By Shakespeare¡¦s time, the characteristics of tragedy in drama had been redefined. In the plays of the early Greeks, the tragic hero was a noble man who rose to the heights of success only to be plummeted to defeat and despair by his own tragic flaw, or hamartia. The plot structure in these early tragedies was relatively straightforward; the motive of the dramatist was to elicit pity and terror from the audience through empathy with the tragic hero. What once had been a relatively simple form was gradually altered by playwrights to allow for more depth in characterization, more flexibility in plot structure, and the element of comic relief. Hamlet¡¦s situation, for example, is considered a tragic one although it differs from the relatively simple plots found in the earlier Greek tragedies.
In most dramatic plays, tragedy usually strikes the protagonist of the play and leads him, or her, to experience devastating losses. While tragic instances can be avoided, there are other instances where one’s fate and future is out of the protagonist’s control. In Oedipus the King, written by Sophocles and first performed around 249 BC, Oedipus cannot escape his destiny and even though he tries to overcome and circumvent prophecy, he finds out that supernatural forces will get what they want in the end. Oedipus meets the criteria of a tragic hero set forth by Aristotle and his fate within the play demonstrates that one does not always have free will in their lives. Traditionally, in Greek drama, tragedy is meant to reaffirm the concept that life is worth living and that people are in constant opposition with the universe.
Before Shakespeare started writing, there was a great playwright called Aristotle, who had his own definition of the tragic genre. He believed tragedy was, "the imitation of an action that is seriousâ€¦ with incidents arousing pity and fear, where with to accomplishâ€¦its catharsis of such emotions... ... middle of paper ... ...moron's used in the first scene in act 1; would be "Cold fire", and "Sick Health". These are used when Romeo is explaining to Benvolio about Rosaline. Through his eyes he thinks it is real love but through Shakespeare we find out that it is jus merely a crush. Romeo and Juliet is a tragic play which I believe did change expectations as it is very common and well known.
Brutus’ ultimate downfall by one or two negative traits would have shocked the intended audience and perhaps affected how they viewed themselves, making Brutus a very effective character. Shakespeare created a slightly flawed character have a moment of clarity followed by a violent death, and he did this to notify the public of a major problem with his day’s ethics. The noble Brutus was destroyed by a handful of minute details in his own character. This alarming message is the reason this play is still studied. Works Cited "Hero."
He was full of so much guilt that the audience could not help but also feel remorseful and piteous of him. Shakespeare has finely crafted Macbeth as a character that the audience feels pity for and fearf of. Macbeth brought so much tragedy, but yet inside his evil heart, we saw room for forgiveness. The viewer saw a noble officer turn into a tyrant, full of guilt for his actions and full of regret. The audience could not help but feel sorry for him.
Love can guide people to make crazy decisions, and therefore it can possibly lead to ones fate. Romeo and Juliet, written by William Shakespeare is a tragedy in which two lovers took their lives to settle an ancient feud. In contrast, Oedipus the King, written by Sophocles, is where the protagonist is blind to the truth, and therefore gouged his eyes out to deal with his flaw. Although both tragedies are somewhat similar, the difference between them is much greater. Oedipus the King better fits Aristotle’s definition of a tragedy because it demonstrates that the protagonist: endured uncommon suffering, that the tragic hero recognized the consequences of their actions, and that the audience experienced catharsis from the play.
Sophocles’ work mostly consisted of tragedies, Aristotle - a Greek philosopher - observed Sophocles’ plays and defined tragedy and tragic hero. In the play Antigone by Sophocles, the headstrong King Creon is the tragic hero. His stubbornness and his concern of what other think of him leads to his disgrace. Whereas in The Tragedy of Julius Caesar by William Shakespeare The honorable Brutus is the tragic hero. Brutus’ honesty and being overly trusting leads to his demise.
We can see the evolution from the earlier Greek tragedies, that focus on divine intervention and vindication for acts that displeased the gods, to the very humanly emotional Hamlet, whose eventual realization of his own responsibilities introduce an entirely new concept to the tragic form. This dramatic range demonstrates the differences between the concepts of tragedy as defined by Aristotle, who believed all tragedy stemmed from some fatal flaw in the character of the hero and that of Nietzsche, who believed the concept of tragedy focused more on the community than on the character of the hero alone. These dramas also represent the evolution of the art of dramatic writing from the earliest Greek authors through Shakespeare, who virtually reinvented tragedy and elevated the art of dramatic writing to the form we know it as today.
Oedipus is endowed mostly all tragic characteristics that qualify him for a model tragic hero. He is the son of the queen Iokaste and King Laios, whi... ... middle of paper ... ...milarly, if we take Oedipus' downfall as fated, the tragic value of the play will be enriched since the Catharsis will be intensified. Catharsis means the evocation of two elements in the spectators: pity and fear. A natural audience has more pity for a man whose tragic end is to a great extent fateful rather than for a man whose bad deeds bring about his downfall. Intensifying pity means a Catharsis with a stronger effect and naturally a bonus for the success of the play since achieving Catharsis is a major purpose of any tragedy.
His analytical treatise, "The Poetics" was based on the evidence of many Greek plays. He came to the conclusion that a tragedy must have these characteristics: a tragic hero, and a harmatia (tragic flaw). For example in "Macbeth" the harmatia was excessive ambition. He also concluded that a tragedy provokes pity and fear and that it produces in the spectator a catharsis of these emotions. In this way a tragedy can be socia... ... middle of paper ... ...ing for the moment, and they pay the consequences.