A tragic hero (or 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. Aristotle based his observations on previous dramas. [1] Many of the most famous instances of tragic heroes appear in Greek literature, most notably the works of Sophocles and Euripides.
In Poetics , Aristotle suggests that the hero of a tragedy must evoke a sense of pity and fear within the audience, stating that “the change of fortune presented must not be the spectacle of a virtuous man brought from prosperity to adversity." [2] In essence, the focus of the hero should not be the loss of his goodness. He establishes the concept that pity is an emotion that must be elicited when, through his actions, the character receives undeserved misfortune, while the emotion of fear must be felt by the audience when they contemplate that such misfortune could possibly befall themselves in similar situations. Aristotle explains such change of fortune "should be not from bad to good, but, reversely, from good to bad.” Such misfortune is visited upon the tragic hero "not through vice or depravity but by some error of judgment." This error, or hamartia, refers to a flaw in the character of the hero, or a mistake made by the character.
Therefore, the Aristotelian hero is characterized as virtuous but not "eminently good," which suggests a noble or important personage who is upstanding and morally inclined while nonetheless subject to human error. Aristotle's tragic heroes are flawed individuals who commit, without evil intent, great wrongs or injuries that ultimately lead to their misfortune, often followed by tragic realization of the true nature of events that led to this destiny. [3] This means the hero still must be – to some degree – morally grounded. The usual irony in Greek tragedy is that the hero is both extraordinarily capable and highly moral (in the Greek honor-culture sense of being duty-bound to moral expectations), and it is these exact, highly-admirable qualities that lead the hero into tragic circumstances. The tragic hero is snared by his own greatness: extraordinary competence, a righteous passion for duty, and (often) the arrogance associated with greatness (hubris).
The influence of the Aristotelian hero extends past classical Greek literary criticism. Greek theater had a direct and profound influence on Roman theater and formed the basis of Western theater, with other tragic heroes including Macbeth in William Shakespeare's The Tragedy of Macbeth , and Othello in his Othello . [4] Kullervo, a tragic hero from the Karelian and Finnish 19th century epic poetry Kalevala by Elias Lönnrot, curses beasts from the woods to attack his tormenter, the Maiden of the North. J. R. R. Tolkien wrote an interpretation of the Kullervo cycle in 1914; the piece was finally published in its unfinished form as The Story of Kullervo . [5]
Theatre deeply influences a wide variety of arts throughout the world, in diverse media such as literature, music, film, television and even video games. Many iconic characters featured in these genres follow the archetype of the tragic hero. Examples of such characters include Anakin Skywalker from George Lucas' Star Wars films, Jay Gatsby from The Great Gatsby and Eddard Stark from George R. R. Martin's novel series A Song of Ice and Fire and the HBO television series adaptation Game of Thrones . Some film historians regard Michael Corleone of The Godfather as a tragic hero, although using traditional literary conventions, the character would more closely fit the role of anti-hero. [6]
Tragedy is a genre of drama based on human suffering and, mainly, the terrible or sorrowful events that befall a main character. Traditionally, the intention of tragedy is to invoke an accompanying catharsis, or a "pain [that] awakens pleasure,” for the audience. While many cultures have developed forms that provoke this paradoxical response, the term tragedy often refers to a specific tradition of drama that has played a unique and important role historically in the self-definition of Western civilization. That tradition has been multiple and discontinuous, yet the term has often been used to invoke a powerful effect of cultural identity and historical continuity—"the Greeks and the Elizabethans, in one cultural form; Hellenes and Christians, in a common activity," as Raymond Williams puts it.
Theatre techniques are procedures that facilitate a successful presentation of a play. They also include any practices that advance and enhance the understanding the audience brings to the action and the acting by the cast on stage.
A protagonist is the main character of a story. The protagonist makes key decisions that affect the plot, primarily influencing the story and propelling it forward, and is often the character who faces the most significant obstacles. If a story contains a subplot, or is a narrative made up of several stories, then each subplot may have its own protagonist.
Dramaturgy is the study of dramatic composition and the representation of the main elements of drama on the stage.
A Greek chorus in the context of ancient Greek tragedy, comedy, satyr plays, is a homogeneous group of performers, who comment with a collective voice on the action of the scene they appear in. The chorus consisted of between 12 and 50 players, who variously danced, sang or spoke their lines in unison, and sometimes wore masks.
Catharsis is from the Ancient Greek word κάθαρσις, katharsis, meaning "purification" or "cleansing". In English, it can refer to a number of different excreting acts.
