Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Project On Aristotle Ideas about tragedy
Essay on brutus character
Features of tragedy in romeo and juliet
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Project On Aristotle Ideas about tragedy
But how do we define a tragic hero? Aristotle offers a thorough and comprehensive analysis of the elements that a tragedy consists of in The Poetics. Known earliest surviving document discussing dramatic theory, Aristotle presents ideas and arguments that are still useful in analyzing more contemporary dramatic works. As found in his Poetics, Aristotle 's explanations of tragedy and the tragic hero support an argument that Brutus in Shakespeare 's Julius Caesar qualifies as both heroic and tragic.
There are four primary components of a tragic character as defined Aristotle. First, a tragic character must be good. Aristotle claims that “The character will be good if the purpose is good.” a rule that is “relative to each class.” (Aristotle)
…show more content…
They also refer to him as “noble” Brutus throughout the play. Even as enemies on the battlefield, Antony can help but praise Brutus in the final monologue for Brutus’ honor and well-natured idealism. Therefore, from Brutus’ description from other characters, we can successfully conclude that Brutus possesses Aristotle’s first tragic quality. Furthermore, citing examples such as choosing to avoid killing Antony and to let Antony give funeral rites to the dead Caesar, we can also conclude that Brutus has a sense of …show more content…
In order for the plot to invoke pity and terror into the audience, it must follow certain guidelines. In these guidelines, three key terms are associated with a tragic plot. The first is reversal of fortune, which must be from good to bad according to Aristotle. In order to best arouse catharsis, this reversal of fortune must occur either consciously or unconsciously “between those who are near or dear to one another.” (Aristotle) Examining the text, we know that while Brutus has conflicting feeling towards Caser, he considers Caesar to be his friend. Brutus is primarily concerned Caesar’s ascension to power and the potential corruption that power may cause. Despite this, Brutus claims “Yet I love him (Caesar) well.” and respects Caesar and it takes serious contemplation as well as trickery on part of the suitors to convince Brutus to kill Caesar. (Shakespeare, I, ii, 1058) Later in the same scene Cassius informs us that Caesar reciprocates Brutus’ love for him. Thus when Brutus, being the last of the conspirators to stab Caesar, does aid in the murder it shocks the plebeians, as well as Caesar, leading Caesar’s iconic dying words to be that of disbelief “Et tu Bruté? Then fall Caesar.” (Shakespeare III, i,
Shakespeare’s complex play The Tragedy of Julius Caesar contains several tragic heroes; a tragic hero holds high political or social esteem yet possesses an obvious character flaw. This discernible hubris undoubtedly causes the character’s demise or a severe forfeiture, which forces the character to undergo an unfeigned moment of enlightenment and shear reconciliation. Brutus, one of these tragic heroes, is a devout friend of the great Julius Caesar, that is, until he makes many execrable decisions he will soon regret; he becomes involved in a plot to kill the omniscient ruler of Rome during 44 B.C. After committing the crime, Mark Antony, an avid, passionate follower of Caesar, is left alive under Brutus’s orders to take his revenge on the villains who killed his beloved Caesar. After Antony turns a rioting Rome on him and wages war against him and the conspirators, Brutus falls by his own hand, turning the very sword he slaughtered Caesar with against himself. Brutus is unquestionably the tragic hero in this play because he has an innumerable amount of character flaws, he falls because of these flaws, and then comes to grips with them as he bleeds on the planes of Philippi.
Throughout the entire play, Brutus proves to have Rome’s best interest in mind and strives to be honorable. In the beginning of the play, Brutus is talking to Cassius and he remarks, “set honor in one eye and death i' th' other, and I will look on both indifferently, for let the gods so speed me as I love the name of honor more than I fear death” (1.2.88-91). Brutus feels very strongly about having a humble mindset. Brutus is so humble that he worries more about
Ladies and gentlemen of the jury, I am here today to argue the title of tragic hero in the play Antigone by Sophocles. I would like to start off by saying that it will be extremely difficult for me to have the passion that I usually have because of my client. My client's ruthless leadership disgusts me in the worst way. But I will still stand in front of you, the jury, and defend my client. As I said before I am here to argue the title of tragic hero in the play Antigone. I could see that some of you are dazzled by the word "tragic hero". No need to worry for I will enlighten you. The great Aristotle was one of the first men who defined a tragic hero. His definition is not a rule for what tragedy should be, but it is a description of what he believed tragedy was. According to Aristotle a tragic hero must have these qualities to qualify as one. A tragic hero is neither good nor bad. Along with being neutral in his stance, a tragic hero must also be born into royalty. A tragic hero could never be of the common folk. In addition to this a tragic hero must suffer a large fall from good grace. By this he means that a fall that brings him "down to earth". A tragic hero also has some type of flaw. Whether it is a character flaw such as pride and ego or the character must make an error of judgment or a mistake. With the tragic flaw the character must also recognize the flaw that they have made. In other words, they have to be enlightened. The audience is then supposed to feel pity and fear for the tragic hero because of his tumultuous journey. The tragic hero also is supposed to inspire catharsis in the audience.
