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Shakespeare's "Hamlet" as the Tragic Hero, 2002.
A discussion of how "Hamlet" fits the Aristotelian model of tragedy and the tragic hero.
1,868 words (approx. 7.5 pages), 7 sources, MLA, $ 59.95
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Abstract
This paper focuses on the tragedy of "Hamlet" as it reflects the definition of what a tragedy is. The Aristotelian model of tragedy and the tragic hero are used as a reference to what makes a play a tragedy and what qualifies the character of Hamlet as a tragic hero.
From the Paper
"For centuries people of all social classes have attended plays to escape reality and to be entertained. In the Elizabethan period one form of play that most fascinated its audience was the tragedy. In a typical Elizabethan tragedy men and women were presented as confronting powers outside themselves, facing them with a dignity which shows the audience the essence of the human spirit against tremendous odds which could result in pain, suffering, downfall, or perhaps even death. Shakespeare wrote many tragic plays such as King Lear, Julius Caesar, Macbeth, Othello, and Hamlet (Bedford par.1). Many of these tragedies utilized, as the main character, the Tragic Hero. Many philosophers, writers, and critics alike have speculated the necessary characteristics needed for a character to be considered a ?tragic hero.? Aristotle, the philosopher, formulated a criteria for a tragedy and a tragic hero long before such plays as King Lear and Hamlet. Yet the character of Hamlet, Prince of Denmark, fits perfectly the rules set by the Aristotelian Model of Tragedy and the Tragic Hero. Aristotle believed, among other tings, that ?the tragic hero is of a high social and moral stature. This stature provides the ?height? from which the hero falls? (Cowlin par. 3). In order for a hero to be considered a ?tragic hero,? it was necessary for the hero?s fall to be the result of a flaw or error in judgment known sometimes as the ?tragic flaw.? Lastly, the hero must, at some point of the story, come to a moment of recognition wherein they come to an epiphany of the extent of his or her flaw (Cowlin par.5). The character of Shakespeare?s Hamlet corresponds with the Aristotelian Model of a Tragic Hero."
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Shakespeare's Brutus. His Maturation into Tragic Hero, 2002.
This paper examines how Shakespeare paints Brutus as the tragic hero in "Julius Caesar".
1,900 words (approx. 7.6 pages), 2 sources, $ 71.95
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Abstract
This is evident by Shakespeare's sympathetic portrayal of Brutus, who is shown to act out of loyalty to ideals, rather than out of selfishness. Shakespeare creates a tragic hero out of Brutus by blending in him the strength of virtue and the weakness of naivete. Brutus ultimately dies for his love of justice. 8 pgs. Bibliography lists 2 sources.
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Oedipus and Hamlet: Tragic Heroes, 2002.
This paper discusses the features of the tragic hero, comparing and contrasting between is Sophocles? "Oedipus Rex" and Shakespeare's "Hamlet".
1,325 words (approx. 5.3 pages), 2 sources, MLA, $ 44.95
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Abstract
The paper begins by looking at the differences between the classical tragic hero and the tragic hero of Shakespearian times. It then moves on to a closer examination of the characteristics of the tragic hero, as illustrated in is Sophocles? ?Oedipus Rex?. A brief outline of the plot is given and the paper explains how this work fits into the category of the mythological tale. The character flaws responsible for the tragic fall in the play are also discussed. Next the paper moves on to Shakespeare?s tragedy, ?Hamlet?, comparing it with the former tragedy in terms of evidence or lack of ?otherworldly forces? to spur on the tragedy and in terms of each plays philosophy concerning fate and free will. The paper concludes by explaining how both of these characters fit the mould of tragic hero.
From the Paper
"Understanding the Tragic Hero begins with an examination of Oedipus Rex. But, while he is the archetype of this particular literary character, Hamlet is, perhaps, the most well developed and psychologically complex of tragic heroes. For the Greeks, all things in life are preordained, which is what makes for the tragedy of Oedipus ? his attempt to make his own destiny. Over the course of time, however, while the form of the tragic hero did not change, the reason for his being tragic did. The social world of the Renaissance had shifted from a philosophy of determinism to one of individualism ? that we all have the choice to accept or deny our relationship with God. This makes Hamlet a tragic hero who is punished not for a flaunting of destiny, but because he is mad. It is the purpose of this paper to examine both Oedipus Rex and Hamlet as tragic heroes who, because of their different social contexts, made for very different men."
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Tragic Heroes, 2002.
William Shakespeare's "Hamlet" and Troy, of August Wilson's "Fences"as tragic heroes.
650 words (approx. 2.6 pages), 2 sources, $ 26.95
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Abstract
This essay offers a brief definition of a "tragic hero," and then goes on to prove that William Shakespeare's Hamlet, and Troy in August Wilson's "Fences", qualify as tragic heroes under that definition.
