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    Creon from Antigone

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    judgment. It triggers a sequence of events that lead to the downfall of the tragic hero. The general trend in plays frequently concludes with the death of the tragic hero. However, prior to death, the tragic hero experiences an anagnorisis, or a moment of clarity. An anagnorisis is a realization of situation when the tragic hero moves from ignorance to enlightenment. The change from ignorance to enlightenment includes the tragic hero’s realization of his tragic flaw, how it caused his downfall, how his

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    “Oedipus the King” by Sophocles is a tragedy of a man who unknowingly kills his father and marries his mother. Aristotles’ ideas of tragedy are tragic hero, hamartia, peripeteia, anagnorisis, and catharsis these ideas well demonstrated throughout Sophocles tragic drama of “Oedipus the King”. Tragic hero is a character of noble stature and has greatness but is triggered by some error and causes the hero’s downfall. Oedipus is the tragic hero of “Oedipus the king”. Oedipus has a noble stature and

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    Maximus As A Tragic Hero

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    wisdom. 2.)They had to have hamartia which is a tragic or fatal flaw. Most tragic heroes died, few rarely survived. 3.)They must have a reversal of fortune brought about the heroes main error which causes them to die. 4.) The hero has to have anagnorisis or an epiphany, which is when the hero

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    Aristotle’s Poetics

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    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

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    As any other tragic hero, Hamlet also has many moments of anagnorisis throughout the play, often occurring during his soliloquies when he reflects upon himself and the world. After having witnessed the First Player’s profound emotional recountment of the story of Pyrrhus seeking revenge, Hamlet reflects upon himself

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    Oedipus Tragic Hero Essay

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    are most prominently recognized from the viewpoint of the extraordinary Greek philosopher, Aristotle, in his work Poetics. Aristotle defined this type of character, the tragic hero, as having several basic characteristics, to include: hamartia, anagnorisis, peripeteia, hubris, and catharsis. These characteristic elements of tragedy were commonly manifest in numerous works throughout the

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    His good fortune is reversed through a proud edict that mostly serves his ego and breaks his home for not respecting family bonds, including the bond between siblings and the bond between parents and their children. The final line foreshadows anagnorisis for the tragic life of Creon. Creon says: “She dissipates and routs the embattled host” (Sophocles, 673). Antigone does not divide and corrupt the people; only Creon does with his hubris. The word “embattled host” suggests Creon’s ending, a fate

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    not successful in preventing the prophecy his actions lead him right into it. As Aristotle recommends, this is directly connected to the anagnorisis, for the messenger and the herdsman are the missing link to Oedipus true story. The messenger enables him to “recognize” his true identity, he gains the initial knowledge he lacked. The peripeteia and anagnorisis changes Oedipus fortune. His good fortune turns out to be a catastrophe that leads to suffering. His actions will be considered a setback

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    flaws, an anagnorisis, and the affects of minor characters. To start of Romeo and Juliet’s tragic flaw is that their love is too good for our world. As it says in an article by Thrasher, Romeo and Juliet’s love is “too perfect and passionate for their world” (79). Romeo and Juliet love each other so much that this causes their downfall and eventually their deaths. Love is passionate and Romeo and Juliet’s love is pure and far to good for our world. Romeo and Juliet each also have an anagnorisis. An anagnorisis

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    Aristotle presents the argument that tragedies are superior to epics. While tragedies and epics are characterized in similar ways they also have their differences. “A tragedy, then, is the imitation of an action that is serious and also, as having magnitude, complete in itself; in language with pleasurable accessories, each kind brought in separately in the parts of the work; in a dramatic, not in a narrative form; with incidents arousing pity and fear, wherewith to accomplish its catharsis of such

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    ca/2011/11/aristotles-view-about-hamartia.html Essy name :Aristotle’s view about Hamartia, Anagnorisis, Peripeteia and Catharsis according to Poetics Monday, 7 November 2011 Line number 43. 2) “ Aristotle's Theory of Tragedy” Line number 43 Monday ,7 Nov 2011 3) “ Tragic hero Agamemnon” Line number 7 1)http://sunnyenglishliterature.blogspot.ca/2011/11/aristotles-view-about-hamartia.html Essy name :Aristotle’s view about Hamartia, Anagnorisis, Peripeteia and Catharsis according to Poetics Monday, 7 November 2011

