He establishes the concept that pity is an emotion that must be elicited when, through his actions, the character receives undeserved misfortune, while the emotion of fear must be felt by the audience when they contemplate that such misfortune could possibly befall themselves in similar situations. Aristotle explains such change of fortune "should be not from bad to good, but, reversely, from good to bad. In the story, the character of Oedipus is given a prophecy that he will murder his own father and marry his own mother. Although he goes to great lengths to avoid fulfilling the prophecy, Oedipus learns that the life of a man he took, Laius, was actually that of his own father, and that the woman to which he is married, Jocasta, is actually his own mother.
According to Aristotle, a tragic hero in a Greek drama must meet certain requirements. The tragic hero must be of noble birth, be basically good, must have a tragic flaw, and must have a moment of realization at some point in the work.
|What are the main traits of the Tragic hero? - iridis-photo-restoration.com Specialties||Chapter 15 Summary Aristotle turns his attention toward the character of the tragic hero and lays out four requirements. First, the hero must be good.|
|Chapter 15||Otherwise, the rest of us—mere mortals—would be unable to identify with the tragic hero. The punishment exceeds the crime.|
Although Antigone is the namesake of the Sophocles play and is a hero in her own right, she is not a tragic hero.
Creon is the true tragic hero of Antigone in the traditional sense of the term. Both Antigone and Creon were born of noble blood as they are members of the same family. This almost immediately disqualifies her as the tragic hero. Antigone is more than basically good; she never waivers from her position because she knows that she is right, whereas Creon stands somewhere in the middle of the road.
He is basically good, but he can easily be lead astray by his own flaws as the reader sees immediately. Antigone never has a moment of recognition. From the beginning of the play she knows and accepts her fate for upholding her moral beliefs.
This is not a consequence of a flaw, rather it is a virtuous trait. Thus, the critical difference between the tragic value of the two characters lies in the nature and cause of their suffering. We have so large base of authors that we can prepare a unique summary of any book.
How fast would you like to get it? We'll occasionally send you account related and promo emails. In the end, Creon recognizes his flaws and in doing so reaches an elevated state of understanding. Though Antigone faces a tragic end she does not reveal as much about the human condition as does Creon, thus making Creon the focus of the play.
He is the representative of mortal law. The Sentry who says: Haemon goes on to tell his father: Creon thus finally acknowledges the oncoming tragic fate of his bad judgment. In the end, Antigone operates as the sorrowful composition of a tragic figure whose suffering is the unfortunate result of the tragic flaw of the real tragic hero, Creon.
By focusing the play on the tragic heroism of Creon but having the foil of his character as the protagonist, Antigone, Sophocles creates a vision of tragedy which is as complex as the human condition it explores.
He answers with the tragedy of Creon, who in the end finds wisdom and learns through his own suffering.In the Poetics, Aristotle devises certain requirements for the principal character of a tragedy and these have been generally accepted as the standard for the character of the tragic protagonist.
According to Aristotle, the tragic hero must not be perfect, but he should be good and like us in order. In Aristotle's understanding, all tragic heroes have a "hamartia," but this is not inherent in their characters, for then the audience would lose respect for them and be unable to pity them; likewise, if the hero's failing were entirely accidental and involuntary, the audience would not fear for the hero.
Aristotle turns his attention toward the character of the tragic hero and lays out four requirements. First, the hero must be good.
The character of the hero denotes the hero's moral purpose in the play, and a good character will have a good moral purpose. Second, the good qualities of the hero must.
The tragic hero is a character of noble stature and has greatness. S/he must occupy a "high" status position as well as exemplify nobility and virtue as part of his/her innate character. According to Aristotle, at the basis of the hero's fall there is flaw which is called hamartia (the tragic flaw) and the hero in unable to resist to his excessive pride (hubris).
Furthermore we. The Aristotelian tragic hero inevitably suffers a tragic death, having fallen from great heights and made an irreversible mistake.
The hero must courageously accept their death with honour. Other common traits of the Aristotelian tragic hero.