...Who is the tragic hero of Antigone? Aristotle defines a tragic hero as one with a fatal flaw that leads to a reversal of fortune, or peripeteia. This fatal flaw is often Hubris, which is excessive pride. Creon fits all these roles, therefore he should be labelled as the tragic hero of Antigone. Creon also faces anagnorisis, in which the tragic hero realizes the situation they're in and is often followed by regret. Not only that, but Creon's fatal flaw, excessive pride, impacts the story more than Antigone did. As previously stated, Creon's flaw is his excessive pride and arrogance. In the story of Antigone, Creon gives Antigone's brother, Eteocles, a proper burial, but refuses to bury Polynices for betraying their city and leaves him out to rot. Antigone was appalled by this and for the sake of family and love went against Creon's wishes and buried Polynices. Antigone is eventually caught doing so and is sent to Creon. Creon, being arrogant as always, insists on Antigone being killed for her actions....
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...stimulating effect on English education around the globe. This has created a lasting effect on people and it’s uncommon to not have a familiarity with Greek tragedies. Most people do not take the time to think about 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...
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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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...An Introduction to Oedipus Rex by Sophocles. Greek and Roman plays, and even Indeed ancient Indian plays (a common Indo-European Tradition), usually had a pivotal character that “held the play together”. Also there would be a Chorus that would come into play when the tragedy would begin unfolding. The Greco-Roman variants were almost always tragedies. Be it Homer’s Iliad or Odessey. The hero after long travails always seemed to return to nothing and would come to grief. Achilles, Priam, Agamemnon, Oedipus, all came to grief. In the Greco-Roman tradition, it seems to be a common practice by the Bards and playwrights, to depict their heroes as strong and upright men who fell prey to either their fates or to the whims and fancies of jealous gods (the plight Medusa & Cassandra). It appears the Greeks and the Romans looked to tragic plays as a sort of vent for their pent up emotions. Not surprisingly, the Indian answers to Homer’s works are also tragedies in keeping with the ancient Indo-European custom. Both the Ramayana and the Mahabharata are tragedies on an epic scale, where great wars are fought over matters of honor and virtue, and great armies decimated and cities sacked, and where great heroes come to naught. Sophocles takes us back to the times when Kings made their decisions based on oracles, and made propitiatory sacrifices. Sometimes even of their near and dear ones, as the sacrifice of a child, made by the Greeks at the outset of the Trojan war, for favorable winds...
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...Specimen Papers and Mark Schemes for English Literature For first AS Examination in 2009 For first A2 Examination in 2010 Subject Code: 5110 Contents Specimen Papers Assessment Unit AS 2 Assessment Unit A2 1 Resource Booklet Assessment Unit A2 2 1 3 9 15 25 Mark Schemes Assessment Unit AS 2 Assessment Unit A2 1 Assessment Unit A2 2 29 31 61 95 Subject Code QAN QAN 5110 500/2493/0 500/2421/8 A CCEA Publication © 2007 Further copies of this publication may be downloaded from www.ccea.org.uk Specimen Papers 1 2 ADVANCED SUBSIDIARY (AS) General Certificate of Education 2009 English Literature Assessment Unit AS 2 assessing The Study of Poetry Written after 1800 and the Study of Prose 1800-1945 SPECIMEN PAPER TIME 2 hours INSTRUCTIONS TO CANDIDATES Write your Centre number and Candidate Number on the Answer Booklet provided. Answer two questions. Answer one question from Section A and one question from Section B. Section A is open book. INFORMATION FOR CANDIDATES The total mark for this paper is 120. All questions carry equal marks, ie 60 marks for each question. Quality of written communication will be assessed in all questions. 3 Section A: The Study of Poetry Written after 1800 Answer one question on your chosen pairing of poets. Heaney: Opened Ground Montague: New Selected Poems 1 John Montague and Seamus Heaney both write about the Irish past. Compare and contrast the two poets’...
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...Electronic Classics Series, Jim Manis, Faculty Editor, Hazleton, PA 18201-1291 is a Portable Document File produced as part of an ongoing student publication project to bring classical works of literature, in English, to free and easy access of those wishing to make use of them. Cover Design: Jim Manis Copyright © 2000 The Pennsylvania State University The Pennsylvania State University is an equal opportunity university. THE POETICS OF ARISTOTLE THE POETICS OF ARISTOTLE Analysis of Contents A TRANSLATION BY S. H. BUTCHER I ‘Imitation’ the common principle of the Arts of Poetry. II The Objects of Imitation. III The Manner of Imitation. IV The Origin and Development of Poetry. V Definition of the Ludicrous, and a brief sketch of the rise of Comedy. VI Definition of Tragedy. VII The Plot must be a Whole. VIII The Plot must be a Unity. IX (Plot continued.) Dramatic Unity. X (Plot continued.) Definitions of Simple and Complex Plots. XI (Plot continued.) Reversal of the Situation, Recognition, and Tragic or disastrous Incident defined and explained. XII The ‘quantitative parts’ of Tragedy defined. XIII (Plot continued.) What...
