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Submitted By : Maryam
1.Goodness
It is essential to Aristotle’s theory because it is the very foundation for the basic sympathy in
the reader or audience , without which tragic emtions cannot be evoked, or the tragic pleasure
conveyed. A character is assumed ‘good’ if his words and actions reveal a good purpose behind
them. This is irrespective of the class to which he belongs. Aristotle held woman to be inferior
(and classified them with slaves), but even women, if introduced in tragedy, should be shown to
have some good in them. Sympathy is necessary as it is the very basis of the whole tragic
pleasure. He says that he would not allow for “depravity of character” when it is not necessary
and no use is made of it.
2.Appropriateness
Critics take it to mean true to type. Aristotle meant is that the characters should be true to their
particular age, profession, class, sex, or status.’ But they are individuals at the same time, for
they are ‘men in action’ as represented in tragedy. Each character should be given a character
appropriate to his ‘status’ or situation.
3.Likeness
The character must be true to life. We can identify ourselves with the characters. If we don’t
see the characters as we see ourselves, the tragic emotions of pity and fear become irrelevant.
Thus the tragic character has to be a normal person or of an intermediate sort. Only then he
will be convincing.
4.Consistency
The character must be seen as a whole, and consistent to what he is presented as from
beginning to end. There is to be uniformity in behaviour unless there ia a proper motivation
for any deviation. Any development in character has to take place according to intelligible
principles, i.e., logically.
A perfect person would be one who had his desires under control, and whose intellect is able to
from the right calculations and the right practical inferences, so that he would formulate to
himself ends more immediately within his power. A blameless, virtuous character cannot be
dramatically effective.
Nor can we tolerate the idea of bad man rising from adversity to prosperity. This would be
entirely alien to tragedy, says Aristotle. This is quite acceptable. It would indeed offend our
sense of justice. Even the aesthetic effect would be on one tinged with disquiet.
2. Secondly, the error of judgement may arise from a hasty or careless view of a given situation.
The case is illustrated by Othello.
3. Thirdly, the error may be voluntary , though not deliberate. This happens in an act of anger
or passion. Lear commits such an error when he banishes Cordelia.
6.The Eminence of the Tragic Hero : Not Relevant in the Modern Context
Greek drama had for its heroes men of eminence and nobility. They had a position on
exaltation in society. Modern tragedy has shown that tragedy is possible all its effectiveness
even when the hero is ordinary and commonplace.
Conclusion
Aristotle’s concept of tragic hero is not unacceptable though in some ways he had a limited
vision.