...Running head: Oedipus-A Tragic Hero Research Paper ENGL 102: Literature and Composition) Fall 2015 Melinda Meeds L26683811 APA Outline Thesis: In Sophocles’ “Oedipus”, Oedipus is exemplified as a tragic hero according to Aristotle’s definition because his story appeals to the reader’s humanity in the way he maintains his strengths after inadvertently causing his own downfall. I. Oedipus A. The noble birth. B. Describe Oedipus’ character. II. Tragedy A. Describe what a tragedy is. B. Describe the tragedies Oedipus has faced. III. A tragic hero A. Describe what makes Oedipus a tragic hero. B. Describe how Oedipus handles life after the pitfalls he has faced. Oedipus-A Tragic Hero Sophocles’ Oedipus is a very well-known tragic hero in dramatic literature. Oedipus, in the story, is a king with a great personality however his morality is what leads him to his demise. This mish mash of Oedipus’ disposition is what leads a reader to feeling sympathetic. In Sophocles’ “Oedipus”, Oedipus is exemplified as a tragic hero according to Aristotle’s definition because his story appeals to the reader’s humanity in the way he maintains his strengths after inadvertently causing his own downfall. According to Aristotle, "a man doesn't become a hero until he can see the root of his own downfall” (Hume, n.d.). In Sophocles’ Oedipus, Oedipus possesses specific qualities that allow him to be considered a tragic hero. These qualities include...
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...Hamartia in Oedipus the King According to the Aristotelian characteristics of good tragedy, the tragic character should not fall due to either excessive virtue or excessive wickedness, but due to what Aristotle called hamartia. Hamartia may be interpreted as either a flaw in character or an error in judgement. Oedipus, the tragic character in Sophocles’ Oedipus the King, certainly makes several such mistakes; however, the pervasive pattern of his judgemental errors seems to indicate a basic character flaw that precipitates them. Oedipus’ character flaw is ego. This is made evident in the opening lines of the prologue when he states "Here I am myself--you all know me, the world knows my fame: I am Oedipus." (ll. 7-9) His conceit is the root cause of a number of related problems. Among these are recklessness, disrespect, and stubbornness. Oedipus displays an attitude of recklessness and disrespect throughout the play. When he makes his proclamation and no one confesses to the murder of Laius, Oedipus loses patience immediately and rushes into his curse. Later, he displays a short temper to Tiresias: "You, you scum of the earth . . . out with it, once and for all!," (ll. 381, 383) and "Enough! Such filth from him? Insufferable--what, still alive? Get out--faster, back where you came from--vanish!" (ll. 490-492) If an unwillingness to listen may be considered stubbornness, certainly Oedipus would take advice from no one who would tell him to drop the matter of his...
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...A hero is defined as many things. One who is selfless, one who shows compassion, one who not only leads others into battle but fights alongside them. In the greek parables, The Odyssey, by Homer and in Oedipus Rex, by Sophocles a hero is described as someone who perseveres on even when burdened by the weight of the unknown. The hero of The Odyssey is named Odysseus, a young man who overcame many trials to get back to his home in Ithaca, and the hero of Oedipus Rex is King Oedipus, a ruler who has his people's best interest at heart. The protagonists in these tales are both reputed to have heroic qualities and yet how they dealt with being receptive to new ideas, their humility, and their relationship with a higher power was what led each to...
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...develops an emotional attachment to the tragic hero; second, the audience fears what may befall the hero; and finally (after misfortune strikes) the audience pities the suffering hero. Through these attachments the individual members of the audience go through a catharsis, a term which Aristotle borrowed from the medical writers of his day, which means a "refining" -- the viewer of a tragedy refines his or her sense of difficult ethical issues through a vicarious experious of such thorny problems. 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. A careful examination of Oedipus and how he meets and exceeds the parameters of the tragic hero reveals that he legitimately deserves this title. Oedipus' nobility and virtue provide his first key to success as a tragic hero. Following Aristotle, the audience must respect the tragic hero as a "larger and better" version of themselves. The dynamic nature of Oedipus' nobility earns him this respect. First, as any Greek audience member would know, Oedipus is actually the son of Laius and Jocasta, the King and Queen of Thebes. Thus, he is a noble in the simplest sense; that is, his parents were themselves royalty. Second, Oedipus himself believes he is the son of...
