Through the great tragedy Oedipus Rex, we can easily see how Sophocles personified the tragic hero. Oedipus is the model for Aristotle’s tragic hero because he possesses a tragic flaw, undergoes a reversal of fortune, and in the end, recognizes his mistakes. As part of Aristotle’s definition of a tragic hero Oedipus possesses a tragic flaw. This hamartia (tragic flaw) is caused by a lapse of judgment in his past the led Oedipus to engage in a mistake that would forever change his life. After fleeing from Corinth, Oedipus encounters Laios on a crossroad.
To some, Oedipus is more a subject to his fate than his actions which doesn’t let the character to be flourished as a tragic hero. The concept of “tragic hero” was conceived by Aristotle who gave a model of characterization that must be followed for being a tragic hero. According to Aristotle, the tragic hero must fall through his or her own error, or hamartia. Hamartia is a mistake in judgment committed by a tragic hero that stands for “error” in Greek. Oedipus, as a tragic hero, commits some sinful actions although unintentionally which make him fall from the crest of his nobility.
Macbeth is a tragic hero who is undone by his own ambition and secret desire to become king. This is the tragic flaw, or hamartia, that results in his final doom. The irony of this tragic flaw is that Macbeth recognises himself the impact that his ambition is having upon him and almost predicts how it could all end badly in his soliloquy in Act I scene 7: I have no spur To prick the sides of my intent, but only Vaulting ambition which o'erleaps itself And falls on th'other. Macbeth is a character that not only has his tragic flaw but also allows himself, at least initially, to be dominated and influenced by his wife. This is one area in which perhaps Macbeth as a tragic hero is distinct, as in other cases, such as Julius Caesar, he ignores his wife's advice.
Aristotle in his poetics singled him out as being the right kind of protagonist because he inspires the right combination of pity and fear. “This is the sort of man who is not pre-eminentus virtuous and just and yet it is through no badness or villainy of his own that he falls into the misfortune but rather through some flaw in him. This paper seeks to comment and discuss the character of Oedipus by what he say about himself and by the words of other characters which reveal him in the play. Oedipus has many
Against all odds Oidipous has fulfilled the prophecy and recognizes his hamartia -ignorance. He chooses to blind himself in order to become more like the knowledgeable prophet Tiresias. However, the play "Oidipous the King" also can be analyzed using the internal conflict theory. Heilman argues that a conflict within the protagonist’s mind is essential for a well-written tragedy. The playoff between the imperative and impulse within the play can be seen as Oidupus’ constant denial of the surfacing details and his impulse to absolve his name.
Analysis: Greek tragedies are some of the most compelling and interesting works of literature. The plot usually follows a common patten in which a heroic lead meets an unhappy or catastrophic end. This end is usually brought about by some fatal flaw of character, circumstances beyond his or her control, or by sheer destiny. In hippolytus, a tragedy written by Euripides, the focus is on conflict in human love spirit between stepmother and her son and the desire for revenge. The story of Oedipus Rex, written by Sophocles, is very different and more complex.
An example from Oedipus occurs in scene four, when he comes to the realization that he had murdered his own father, and married then his mother. Recognition -- when combined with reversal of the situation -- is said to trigger the emotions of pity and fear (Aristotle 199) this combination is what makes a suitable plot for a legitimate tragedy. A good tragedy must also include character in order to express the purpose of an individual. A good character must be true to life (Aristotle 201). Oedipus is a character that displays trueness to life, for the fact that he is a good person, but he is not perfect.
ABSTRACT A tragedy cannot be completed without a tragic hero and Aristotle states that a tragic should be a person who is born in a noble family, like Oedipus Rexs. Some critics like Henrietta L.Palmer and Heather A.Fowler has portrayed Cordelia as the tragic hero of the play just because of her truthfulness and sacrifices. However, some other critics like Dr.Ronnie Bie and A.C. Bredely has their affirm opinions that King Lear is the real tragic hero of the play. Although, Cordelia is one of the main protagonists of the play yet her character does not meet the Aristotelian principles of tragic hero. She is very sweet and kind; but according to Aristotle, a person who is an embodiment of goodness only, cannot arise pity and fear in the audience.
Creon shows hubris because he asks this to Teiresias because he is king and has excessive pride. He believes that because he is king and believes that he can’t be talked to a certain way. Creon is the tragic hero because he displays hubris in the play. Anagnorisis is when the tragic hero realizes his or her mistake. Capturing Antigone and not letting her burry Polynices was a mistake that Creon had made.
A trademark occurrence of a comedy play is that usually justice is done in the end; however in Measure for Measure it can be argued that this is not the case. Angelo, a manipulative and abusive character is seemingly pardoned instantly for his inexcusable crimes. Justice cannot be achieved in Measure for Measure when a character who has caused much unnecessary pain and terror, is given mercy by all of the characters on the stage. This unconventional conclusion suggests that as various characters are reprieved from their flaws and crimes and not punished, Measure for Measure is more of a problem play than it is a comedy. Upon comparing the leadership of the Duke and Angelo, we can see that Angelo’s cruel and severe methods are unpopular against the Duke’s lenient approach.