In other words, his tragic flaw would also be his hubris, or pride. Kreon’s arrogance directly leads to his demise, whether it happens whilst arguing with Antigone or yelling at his son. This stubbornness occurs as early as Scene I, when he shouts at the Koryphaios for suggesting that the Gods had a part in the burial of Polyneices, calling him an “old man” and “senile” and holds true to his opinion during his argument with Teiresias during Scene V. However, the actual tragedy of the play occurs during Kreon’s condemnation of Antigone due to her brother’s burial. As strongly as Antigone believes that burying Polyneices is the right thing to do, Kreon believes just as enthusiastically that Antigone’s brother was a criminal who doesn’t deserve a burial. This inflexible belief is what undoes Kreon in the scheme of things.
A hero suffers an extreme reversal of fortune, from great success to abysmal failure, which causes immense suffering. Brutus suffers from knowing that what he did to Caesar was wrong, so he kills himself. He thought that killing Caesar was a great success to Rome, which then leads to a dreadful failure, the people of Rome saying that what he did was dishonorable. After his failure, he decides to let Caesar not suffer anymore, “Caesar, now be still; I kill’s not thee with half so good a will.”(V, 5 50-1) After his dreadful failure, his final suffering entered his life, “I know my hour is come,” (V, 5 19) Brutus’s immense suffering and only escape was death, and suffered his death honorably. A tragic flaw is a weakness that makes a hero susceptible to mistake, which brings on the fate of personal tragedy.
king Lear is a tragic hero because of three main reason. first, he showed his weakness by being excessively emotional, gullibel and impulsice. Second, he made two major mistakes in the play, one being the exile of all his loyal people, and the other is by giving away his power while he is still the king. Thrid, in the play, King Lear experienced three different situation, reversal, recognition and suffering. Therefore he meets all three of the key element of a tragic plot according to Aristotle.
In the play Julius Caesar by William Shakespeare Marcus Brutus contains multiple elements that would qualify him as a tragic hero. A tragic hero is a man of noble stature who displays hamartia. Hamartia in tragedies is a crime committed in ignorance, also considered a tragic flaw. The hero’s downfall, therefore, is the result of his own catastrophic choices. A tragic hero is a man of noble character who dies because of the decisions he has made, even if the hero’s misfortune was not completely deserved.
According to Aristotle’s hypothesis of a tragic hero the character must be of some form of nobility, suffer from some form of error in judgment, go through a period of reversed fortune, and finally recognize that the error was actually caused by his own actions. The concept of tragedy is deeply embedded into both plays however
When in fact, he is made a fool by his own actions. Aristotle created the many requirements of a tragic hero, all of which Romeo possesses. He has both a hamartia and a tragic flaw; these are what truly cause the tragic ending to Romeo’s life. He had many miscalculations within the play, the most important of which is putting his trust in Balthasar and assuming Juliet to be dead. While that may have been the final contribution to his death, his tragic flaw is what is shown throughout the play.
(Mason Cooley) Tragedy, the dramatical downfall and degradation of a hero, a structure that ensues a destructive pattern that ultimately leads to chaos. The hero, once noble and dignified, struggles with such a tragic conflict that, although seemingly achievable, rear-ends the hapless, unexpecting individual and breaks down the nobility, wisdom and respectability that the hero once had acquainted. Death Of A Salesman, Arthur Miller(1949) and Oedipus Tyrannous by Sophocles(2003, Cambridge Edt. ), exemplify this through the tragic heroes hubris and hamartia, structuralizing the events and unveiling of the directors tragic vision which would ultimately lead to the ebbing of the character. As tragedy is the oldest form of Dramatic performance, its continual subversion to suit the contemporary society makes it quite flexible as modern staging techniques and implications can benefit the reproduction of such classical plays.
Then, as he slowly realizes his error, the world crumbles around him”(pbs.org/empires/Greek theatre). “Tragic Irony may be divided into two kinds, the conscious and the unconscious”(A.E. Haigh). Unconscious irony is seen throughout the first half of the play as Oedipus feels as if Creon is wrongly prosecuting him for the murder of his father. He speaks to believe what is true while searching for his identity, but the audience knows that it is not the truth; this is unconscious tragic irony.
He puts himself higher than the gods by running from his faith. Oedipus is quite self-centred like when he says “none suffers more than I” (p.27). Later in the play he draws to the conclusion that his brother in-law is plotting against him to take his throne. He makes this rash conclusion when Theresias feels forced to tell Oedipus that he is the cursed polluter of his land (p.33). This makes Oedipus doubt himself and he decides to find out the truth about the killer of Liaus.
He will find a person who is deemed a hero in the eyes of society and destroy every part of it. As we see in Shakespeare’s Othello, the sociopathic nature of the anti-hero, Iago, and the essential nature of the protagonist, Othello, create the perfect storm for a classic dramatic tragedy. Othello’s role as an outsider makes him an easy target for jealous, sociopathic Iago, which results in his fateful fall from grace and ultimately seals his destiny as a tragic hero. Iago embodies an accurate portrayal of a sociopathic personality in this tale of undercover treachery. He displays all the tell tale signs which embody such a character.