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...Sophocles' Oedipus is a perfect fit to Aristotle's Ideal Tragic Hero. Oedipus follows all of the rules, with a hamartia, an anagnorisis, and a peripeteia. The audience is introduced to the hamartia, or tragic flaw, of Oedipus early in the play. Oedipus believes he can dodge the oracle given to him at Delphi that he will kill his father and marry his mother. By leaving the city of Corinth and heading to Thebes, Oedipus thinks that he can outsmart the will that the gods have for him. However, the audience knows that one cannot run away from an oracle. The oracle will come true no matter what is done. Therefore, the hamartia of Oedipus is his belief that he can evade his oracle. Oedipus' anagnorisis, recognition, later comes when he is told that it was he who killed the former King Lauis and that he is, in fact, now married to his own mother. The city of Thebes had been searching for King Lauis' murderer in order to drive him out of Thebes to save the city from the plague. With this anagnorisis Oedipus is finally led to his peripeteia, or downfall. First of all, Oedipus is put to shame in front of his entire city because of his incestuous act of marrying his mother. But, more importantly, he realizes that he had not successfully avoided the oracle. In order to try to save himself he blinds himself. If he is not able to see the truth with his own eyes, he should not be able to enjoy the gift of sight. http://personal.monm.edu/ysample/aristotle.htm Oedipus follows ten of the points...
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...Literature I 1. In your opinion, is Oedipus a hero? Think about what you found heroic in previous characters we encountered: Gilgamesh, Enkidu, Roland. How does Oedipus compare? Also, does Oedipus have a character flaw that affects his fate? There are many types of heroes, but Oedipus happens to be a tragic hero. Throughout the story, it is pretty safe to say that Oedipus is a tragic hero. In Aristotle’s work, he has made this point very apparent. There are three main reasons why I think Oedipus is a tragic hero. First, by his own actions, he ascertains his own fate. Secondly, he falls from great esteem. Lastly, Oedipus’ story ascends fear and sympathy. The way Oedipus discovers his fate is by his own actions. If he did not inquire about the murder of Laois, he probably would have never discovered that he in fact was the murderer. The saying “curiosity killed the cat”, is a perfect example of how Oedipus’ story dwindled and unwounded. If Oedipus did not seek Teresias he would have still been in the unknown of the murder. When he asked Teresias, the answers that were given were nonetheless the answers that Oedipus was seeking. For example, Teresias replied to him and said, “You are the murderer of the king whose murderer you seek.” After hearing this information, he still does not believe it or understand, so he seeks Jocasta. He has hopes of her telling him that there is no truth to what Teresias is saying. When he arrives, the news that Oedipus hears is the complete opposite...
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...the elements that make them tragedies or make the characters in them tragic heroes. In one of the “earliest surviving works of dramatic theory” of the ancient Greek philosopher Aristotle, he laid out his rules for what is the foundation of a tragedy and a tragic hero. In the play by Sophocles, Oedipus stands out as a classic representation of what a tragedy hero is. Oedipus the book has key aspects that Aristotle said to make a tragedy and a tragic hero. One of the requirements for being a tragic hero according to Aristotle is "a [great] man who is neither a paragon of virtue and justice nor undergoes the change to misfortune through any real badness or wickedness but because of some mistake." There must be some mistake made by the character flaw that causes the great man’s fortunes to turn for the worst. Aristotle felt that there were certain plot devices that needed to take place in order for it to qualify as a tragedy and for the character to really be a tragic hero. Without a tragic hero there cannot be a tragedy happening, plot is a very important point. The plot of a true tragedy should be complex and consist of reversal and recognition. Both of these plot elements are contained within the play Oedipus the King. The play starts out highlighting Oedipus’ character by showing him talking to the grieving citizens in front of his palace. They are praying to the gods to stop the plague that is destroying Thebes. He mourns with his people over the hardships that have befallen...