Cassius, already aware of Brutus’s vanity, employed subtle techniques of flattery to manipulate him against Caesar, first by hinting that he was more honorable and respected than he believed himself to be, and offering to be a “human mirror” to show Brutus his own worthiness (I.ii.60-65). By saying this, he boosted Brutus’s ego by mentioning that he was not only righteous and well-liked, but also humble. He then reminded Brutus of his ancestor who “would have brooked/ Th’ eternal devil to keep his state in Rome/ As easily as a king.” (I.ii.168-170), thus enforcing the idea that joining him against Caesar is the right thing to do. Consistently throughout his monologues, Cassius talked about the justice and virtue of killing Caesar, appealing to Brutus’s hamartia. Brutus was so caught up with the idea of saving Rome from a tyrant that he overlooked the fact that he would be murdering his friend who was not even a king
William Shakespeare's play, The Tragedy of Julius Caesar, was mainly based on the assassination of Julius Caesar. The character who was the mastermind behind the assassination was, ironically, Marcus Brutus, a senator and close friend to Julius Caesar. But what would cause a person to kill a close friend? After I examined Brutus' relationship towards Caesar, his involvement in the conspiracy and his importance to the plot it all became clear. Brutus had one particular reason for killing Caesar and that was for the good of the people and the republic. Brutus had no personal reason for killing Caesar. Some of his most admirable traits were his morality and leadership skills.
According to Aristotle, tragedy requires an admirable hero with power and in a high state, but more importantly, he or she possesses a tragic flaw that leads to their downfall. This tragic flaw most closely relates to a character’s hubris, excessive pride in themselves or their judgment. But sometimes a character cannot be categorized as tragic, and one can argue whether or not the tragic character violates the requirements. In Sophocles’ Antigone Creon and Antigone serve as tragic characters in the play; however, Creon’s character exemplifies Aristotle’s theory of tragedy.
During Caesar’s funeral, he is very respectful to those who mourn and sends his condolences to those who are very lost without their leader. In addition, Brutus knows how hurt Mark Antony is by Caesar’s death, so Brutus lets him speak at his funeral. Also,Cassius theorizes that Mark Antony may be dangerous and that they should kill him along with Caesar. However, Brutus declines his proposal because he thinks that Mark Antony is not a bad man and also thinks that he will have nothing left when his leader is dead. Casca says, “Oh, he sits high in all peoples hearts, and that which would appear offense in us, his countenance, like the richest alchemy, will change to virtue and to worthiness” (I.iii.159-162), this quote basically means that because of his honor, that he was very respected and loved by the people of Rome. Furthermore, Brutus’ honor and respect shows to all the citizens in Rome and he is mainly well known by these two traits. Overall, Brutus perfectly fits into all the categories that define a hero. Brutus is a true inspiration, not only to me, but to everyone who reads the
Comparative Character Analysis of Classical Vs. Modern Tragic Protagonists. A hero/ heroine is described as the principal male/ female character in a literary or dramatic work or the central figure in an event, period, or movement. The classic tragic hero was defined by Aristotle in the fourth century as, “someone who is highly renowned and prosperous” (LATWP, 639), suggesting that there is a “natural right ordering and proportion of traits within the human being that if violated, produces calamity” (LATWP, 639). The book goes on to define classical tragedy as one that “involves the inevitable destruction of a noble person by means of character flaw, usually a disproportionate measure of a specific human attribute such as pride, jealousy or indecision” (LATWP, 639).
Brutus’ leadership and compassion for others make him a popular figure amongst the Roman people, and it is his reputation that establishes him as an influential individual. For example, despite the fact that Brutus loves Caesar like a brother, he warily joins the conspiracy to assassinate him. He does this because he believes that Caesar’s ambition would become tyranny and that Caesar’s death is a necessary evil in order to preserve the liberties of the Roman people. In his own words Brutus claims, “It must be by his death; and for my part, I know no personal cause to spurn at him, but for the general.”(Act 2, Scene 1, Page 1116). In addition, Brutus takes the reins of authority from Cassius and becomes the leader of the conspiracy. He gains this prerogative because of his convincing tongue and powerful influence. His leadership is evidenced when he begins to challenge Cassius’ ideas. When Cassius asks the conspirators to “swear our resolution”(Act 2...
