The Tragic Hero and the Tragic Story in William Shakespeare's Writing

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The Tragic Hero and the Tragic Story in William Shakespeare's Writing Shakespeare's tragedies are, for the most part, stories of one person,

the "hero," or at most two, to include the "heroine." Only the Love

Tragedies (Romeo and Juliet; Antony and Cleopatra)are exceptions to

this pattern. In these plays, the heroine is as much at the center of

action as the hero. The rest of the tragedies, including Macbeth, have

single stars, so the tragic story is concerned primarily with oneperson.

THE TRAGIC HERO ANDTHE TRAGIC "STORY"

* The tragic story leads up to, and includes, the death of the hero

* The suffering and calamity are exceptional

* They befall a conspicuous person

* They are themselves of a striking kind

* They are, as a rule, unexpected

* They are, as a rule, contrasted with previous happiness and/or

glory

On the one hand (whatever may be true of tragedies elsewhere), no play

that ends with the hero alive is, in the full Shakespearean sense, a

tragedy. On the other hand, the story also depicts the troubled part

of the hero's life which precedes and leads up to his death. It is, in

fact, essentially a tale of suffering and calamity, conducting the

hero to death.

Shakespeare's tragic heroes will be men of rank, and the calamities

that befall them will be unusual and exceptionally disastrous in

themselves. The hero falls unexpectedly from a high place, a place of

glory, or honor, or joy, and as a consequence, we feel that kind of

awe at the depths to which he is suddenly plunged. Thus, the

catastrophe will be of monumental prop...

... middle of paper ...

...erful, advancing, scattering the opposition until, late in the

4th act, when a reversal of the situation starts taking place.

Opposing forces begin to openly resist and to make plans for the

removal of the tragic hero, and the hero's power is obviously

declining as the opposition's power advances.

TRAGIC RESOLUTION

In the final acts, then, the opposition reaches its full strength and

defeats/destroys the isolated, weakened hero. This is where Tragic

Recognition takes place, and the final scenes of the play are normally

such that we become aware again of the greatness of the soul that has

just been dispatched. Macbeth is dead; Hamlet is dead; Lear is dead:

and though we can see the justice of it, the usual feeling of

satisfaction at the death of a tyrant or killer (an Iago, for example)

is conspicuously lacking.

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