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...Introduction Business ethics are not as complicated or abstract as one might think. A simple way to evaluate whether or not a practice is ethical is to determine the ultimate effect of that practice. For example, if the manager of a store paid his cleaning employee less than the going rate to clean his store, knowing exactly what the going rate is, several things could happen to damage the business. The employee could suffer serious financial implications or the employee could leave and find another position where she does not feel exploited. The subject of ethics is often considered abstract or relative by those who believe that rules do not always apply to them. Rules and laws apply to everyone. It is unfortunate that some employees in the upper echelons of the corporate ladder decide to act unethically, but it is a fact of business and of life. For this reason, it is best for a business to be careful of who they promote within their company. Corporate responsibility is a phrase heavily used in the business world. Often mentioned to enhance the image of an organization, corporate responsibility does have a true meaning. Businesses that use energy efficient lighting and offer their employees a fair pay rate are practicing corporate responsibility. Corporate responsibility is an integral part of business ethics and should be practiced by all entities, whether large or small. Corporate responsibility simply means that each individual within a company is practicing personal...
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...ARTS TEACHERS’ GUIDE Grade 9 ARTS Teacher’s Guide Unit I WESTERN CLASSICAL ART TRADITIONS GRADE 9 Unit 1 ARTS TEACHERS’ GUIDE GRADE 9 Unit 1 WESTERN CLASSICAL ART TRADITIONS LEARNING AREA STANDARD The learner demonstrates an understanding of basic concepts and processes in music and art through appreciation, analysis and performance for his/her self-development, celebration of his/her Filipino cultural identity and diversity, and expansion of his/her world vision. key - stage STANDARD The learner demonstrates understanding of salient features of music and arts of the Philippines and the world, through appreciation, analysis, and performance, for self-development, the celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision. grade level STANDARD The learner demonstrates understanding of salient features of Western music and the arts from different historical periods, through appreciation, analysis, and performance for self-development, the celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision. CONTENT STANDARDs The Learner: demonstrates understanding of art elements and processes by synthesizing and applying prior knowledge and skills demonstrates understanding that the arts are integral to the development of organizations, spiritual belief, historical events, scientific discoveries, natural disasters/ occurrences and other external phenomenon ...
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...FULL TITLE · The Canterbury Tales AUTHOR · Geoffrey Chaucer TYPE OF WORK · Poetry (two tales are in prose: the Tale of Melibee and the Parson’s Tale) GENRES · Narrative collection of poems; character portraits; parody; estates satire; romance; fabliau LANGUAGE · Middle English TIME AND PLACE WRITTEN · Around 1386–1395, England DATE OF FIRST PUBLICATION · Sometime in the early fifteenth century PUBLISHER · Originally circulated in hand-copied manuscripts NARRATOR · The primary narrator is an anonymous, naïve member of the pilgrimage, who is not described. The other pilgrims narrate most of the tales. POINT OF VIEW · In the General Prologue, the narrator speaks in the first person, describing each of the pilgrims as they appeared to him. Though narrated by different pilgrims, each of the tales is told from an omniscient third-person point of view, providing the reader with the thoughts as well as actions of the characters. TONE · The Canterbury Tales incorporates an impressive range of attitudes toward life and literature. The tales are by turns satirical, elevated, pious, earthy, bawdy, and comical. The reader should not accept the naïve narrator’s point of view as Chaucer’s. TENSE · Past SETTING (TIME) · The late fourteenth century, after 1381 SETTING (PLACE) · The Tabard Inn; the road to Canterbury PROTAGONISTS · Each individual tale has protagonists, but Chaucer’s plan is to make none of his storytellers superior to others; it is an equal company. In the Knight’s...
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...62118 0/nm 1/n1 2/nm 3/nm 4/nm 5/nm 6/nm 7/nm 8/nm 9/nm 1990s 0th/pt 1st/p 1th/tc 2nd/p 2th/tc 3rd/p 3th/tc 4th/pt 5th/pt 6th/pt 7th/pt 8th/pt 9th/pt 0s/pt a A AA AAA Aachen/M aardvark/SM Aaren/M Aarhus/M Aarika/M Aaron/M AB aback abacus/SM abaft Abagael/M Abagail/M abalone/SM abandoner/M abandon/LGDRS abandonment/SM abase/LGDSR abasement/S abaser/M abashed/UY abashment/MS abash/SDLG abate/DSRLG abated/U abatement/MS abater/M abattoir/SM Abba/M Abbe/M abbé/S abbess/SM Abbey/M abbey/MS Abbie/M Abbi/M Abbot/M abbot/MS Abbott/M abbr abbrev abbreviated/UA abbreviates/A abbreviate/XDSNG abbreviating/A abbreviation/M Abbye/M Abby/M ABC/M Abdel/M abdicate/NGDSX abdication/M abdomen/SM abdominal/YS abduct/DGS abduction/SM abductor/SM Abdul/M ab/DY abeam Abelard/M Abel/M Abelson/M Abe/M Aberdeen/M Abernathy/M aberrant/YS aberrational aberration/SM abet/S abetted abetting abettor/SM Abeu/M abeyance/MS abeyant Abey/M abhorred abhorrence/MS abhorrent/Y abhorrer/M abhorring abhor/S abidance/MS abide/JGSR abider/M abiding/Y Abidjan/M Abie/M Abigael/M Abigail/M Abigale/M Abilene/M ability/IMES abjection/MS abjectness/SM abject/SGPDY abjuration/SM abjuratory abjurer/M abjure/ZGSRD ablate/VGNSDX ablation/M ablative/SY ablaze abler/E ables/E ablest able/U abloom ablution/MS Ab/M ABM/S abnegate/NGSDX abnegation/M Abner/M abnormality/SM abnormal/SY aboard ...
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