Aristotle once said, “A man cannot become a hero until he can see the root of his downfall.” According to Aristotle, the characteristic of a tragic hero is a man of noble stature and occupies a high status position. There should be a fatal flaw that eventually leads to his downfall, the tragedy is usually raised by its character’s fatal flaw and the audience must feel pity or fear for this character. While there is less pity or fear for Macbeth, Macbeth still is a character who portrays a tragic hero through his nobility, high status position, his hamartia, and error in judgment.
“Tragedy is an imitation of an action of high importance . . .” states Aristotle in his book Poetics (as cited in Kennedy & Gioia, 2010). Without a doubt, he observed and analyzed countless plays throughout his life and in Poetics, he writes a broad description of what a tragedy should contain (Kennedy & Gioia). Specifically, to Aristotle, tragedies require a “Tragic Hero.” What makes this literary character unique from the other heroes of literature? The most obvious and central difference is that the hero in question always experiences a disastrous reversal of fortune, which follows the recognition of a previously unknown truth (Kennedy & Gioia). He must be “a man not preeminently virtuous or just” (Poetics part XIII, trans. 1909), yet he still must be a “good person” whom the audience grows to respect and because of this, deeply pities and fears for throughout the play (Poetics part XIII). Despite being a person of high estate and influence, surprisingly, the hero in the Greek tragedy is someone we can relate to in his humanness. Furthermore, his fall “from happiness into misery” is “brought upon him not by vice or depravity but by some error of judgment” (Poetics part XIII)—his hamartia. The Oxford English Dictionary translates this Greek word as, “The fault or error, which entails the destruction of the tragic hero” (Oxford English Dictionary, 1989).
Aristotle sees tragedy of being made of pity and fear. When tragedies occur in people’s lives it appears fear and pity is always an accompanying trait. Aristotle finds these two emotions to be staples in creating the perfect tragedy play. A tragic hero is the direct spawn of creating a tragic play.
Sakespear's The Tragedy of Julius Caesar holds two possible candidates for a tragic hero, however Brutus fits the persona best. The true definition of a tragic hero, as found by Aristotle, is a character who falls from a high standing to a low standing. They suffer enourmous loss, but are eventually enlightened of their own flaw or flaws. Initially the play begins with Caesar returning to Rome from defeating Pompey. Meanwhile, the first seeds of conspiracy are begining to take root. Although Brutus ignores Cassius's chiding to join the conspirators his tragic flaw of being easily molded and persuaded lead him to fall prey and join. As time progresses Brutus makes many grievous errors, and his flawed logic leads him to become bereft of all he once held dear. In the end, preceding his death, Brutus grasps the fact that he has no one to blame for his loss but himself; thus the enlightenment. All of these characteristics classify Brutus as the tragic hero of this play.
Courageous and admirable with noble qualities defines a heroine. In Aristotle’s Poetics he describes a tragic hero as a character who is larger than life and through fate and a flaw they destroy themselves. Additionally, Aristotle states excessive pride is the hubris of a tragic hero. The hero is very self-involved; they are blind to their surroundings and commit a tragic action. A tragedy describes a story that evokes sadness and awe, something larger than life. Furthermore, a tragedy of a play results in the destruction of a hero, evoking catharsis and feelings of pity and fear among the audience. Aristotle states, "It should, moreover, imitate actions which excite pity and fear, this being the distinctive mark of tragic imitation." (18) For a tragedy to arouse fear, the audience believes similar fate might happen to them and the sight of the suffering of others arouses pity. A tragedy's plot includes peripeteia, anagnorisis, hamartia and catharsis. Using Aristotle’s criteria, both characters in Oedipus The King and The Medea share similar qualities that define a tragic hero such as being of noble birth, having excessive pride, and making poor choices. They both gain recognition through their downfall and the audience feels pity and fear.
The play Julius Caesar depicts Brutus to be an extremely noble being who is well respected and honored by all Romans, even his enemies. Brutus was a loving friend of Julius Caesar and wished anything but death on his comrade, but his love and dedication to the majestic city of Rome would force him to commit anything. He fights a war to defend Rome from a king or emperor's tyrannical rule. When the war was finished, even his enemies saw that he was the most respectable Roman of them all.