Hedone is the Greek word meaning "pleasure." It was an important concept in Ancient Greek philosophy, especially in the Epicurean school. It is also the root of the English word "hedonism".
Deus ex machina is a plot device whereby a seemingly unsolvable problem in a story is suddenly or abruptly resolved by an unexpected and unlikely occurrence. Its function is generally to resolve an otherwise irresolvable plot situation, to surprise the audience, to bring the tale to a happy ending or act as a comedic device.
Aristotle's Poetics is the earliest surviving work of Greek dramatic theory and the first extant philosophical treatise to focus on literary theory. In this text Aristotle offers an account of ποιητική, which refers to poetry and more literally "the poetic art," deriving from the term for "poet; author; maker," ποιητής. Aristotle divides the art of poetry into verse drama, lyric poetry, and epic. The genres all share the function of mimesis, or imitation of life, but differ in three ways that Aristotle describes:
Greek tragedy is one of the three principal theatrical genres from Ancient Greece and Greek inhabited Anatolia, along with comedy and the satyr play. It reached its most significant form in Athens in the 5th century BC, the works of which are sometimes called Attic tragedy.
Ethos is a Greek word meaning 'character' that is used to describe the guiding beliefs or ideals that characterize a community, nation, or ideology; and the balance between caution, and passion. The Greeks also used this word to refer to the power of music to influence emotions, behaviors, and even morals. Early Greek stories of Orpheus exhibit this idea in a compelling way. The word's use in rhetoric is closely based on the Greek terminology used by Aristotle in his concept of the three artistic proofs or modes of persuasion alongside pathos and logos. It gives credit to the speaker, or the speaker is taking credit.
The term hamartia derives from the Greek ἁμαρτία, from ἁμαρτάνειν hamartánein, which means "to miss the mark" or "to err". It is most often associated with Greek tragedy, although it is also used in Christian theology. The term is often said to depict the flaws or defects of a character and portraying these as the reason of a potential downfall. However, other critics point to the term's derivation and say that it refers only to a tragic but random accident or mistake, with devastating consequences but with no judgment implied as to the character.
Anagnorisis is a moment in a play or other work when a character makes a critical discovery. Anagnorisis originally meant recognition in its Greek context, not only of a person but also of what that person stood for. Anagnorisis was the hero's sudden awareness of a real situation, the realisation of things as they stood, and finally, the hero's insight into a relationship with an often antagonistic character in Aristotelian tragedy.
In a literary context, a wheel of fire may refer to the chain of tortuous or dire consequences that result from a single action.
Dramatic theory attempts to form theories about theatre and drama. Drama is defined as a form of art in which a written play is used as basis for a performance. Dramatic theory is studied as part of theatre studies.
Gerald Frank Else was a distinguished American classicist. He was professor of Greek and Latin at University of Michigan and University of Iowa. Else is substantially credited with the refinement of Aristotelian scholarship in aesthetics in the 20th century to expand the reading of catharsis alone to include the aesthetic triad of mimesis, hamartia, and catharsis as all essentially linked to each other.
Mythos [from Ancient Greek μῦθος mûthos] is the term used by Aristotle in his Poetics to mean an Athenian tragedy's plot as a "representation of an action" or "the arrangement of the incidents" that "represents the action". Aristotle distinguishes plot from praxis – which are the actions the plots represent. It is the first of the six elements of tragedy that Aristotle lists.
The Story of Kullervo is a collection of several texts, including a prose version of the Kullervo cycle in Elias Lönnrot's Karelian and Finnish epic poem Kalevala, written by J. R. R. Tolkien when he was an undergraduate at Exeter College, Oxford, from 1914 to 1915. That was an unsettled period for the author and this is thought to be reflected in the story's dark subject matter.
The metabasis paradox is an instance in the received text of Aristotle's Poetics where, according to many scholars, he makes two incompatible statements. In chapter 13 of the book, Aristotle states that for tragedy to end in misfortune is "correct," yet in chapter 14 he judges a kind of tragedy "best" that does not end in misfortune. Since the 16th century, scholars in Classics have puzzled over this contradiction or have proposed solutions, of which there are three from the 21st century. Gotthold Lessing's solution has been the most influential yet there is not a consensus.
Finnish influences on Tolkien include both the Finnish language, which he especially liked, and the epic poem Kalevala, a 19th century compilation of Finnish mythology by Elias Lönnrot, which Tolkien stated had powerfully affected him. He further stated that his invented Elvish language of Quenya was influenced by the phonology and structure of Finnish.
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