Tragic Flaw: Breaking Down Heroes (Literally)

 WHO?

            Heroes seem to be cast as perfect and impenetrable, but they can be human and even flawed. The plays and writings of Classical Greece hosted faulty and ill-fated tragic heroes.  We recognize these characters for their power, prestige, strength, and heroic charm. They would be perfect if it was not for one majorly flawed characteristic that leads them to a tragic death.

WHAT?

            The stories of these heroes end in tragedy because of a tragic flaw. A tragic flaw is a characteristic that marks a good or moral character for failure (Hyde). A good example is Achilles’ heel; an arrow to a heel ruins a strong, indestructible soldier. To create his strength, Achilles’ mother “dip[ped] him into the River Styx, but she was careless and did not see to it that the water covered the part of the body by which she was holding him” (Hamilton 278). She unknowingly creates a major flaw, making this valiant hero vulnerable. A shot in the heel ends in Achilles’ tragic death. Whereas Achilles’ fatal flaw is physical, these flaws can also be mental such as hubris (pride/arrogance) or obsession (think Gatsby from The Great Gatsby).

            Except, tragic flaws aren’t that simple. There is actually a controversy in defining ‘tragic flaw’. Tragic flaw, fatal flaw, and hamartia are used interchangeably but, as the article “The Tragic Flaw: Is it Tragic Error?” suggests, they should be used separately. “Hamartia means an error which is derived from ignorance of some material fact or circumstance” (Hyde). Let’s clarify Achilles’ flaws. While the actual weakness of his heel physically kills him, it is Achilles’ vengeful nature and temper that put him in the line of fire. His tragic flaw is his heel, his hamartia is his anger.  Both are fatal flaws.

[Vase of Achilles- You can see how respected and adored Achilles is as a hero at his funeral] 

[Picture of Oedipus- The many reactions of the characters show the tragedy of the situation]

            For another focus, let’s look at the story of Oedipus. [Oedipus in Fruit]

Oedipus, after surviving abandonment in the mountains, unknowingly fulfills a prophecy when he kills his dad (King Laius) and marries his mom (Jocasta). Oedipus has four kids (one being Antigone) and has a decent life until a plague hits Thebes. The plague will end when the murder of Laius is punished. A blind prophet plants the seed of doubt in Oedipus. Despite his refusal to accept what he sees, the truth eventually unravels. In shock and anger, Jocasta commits suicide and Oedipus carves his eyes out and deems himself to exile. (Hamilton 376-383)

His hamartia is his “…ignorance of his true parentage [and] his strength and weakness of character, namely his courage and intelligence and his hastiness” (Hyde). His tragic flaw would be the inescapable prophecy.

WHEN, WHERE AND WHY?

            So, why do heroes fated to these outcomes entertain us?  Why are we still enthralled by the fall from greatness, from Romeo’s tragic love to Amanda Bynes’ dissent from career to crazy? Aristotle surmises our devotion to tragic heroes and flaws with

“Tragedy is an imitation of an action that is serious, complete, and of a certain magnitude; …in the form of action, not of narrative; through pity and feat effecting the proper purgation of those passions” (Noyes).

            Essentially, we get a kick out of feeling fear and pity. Aristotle explains that there are four scenarios in theatre, with the most enjoyable being “the fall of a perfectly good man into adversity” (Noyes).  While happy endings make us happy, it is tragic endings that amuse.

This is important because it says a lot about society. Dryden, from the article “The Tragic Flaw: Is it Tragic Error?” states that, “a play is a just and lively image of human nature, representing its passions and humors, and the changes of fortune to which is subject, for the delight and instruction of mankind” (Noyes). Our delight in watching the fall of heroes due to their flaw or hamartia suggests we see these shortcomings as relatable.

Bibliography

"Black-figure Hydria Depicting the Nereids Mourning Achilles, C.560-550 BC." The Bridgeman Art Library Archive. N.p.: Bridgeman, 2008. N. pag. Credo Reference. 3 Nov. 2008. Web. 31 Jan. 2014.

Hamilton, Edith. Mythology: Edith Hamilton. New York: Spark Pub. 2003. Print.

Hyde, Isabel. “The Tragic Flaw: Is It a Tragic Error?” The Modern Language Review, Vol. 58, No. 3 (Jul. 1963), 321-325. Web. 31 Jan. 2014.

"Jocasta, Queen of Thebes, from 'Des Hommes Illustres'" The Bridgeman Art Library Archive. N.p.: Bridgeman, 2008. N. pag. Credo Reference. 3 Nov. 2008. Web. 31 Jan. 2014.

Noyes, George. “Aristotle and Modern Tragedy.” Modern Language Notes, Vol. 13, No. 1 (Jan, 1898), 6-13. Web.