Troy Maxon And The Common Man

It's interesting to see how your point of view is different from mine. I thought the opposite from you, in that Troy's dream, was denied because I viewed Baseball as his main dream; while rose's was deferred because she wanted a happy family and relationship. While I still stand with my point of view, yours is very insightful and enlightening. I never thought of viewing this in the aspect that maybe Troy's dream was fulfilled, because people can have more than one dream and baseball might not have been his main dream. I can see that troy did do as he wanted, while not exactly right, he went to look for his happiness. He got the promotion he wanted in his job and found happiness with another woman. On the other hand, rose did not go out to

Walter lee younger and Troy Maxson grew up in a time period where African American was segregated from a white citizen. walter younger, the oldest son of Lena younger who works as a chauffeur, but hopes of owning his own liquor store. Troy Maxson is a bitter man, who believes he owes his family everything from his paycheck to his soul. they both struggle with the challenges of a deferred dream, race, and moreover, their egocentric personality always impacts on their families.

On Sunday, June 17, 1965, Troy Maxson, husband, father, brother, passed away suddenly at the age of 63. Troy suffered a sudden heart attack after spending time with his daughter in the backyard. Troy will be forever remembered by his wife Rose and best friend Bono, and his precious children Cory and Raynell.

Troy Maxson, from the play Fences, has shown that he poses the qualities of a tragic hero. A tragic Hero is defined as a literary character who makes a judgment error that inevitably leads to his/her own destruction. Troy has many faults but there is more good in him than it may seem.

Poetics, where he defines what makes a tragic hero. Aristotle suggests that a tragic hero is a

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

Casey grimaced. Another piece of puzzle that didn’t fit. She wished something would click and the pieces would suddenly fall into place. “I’m beginning to wonder if we’ll ever know the truth. Anything else in the report, Troy?”

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.

Before analysing Miller’s view of tragedy one must reconsider the traditional view, originally formulated by Aristotle and his critics, which Miller adapted and reinterpreted. Aristotelian tradition in the broadest terms defined tragedy as the imitation in prescribed dramatic form of a serious, complete human action, of great enough significance to be worthy of representation, which will strike the audience with pity and fear, two emotions far removed from sentimental tears. The hero of such a tragedy must be neither perfectly virtuous nor completely base but rather a man, great yet humanely fallible, who is preordained to suffer because of the fate of his inward character and a catastrophic series of events in the outward world. Also, he must never die ignorant of the circumstances of his fall, at somepoint, usually just before his death, he must undergo the painful process of discovery or revelation through which he will come to understand the reasons for and the significance of his role(and may make ‘tragic reconciliation” with life).

What is a tragic hero? A tragic hero is the protagonist in the play who usually is faced with some opposing force whether internal or external. In order to be a tragic hero, one has to have the following characteristics: (1) be a nobleman, prince, or person of high estate; (2) have a tragic flaw, and a weakness in judgement; and (3) fall from high to low estate. These can be seen in Shakespeare's "Othello" which discusses the downfall of a noble man because of his flaws that are not actually defects in itself, but rather the excess of a virtue. All throughout this paper, I will discuss how Othello was being said as a nobleman and how his attributes became his tragic flaws

Of the four opinions reviewed here I like Arthur Miller’s the most. In Miller’s “Tragedy and the Common Man” Miller states, “I believe that common people are as apt subjects for tragedy in its highest sense as monarchs are” (Miller, 16). While the others who have written their own definition have reserved tragedy for the noble, I like the fact that Miller doesn’t feel that tragedy is something too good for the ordinary man. He defines tragic characters as people, “who are ready to lay down their lives, if need be, to secure one thing – their sense of personal dignity” (Miller, 16). Miller also believes that the character is not brought down by a tragic flaw of their own, but rather by a tragic flaw in the environment.

    If we seek to justify Shakespeare's King Lear as a tragedy by applying Arthur Miller's theory of tragedy and the tragic hero, then we might find Lear is not a great tragedy, and the character Lear is hardly passable for a tragic hero. However, if we take Aristotle's theory of tragedy to examine this play, it would fit much more neatly and easily. This is not because Aristotle prescribes using nobility for the subject of a tragedy, but, more importantly, because he emphasizes the purpose of tragedy -- to arouse pity and fear in the audience, and thus purge them of such emotions.

The Greeks believed that the tragedy was the greatest form of drama, and Aristotle’s concept of tragedy followed this belief. In the modern times, there has been a change in this view with various authors abandoning the classical form to follow more liberal forms of literacy. (Kennedy & Gioia, Pp. 1203)

The reason for these differences due to looking at all of the similarities and differences are either to lower the cost or expenses or due to the director attempting to make the film more likable to increase the size of the audience appeal and therefore earning more revenue from the film. Economical issues mean that Wolfgang Petersen needs to have a three-day war instead of 10 years. If another main character says Paris were to die then the movie would be less likable therefore resulting in no Trojan royalty to have survived (apart from Briseis who wasn’t really Paris’s cousin in the epic). There is really no other reason the director has made these differences in the film Troy apart from money, and as all the major and small differences are observed it becomes clear that the film was molded and catered to appeal to a modern day audience with modern day expectations of films.

In Greek tragedies, a tragic hero is traditionally characterised by several components, a notable one being that the hero must possess a noble status. This was emphasised by Aristotle in Poetics when he specified the tragic hero as “one of those who stand out in great repute and prosperity.” This quality has been shared among other tragedy writers such as William Shakespeare. However the eighteenth century saw the beginning of a Bourgeois