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efining tragedy is not an easy task because it has meant different things at different times. Aristotle writes in the Poetics that tragedies must represent a complete, serious, and important action that rouses and then purges (by catharsis) fear and pity in the spectators, with a central character who moves from happiness to misery through some frailty or error (hamartia). There is still much debate regarding the precise translation and application of these terms. It is supposed that the word “tragedy” comes from the Greek tragoidia or goat-play, and it is based on the assumption that the tragic hero is essentially another version of the sacrifice offered throughout human history to indulge an angry god.
Hegel argues that tragedy is generated when a heroic individual becomes strapped between the conflicting demands of two godheads, between two groups of values that are each imperative and mutually exclusive. Thus, in Sophocles’ Antigone, the heroine’s familial and religious obligation to bury her brother collides with the laws and needs of the state. In the same way,
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The origin of the traditional terms ‘first person’ ‘second person’ and ‘third person’ is illuminating in this connexion. The Latin word ‘persona’ (meaning ‘mask’) was used to translate the Greek word for ‘dramatic character’ or ‘role’ and the use of this term by grammarians derives from their metaphorical conception of a language event as a drama in which the principal role is played by the first person, the role subsidiary to his, by the second person, and all other roles by the third person. It is important to note, however, that only the speaker and addressee are actually participating in the drama. The third person is negatively defined with respect to the first person and second person: it does not correlate with any positive participant
Antigone is a Greek tragic piece that stresses the use of power and morality versus the law written by Sophocles. Both Antigone and Creon, the main characters in the play, could represent the tragic hero. A tragic hero is a character who is known for being dignified and has a flaw that assists to his or her downfall. In my opinion, Creon best qualifies for being the tragic hero and fitting the definition read in the previous sentence. The things he said, did, and the comments that were made by those around him show how a man with everything could lose it all due to his own behavior.
In Sophocles' Antigone, the question of whom the real tragic hero comes into play. Antigone possesses all the aspects of a tragic hero. Creon possesses many qualities of a tragic hero, but doesn’t totally fit in the role. These traits include: not being overly “wholesome or corrupt”, being persistent in their actions, developing pity in the audience or reader- especially in the beginning of the story, and having a major flaw that is their ultimate downfall. Antigone possesses all of these traits therefore qualifying as the tragic hero.
In Sophocles’ classic play Antigone the main character Antigone faces the impactful and controversial choice between god’s laws and man’s laws, fate and free-will, and family versus government. With her heroic and ultimately fatal decisions, Antigone would normally be the character everyone defines as a stereotypical tragic hero, however, not many people take into consideration that her counterpart Creon, is the real tragic hero. Creon is often portrayed as the antagonist within the play, yet he has all the qualities that make an ideal tragic hero.
As we experience others we have an ethical responsibility attached to us. In this paper I will discuss John Russon’s main arguments about responsibility and experiences with others that are presented in his works Human Experience and Bearing Witness to Epiphany. After analyzing his arguments I will argue how Russon’s ideas are presented in Sophocles play Antigone, particular Antigone’s responsibility between her brothers and her city, and Creon’s failure to find the other.
The debate over who is the tragic hero in Antigone continues on to this day. The belief that Antigone is the hero is a strong one. There are many critics who believe, however, that Creon, the Ruler of Thebes, is the true protagonist. I have made my own judgments also, based on what I have researched of this work by Sophocles.
Considered by Aristotle as the perfect example of tragedy, Sophocles’ Oedipus the King is an Athenian play that follows the undoing of a Theban king by the name of Oedipus. The play presents a question Oedipus himself cannot answer: is it the man’s actions or is it the gods’ decisions that control the man’s destiny? Perhaps the answer is both man and god, but it is the man’s imperfections that determine what fate the gods will give him. While there is no direct proof that gods control everything in a man, from his dreams to his choices, Oedipus still proves that no matter how renowned a man is, that man’s weaknesses will determine his success or his failure. Oedipus fits the convention of a tragic hero as he is a man of high estate who suffers
It is generally held that the tragic essence of Antigone lies in the state’s brutal suppression of individual emotions and humanity. However, it is not only individual emotions and humanity, but also family honor and responsibilities that Antigone tries to defend and fulfill. So it is not completely true that what Antigone stands for is timeless and universal justice. The tragic conflict of the play consists in the extremist attitude Creon and Antigone hold towards the state law and the family honor. The fundamentalist ideas of the state ...
The origin of the Sophocles’ Greek tragedy “Antigone” has created much controversy about the definition of a tragic hero, as defined by Aristotle. A literary character that makes a judgment error that leads to his/her own downfall. Both Creon and Antigone challenge each other’s conception of the divine and civic law while each has lawfulness in their argument. It is evidently noted that Antigone is the hero of the tragedy; she was a romantic idealist whose beliefs on family loyalty and religious values could not be condemned by civil laws.
Sophocles was able to incorporate Poetics in his tragedy of Antigone. We see two different characters, moved with two different purposes: one ethical and one pathetic. Through the complication and unraveling we see how Antigone embodies the fundamentals of what a Greek tragedy is.
Most readers are aware of the many famous deaths or acts of death within the Shakespearean plays. And when the main characters die in Shakespeare’s plays, indeed, the readers would categorize the play as a tragedy. The problem with any tragedy definition is that most tragic plays do not define the tragedy conditions explained or outlined by Aristotle. According to Telford (1961), a tragedy is a literary work that describes the downfall of an honorable, main character who is involved on historically or socially significant events. The main character, or tragic hero, has a tragic fault, the quality that leads to his or her own destruction. In reading Aristotle’s point of view, a tragedy play is when the main character(s) are under enormous pressure and are incapable to see the dignities in human life, which Aristotle’s ideas of tragedy is based on Oedipus the King. Shakespeare had a different view of tragedy. In fact, Shakespeare believed tragedy is when the hero is simply and solely destroyed. Golden (1984) argued the structure of Shakespearean tragedy would be that individual characters revolved around some pain and misery.
Tragedies have been written, told, and acted out for a number of years. Aristotle defined in his book, Poetics that a tragedy is to arouse the emotions of pity, fear, and finally a catharsis, or purging of emotions. A tragic play that perfectly completes this cycle of emotions is Oedipus the King by Sophocles. This play follows a king of the town of Thebes through his journey of the emotions of pity, fear, and finally a catharsis. It is a tale of a man who unknowingly kills his father and fathers the children of his mother as well. The audience is pulled into the play and experiences the plot along with Oedipus.
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.
Aristotle. “On Tragedy.” Literature: Reading Fiction, Poetry, and Drama. Robert DiYanni. 6th Ed. New York, 2007. 2196-2198. Print.
Aristotle was a famous philosopher during the Greek period. Aristotle’s poetics are his collection of writings addressing different type’s literary theory, including tragic theory. In these writings Aristotle provided the following definition of tragedy, “Tra...
There is no doubt that tragedy has changed considerably since Aristotle first wrote the definition of tragedy in his Poetics in Ancient Greece, but these changes raise the question of whether modern tragedy still fits the classical definition of tragedy. Tragedy has evolved greatly since the times of the classical tragedies, including Oedipus Rex and Hamlet, to the more modern forms of tragedy, as seen in The Hairy Ape and Death of a Salesman. Despite its evolution and deviation from Aristotle’s definition, modern tragedy holds by the same principles, and retains the same power and message expressed by Aristotelian tragedy.