Aristotle’s theory of the Tragic Hero:
“A man doesn’t become a hero until he can see the root of his own downfall”
Tragic hero’s who fit under Aristotle’s depiction are known as ‘Aristotelian Tragic Hero’s’ and possess five specific characteristics;
1) A flaw or error of judgment (also known as ‘hamartia’ which is a fatal flaw leading to the downfall of a tragic hero or heroine)
2) A reversal of fortune due to the error of judgment (also known as ‘peripeteia’, which is a sudden reversal of fortune or change in circumstances)
3) The discovery or recognition that the reversal was brought about by the hero’s own actions (Referred to as ‘anagnorisis’, which is a moment in a play when a character makes a critical discovery)
4) Excessive
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A good plot progresses like a knot that is tied up with increasingly greater complexity until the moment of peripeteia, at which point the knot is gradually untied until it reaches a completely unknotted conclusion.
For a tragedy to arouse pity and fear, we must observe a hero who is relatively noble going from happiness to misery as a result of error on the part of the hero. Our pity and fear is aroused most when it is family members who harm one another rather than enemies or strangers. In the best kind of plot, one character narrowly avoids killing a family member unwittingly thanks to an anagnorisis that reveals the family connection. The hero must have good qualities appropriate to his or her station and should be portrayed realistically and consistently. Since both the character of the hero and the plot must have logical consistency, Aristotle concludes that the untying of the plot must follow as a necessary consequence of the plot and not from stage artifice, like a deus ex machina (a machine used in some plays, in which an actor playing one of the gods was lowered onto the stage at the end).
Aristotle discusses thought and diction and then moves on to address epic poetry. Whereas tragedy consists of actions presented in a dramatic form, epic poetry consists of verse presented in a narrative form. Tragedy and epic poetry have many common qualities, most notably the unity of plot and similar subject matter. However, epic poetry can be longer than
The word hamartia refers to a fatal flaw leading to the downfall of a tragic hero,
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
According to Aristotle, “A tragic hero is a character who is not eminently good and just, yet whose misfortune is brought about not by vice and depravity, but by some error or frailty…” The classic tragic hero has some type of tragic character flaw which creates an inner struggle, leads to his making a serious error in judgment, and leads to his eventual downfall and death.
The main criteria set by Aristotle involves the plot and the plays main character. According to Aristotle, for a tragedy to be both successful and effective there must be a reversal, a "change from one state of affairs to its exact opposite", and there must be recognition, "a change from ignorance to knowledge" on the part of the main character. The plot should not be
character or an error of their judgment, which is known as their tragic flaw, or hamartia. The
Tragic Greek dramas featured tragic heroes, mortals who suffered incredible losses as a result of an inescapable fate or bad decisions. According to Aristotle, a tragic hero is a character, usually of high birth, which is pre-eminently great, meaning they are not perfect, and whose downfall is brought about by a tragic weakness or error in judgment. The three Greek heroes Oedipus, Medea and Agamemnon, who each killed a member of their family, carry most of the qualities that make up a tragic hero: being of noble birth, being surrounded by an extraordinary circumstance, and gaining self-awareness or some kind of knowledge through their downfall. There is an important need for the audience to identify with the Aristotelian hero through
The plot of a tragedy usually consists of a tragic hero’s fall from grace. Aristotle describes plot in two ways a simple plot and a complex one. In a simple plot a fall from
In the Poetics, Aristotle provides an outline of how the artist is to portray or represent the perfect Tragedy. A Tragedy, of course, was nothing more than a drama, in which the characters appeared "better" than in real life (in a comedy, they appeared "worse," according to Aristotle). Aristotle's Poetics makes several references to other dramatic works to illustrate his points, but he most commonly calls upon The Odyssey to support his argument for how a dramatic structure should be designed. However, along with the Odyssey, Aristotle extensively references Sophocles' Oedipus Rex. Both poetic works were enormously popular in their time (the former had been passed down orally for generations, and the latter won the top prizes at the dramatic festivals). Therefore, Aristotle is comfortable using both to support his viewpoint concerning Tragedy and the Tragic Hero. This paper will analyze the standards that Aristotle sets out concerning the definition of the Tragic Hero and show how Sophocles' Oedipus exemplifies Aristotle's definition of a Tragic Hero.
