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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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Greek Tragedies and Their Influence on Modern Day Literature, 2002.
A discussion on the ways in which Greek tragedies and the theory of the Greek tragic hero has survived the diverse style changes of literature since its conception.
960 words (approx. 3.8 pages), 2 sources, MLA, $ 34.95
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Abstract
The following paper examines the ways in which the idea of Greek tragedies has been embellished upon by great literary geniuses. This paper examines how Shakespeare, for example, used his tragic plays to purge his audience of their own flaws, which is precisely how Aristotle had defined the ideal tragic play. The writer examines how modern playwrights such as Sophocles, Ibsen and Tennessee Williams began to interject less idealism and more realism into their tragedies, providing a more ?real life? hero than the ideal hero as defined by the dramas in ancient Greece.
From the Paper
"As literature has evolved over time, plays have become less of a staple of only aristocracy. American literature came into existence, and with that came Tennessee Williams (one of many notable playwrights) and his superb work, ?The Glass Menagerie?. Unlike the original idea of a tragic hero that was someone of great influence and stature (though not god-like), Tennessee Williams wrote about real characters, that virtually anyone could identify with. In the play, the role of the hero is shifted between Amanda, Tom and Laura ? depending on the angle of the play at the time. Williams doesn?t focus on the characters, which doesn?t allow for much development beyond their initial two-dimensional appearance. Tom is arguably our hero, but he isn?t really all that likeable. He is mean to his mother, alienates his sister, and abandons them both. Nothing remarkably heroic there. Williams is more concerned with the outcome of the play, and Tom?s resounding guilt for his actions; as a result, Williams revolves completely around the plot. Tom, who serves as the narrator for the play, is essentially the protagonist of the play ? he is not necessarily the most important figure in the play, but he is the first one to interact with the audience, which is the definition used in the time of the Greek tragedy."
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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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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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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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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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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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Othello As A Tragic Hero, 2002.
Using the theories of Aristotle regarding tragedy, this paper discusses the character of Othello in Shakespeare's "Othello" as a tragic hero.
1,900 words (approx. 7.6 pages), 7 sources, $ 71.95
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Abstract
This paper attempts to establish the character Othello in Shakespeare's Othello as a classic tragic hero as defined by Aristotle. The paper gives the various theories of Aristotle as found in his 'Poetics' related to tragedy and tragic hero.
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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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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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Macbeth, A Tragic Hero, 2001.
Essay which shows how Shakespeare's Macbeth was a "tragic hero" using direct quotations from the play, based on Aristotle's theory.
1,278 words (approx. 5.1 pages), 0 sources, $ 43.95
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Abstract
Using the four ideas defined by Aristotle of what a tragic hero is, this paper shows Macbeth being a tragic hero. The four points are that he was of noble birth, he had a huge fatal flaw, he took a great fall at the end of the play, and he showed recognition of what he has done.
From the Paper
"A couple thousand years ago, a writer by the name of Aristotle made a set of rules by which many other writers, famous or not, set the basis of their stories and plays. Very well known in his time for his philosophies and his writings, Aristotle?s works have been guidelines for all. One specific piece of work has changed the idea for all plays and stories of today: Aristotle?s Poetics. In this very well known piece of literature, Aristotle discusses and lays down his guidelines for a tragic play. There are four ideas which he says every character must have in order to be a tragic hero. He must be of noble birth, he must have a fatal flaw, he must take a great fall, and he must have recognition of what he has done. Several centuries later, a man by the name of Shakespeare wrote several famous plays, one of which is named Macbeth. Shakespeare is one of those great writers who followed Aristotle?s great idea for a tragic hero. In Macbeth, the main character does many things that seem not to make him a tragic hero, but by definition Macbeth is a tragic hero."
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Othello as a Tragic Hero, 2004.
An examination of the manner in which Othello falls into the definition of a tragic hero.
3,152 words (approx. 12.6 pages), 8 sources, MLA, $ 91.95
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Abstract
This paper offers a thorough definition of what a tragic hero is, according to Aristotle's "Poetics". It then examines Shakespeare's character, "Othello", according to these criteria by providing a thorough character analysis. The paper concludes that Othello definitely fits into the definition of a tragic hero.
From the Paper
"Overall then, it has been seen that Othello meets the four criteria of the tragic hero. Othello is essentially a good character, and does have greatness. Othello does have a fatal flaw that leads to his eventual downfall. Othello is also responsible for his downfall, even though circumstances do contribute. Othello?s story does ends in tragedy, including that he kills Desdemona, realizes his own errors, and then kills himself. Finally, Othello?s story does create the reaction in the audience that a good tragic hero should. Overall then, it can be said that Othello is a good example of a tragic hero."
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Hamlet as Tragic Hero, 2002.
Examining the qualities of a tragic hero according to Aristotles and questioning whether Shakespeare's "Hamlet" falls under this category.
714 words (approx. 2.9 pages), 2 sources, MLA, $ 25.95
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Abstract
Aristotle describes the characteristics of the tragic hero in "Poetics." Three of these characteristics are: that the character is mainly admirable; that the character exercises free choice in bringing about their own downfall; and that the character has one fatal flaw that leads to their demise. This paper analyzes the character Hamlet and shows that Hamlet meets these three characteristics of the tragic hero.
From the Paper
"The first of Aristotle?s characteristics is that that character is mainly admirable. Hamlet achieves this by having many good traits including intelligence, sensitivity and humility. However, the best evidence of Hamlet as an admirable character is his unwillingness to commit murder, even when given a reason that would justify the act. This shows that Hamlet is basically a good man. In the play, the ghost of Hamlet?s father orders him to take action and ?revenge his foul and most unnatural murder? (I,iv). Despite being given what at the time, can be seen as an acceptable reason to take action, Hamlet hesitates and procrastinates. It is Hamlet?s good nature and his rejection of committing murder that causes this hesitation. This represents the good qualities of Hamlet, his intelligence, his ability to be rational and the inherent goodness of his character. This also shows that Hamlet is a man who does what he believes in despite outside pressure to do otherwise. This shows that Hamlet is an admirable character in many ways."
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