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...Fitzgerald. The Oedipus Cycle. New York: Harcourt, Brace, 1958. Print. The Alabama A&M University World Literature Anthology. New York: Pearson, 2009. Scodel, Ruth. "Oedipus the King." An Introduction to Greek Tragedy. New York: Cambridge UP, 2010. Print. What defines an epic hero? There are many things that do, and I’m going to break the Epic Hero Cycle down describing how Job from the bible qualifies as an epic hero in the following passage. I will first list, and describe each step in the Epic Hero Cycle, then give a brief summary of the story, then describe each step of the Epic Hero Cycle using references of Oedipus from the Oedipus the King. The first step of the Epic Hero Cycle is meeting the main character, who usually possesses some type of supernatural power. The character is introduced, sometimes with an introduction. Occasionally there is a brief background on the character. The hero’s family may be introduced. The hero’s life may be good at the time, or it may be going bad. The second step of the Epic Hero Cycle is when the hero is charged with a quest. Usually given by a king or someone in high power, the hero is sent off on a voyage. Sometimes the hero is a figure such as an ultimate warrior, and the king sends him on a voyage since he is the bravest. The third step in the Epic Hero Cycle is when the hero is challenged with a test. The test is to prove himself as a worthy hero who can overcome...
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...September 2013 Oedipus Tragic Hero Webster’s dictionary defines a hero as a person, who is admired or idealized for courage, outstanding achievements, or noble qualities. Although this definition accurately describes Oedipus’ character, tragic hero is more of an apt description. A tragic hero is defined usually by the following: One, A man of noble stature. Two, A selfless man who is not afraid to come under scrutiny. Three, The hero honorably receives the punishment given to him. From the beginning to end of the play Oedipus The King, by Sophocles, Oedipus truly defines himself as a hero, a tragic hero. Oedipus is first introduced as the sole ruler of Thebes. Kings/Dictators are usually looked down upon due to their brash and selfish behavior, but Oedipus is the opposite. A priest say, “Therefore, O mighty power, we turn to you: find us our safety, find us a remedy, whether by counsel of the gods or of men. A king of wisdom tested in the past can act in a time of troubles, and act well. Noblest of men, restore life to your city! “(Sophocles 2) when Oedipus makes a declaration to save the city of Thebes from the ongoing plague. The priest calls him the “Noblest of men” in marvel, at the fact, a man of such high stature and importance takes the time to address the concerns of his people. The words used to describe Oedipus such as liberator, noblest of men, boldness, and mighty power show that the people of Thebes rely on and look to Oedipus for safety and guidance...
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...Christian Lescznske Professor Larkin ELIT2055-B 31 March 2014 The Hero’s Journey: Comparing and Contrasting Heroes Joseph Campbell was an American psychologist and mythological researcher. In his lifelong research, Campbell discovered many common patterns running through hero myths and stories from around the world. Years of research lead Campbell to discover several basic stages that almost every hero-quest goes through (no matter what culture the myth is a part of). He calls this common structure “the monomyth” (Hero’s Journey). The “hero’s journey” appears in drama, storytelling, myth, religious ritual, and psychological development. It describes the typical adventure of The Hero, who goes out and achieves great deeds on behalf of the family, group, tribe, or civilization. There are twelve steps, or stages, of the typical “Hero’s Journey”. The twelve steps are: The ordinary world, the call to adventure, refusal of the call, meeting with the mentor, crossing the threshold, a test, the approach, the ordeal, the reward, the road back, the resurrection, and the return with the elixir, or reward. As I previously stated, Campbell’s monomyth works best with the traditional form of the quest such as in folk and fairy tales, myths, legends, and other fantasies. However, it can be applied to many different genres or types of stories. A quest does not have to include swords and monsters. It can just as easily occur in the real world. The monomyth is ageless and universal...
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...A tragic hero, without an audiences' sympathy, is nothing more than a wasted character. The hero must have nobility, enough to reward him credibility with their audience. From there, he must reach a turning point from his former fortune to utter misery by the hands of his own landmark flaw. With these three combinations, he must, without exception, achieve audience sympathy; without it his lesson becomes useless, just he himself does. Though she may not fit the mold of the tragic Aristotle defined, Nora surpasses the title entirely. While still holding the three key features of nobility, harmartia, and peripetia, Nora claims victory over Oedipus as audiences willing give her their sympathy, making her the more affective tragic hero. Despite...
