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Oedipus, a figure commonly considered a tragic hero. A tragic hero (or sometimes tragic heroine if they are female) is the protagonist of a tragedy.In his Poetics, Aristotle records the descriptions of the tragic hero to the playwright and strictly defines the place that the tragic hero must play and the kind of man he must be.
Poetic justice describes an obligation of the dramatic poet, along with philosophers and priests, to see that their work promotes moral behavior. [10] 18th-century French dramatic style honored that obligation with the use of hamartia as a vice to be punished [10] [11] Phèdre, Racine's adaptation of Euripides' Hippolytus, is an example of French Neoclassical use of hamartia as a means of ...
Aristotle's work on aesthetics consists of the Poetics, Politics (Bk VIII), and Rhetoric. [8] The Poetics was lost to the Western world for a long time. The text was restored to the West in the Middle Ages and early Renaissance only through a Latin translation of an Arabic version written by Averroes. [9]
Tragic plots were most often based upon myths from the oral traditions of archaic epics. In tragic theatre, however, these narratives were presented by actors. The most acclaimed Greek tragedians are Aeschylus, Sophocles, and Euripides. These tragedians often explored many themes of human nature, mainly as a way of connecting with the audience ...
In the Aristotelian definition of tragedy, it was the discovery of one's own identity or true character (e.g. Cordelia, Edgar, Edmund, etc. in Shakespeare's King Lear) or of someone else's identity or true nature (e.g. Lear's children, Gloucester's children) by the tragic hero. Aristotle was the first writer to discuss the uses of anagnorisis ...
He claims that, for Aristotle, misfortune has tragic meaning only if it is avoidable and intelligible, and that recognizing before killing, among the four ways, best meets these criteria. [80] In his interpretation of Halliwell, Takeda believed the main point is that Aristotle had emphasized process over ending in misfortune. [ 81 ]
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Tragedy deals with affairs of the state (wars, dynastic marriages); comedy deals with love. For a work to be tragic, it need not have a tragic ending. Although Aristotle says that catharsis (purgation of emotion) should be the goal of tragedy, this is only an ideal. In conformity with the moral codes of the period, plays should not show evil ...