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Characteristics of tragedy according to aristotle
Characteristics of tragedy according to aristotle
Aristotle's definition of tragedy
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Throughout our history, many genres have survived the test of time. One of the most well known and popular genre is the tragedy. A tragedy tells a story of the downfall of a basically good person through some fatal error or misjudgment, producing suffering and insight on the part of the protagonist and arousing pity and fear on the part of the audience. One of the main authorities on tragedy is ancient Greek philosopher, Aristotle. His piece of literature, Poetics, is highly regarded as one of the main sources used to define what makes a tragedy. In each tragedy, there must be a tragic hero to carry out the plot of the story. In addition, the protagonist must conform to specific guidelines according to Aristotle to be considered a tragic hero. According to Aristotle, the hero of a tragedy must “not be shown passing from good fortune to misfortune; again, vicious people must not be shown passing from misfortune to good fortune; nor again should an utterly evil man fall from good fortune into misfortune. So we are left with the man between these extremes: that is to say, the kind of man who neither is distinguished for excellence and virtue, nor comes to grief on account of baseness and vice, but on account of some error; a man of great reputation and prosperity, like Oedipus and Thyestes and conspicuous people of such families as theirs.” (L.J. Potts 981-2) However, there are many adverse views on his definition of a tragic hero. The question is whether or not those guidelines must adhere to all tragedies to be successful. Othello, the protagonist in Othello is much like Oedipus, from Oedipus the King. Both Oedipus and Othello fulfill all of the prerequisites of a tragic hero: men between the extremes, they have a tragic flaw, t... ... middle of paper ... ...ying the requirement of high status. Oedipus’ tragic flaw was his short temper, which led him to his downfall, as did Othello’s flaws of naivety and mistrust. Both plays went through a peripeteia and an anagnorisis, as both saw a reversal of fortune and a realization of their mistakes. All these elements of tragedy give the audience a feeling of pity and remorse for both Oedipus and Othello, thus reinforcing Aristotle’s definition of a tragic hero. Works Cited Aristotle. “Critics on Sophocles.” Poetics. Trans. L.J. Potts “Othello as a Tragic Play.” 123HelpMe.com. 04 Feb 2009. . Hall, Joan Lord. Othello: A Guide to the Play. Westport: Greenwood, 1999 Nostbakken, Faith. Understanding Othello. Westport: Greenwood, 2000 Shakespeare, William. Othello. Clayton: Prestwick House Inc., 2005
And this is the reason, why I added this piece of fancy to my philosophical observations, and joined them as two worlds at the ends of their poles;
“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).
Oedipus from the drama, “Oedipus the King” and Hamlet from, “Hamlet, Prince of Denmark” are two characters that are different, yet they both share the same title of being a tragic hero. Oedipus and Hamlet have many characteristics of a tragic hero that separates them in varieties. However, some of those characteristics show that both characters have and use similar thought processes and methods, which classify them as tragic heroes of their dramas. The five characteristics of a tragic hero are: nobility, tragic flaw, peripeteia, anagnorisis, and lastly irony. Both Oedipus and Hamlet hold or have a nobility position in their drama’s plot. Oedipus is the son of the king, and fate has foretold that he will kill his father and take over the kingdom. Hence, Oedipus was fated into his nobility, so he is required always remain in a status above all others. Hamlet is also the son of the former king that is now dead. Hamlet was born into this nobility, and this makes him the prince. Both characters are royalty, yet their morals and values are what make their nobilities the same. Their actions create heavy and dramatic outcomes, which lead to many more complications. Both men try to resolve their problems different, so their fortunes become reversed. Oedipus and Hamlet are very different, yet almost have the same fates. Out of all the five characterizes, three of them describe and separate both men best as tragic heroes. The tragic flaws, which is defined as hamartia, both men have are the main reason they are heroes of tragedy, their recognitions of their situations, which is an anagnorisis, are at different points in their stories, and lastly both men meet an ending that is meant to be an irony of their fate.
The first rule that is met in Shakespeare’s play is that Othello is considered tragic hero, which every tragedy must contain. According to Aristotle, the tragic hero must be a man in a position of power who is a good person and makes a mistake during the timeline of the play due to a tragic flaw. Othello’s major flaw can be seen as jealousy: “Othello has often been described as a tragedy of character, as the play’s protagonist swiftly descends into a rage of jealousy
Through Aristotle’s specific definition of a tragic hero, it can be concluded that Oedipus is a tragic hero. Oedipus The King was written by a well-known tragic dramatist named Sophocles. This story is considered to be one of the greatest tragedies of all time. In fact, the Marjorie Barstow of the Classical Weekly says that it “fulfills the function of a tragedy, and arouses fear and pity in the highest degree” (Barstow). It is also very controversial because of the relationship that Oedipus has with his mother, although it was unknown at the time that they were related. The qualifications of a tragic hero, according to Aristotle, include coming from a royal family and falling from power due to actions that only the protagonist can take responsibility for. The main character must also have a tragic flaw, which is defined as a “weakness in character” (Gioia). There have been many protagonists in other plays that represent a tragic hero, but none exemplify Aristotle’s tragic hero traits quite as well as Oedipus does because of many reasons including his royal history, his tragic flaw, his hamartia, and his his fall from power.
