Tragic hero: Difference between revisions
Caesar is not the hero of the play |
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* [[Leir of Britain|Lear]] in Shakespeare's ''[[King Lear]]'' (c. 1603-1606). |
* [[Leir of Britain|Lear]] in Shakespeare's ''[[King Lear]]'' (c. 1603-1606). |
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* [[Macbeth]] in Shakespeare's ''[[The Tragedy of Macbeth]]'' (c. 1603-1607). |
* [[Macbeth]] in Shakespeare's ''[[The Tragedy of Macbeth]]'' (c. 1603-1607). |
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* [[Anakin Skywalker]] in George Lucas's [[Star Wars]] |
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* [[Rick Perry]] in [[2012 United States Republican Party presidential debates]] |
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==References== |
==References== |
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Revision as of 19:32, 12 December 2011
A tragic hero is the main character (or "protagonist") in a tragedy. Tragic heroes appear in the dramatic works of Aeschylus, Sophocles, Euripides, Seneca, Marlowe, Shakespeare, Webster, Marston, Corneille, Racine, Goethe, Schiller, Kleist, Strindberg, and many other writers.
Aristotle's tragic hero
Aristotle established his view of what makes a tragic hero in his Book Poetics. Aristotle suggests that a hero of a tragedy must evoke in the audience a sense of pity or fear, saying, “the change of fortune presented must not be the spectacle of a virtuous man brought from prosperity to adversity."[1] He establishes the concept that the emotion of pity stems not from a person becoming better but when a person receives undeserved misfortune and fear comes when the misfortune befalls a man like us. This is why Aristotle points out the simple fact that, “The change of fortune should be not from bad to good, but, reversely, from good to bad.” Aristotle also establishes that the hero has to be “virtuous” that is to say he has to be ‘a morally blameless man” (article 82).
Aristotle contests that the tragic hero has to be a man “who is not eminently good and just, yet whose misfortune is brought about not by vice or depravity, but by some error or frailty.” He is not making the hero entirely good in which he can do no wrong but rather has the hero committing an injury or a great wrong leading to his misfortune. Aristotle is not contradicting himself saying that the hero has to be virtuous and yet not eminently good. Being eminently good is a moral specification to the fact that he is virtuous.[2] He still has to be to some degree good. Aristotle adds another qualification to that of being virtuous but not entirely good when he says, “He must be one who is highly renowned and prosperous.” He goes on to give examples such as Oedipus and Thyestes.”
Examples
- Orestes in Aeschylus' Oresteia (458 BC).
- Creon in Sophocles' Antigone (c. 442 BC).
- Medea in Euripides' Medea (431 BC).
- Oedipus in Sophocles' Oedipus the King (429 BC).
- Brutus in Shakespeare's Julius Caesar (1599).
- Hamlet in Shakespeare's Hamlet (1601).
- Lear in Shakespeare's King Lear (c. 1603-1606).
- Macbeth in Shakespeare's The Tragedy of Macbeth (c. 1603-1607).
- Anakin Skywalker in George Lucas's Star Wars
- Rick Perry in 2012 United States Republican Party presidential debates
References
- ^ S.H. Butcher, The Poetics of Aristotle, (1902), pp. 45-47
- ^ Charles H. Reeves, The Aristotelian Concept of The Tragic Hero, Vol. 73, No. 2 (1952), Published by: The Johns Hopkins University Press Stable URL: http://www.jstor.org/stable/291812 pp. 172-188
Sources
- Carlson, Marvin. 1993. Theories of the Theatre: A Historical and Critical Survey from the Greeks to the Present. Expanded ed. Ithaca and London: Cornell UP. ISBN 0801481546.
- Janko, Richard, trans. 1987. Poetics with Tractatus Coislinianus, Reconstruction of Poetics II and the Fragments of the On Poets. By Aristotle. Cambridge: Hackett. ISBN 978-0872200333.
- Pavis, Patrice. 1998. Dictionary of the Theatre: Terms, Concepts, and Analysis. Trans. Christine Shantz. Toronto and Buffalo: U of Toronto P. ISBN 978-0802081636.