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Tragic Heroes, 2008.
Compares the role of the tragic hero, as seen by the character of Willie Lowman in Arthur Miller's "Death of a Salesman" and that of Oedipus in Sophocles' "Oedipus the King".
1,386 words (approx. 5.5 pages), 3 sources, APA, $ 46.95
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Abstract
The paper compares the roles of the tragic heroes, Willie Lowman, in Arthur Miller's "Death of a Salesman", and Oedipus, in "Oedipus the King", by Sophocles. The paper first provides a definition of the tragic hero and explains that the tragic hero and the tragedy also emerge from the particular society that creates it, with the hero being representative of the values of the time. The paper then looks at how many of the elements of the tragic hero and tragedy can be seen in both the character of Oedipus from "Oedipus the King" and in the character of Willy Lowman from "Death of a Salesman".
From the Paper
"Perhaps in the society that formed him, suicide was the only final attempt at nobility that was an option for Willy. In this, he is parallel with Oedipus, also a product of his society. Oedipus believes it would be best not only for himself, but also for his people if he were to step down as king and made a public display of his humiliation and pain. Oedipus however fell much farther than Willy in concrete terms from the beginning to the end of the play. He begins as the ultimate symbol of success for the society of his time. At the end, he is humiliated and all sources of power are removed from him."
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Tragic Heroes, 2004.
Compares Sophocles's Oedipus and Arthur Miller's Willy Loman, using Aristotle's definition of a tragic hero.
1,539 words (approx. 6.2 pages), 2 sources, $ 50.95
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Abstract
Oedipus Rex of the play by Sophocles and Willy Loman from Arthur Miller's "Death of a Salesman" are both tragic heroes according to Aristotle's definition from his work, "Poetics". This paper shows how both characters fit into the tragic hero mold as they cannot control and are oblivious of their circumstances, and they suffer a fall from grace or power.
From the Paper
"Oedipus is a classical example of the tragic hero; fated at birth to kill his father and marry his mother, and having no conception of his true self. The irony lies in the fact that although he is a king and controls the lives of many, he cannot control his own destiny. Further, though Oedipus knows of his intended fate, he does not know who he really is, therefore all the steps he takes to control his situation are in vain. It is also ironic that, even when they are presented with the facts through the messenger's tale, both Oedipus and his wife Iocaste appear to stubbornly ignore the truth. The sense of tragic irony that permeates the play is made obvious by the fact that they both become aware of the strikingly similar curses placed upon each of them yet fail to make the obvious connection."
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Shakespeare and Sophocles: Tragic Heroes, 1993.
Compares and contrasts the tragic heroes in Sophocles' "Ajax" and Shakespeare's "Othello".
1,575 words (approx. 6.3 pages), 2 sources, $ 55.95
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From the Paper
"The heroes of tragic drama possess a nobility that sets them above the common order of human beings, but this also means that they have farther to fall when their fatal flaw brings them to the brink of disaster. Faced with such an eventuality, the hero has to face what he or she has done. One means taken to assert his or her nobility by taking responsibility in a manner the average person would not, through suicide. This can be seen in different ways in the character of Ajax in the play Ajax by Sophocles and the character of Othello in Othello by William Shakespeare.
Perhaps the most notable character trait in Othello is the one that seems the most anomalous--his trusting nature--and this characteristic also serves to elevate him as a benevolent leader. Such a nature is unusual in a successful field general, someone who ..."
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Tragic Hero, 2007.
This paper analyzes Shakespeare's character of Othello as a tragic hero.
1,812 words (approx. 7.2 pages), 2 sources, MLA, $ 58.95
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Abstract
In this article, the writer presents a detailed examination of the Shakespearean character Othello as a tragic hero. The writer discusses the character Othello, as held against the standards of philosopher Aristotle and compared to the character of Creon in Sophocles. The writer explores the six attributes that Aristotle believed were needed to become a tragic hero and argues that Othello fits this description more completely and convincingly than Creon did. The writer concludes that when it comes to Aristotle's definition of a tragic hero Othello clearly outpaces Creon in all six categories of definition.
Outline:
Introduction
Comparing the Characters to the Six Elements
Conclusion
From the Paper
"According to Aristotle there are six significant elements to being labeled a tragic hero. They include nobility and greatness, imperfection, faults or a downfall, punishment exceeding a crime, in other words the misfortune of the hero is not completely deserved by the hero, and there must be a discovery of self or something learned by the hero during the tragedy itself. The final criterion is that the audience is not left feeling a total sense of loss or sadness. When one holds Creon from Sophocles and Othello, from the play Othello against each other one can easily see that Othello is the more convincing tragic hero of the two."