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.
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.
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.
According to Aristotle, a tragedy must be an imitation of life in the form of a serious story that is complete in itself among many other things. Oedipus is often portrayed as the perfect example of what a tragedy should be in terms of Aristotle’s Poetics. Reason being that Oedipus seems to include correctly all of the concepts that Aristotle describes as inherent to dramatic tragedy. These elements include: the importance of plot, reversal and recognition, unity of time, the cathartic purging and evocation of pity and fear, the presence of a fatal flaw in the “hero”, and the use of law of probability.
We, as humans, have the propensity to vary in how well we encode and decode messages that are both written and spoken. This is because people tend to range in a variety of highs and lows with regard to their verbal language abilities. This would a lot for differences in nonverbal communication as well. Nonverbal communication refers to the exchange of information between people and an explanation or establishment of the meaning of information by any means other than the use of spoken or written words. It includes message through a multitude of behaviors (expressive channels) such as facial expressions, bodily movements, vocal tone and pitch, and other channels that are comprised of a variety of cues related to the encoding and the decoding of messages. The communication and interpretation of nonverbal behavior draws on tacit, implicit knowledge that all human beings possess (Ambady and Rosenthal, 775).
Nonverbal communication is communicating with other people without using any words whether they are written or spoken words (Ruesch & Kees, 1956). Anything nonverbal we do such as eye contact, facial expressions, touching, gestures, body movements, posture, general appearance and dress, our voice tone and smell send strong messages; it doesn’t matter if we were speaking or if we were being completely silent (Segal, Smith, Boose, Jaffe, n. d., para. 2). Usually when you are talking to a person, the person uses all five senses to receive your interaction with him: 83% sight, 11% hearing, 3% smell, 2% touch and 1% taste (The Definitive Book of Body Language, 2004). As Mark Twain said, “Actions speak louder than words” and what that quote basically means is that your behavior and actions count more than the words you are saying. Nonverbal communication speaks more than the words you say so you can say whatever you want to say but it is the nonverbal things like your tone and facial expression that tells what you really mean. Nonverbal communication is important because it tells you what the words do not tell; feelings, mood etc. (Lynn, 2012).
Demonstrative communication can be effective if the receiver is aware of the communication being taken place and is consciously making an effort to interpret and understand the message within that communication. The sender may not be aware of the messages they are sending, which could work in the benefit of the receiver and they could use it towards their advantage to further aid their own communication they intend to perform. While some receivers are aware of the demonstrative communication, those who are unaware may still receive it and realize that a form of communication is being portrayed. Through the constancy of communication and that speakers and listeners are alwa...
Oedipus the King by Sophocles has the ingredients necessary for a good Aristotelian tragedy. The play has the essential parts that form the plot, consisting of the peripeteia, anagnorisis and a catastrophe; which are all necessary for a good tragedy according to the Aristotelian notion. Oedipus is the perfect tragic protagonist, for his happiness changes to misery due to hamartia (an error). Oedipus also evokes both pity and fear in its audience, causing the audience to experience catharsis or a purging of emotion, which is the true test for any tragedy according to Aristotle.
There are different types of communication (verbal, nonverbal, paralinguistic). Verbal communication is communicating with words. For instance, an individual speaks to another at a business meeting regarding profit margins. Second, nonverbal communication is communicating without the use of words but through gesture, body language, facial expression and eye contact (Baron, Branscombe, Byrne). Also these physical expressions can provide powerful and valuable information about others’ current feelings and reactions without the need of words. Lastly paralinguistic is defined as the use of emotional expression, gestures, and the location of the body in relation to the other's body, eye contact, and level of voice instead of verbally expressing these cues (Triandis). Additionally, paralinguistic is also known as paralanguage as a way to modify or nuance meaning, or convey emotion, with the use of pitch, volume, and intonation (Triandis). For instance, as described by Triandis’ article Culture and Communication, “in Bulgaria and south India a nod means "no,” and a shake of the head, means "yes".” It’s interesting how Triandis describes the amount of difficulty it was to compre...
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.