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...noble hero or heroine, usually through some combination of hubris, fate, and the will of the gods. The tragic hero's powerful wish to achieve some goal inevitably encounters limits, usually those of human frailty (flaws in reason, hubris, society), the gods (through oracles, prophets, fate), or nature” (Reeves 175). Aristotle says that the tragic hero should have a flaw and/or make some mistake (hamartia). The hero does not necessarily have to die at the end, but he/she must undergo a change in fortune. In addition, the tragic hero “may achieve some revelation or recognition (anagnorisis--"knowing again" or "knowing back" or "knowing throughout" ) about human fate, destiny, and the will of the gods” (Reeves 175). Aristotle quite nicely terms this sort of recognition "a change from ignorance to awareness of a bond of love or hate" (Reeves 176). Both Oedipus and Hamlet both have qualities of Aristotle’s tragic hero. Oedipus is the main character in the play Oedipus the King. Oedipus is thought of as a tragic figure because he was doomed from birth. Tiresias, an old blind prophet, told Oedipus' parents about Oedipus' fate. He told them that Oedipus would kill his father and sleep with his mother. So, his parents decided to have him killed; only it did not happen that way. He was passed off by two shepherds and finally to the King and Queen of Corinth, Polybus and Merope to raise him as their own. Oedipus finds his way back to Thebes and on the way kills his father, but Oedipus did...
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...------------------------------------------------- Ishmael Question 1 In the novel, Ishmael, the phrase that the gorilla uses to represent society’s creation of a reality for an individual and a group is Mother Culture Question 2 at the end of the novel, the narrator expresses the idea that what he wants from Ishmael is a program Question 3 Daniel Quinn wrote the novel “Ishmael” in the twentieth century Question 4 According to Ishmael, if the takers accumulate knowledge about what works well for things, the leavers accumulate knowledge about what works well for people Question 5 The premise being acted out by Leaver cultures, according to the novel, Ishmael, is humanity belongs to the world Question 6 In the novel, Ishmael, the gorilla says there are two stories being enacted by humans at the present time: the takers and the leavers Question 7 Based on the text of the novel Ishmael, complete the following analogy. The Takers are to the Leavers as Cain is to Abel Question 9 In the novel, Ishmael, the dialogue eventually deals with a biblical story. Which biblical story is a key part of the novel? Garden of Eden Question 10 There are two trees in the biblical story of the garden of Eden, as recounted by Ishmael. One tree is the tree of the knowledge of good and evil. The other tree is the tree of Life Question 11 According to the novel, Ishmael, if the Takers know the one right way to live, Leavers know the way that they prefer to live Question 12 ...
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...Why do most teams go for the difficult win when they could go for the easy tie? The thinking that goes on after going for the win and losing is similar to what Oedipus from Sophocles’s Oedipus the King and Othello from Shakespeare’s Othello the Moor must think after they have lost everything they once had even though they didn’t have to. Oedipus the King, born royal, runs away from his prophecy to Thebes, his new land, where he completes what the prophecy had in mind. Othello the Moor, a general, questions his wife, Desdemona, after an evil man manipulates his mind. Though both authors use irony and a tragic hero to move their audiences, Sophocles uses those elements to stress the role of fate, while Shakespeare uses them to demonstrate the importance of personal choice. Both Oedipus and Othello are tragic heroes, and the downfall of each moves the audience. Both heroes are blinded by their emotions. Oedipus was blind to his prophecy that he never realized that he actually married his mother and killed his father. He thought that he could run away from it, and got mad at anyone who suggested that he already reached the destination. For example, when Teiresias tells Oedipus that he is the cause of Thebe’s plague, Oedipus says to him, “Your infantile riddles! Your damned abracadabra!” (Sophocles 24). He is basically getting angry because he believes that Teiresias is threatening his power. Similarly, Othello is blinded by his trust in Iago that he falls for all of his tricks....
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...Oedipus the King is a tragic play written by Sophocles. The setting is in Thebes during the mythical past of ancient Greece. Oedipus sent his brother-in-law, Creon, to Apollo’s house to ask the priest how to get rid of the plague. Creon later comes back to Oedipus telling him that once the killer of the previous king, Laius, is found Thebes will be cured from the plague. Oedipus then decides that he shall find Laius, and then proceed to murder him. Oedipus kills Laius not knowing that Laius is his biological father. A tragic hero is described as a literary character that makes a decision making error that leads to his or her own suffering, destruction, or anxiety. The play, Oedipus the King, considers Oedipus as being a tragic hero because...
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