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The Tragic Hero in Modern Literature, 2002.
A discussion of tragic heroes in modern, American literature.
9,500 words (approx. 38.0 pages), 10 sources, MLA, $ 194.95
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Abstract
Today, people do not often see the unquestionable splendor of royalty, the unrelenting actions of the hand of fate, or the importance of human interactions. Does that mean that a tragic hero could not exist in the modern world? This paper reviews what a tragic hero is and illustrates this type of character with examples from "Oedipus Rex". Then, the heroes of "The Zoo Story", by Edward Allbee, "One Flew over the Cuckoo's Nest", by Ken Kesey, "Death of a Salesman", by Arthur Miller, "The Catcher in the Rye", by J.D. Salinger, and the "Autobiography of Malcom X" are compared to the definition of a tragic hero. The paper concludes that modern society may not believe in crowns, robes and the hand of fate, but it believes in the ability to create revolution. It is in these revolutions that tragic heroes emerge.
From the Paper
"Modern society may not believe in crowns, robes, and the hand of fate, but it believes in the ability to create revolution. It is in these revolutions that tragic heroes emerge. The act of inciting revolution and change becomes noble. By unselfish actions, courage, and honor, these revolutionaries create a new class of nobility. This idea can be seen in society, and literature is imitating it, just like Aristotle said it should. While there are still many "phonies" in the world, the tragic hero has reemerged to put them in their place."
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The Tragic Greek Hero, 2006.
A look at the use of complexity by Greek tragedians to create a tragic hero.
1,955 words (approx. 7.8 pages), 5 sources, MLA, $ 62.95
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Abstract
This paper explores the concept of the tragic hero in Greek tragedy. Topics covered include Aristotle's, Aeschylus' and Euripides' definition of a convincing tragic hero, the true meaning and ancient Greek roots of the word hamartia and how the chorus is also used to characterize the tragic hero. It also discusses why Creon and Antigone can both be considered the tragic hero in "Antigone".
From the Paper
"Aeschylus, who may be best known for introducing to Greek tragedy the second actor, first introduces us to Prometheus as a stoic hero. We quickly learn that Prometheus has come to his unfortunate situation through an act of daring and selflessness, and perhaps hubris. It is the latter of these qualities, which ultimately proves to be what prevents Prometheus from freedom. Prometheus Bound like many other tragedies preaches reverence for the almighty gods. Aeschylus encouraged the Athenians to strive to achieve the sort of behavior they witnessed on stage. This is why his tragedies contain sophisticated language as well as a powerful message. By this logic, the downfall of a tragic hero became a useful tool for displaying the adverse affects which arise when one does not act in accordance with the wishes of the gods. "
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The Tragic Greek Hero, 2005.
This paper discusses the tragic hero in Greek mythology by comparing Sophocles' character Oedipus with other Greek heroes---Hercules, Odysseus and Achilles.
1,015 words (approx. 4.1 pages), 3 sources, APA, $ 35.95
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Abstract
This paper explains that a tragic hero, which was created by the ancient Greeks and defined by the philosopher Aristotle, is a hero who is otherwise perfect except for a fatal flaw, that eventually results in his demise. The author points out that the typical tragic hero is a complex and well-developed character, as is Sophocles' "Oedipus the King ", who is a textbook tragic hero that draws out the three responses from the audience--attachment, fear and pity. The paper relates that Oedipus' demise is unlike the demise of other typical heroes, like Hercules or Odysseus, because Oedipus' story does not end with his death but rather with blindness and his expulsion from the human community.
From the Paper
"The complexity of Oedipus' "harmartia" is an important element of his heroism.The Greek term "harmartia" means "tragic flaw." However, the tragic flaw, in Greek mythology, is more of a mistake than an innate flaw. Aristotle stated that all tragic heroes suffer a "harmartia." This human weakness allows the audience to relate to the hero and feel sorry for him. Oedipus' flaw is his lack of knowledge about his own identity. Because he is not responsible for this flaw, the audience feels sorry for him and fears for him because they know there is nothing he can do to change his fate."
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The Tragic Hero in Literature, 2002.
An analysis of two literary works with the purpose of understanding the concept of the "tragic hero".
750 words (approx. 3.0 pages), 0 sources, $ 26.95
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Abstract
This paper discusses "Oedipus the King" by Sophocles and "Hamlet" by William Shakespeare in order to illustrate the tragic hero. The paper explains that a literary work must contain irony in its story, and the tragic hero must have a ?tragic flaw? in character (hamartia) that will ultimately become the catalyst for his downfall to materialize, making him the ?tragic hero? of the story.
