Essay about Remarks on the Spoudaios in Plotinus

To conclude, the efforts to use moral enhancement to further empower human virtues that help provide moral

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.

Throughout Aristophanes’ “Clouds” there is a constant battle between old and new. It makes itself apparent in the Just and Unjust speech as well as between father and son. Ultimately, Pheidippides, whom would be considered ‘new’, triumphs over the old Strepsiades, his father. This is analogous to the Just and Unjust speech. In this debate, Just speech represents the old traditions and mores of Greece while the contrasting Unjust speech is considered to be newfangled and cynical towards the old. While the defeat of Just speech by Unjust speech does not render Pheidippides the ability to overcome Strepsiades, it is a parallel that may be compared with many other instances in Mythology and real life.

Theseus has many changes in his character throughout his adventures. These developments in his mindset lead him from being a depressed, weak child, to a strong leader that many look up to.

From a rather humble beginning Lucius Cornelius Sulla rose to become a great politician and a powerful general in the Roman Republic. As a general, Sulla lead Roman armies to many victories. As a politician he became a powerful dictator and yet was responsible for bringing about many reforms. This essay will prove how he was a great dictator, politician and general, through discussing his background, his military and political career, his dictatorship, and his accomplishments in his later years.

Plutarch outlines that Tiberius and his brother Gaius were ``the most gifted young men of their generation in Rome, their education was generally held to have a played a more important part than nature in forming their qualities.'' Plutarch further emphasises the prominence of Tiberius by stating, "Soon after reaching maturity, his fame was great enough to earn him entry into the so-called priesthood of augurs, an honor he owed to his excellence, rather than to his noble birth."

the inventor of the bridle, the trumpet, the flute, the pot, the rake, the plow,

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.

In this thesis, I will be arguing that Socrates argument against Ion is effective to say the least for it highlights clearly that Ion has no account of knowledge but rather acquires his mastery skill through some divinely inspired activity. To develop this position further I will punctiliously examine the image of the Heraclean stone and its significance in furnishing this position of repudiation. Though this may appear a straightforward approach and perhaps one that can be left unarticulated, perceiving from this view of knowledge. One could however, argue that this is a rather extraneous attack on Ion's profession for it adds no detriment to his career in propounding the truth. The inspiration theory thus can be deemed as suffering no sifnificant flaws insofar as bringing the truth. But I guess the wider currency of this anti-position gains recognition if we conceive of Ion put in a position of interrogation by the audience; how would he seek to clarify ones state of discrepancy. It is here I believe Socrates

In the various discussions of imitative art there has been a notable disagreement between two distinguished philosophers; Plato and Aristotle. Although it was Plato who first discussed the concept of imitative art, it is my belief that Aristotle was justified in his praise and admiration of imitative art, specifically, the tragic drama. In my discussion on the two philosophers’ dissertations I will begin with the ideas of Plato and his position and requirements for imitative art and its respected uses, after which I will discuss the ideas of Aristotle to show that the tragic

Sophocles’ play, Oedipus the King, has risen many questions concerning the main character and whether or not he acts on free will or if his future is predestined by the gods. I am going to test the theory that although Oedipus believes he is acting on his own free will, he is in fact a victim of the gods. I will analyze several different sources that discuss fate and human agency in Oedipus the King and then proceed to build my original argument on the archaic debate.

Reading through three related stories, we discover different motifs denoting author’s thought in different time.Without any doubt, the tragic essence goes through the Three Theban Plays. As Sophocles meditates the philosophy of the tragedy all along his life, the tragic essence expands from individuals in a society. The conflict in each play becomes increasingly complicated. In Antigone, we can clearly distinguish the conflict between Antigone and Creon, family and politics. However, in Oedipus at Colonus, the play merges all the conflicts happened to former plays and enhances the theme of the story. The later part of this trilogy, especially the ending of Oedipus the King and Oedipus at Colonus, reveals a darker and deeper phenomenon of Thebes and projects it to Oedipus. The prophet plays important role of forming the story line and tragic image of Oedipus, but the root causing the series of tragedy of the characters is not gods’ command. It is degeneration of people, which is pathetic to humanity. Finally, after suffering from family complex and exile, Oedipus is not only a victim of the society, but also the reflection of the twisted humanity of Thebes.

Oedipus did not have a fair start in life. His father, Laius, heard prophecy that Oedipus would one day kill his father and sleep with his mother. In order to prevent this, Laius gave Oedipus to a shepherd to be killed. Fortunately, through a string of events, Oedipus's life was saved, and he even went on to become the honored king of Thebes. Despite this feat, Oedipus still managed to make several decisions that ultimately fulfilled the original prophecy told to Laius, and inevitably sealed Oedipus?s fate.

Thesis: In Sophocles’ “Oedipus”, Oedipus is exemplified as a tragic hero according to Aristotle’s definition because his story appeals to the reader’s humanity in the way he maintains his strengths after inadvertently causing his own downfall.