Classic to Modern English Literature

Else's 1986 (p. 159) claims that most interpretations of Aristotle assert he requires some form of pity, fear, and catharsis to be produced in audiences. Because most of these interpretations do not explicitly address the question we aim to answer in this paper, there is some risk of misinterpreting most Aristotle commentators as supporting the position we oppose. However, the overall impression is so strong that we confidently refer to this view as the "common" interpretation. As an analysis of tragedy, the common interpretation is unsatisfactory. It is well-known that people's emotional reactions to the events they witness or hear about depend on their emotional states at the time. If Aristotle truly believed certain emotional responses in audiences were necessary for tragedy, or good tragedy, he would have dedicated at least some pages to preparing people so that exposure to dramatic tragedy would effectively arouse the correct emotions. This Aristotle does not do.

In defining dramatic tragedy, Aristotle appeals in part to the psychological notions of pity, fear, and catharsis. The question to be addressed in this paper is whether, in Aristotle's analysis, the production of pity, fear, and a catharsis of these emotions in audiences—readers, auditors, or viewers—is essential to works of dramatic tragedy, or at least good works of dramatic tragedy. We follow Else (1956, 1986) in holding that it is not. Topics concerning pity, fear, and especially catharsis are some of the most frequently discussed in the literature on Aristotle's analysis of tragedy. However, very rarely in this literature is it explicitly stated that the above question is the one under discussion. Fortenbaugh (1975) and Randall (1960) definitely come down on the opposite side, interpreting Aristotle as holding that the production of these psychological effects by a dramatic work is essential to its being at least a good tragedy. Many commentators, among them Brunius (1966)

* Tragic Hero:  tragic hero heroes are the protagonists of tragedies, an old drama genre that originated in Ancient Greece. Tragedies contemplate the deeds and inevitable downfall of great individuals, typically caused by a significant flaw in that great individual. As a result, the tragic hero is the essential element of any classic tragedy. *A tragic hero is a type of character in a tragedy , and is usually the protagonist . Tragic heroes typically have heroic traits that earn them the sympathy of the audience, but also have flaws or make mistakes that ultimately lead to their own downfall. *The ancient Greek philosopher Aristotle was the first to define a “tragic hero .” *The idea of the tragic hero was first defined by the ancient Greek philosopher Aristotle based on his study of Greek drama. *Despite the term “ tragic hero ,” it’s sometimes the case that tragic heroes are not really heroes at all in the typical sense—and in a few cases, antagonists may even be des