From the Paper
"Another example of a tragedy is William Shakespeare?s literary work entitled, Hamlet. The story also evolves around the theme of finding out the truth, although the truth in this story revolves around the identity of King Hamlet?s (Hamlet?s father) murderer. Hamlet illustrates irony in Hamlet?s character, especially when he expresses wrath and anger when he found out that Claudius, his father?s brother and the new husband of Hamlet?s mother, is King Hamlet?s murderer. The lines in the story voiced out by Hamlet (?A villain kills my father, and for that/ I, his sole son, do this same villain send to heaven?/ When he is drunk asleep, or in his rage?/ At gaming, swearing, or about some act/ That has no relish of salvation in?t/ And that his soul may be as damned and black/ As hell whereto he goes?) illustrates his anger against Claudius and his murder, but these lines by Hamlet contradicted his previous actions of sparing Claudius death, just when Hamlet was about to kill him. "
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Creon as the Tragic Hero, 2005.
An analysis of the character of Creon as the tragic hero in Sophocles' "Antigone".
852 words (approx. 3.4 pages), 0 sources, MLA, $ 30.95
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Abstract
This paper examines how, in Sophocles' "Antigone", the tragic hero of the play is Creon. It discusses how, although Antigone seems to be the tragic hero of the story, Creon meets Aristotle's criteria of a tragic hero as well as Antigone, if not more completely and, how, unlike Antigone, Creon has an epiphany at the end of the play and realizes his mistakes.
From the Paper
"Although Antigone seems to be the tragic hero, Creon actually meets Aristotle's criteria of a tragic hero more completely. According to Aristotle, a tragic hero is neither completely pure nor completely evil. Not only is a tragic hero neither completely pure nor completely evil, but a tragic hero must also be of noble birth and possess a hamartia that causes the downfall of that character through poor judgment and arrogant mistakes. As the king of Thebes and the son of a previous king, Creon certainly meets the criteria of noble birth. Also, Creon is neither entirely evil nor entirely good. He possesses many good qualities as well as many evil ones."
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Tragic Heroes, 2007.
This paper discusses Arthur Miller's "The Crucible" and "The Death of a Salesman."
894 words (approx. 3.6 pages), 5 sources, MLA, $ 31.95
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Abstract
The paper explains that Arthur Miller wrote "The Crucible" to establish a parallel between the unjust Salem witch trials and the Second Red Scare when Communists were believed to have quietly infiltrated American life and security. The paper discusses how Miller, like his character John Proctor, kept his silence and refused to testify to the Committee in protecting his business and personal friends and was thus blacklisted by the American government. The paper also examines "The Death of a Salesman" where Miller centers on the attainment of the American dream in the main characters, Willy Loman and his son, Biff. The paper discusses how Willy, unlike John Proctor, does not attain the status of a tragic hero because he does not come to a full self-realization.
From the Paper
"John Proctor, as Arthur Miller's tragic hero in "The Crucible," is essentially an honest and upright and honest man with just one weakness, a secret affair with Abigail Williams, which he at first hides in order to protect his public reputation as an honorable man and husband to Elizabeth (Miller 1953, Wikipedia 2006). The witchcraft hysteria occurs at this time when the spurned Abigail expresses her jealousy and vengeance by implicating Elizabeth as a witch to the court. John presents Mary Warren to the judge as a witness in an attempt at saving his wife but without exposing his adultery, but the attempt fails and John finds himself trapped in the turmoil when Mary accuses him of being a wizard himself."
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Creon: The Tragic Hero, 2008.
An analysis of Sophocles' character Creon, in "Antigone", as the tragic hero.
2,163 words (approx. 8.7 pages), 1 source, MLA, $ 67.95
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Abstract
This paper examines how in "Antigone", Sophocles develops a dramatic work in which a protagonist is occupied in a morally important struggle, which results in ruin because of some extreme quality. In particular, the paper looks at how Creon, the king of Thebes, portrays both a judgment error and weakness in character. Using Aristotle's definition of a tragic hero, the paper further discusses how because of his social class, general goodness, and tragic flaw, Creon is the tragic hero and is deserving of sympathy after his mistakes take the lives of others.
From the Paper
"Creon's inability to accept the ideas of others is also justified during his argument with Antigone. Antigone claims that her act of burying her brother (Polynices) was honorable, but Creon exclaims, "You are wrong. None of my subjects thinks as you do," which is followed by Antigone's reply: "Yes, sir, they do; but dare not tell you so" (ll. 437-439). Again, the king is stubborn and near-sighted to realize that maybe there is a chance that Antigone is not the only one who believes her act was heroic, which is a fatal error in judgment. When Teiresias, a blind prophet, confronts Creon about his rule based on killing and self-will, the king demonstrates his tragic flaw: "Clever you may be, but not therefore honest" (l. 919). He understands that the prophet is correct and his son will die, but it is too late to change anything. "
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