Shakespeare’s works are some of the finest examples of Tragedy and Comedy from the English cannon of literature. The reason that his works are so poignant and reflective is his use of both emotions in order to progress the other. In his interpretation of Troilus and Cressida the traditional story of tragic love and loss are peppered with irony and satire in order to address topical issues of Gender roles, Government action/inaction, and hero worship through juxtaposition and humor. The character of Troilus before Shakespeare’s play can be seen as a perfect archetype for the tragic romantic. His love is fated by the gods from the beginning.
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.
There are many characteristics that complete Aristotle’s definition of a tragic hero; these being the presence of hamartia and peripeteia, a sense of self-awareness, the audience’s pity for the character, and the hero is of noble birth. Aristotle’s definition: The definition of a tragic hero is fairly self-explanatory, however, Aristotle’s definition of the term is the best description. He writes that a tragic hero is a literary character who makes an error of judgment or has a fatal flaw that, combined with fate and external forces, brings on tragedy. When referring to the play, Oedipus the King, many people question whether Oedipus should have the title of a tragic hero based on the events that take place in the play. When deciding if this label is true, we must look into some of the significant elements that make up the character of a tragic hero.
Oedipus reveals the truth and now the feeling of anxiety is replaced by grief and sorrow. This release of tension causes an overwhelming emotion, a relief of emotion that marks the catharsis. Oedipus the King by Sophocles has the ingredients necessary for a good Aristotelian tragedy. The play has the essential parts that form the plot, consisting of the peripeteia, anagnorisis and a catastrophe; which are all necessary for a good tragedy according to the Aristotelian notion. Oedipus is the perfect tragic protagonist, for his happiness changes to misery due to hamartia (an error).
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.
Byron is known for his use of “Byronic heroes” in his poetic works. These heroes are said to be flawed because they exhibit strength but lose something in return (Allen). In Prometheus’ case, his punishment includes his loss of freedom. Byron used these heroes to emphasize man’s futility and the need to seek help from greater powers. Prometheus is said to be a martyr for humanity for his sacrifice (Ruta).
The term tragedy is applied broadly to literary, and especially to dramatic, representations of serious and important actions which turn out disastrously for the main character. Aristotle defined tragedy as ‘the imitation of an action that is serious and also, as having multitude, complete in itself.’ Aristotle’s definition of tragedy is still the first tuning point today. His idea of defining the form by referring to its effects on the audience is controversial – especially his idea of catharsis – the ‘purification’ of the emotions of those in the audience. This is the effect that leaves the audience feeling not depressed at the hero’s suffering and defeat, but relieved and even inspired at the end of the play. A major feature of tragedy is the use of a tragic hero.
In his version of the beloved tale, Sophocles concentrates his attention on the events directly leading to Oedipus' destruction, portraying Oedipus as a helpless pawn of fate. The most prominent literary device is dramatic irony, primarily of the spoken word, through which--especially in the Prologue--Sophocles captures audience attention, illuminates Oedipus' arrogant personality, and foreshadows the events of the final scenes. It is not difficult to understand why Sophocles resorts to dramatic irony in the construction of his play. He is working with much the same problem a modern-day playwright would face in fashioning a play around the Cinderella motif: audience familiarity, leading to a lack of suspense. It is difficult to maintain audience interest when the conclusion and the events leading up to it are obvious to everyone.
Furthermore, poetry pours out raw emotion and truth though the use of metaphors, allusions and many more devices, which shed light on the value of life. In “Constantly Risking Absurdity” a poem written by Lawrence Ferlinghetti, the speaker explains the devotion that a poet
Eliot’s support of metaphysical poets, he pointed out that, “Our civilization comprehends great variety and comple... ... middle of paper ... ...ecurrent and startling as those of phrasing. Donne experiments with rhythmical effect a he does with conceits and words. The thought in his poetry is not the primary concern but the feeling. It is this very feeling , a delight in his conceits, and a new understanding of what the conceit is expressing and teaching, that he successfully imparts in his readers. The central theme of his poetry is his own intense personal dispositions, as a lover, a friend, a psychoanalyst of his own experiences, worldly and religious.