Phantom Of The Opera Analysis

Shakespeare's play, “Othello, the Moor of Venice,” is a powerful example of a tragedy and it’s main character, Othello, is an excellent illustration of what Aristotle constitutes as a tragic hero. The play imitates life through basic human emotions such as jealousy and rage. In addition, Othello is far from being a perfect character - another quality that meets Aristotle's requirements. Othello also matches Aristotle's ideas of tragic hero because our Othello realizes the error of his ways, causing us to feel sympathy for him. If we carefully examine the third scene in the third act, we can see how Othello fits into Aristotle's definition of tragic hero. This passage reveals how much Othello has deteriorated as far as his ability to reason

A “tragedy, for Shakespeare, is the genre of uncompensated suffering” (Dutton and Howard, 2003, p. 9). To really understand the play Othello is to truly understand a tragedy; thus, this researcher will analyze Aristotle’s view point and compare it to phrases (or quotes) from Shakespeare’s Othello.

He hurts people, and does not want Christine to marry Raoul. The relationship between the Phantom and Christine is a conflict that affects how she acts towards Raoul. The phantom has instilled fear in her, for example, after the fight at the graveyard, the Phantom declared “Now let it be war upon you both!” The Phantom also had killed other people up into this point, during the production of Don Juan, the Phantom crashed the chandelier upon the audience, and then set fire to the theatre. Also, due to fear, Christine keeps their engagement secret from the world, and then upon the Phantom finding out, he reacts in a rage of fear and hatred, If she chooses Raoul, she has reasonable evidence to believe that they both should die. If the Phantom had not instilled this fear in her before, and they had not formed a rather (mean, abusive, dating) relationship, they could have reasonably worked this out between the three of them. Christine also has a relationship with Raoul, and then proceeds to become engaged to him. Their engagement becomes a source of fury to the Phantom that caused him to go into solitude and set fire to the theatre. The Phantom made her choose, to prove that she still “belonged” to the Phantom, even after her engagement to

Shakespeare is known for his use of recurring themes throughout his work, including love, death and betrayal. These themes are present in his work of Othello. However, the most fundamental issue is jealousy. The lives of the characthers in Othello are ruined by jealousy from the beginning to the end of the play. The telling of the story is carried out by passion, jealousy, and death. Shakespeare’s Othello reveals devastating tragic inevitability, stunning psychological depth, and compelling poetic depth; the fragility and mysterious power of love, as well as demons of doubt, and how suspicion can be triggered by manipulative villain (Barthelemy 12).

“Aristotle believes that the language must be sweet in tragedy. The level of language used by different characters should differ to depict the social stands of the characters” (Adade-Yeboah, Ahenkora, & Amankwa, 2012 pg. 1). Additionally, he focuses on meaningful language reflected throughout the entire play, and stresses that tragedy must be taken seriously.

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.

When hearing the word Tragedy, it would not be surprising if several different individuals would immediately think of several unique examples of the word. Perhaps one is an opera enthusiast who immediately thinks of Puccini’s La Boheme. Another is a war enthusiast that thinks about History Channel’s new episode highlighting the harshest and bloodiest battles of World War One. Even a third one obsessed with Greek mythology could generate a handful of examples of tragedy. Tragedy, like love or comedy is a universal theme that can be used to entertain, enlighten and excite its audiences. William Shakespeare, a world renown writer, was a master of this genre writing works, including Romeo and Juliet, Othello, and Hamlet. Another lesser known

‘Othello’ was written between 1601 and 1603. It was first performed in the Elizabethan courts during the Christmas season. The idea of a ‘perfect’ tragedy is the idea that the tragedy is faultless; it does what is expected; so makes the audience feel empathy and sympathy for the characters who suffer. There are two different types of tragedy: classical tragedy and Shakespearean tragedy. The tragic hero in this play is the main character, Othello. Othello's misfortune comes about because of his jealousy, trust, and his pride. This essay aims to look at, and compare, how Shakespeare wrote his tragedy, and how other tragedies are written. I will mainly compare ‘Othello’, for Shakespearean tragedy, and ‘Oedipus Rex’, by Sophocles, for

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

Aristotle is known widely for developing his ideas on tragedy. He recorded these ideas in his Poetics in which he comments on the plot, purpose, and effect that a true tragedy must have. The structure of these tragedies has been an example for many writers including Shakespeare himself. Many of Shakespeare’s plays follow Aristotelian ideas of tragedy, for instance Macbeth does a decent job in shadowing Aristotle’s model.

Hundreds of years ago Greek plays were very popular. People would plan to go to these plays for entertainment and to have fun with their friends. These plays would also help to teach the audience all about Greek mythology. The main character in these plays often had something tragic occur at the end, such as death. This character was the referred to as the “tragic hero.” A couple hundred years later a Greek philosopher named Aristotle described tragedy with 4 simple elements, nobility of the character, the flaws of the tragic hero, the start of the tragic hero’s downfall, and his/her punishment. In Things Fall Apart, Oedipus, and Antigone there is a character that shows this definition of tragedy by the end of the book and or play. This is usually caused by something called hubris, excessive pride. Things Fall Apart, Oedipus, and Antigone all fulfill Aristotle 's definition of tragedy.

Throughout time, the tragedy has been seen as the most emotionally pleasing form of drama, because of its ability to bring the viewer into the drama and feel for the characters, especially the tragic hero. This analysis of tragedy was formed by the Greek philosopher Aristotle, and also noted in his Poetics (guidelines to drama). As a playwright, Shakespeare used Aristotle’s guidelines to tragedy when writing Othello. The play that was created revolved around the tragic hero, Othello, whose tragic flaw transformed him from a nobleman, into a destructive creature, which would inevitably bring him to his downfall. This transformation follows an organic movement of the complex plot from the beginning, middle, to the end of the drama while

Aristotle was a famous disciple of Plato who first defines fine arts and he differs with his teacher Plato in his book of Poetic. His Poetic deals with the principles of Poetic art in general and tragedy in particular on the basis of his analysis and the principles of his Poetic are Probability, Catharsis, Mimesis, Tragic Hero and Hamartia. This essay will explain tragedy looking through Aristotle’s tragic principles in the book Things fall Apart by Chinua Achebe.

In our lives, we are surrounded by moments of tragedy that drives our will to keep moving forward. Our daily lifestyles are no different from the famous stories that playwrights have written throughout history. Playwrights are masters at combining theatre elements of tragedy, religion, violence, and numerous relative elements that the audience embrace faithfully. Today, Greek and Roman influence is the main topic since they have inspired the famous plays Desire under the Elms and The Glass Menagerie.

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.’