd. Kent replies, not without sarcasm, by affixing the name of the queen of the gods to a contradictory statement. The formula is turned into nonsense by its repetition. In contradicting Lear’s oath as well as the assertion with which it is coupled, Kent is subtly challenging Lear’s conception of the universe as controlled by just gods. He is also and perhaps more importantly, challenging Lear’s relationship with the gods. It is Kent who most lucidly and repeatedly opposes the ideas put forth by Lear; his actions as well as his statements undermine Lear’s hypotheses about divine order. Lear does not find his foil in youth but in middle age; not in the opposite excess of his own—Edmund’s calculation, say—but in Kent’s comparative moderation. Likewise the viable alternative to his relationship to divine justice is not shown by Edmund with his ...
He decided that there were some factors that made a tragedy: plot, character, diction, thought, spectacle, melody. The character had to have a tragic flaw that would ultimately lead to his downfall. The traits of tragedy's character defines Willy Loman as a tragic man. Also, a tragedy must have catharsis at the end, and the end of Death of a Salesman cleanses the audience. Aristotle believed that the protagonist of a tragedy should be “good or fine”.
... morals and personality towards his goals and at the same time trying to pass those values onto his sons, making him lose their respect, which is one of the many reasons that ended up taking his life. For the most part one can see that issues like Willys cannot only be seen or heard of in a play but also in the real world. Everybody in general wants to conform and be liked in today's competitive society, which is one of the reasons why many people don't get to accomplish the things they want to accomplish because they are either to scared or don't have the courage to step out of the social norms and achieve what they what to achieve. If anyone learns anything from this tragic character, one can say that truly knowing ones-self can really help in the long run because if one doesn't know who they are, they can end up leading a miserable life, in a miserable world.
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.”
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.
To conclude, “Death of a Salesman” by Arthur Miller satisfies the criteria for a tragic play because Willy’s pride is a tragic flaw that leads to his downfall. Ultimately, Willy gains enlightenment of his false perception of life and realizes how he inhibits the success of his family. This epiphany leads him to sacrifice himself for the well-being of his family. During his lifetime, Willy’s pride caused him to have an overinflated ego, a bizarre idealistic view on life, and a false value system. These negative traits eventually lead to his downfall in which he sacrifices himself, proving to be a modern tragic hero. Willy Loman is a common man brought down to his demise because of the one tragic flaw of pride that he possesses.
A tragic figure is often defined as an individual that is of noble birth, such as a king or other member of nobility. The individuals around them always respect them, however, they are often responsible for their own downfall, which will eventually lead to their death. Although the play King Lear can be considered one of William Shakespeare’s greatest tragedies, the character King Lear himself, lacks the ability to bring forth feelings of pity within the reader or viewer, thus causing Lear to fall short of also being Shakespeare’s greatest tragic figure. Lear is shown throughout the play as being an egotistical man, and he is seen executing a variety of actions that lead to the reader feeling hate instead of pity, a crucial element that makes a tragic figure.