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    flaw, t... ... middle of paper ... ...ying the requirement of high status. Oedipus’ tragic flaw was his short temper, which led him to his downfall, as did Othello’s flaws of naivety and mistrust. Both plays went through a peripeteia and an anagnorisis, as both saw a reversal of fortune and a realization of their mistakes. All these elements of tragedy give the audience a feeling of pity and remorse for both Oedipus and Othello, thus reinforcing Aristotle’s definition of a tragic hero.

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    While comparing Oedipus and Willy Loman using anagnorisis, it is revealed that Oedipus is a true tragic hero while Willy is not. Aristotle defined anagnorisis as being “a change from ignorance to knowledge, producing love or hate between the persons destined by the poet for good or bad fortune.” Through their respective plays, both Oedipus and Willy Loman had experienced a period of reversal in fate; only Oedipus truly recognized his faults. Anagnorisis...

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    Greek tragedies, written in ancient times, are still a standard for tragedies written today. Contrary to diminishing in value over time, these tragedies have become cherished pieces of work in the sophisticated literate culture of today. However, one can not delve into these precious works of beautiful literary verse without first having background knowledge of the context they were written, and of the structure they follow. There are several terms, as well as an analysis of tragedies by Aristotle

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    Hamlet and Oedipus: A Comparison

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    characteristics that all tragic heroes should share. Included are hamartia, peripeteia, anagnorisis, and an over the top consequence. Hamartia, or the hero's tragic flaw, is “his error or transgression or (as some translators would have it) his flaw or weakness of character” (“Aristotle's” 858). Peripeteia, is the reversal of his fortune, or in other words, the tragic thing that happens to him. Anagnorisis is when the hero discovers that his own actions caused the reversal. Finally, Aristotle

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    The Tragic Hero in Sophocles´Antigone

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    In Greek tragedies, tragedians always establish a tragic hero who descends from grace due to a fatal flaw as well as someone who is of nobility. Moreover this character may also experience peripeteia, anagnorisis, and of course, a terrible ending (“Tragic Hero as Defined by Aristotle”). One Greek tragedy that involves a tragic hero is Sophocles’ Antigone which portrays two characters who strive for what they believe in, either state law or divine law, which leads to their demise. These two characters

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    Creon: Does He Classify as a Tragic Hero? Can a person benefit from dying, or how about from losing all one’s influence, fame or fortune? According to Bernard Knox, this is most definitely the aim of tragic dramas (1). There are many characters in ancient Greek plays whose “fall” becomes something of great worth. We call them “tragic heroes.” Basically, their purpose is to fall so we can learn from them. Much has been written on what actually qualifies a character to be a tragic hero. In the

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    today, compliments his theory that each tragic hero possesses five specific characteristics. These five characteristics include the possession of a hamartia, a fatal flaw leading to the downfall of a tragic hero; peripeteia, reversal of fortune; anagnorisis, moments where a critical discovery is made; hubris, excessive pride; and nemesis, fate greater than deserved. Furthermore, these five characteristics are what ultimately lead to the hero’s downfall. In the Greek tragedy Oedipus Tyrannus by Sophocles

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    Out of Aristotle’s apprehension of tragedy, four out of the six ideas are used in the tragic drama, “Oedipus the King” by Sophocles. These ideas are tragic hero, hamartia, peripeteia, and anagnorisis. The tragic hero is a person of greatness, and noble stature who usually contributes to their own downfall. Oedipus has greatness and noble stature; he’s sublime, in the way that he cares for his people. What leads to his own downfall is his own pride, which came out when he solved the riddle of the

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    Aristotle’s Poetics consists in collection of notes trying to describe different artistic categories related to words (poetry). Even if the chapters about comedy were never founded, propositions articulated in these notes, after taken as canonical, have had a strong impact in differentiating aesthetic genres, establishing their boundaries. The way Aristotle approached arts that rely on verbal language has also several implications for the conception of the role of literature in the world and the

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