The Tragic Hero
Aristotle distinguishes between tragedy which depicts people
of high or noble character, and comedy which imitates those of low or base
character. However noble does not necessarily imply rank or wealth but instead
moral rectitude: a noble person is one who chooses to act nobly. Tragic
characters are those who take life seriously and seek worthwhile goals, while
comic characters are "good-for-nothings" who waste their lives in
trivial pursuits.
The hero of tragedy is not perfect, however. To witness a
completely virtuous person fall from fortune to disaster would provoke moral
outrage at such an injustice. Likewise, the downfall of a villainous person is
seen as appropriate punishment and does not arouse pity or fear. The best type
of tragic hero, according to Aristotle, exists "between these extremes . .
. a person who is neither perfect in virtue and justice, nor one who falls into
misfortune through vice and depravity, but rather, one who succumbs through
some miscalculation". The term hamartia, which
Golden translates as "miscalculation," literally means "missing
the mark," taken from the practice of archery.
Much confusion exists over this crucial term. Critics of
previous centuries once understood hamartia to mean
that the hero must have a "tragic flaw," a moral weakness in
character which inevitably leads to disaster. This interpretation comes from a
long tradition of dramatic criticism which seeks to place blame for disaster on
someone or something: "Bad things don't just happen to good people, so it
must be someone's fault." This was the "comforting" response
Job's friends in the Old Testament story gave him to explain his suffering:
"God is punishing you for your wrongdoing." For centuries tragedies
were held up as moral illustrations of the consequences of sin.
Given the nature of most tragedies, however, we should not
define hamartia as tragic flaw. While the concept of
a moral character flaw may apply to certain tragic figures, it seems
inappropriate for many others and searching for the tragic flaw in a character
often oversimplifies the complex issues of tragedy. For example, the critic
predisposed to looking for the flaw in Oedipus' character usually points to his
stubborn pride, and concludes that this trait leads directly to his downfall.
However, several crucial events in the plot are not motivated by pride at all:
(1)
Oedipus
leaves
(2)
his
choice of
(3)
his defeat of the Sphinx demonstrates wisdom rather than blind
stubbornness.
True, he kills Laius on the road,
refusing to give way on a narrow pass, but the fact that this happens to be his
father cannot be attributed to a flaw in his character. (A modern reader might
criticize him for killing anyone, but the play never indicts Oedipus simply for
murder.) Furthermore, these actions occur prior to the action of the play
itself. The central plot concerns Oedipus' desire as a responsible ruler to rid
his city of the gods' curse and his unyielding search for the truth, actions
which deserve our admiration rather than contempt as a moral flaw. Oedipus
falls because of a complex set of factors, not from any single character trait.
This misunderstanding can be corrected if we realize that
Aristotle uses hamartia not as character trait but
rather as an incident in the plot: caught in a crisis situation, the
protagonist makes an error in judgment or action, "missing the mark,"
and disaster results.
Most of Aristotle's examples show that he thought of hamartia primarily as a failure to recognize someone, often
a blood relative. For Aristotle the most tragic situation possible was the
unwitting murder of one family member by another. Mistaken identity allows
Oedipus to kill his father Laius on the road to
While Aristotle's concept of tragic error fits the model
example of Oedipus quite well, there are several tragedies in which the
protagonists suffer due to circumstances totally beyond their control. In the Oresteia trilogy, Orestes must avenge his father's death by
killing his mother. Aeschylus does not present Orestes as a man whose nature
destines him to commit matricide, but as an unfortunate, innocent son thrown
into a terrible dilemma not of his making. In The Trojan Women by Euripides,
the title characters are helpless victims of the conquering Greeks; ironically,
Helen, the only one who deserves blame for the war, escapes punishment by
seducing her former husband Menelaus. Heracles, in Euripides' version of the
story, goes insane and slaughters his wife and children, not for anything he
has done but because Hera, queen of the gods, wishes to punish him for being
the illegitimate son of Zeus and a mortal woman. Hamartia
plays no part in these tragedies.
It is true that the hero frequently takes a step which
initiates the events of the tragedy and, owing to his own ignorance or poor
judgment, acts in such a way as to bring about his own downfall but this cannot
make him guilty in the same way that we all believe we cannot really be guilty
for the accidental wrongs we do. Thus, the hero’s fate, despite its immediate
cause in his actions, comes about because of wider, more universal issues: the limited
nature of mankind, our inevitable ignorance in an unfathomably complex world, and
the role played by chance, destiny or the gods in human affairs.
Given these examples, we should remember that Aristotle's
theory of tragedy, while an important place to begin, should not be used to
prescribe one definitive form which applies to all tragedies past and present.