Oedipus is one of the most famous tragic heroes in drama history. His bizarre fate leads him to a tragic defeat that leaves the audience and reader feeling emotionally overwhelmed. According to Aristotle’s definition, Oedipus’ story makes him as a tragic hero. Oedipus is the personification of Aristotle’s characterization of a tragic hero through his ability to maintain and keep his virtue and wisdom, despite his shortcomings and situation in life. Aristotle’s observation of a tragic hero does not reveal the lack of morality or the evil of the character, based on an error in judgment. The tragedy and drama fit the Aristotelian characteristics of Oedipus.
A tragic hero in literature is a type of character who has fallen from grace, where the downfall suggests feelings of misfortune and distress among the audience. The tragic flaw of the hero leads to their demise or downfall that in turn brings a tragic end. Aristotle defines a tragic hero as “a person who must evoke a sense of pity and fear in the audience. He is considered a man of misfortune that comes to him through error of judgment.” The characteristics of a tragic hero described by Aristotle are hamartia, hubris, peripeteia, anagnorisis, nemesis and catharsis which allows the audience to have a catharsis of arousing feelings.
A tragic hero, as defined by Aristotle, is a man who is great but also terribly flawed, who experiences misfortunes while still remaining admirable to the audience at the end of the play. One of Aristotle’s favorite works, Oedipus the King, a play by Sophocles, is a play that above all others, defines the meaning of what a true tragic hero really is. In the play, Oedipus the King, the story unfolds after Oedipus unintentionally kills his own father and goes on to marry his mother. The events of the play are tragic, but it is the way that Oedipus handles the tragedies that make him a tragic hero.
Aristotle, the great fourth-century Greek philosopher labeled this tragedy as “an imitation of an action of high importance, complete and of some amplitude: in language enhanced by distinct and varying beauties…by means of pity and fear effecting its purgation of these emotions” (qtd. in Kennedy & Gioia 885). Aristotle was portraying the epic Shakespearean drama, Othello. Aristotle prescribed three main elements for a disastrous theater recipe: First is a hamartia, or a tragic flaw in the main character that leads to the demise; second, catharsis or an emotional release of the audience’s sensations derived from the actors, so they seem to have felt they have learnt something about the play; and lastly, anagnorisis or the character’s astonishment of something that may have not before realized (Kennedy & Gioia 856-857). The protagonist in Shakespeare’s Othello satisfies all of Aristotle’s necessities for a tragic hero, as Othello is the character of magnificent status, which falls from that status of power to one of shame because of his hamartia. Furthermore the plot of Othello contains an influential katharsis through its peak and deduction, and an anagnorisis when Othello comprehends that Desdemona and Iago are not who they appear to
It is necessary to have a clear definition of a “tragic hero”. Aristotle defines a tragic hero as “a person who must evoke a sense of pity and fear in the audience. He is considered a man of misfortune that comes to him through error of judgment” and brings his downfall to evoke the feelings of pity and fear among the audience. Aristotle also names five key characteristics that make a tragic hero a tragic hero. They are as follows: hubris, anagnorisis, catharsis, hamartia, and nemesis. We can recognize these five stages by following Karenin’s thought process throughout this passage.
Among Aristotle's terms in depicting terms in his model of human characteristics is hamartia. Hamartia is when one's flaw or weakness is his or her error or transgression. In William Shakespeare's "Othello," Othello's hamartia is the misconception he has "of himself as being uncouth, poorly spoken, and old; and because he begins to believe that his fair wife, Desdemona, cannot love him, he starts to believe that she is guilty of infidelity. "(classicnote).
Aristotle defines a tragedy as a ‘representation of an action which is important, complete and limited in length. It is enacted not recited and by arousing pity and fear, it gives an outlet to emotions of this type.’