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Oedipus the king and Aristotle
Oedipus the king and Aristotle
Oedipus the king and Aristotle
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Tragic Heroes in Oedipus the King and Death of a Salesman
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.
The noble characters, Oedipus and Willy rely on things of substantial value in their lives, but then unfortunately fail, further deepening their harmatia. In Arthur Millers’ essay “Tragedy and the Common Man,” he does not believe that just nobility and power over others is inadequate to just judge a select few:
Insistence upon the rank of the tragic hero, or the so-called nobility of his character, is re...
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...before something happens?” (Miller 133). Biff is getting frustrated with Willy because he is trying to turn his son into somebody that he does not want to be. Willy’s tragedy is due to the fact that the truth for him is far fetched, since he is always seeing life in a flashback, which leads to his demise.
Aristotle’s description of a tragic hero exemplify Willy Loman and Oedipus Rex very well in both their respected plays. They struggle to make the right judgment (hamartia), and with certain flaws throughout their plays, make it hard for these characters to realize the truth (anagnorisis). However, through certain evidence and different obstacles Oedipus and Willy’s demise is caused by their hamartia. Although these characters experience hope along the way, their pride and egotistical lifestyles outweigh the hope that they receive to get their life back on track.
According to Aristotle, tragedy requires an admirable hero with power and in a high state, but more importantly, he or she possesses a tragic flaw that leads to their downfall. This tragic flaw most closely relates to a character’s hubris, excessive pride in themselves or their judgment. But sometimes a character cannot be categorized as tragic, and one can argue whether or not the tragic character violates the requirements. In Sophocles’ Antigone Creon and Antigone serve as tragic characters in the play; however, Creon’s character exemplifies Aristotle’s theory of tragedy.
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. With Willy Lowman, the audience goes for a bumpy ride until the eventual, but expected, crash. ** (NEEDS WORK)
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.
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.
Dating back to Greek times, the definition of a tragic hero has been interpreted differently by many philosophers and authors. In Arthur Miller’s Death of a Salesman, Willy Loman, a struggling salesman, may not be seen as a typical tragic hero; however, Willy demonstrates the qualities of a tragic hero. Willy can be labeled as a tragic hero by Aristotle's definition because Willy has a tragic flaw, an event causes a reversal of fate for Willy, and Willy has a moment of realization. All tragic heroes possess a flaw that causes the hero to have a devastating death. Willy’s tragic flaw is his pride.
All tragic heroes come across different tragedies. These tragedies often occur through the irrational decisions and actions made by these tragic heroes. Both Oedipus from Oedipus the King and Willy Loman from Death of a Salesman are portrayed as protagonists that are blind to their reality. Despite this, Oedipus seeks the truth and faces it, unlike Willy Loman, who ends up never realizing the truth. Thus, the protagonists of Death of a Salesman and Oedipus the King carry the same tragic flaws that lead to their downfalls, however, the way they see their reality differs.
Aristotle defines a tragic hero by a set of basic standards. The tragic hero must cause their own fate, though the fate may not be wholly deserved, and the tragic hero must be capable of learning from his mistakes. These principals stand unchanged throughout the course of time. Classical Greek Tragedy Oedipus the King and contemporary A Doll’s House exhibit perfectly tragic heroes. Not so simple housewife Nora Helmer and the great king Oedipus bind the fundamentals of Classic and contemporary literature by exemplifying Aristotle’s true definition of the tragic hero.
Originating in Greece, tragedies were and remain a common and popular form of dramatic entertainment. To be considered an authentic tragedy, the protagonist must be one of aristocracy. This noble character begins the story as a likeable person whose destined fate is foreshadowed in dramatic irony to the reader. The reader is aware of the errors in judgment that the protagonist is inflicting on oneself. As the last to discover one’s unfortunate fate, the protagonist is devastated. The revelation is far too much to bear; therefore, the protagonist either commits suicide or inflicts pain or mutilation onto oneself. “Oedipus the King” reflects all of the essential components of a tragedy; however, “Death of a Salesman” lacks some of these defining characteristics. In “Death of a Salesman” the protagonist is not a “tragic hero” (Kennedy, Gioia 1282) like Oedipus. He lacks the nobility that is a prerequisite to being...
