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Aristotle's Tragic Hero - Oedipus the King will be available on
"And at each stroke blood spurts from the roots,/ splashing his beard, a swirl of it, nerves and clots-/ black hail of blood pulsing, gushing down" (1411-1413) Dramatic Irony: the audience knows the truth while Oedipus doesn't Therefore, Oedipus is truly a tragic hero.
The duplication of the fathers (or the grandfathers) by a brother may be continued in the next generation, and concern the hero himself, thus leading to the , which can only be hinted at in connection with the present theme. The prototypes of the boy (who in the Cyrus saga vanish into thin air after they have served their purpose, the exaltation of the hero's descent), if they were to assume a vitality of their own, would come to confront the hero as competitors with equal rights, namely, as his brothers. The original sequence is probably better preserved through the interpretation of the hero's strange doubles as shadowy brothers who, like the twin brother, must die for the hero's sake. Not only the father (who is in the way of the maturing son) is removed, but also the interfering competitor (the brother), in a naïve realization of the childish fantasies, for the simple reason that the hero does not want a family.
In the play, Oedipus is the tragic hero.
occurs. The royal grandfather, Astyages, and his daughter, with her husband, are confronted by the cattle herder and his wife. A checkered gathering of other personalities which move around them, are readily grouped at sight: Between the highborn parent-couple and their child stand the administrator Harpagos with his wife and his son, and the noble Artembares with his legitimate offspring. Our trained sense for the peculiarities of myth structure recognizes at once the doubles of the parents in the intermediate parent-couples and all the participants are seen to be identical personalities of the parents and their child; this interpretation being suggested by certain features of the myth itself. Harpagos receives the child from the king, to expose it; he therefore acts precisely like the royal father and remains true to his fictitious paternal part in his reluctance to kill the child himself--because it is related to him--but he delivers it instead to the herder Mithradates, who is thus again identified with Harpagos. The noble Artembares, whose son Cyrus causes to be whipped, is also identified with Harpagos; for when Artembares with his whipped boy stands before the king, to demand retribution, Harpagos at once is likewise seen standing before the king, to defend himself, and he also is obliged to present his son to the king. Thus Artembares himself plays an episodal part as the hero's father, and this is fully confirmed by the Ctesian version, which tells us that the nobleman who adopted the herder's son, Cyrus, as his own son, was named Artembares.
Having thus outlined the contents of the birth myth of the hero it still remains for us to point out certain complications within the birth myth itself, which have been explained on the basis of its paranoid character, as "splits" of the personality of the royal father and persecutor. In some myths, however, and especially in the fairy tales that belong to this group, the multiplication of mythical personages--and with them, of course, the multiplication of motifs, or even of entire stories--are carried so far that sometimes the original features are altogether overgrown by these addenda. The multiplication is so variegated and; so exuberantly developed that the mechanism of the analysis no longer does it justice. Moreover, the new personalities here do not show the same independence, as it were, as the new personalities created by splitting, but they rather present the characteristics of a copy, a duplicate, or a "double," which is the proper mythological term. An apparently very complicated example, namely, Herodotus’ version of the Cyrus saga, illustrates that there doubles are not inserted purely for ornamentation, or to give a semblance of historical veracity, but that they are insolubly connected with myth formation and its tendency. Also, in the Cyrus legend, as in the other myths, a confrontation
Jim Donahoe's essay on Oedipus's tragic flaw is no longer online.
I would have to expand to say that I believe a tragedy is more of a dignified style of writing that seriously expresses sorrowful or terrible events as they relate to the sometimes heroic individual (the protagonist) of a story.
Aristotle's Definition of a Tragic Hero "A virtuous man whose misfortune is brought about not by depravity, but by some error or frailty" The error or the mistake usually is Hamartia, the tragic flaw that eventually leads to his downfall Aristotle says that the tragedy arouses emotions of pity/fear and through the catharsis that comes from watching the tragic hero's terrible fate, the audience is cleansed of those emotions The audience winces in pity at Oedipus for being so blind to the truth.
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Oedipus the king tragic hero essay Term paper
A CURSORY review of these variegated hero myths forcibly brings out a series of uniformly common features, with a typical groundwork, from which a standard saga, as it were, may be constructed. This schedule corresponds approximately to the ideal human skeleton that is constantly seen, with minor deviations, on transillumination of figures that outwardly differ from one another. The individual traits of the several myths, and especially the apparently crude variations from the prototype, can be entirely elucidated only by myth interpretation.
Free Oedipus the King Tragedy Essays and Papers
Aristotles’ ideas of tragedy are tragic hero, hamartia, peripeteia, anagnorisis, and catharsis these ideas well demonstrated throughout Sophocles tragic drama of “Oedipus the King”.
Free Oedipus the King Tragedy papers, essays, and research papers.
Moreover, no amount of foresight or preemptive action could remedy Oedipus' hamartia; unlike other tragic heroes, Oedipus bears no responsibility for his flaw.
Free Essays on Hamlet and Oedipus - Two Tragic Heroes
Aristotle defined a tragic hero as someone “between two extremes... not eminently good and just, yet whose misfortune is not brought about by some error or frailty” (Aristotle, Poetics). Tragedy is meant to produce catharsis by making the audience empathise with the protagonist. The purpose of a tragic character, therefore, is to produce these emotions by being raised to a great height and then sent plummeting down. An effective tragedy causes the audience’s emotions to mirror this rise and fall.
Hamlet and Oedipus - Two Tragic Heroes
Unlike, for example Agamemnon, Clytemnestra, and Orestes (the heroes in the Orestia trilogy), Oedipus' suffering does not end with the play; even so, the conclusion also presents a sense of closure to the play.
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