To what extent is Blanche a tragic hero in ‘Streetcar Named Desire’? Aristotle believed that a tragic hero could be summarised as a male of generally a high social standing (such as a king or a prince) who possessed a fatal flaw that would result in their downfall. Aristotle displayed this view of a traditional tragic hero in his book ‘Poetics’- a major work that discusses literary and dramatic theory. However, over time the stereotypical image of a tragic hero has transformed, for instance in 1949 the Arthur Miller essay ‘Tragedy and the Common Man’ contradicts Aristotle and states that tragedy can also portray ordinary people in a domestic environment. Williams’ play is an example of a modern tragedy and Blanche is a complex tragic hero, as she is embodying both the traditional aspects of a tragic hero, but also introducing the new ideologies simultaneously.
Hamlet feels heartbroken when his mother, Gertrude marries the new King, Claudius. Hamlet is also seen as a tragic hero because he faces and accepts death with honor. However, it is not just Hamlet that could be seen as a tragic hero, Ophelia and Gertrude can also be seen as tragic heroes. Aristotle defined tragedy as 'the imitation of an action that is serious and also, as having magnitude, complete in itself'. A tragic hero will effectively gain our fear and pity if he is a good mixture of good and evil.
While it may be only one flaw, it is often fatal. An example of a tragic hero can be best seen in William Shakespeare's play Julius Caesar. Marcus Brutus is a prominent leader and noble citizen of Rome who leads in the assassination of Julius Caesar. We see that Brutus plays the role of the tragic hero through his noble standing, fatal flaw, and legacy. Marcus Brutus is of noble standing which adds to his appeal as a tragic hero.
In the tragic play, Othello, William Shakespeare uses foils to explores how jealousy, manipulation, and pride lead to suffering. Though he is a racial and cultural outsider of Venice being of Moorish decent, Othello has gained the respect of many by following the faith of Christianity, being the general of the Venetian Military, and expressing his true love for Desdemona; the beautiful daughter of the admired senator, Brabantio. However on the wedding night of Othello and Desdemona, there is a disturbance in the airs of good intentions; it is Iago, the pathological lying, deceiving, racist, sexist, thieving, murderous antagonist in the play that destroys the lives of many for his oath of revenge against Othello. He has been passed over as
Othello is in many ways is presented in Act Two as noble hero, but at the same time he can be foolish. It's difficult to distinguish which one he is, because throughout Act Two there's evidence that he is both. We cannot deny his heroicness, as he is a black man who thrives in a society dominated by white people - respected by many and a revered lieutenant and soldier. This is also evidence that Shakespeare was writing in renaissance and challenging old traditions as in the play ‘Othello’ it is Othello who was portrayed as noble and a civilised hero, whilst Shakespeare made Iago, a white man, immoral and destructive. It’s also easy to admire Othello because of his defiance of the typical stereotypes that were associated with black people; savage and uneducated.
If, after his betrothed dies, he immediately starts wooing another girl, his reputation as a fine and upstanding gentleman will be ruined, and he will be hard-pressed to find a new wife of appropriate status. Juliet’s family, the Capulets, are influential, upper-class citizens, and so would be highly offended if Paris does not pay his respects to their deceased daughter. He would also lose the respect of Prince Escales, ruler of their city Verona, who refers to Paris as one of his “…brace of kinsmen (5. iii. Ln 295).” Paris may also entertain the pretense of love for Juliet in order to advance himself both economically and politically in society. If he cuts off his ties with Juliet’s family, they would not be eager to support his future exploits.
Romeo and Juliet: Who Was Responsible for Juliet’s Death? The play Romeo and Juliet, written by the famous writer William Shakespeare takes place in a beautiful city in Italy called Verona. In this play it is very clear that there is a family feud between the Montague and the Capulet family. This causes many problems later on between the two families which then lead to the unnecessary deaths of the two main characters who were hopelessly in love. Romeo, Lord and Lady Capulet and Friar Lawrence are all held responsible for the dramatic death of Juliet.
Much Ado about Nothing is a comedy of manners and tells the story of high society’s courtship and deception in the 1600’s. The play centres on four lovers: Hero, Claudio, Beatrice and Benedick, all of which are both deceived and deceive. While some deceptions are harmless little trickery used to bring together two potential lovers, other deceptions come with dire consequences. The play starts with Don Pedro and his men arriving in Messina with his illegitimate brother, Don John. Don Pedro and Don John are both deceivers but while Don Pedro’s deceptions come from his desire to bring the lovers together, Don John’s deceptions derive from jealousy and spite.
Tragedy is said to be further represented in Shakespeare’s use of opposites or antithesis. Suggested in Romeo’s oxymoronic prophetic- “Here’s much to do with hate, but more with love. Why then, O brawling Love! O loving hate” (I i.162-164) Along with omnipresent motifs of light and darkness, youth and age. Overall this scene of opposites is set within context of the lovers that are opposites in family caught in a feud that ultimately leads to tragedy.
Hamlet in his first soliloquy demonstrates his disgust that his mother has allied herself in love and in politics with her late husband’s brother, so soon after his death, “frailty, thy name is woman... to post with such dexterity to incestuous sheets”. Claudius is clearly established as the villain in Hamlet, murdering his own brother and then plotting to kill Hamlet. He lies and is deceitful toying with the notion that the appearance of things is not their reality. The audience is privy to the ‘reality’ of Claudius ‘deed’, and of his guilt, through an aside, climactically stating, “then is my deed to my most painted word. O heavy burden!”.