Aristotle analyzed drama to form a definition of tragedy. Aristotle considered “Oedipus the King” the perfect tragedy, so he modeled his definition after the play. 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 made observations of classical tragedies. He described tragedy as “an imitation of an action of high importance, complete and of some amplitude; in language enhanced by distinct and varying beauties; acted not narrated; by means of pity and fear effecting its purgation of these emotions.” Concerning the tragic hero, he must have a reversal of fortune, contain a fatal flaw, and be of a high estate. Arthur Miller’s play, Death of a Salesman, is an indisputably tragic story. Willy Loman, the salesman, lived in his fantasies. He avoided reality until it was inevitable, and he could no longer live with it. The play fits into the Aristotelian definition of tragedy because Willy Loman’s success in his career declined significantly; he consistently lived in an imaginary world, and thought he was of high social class.
According to the Aristotelian characteristics of good tragedy, the tragic character should not fall due to either excessive virtue or excessive wickedness, but due to what Aristotle called hamartia. Hamartia may be interpreted as either a flaw in character or an error in judgement. Oedipus, the tragic character in Sophocles’ Oedipus the King, certainly makes several such mistakes; however, the pervasive pattern of his judgemental errors seems to indicate a basic character flaw that precipitates them.
Before the twentieth century plays were mainly written as either a tragedy or comedy. In a tragic play the tragic hero will often do something that will eventually destroy him. In the book Oedipus the King, Oedipus is the tragic hero. In this tragic play the main character, which is portrayed as Oedipus, will do a good deed that will in turn make him a hero. This hero will reach his height of pride in the story, and in the end the action, which he had committed earlier, will return and destroy this man who was once called a hero.
So, Willy Loman, in Arthur Miller’s Death of a Salesman, is a tragic hero because of his aspirations to be great, his tragic flaws, and his tragic downfall. Tragic heroes are very important to many texts such as Willy was to Death of a Salesman. Victor Perry explains that a tragic hero, “shows a magnified version of the consequences of that fatal flaw, as a hero 's life can be 'writ large '.” Audience members can oftentimes relate to these tragic heroes which also adds to their importance. They connect the audience to the
The concept of tragic hero is very important in the construction of tragedy. It is the main cause of pity and fear. The tragic hero is a character between the two extremes; he is neither virtuous nor evil. At the same time, this character is better than the ordinary men or audience, he has some good qualities. Moreover, as a tragic hero, he is moving from happiness to misery by his downfall at the end. In fact, this downfall is caused by an error or a flaw in his character not by a vice or depravity. Another feature in the tragic hero is that he has good reputation and he is a man of prosperity. It can be said that Oedipus is a tragic hero because he has all the previous mentioned characteristics and the whole play is a classical application of this concept.
While this change, as well as the changes in play production and the culture in the audience that views these plays, has had a great impact on the evolution of the tragedy, the basic ideas laid down by Aristotle remain adhered to, if not always in the way he wrote them. The tragic hero, Willy Loman, is of little virtue, being in financial trouble and growing more and more reminiscent in his old age. His fall is aided by his tragic flaw, that his pride in “selling yourself” will get one anywhere hey need to be in life, slowly tears his life apart, as well as creating unrealistic expectations of his son, thus bringing his demise. The play arouses fear and pity just as well as any classical work, possibly even more effectively due to the reatability of the “common man.” Just as in The Hairy Ape, the tragic hero dies, forcing the underlying evil on to the audience. This evolution to the common man can be explained through the evolution of society alongside tragedy. In the time of Aristotle, the best way to make a commentary on both societal and familial issues was through the eyes of nobility, which dealt with both. As time went on, however, the emergence of new societal and social issues such and women’s or worker’s rights led to the more effective tragic hero to be that of the “common man,” for they saw these issues in a was the aristocracy never could. These societal changes combined with the readability of the common man led to a shift in the tragic hero, yet never changed the underlying meaning of tragedy laid down in Aristotle’s