One of the most widespread assumptions about a good Greek tragedy is that it must have an unhappy ending.
Additional Information In lieu of an abstract, here is a brief excerpt of the content: I think that if Tiresias could be miraculously conjured up he might endorse the first judgment; Jocasta, if she were to materialize magically, would probably favor the second.
Oedipus, howeveris the man this tragedy is about. How would he read it? How would the play appear to one who places a commitment to truth and conscience above happiness and security?
What is the meaning of undeserved suffering to an individual of Oedipus' moral stature? As I will argue toward the Oedipus rex what aristotle would think of this paper, for an individual who prefers a hard truth to a comforting lie, and who will follow the dictates of his conscience wherever they may lead, the moral relevance ofconsequences is always already displaced.
This does not make Oedipus' suffering less difficult. But it does provide unquestionable proof of the authenticity and self-sufficiency of his heroic choice. This is what really matters to Oedipus, this is why he endures and this is what constitutes his selective affirmation.
It is to the most influential of Aristotle's passages—his discussion of hamartia—that I now turn. The passage in which Aristotle mentions hamartia is his attempt to explain what sort ofaction should be represented in the plot ofa tragedy.
He has already established that tragedy is a dramatic enactment of an action that is serious and complete, and that through the arousal of pity and fear the katharsis of these emotions is accomplished. Of the six elements of tragedy which make it what it is—plot, character, style, thought, spectacle, and lyric poetry—Aristotle has identified the plot, or the structure of events depicted in a tragedy, as the most important; and this because the other elements exist when they are present for its sake, and because the emotional power of tragedy is largely due to components of the plot, viz.
Furthermore, the plot must exhibit unity, in the sense that the several events that comprise its action unfold because ofone another, and do so in a manner that is contrary to expectation and yet plausible.
These features will serve to produce the emotional arousal and katharsis unique to tragedy. This arousal, however, can only occur if the individual whose fortunes are reversed is neither preeminent in virtue nor extremely evil; in the former case, our reaction would be repugnance, not pity and terror, and in the latter instance we may feel moved but this is not the tragic experience.
Aristotle continues, We are left, then, with the figure who falls between these types. Such a man is one who is not preeminent in virtue andjustice, and one who falls into affliction not because of evil and wickedness, but because of a certain fallibility [hamartia2].
He will belong to the class of those who enjoy great esteem and prosperity, such as Oedipus, Thyestes, and outstanding men from such families. It is imperative that a fine plot-structure be single and not double as some assertand involve a change from prosperity to affliction rather than the reverse caused not by wickedness but by a great fallibility on the part of the sort of agent stipulated, or one who is better, not worse, than indicated.
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View freely available titles:Oedipus Rex, also known by its Greek title, Oedipus Tyrannus (Ancient Greek: Οἰδίπους Τύραννος IPA: [oidípuːs týranːos]), or Oedipus the King, is an Athenian tragedy by Sophocles that was first performed around BC. Originally, to the ancient Greeks, the title was simply Oedipus (Οἰδίπους), as it is referred to by Aristotle in the Poetics.
Oedipus Rex or Oedipus the King Oedipus and Aristotle Buy Study Guide In his Poetics, Aristotle outlined the ingredients necessary for a good tragedy, and based his formula on what he considered to be the perfect tragedy, Sophocles 's Oedipus the King.
Clearly, for Aristotle's theory to work, the tragic hero must be a complex and well-constructed character, as in Sophocles' Oedipus the King.
As a tragic hero, Oedipus elicits the three needed responses from the audience far better than most; indeed, Aristotle and subsequent critics have labeled Oedipus the ideal tragic hero.
Oedipus Rex, What Aristotle Would Think of His Play. Topics: Oedipus the King The Six Elements of a Tragedy in “Oedipus Rex” Aristotle’s “The Poetics” describes the process of a tragedy.
It is not the guide per se of writing a tragedy but is the idea’s Aristotle collected while studying tragedies.
Oedipus the King is an excellent example of Aristotle's theory of tragedy. The play has the perfect Aristotelian tragic plot consisting of paripeteia, anagnorisis and catastrophe; it has the perfect tragic character that suffers from happiness to misery due to hamartia (tragic flaw) and the play.
Oedipus The King The Greek drama Oedipus is clearly a Aristotle’s tragedy. It definitely meets the five main criteria for a tragedy: a tragic hero of noble birth, a tragic flaw, a hero‘s downfall, a moment of remorse, and a catharsis.