Aristotle, in his book titled Poetics argues that there are certain attributes that enhance the classification of drama as tragedy. He insisted that there must be a tragic plot and the protagonist must meet the specific requirements of a tragic hero. Oedipus the King is a Greek tragedy that effectively exemplifies the Aristotelian definition of tragedy. A critical analysis of the play reveals that Oedipus is born a nobleman and his fate has been decided by the gods. However, there are tragic flaws in his character which compel him to subconsciously fall evoking pity from the audience who believe that the hero’s punishment is greater than his sin.
Aristotle argued that tragedies were a reserve for the nobility and thus the tragic hero cannot come from the low class citizens. This confirms that the play in question perfectly fits in the definition of tragedy because Oedipus is born and brought up as a prince and later becomes a king. More so, he has achieved great feats that not every man could manage. He is therefore the center of attraction to the society that he lives in and is the perfect role model.
Delegate your assignment to our experts and they will do the rest.
Hamartia is another feature that must be present in the Aristotelian tragic hero to serve as a pivot for his tragic fall (Aristotle, 335 BC). Hamartia refers to the fatal flaw and is characterized by a general weakness that the tragic hero possesses. Pride is one of the major weaknesses that steer Oedipus through his tragic path. He does not know that he is adopted in Polybus’ palace and escapes believing that he is his real father. It is during his escape that he meets Laius and kills him for denying him the right of way as is supposed when a member of the royalty is on the road. Perhaps the hero could have avoided the tragic path by desisting form engaging in physical conflict with a man old enough to be his father. His pride only allows him to view himself as a prince momentarily forgetting that fate is certain about what it has in store for him. Anger is another feature that highlights Oedipus’ tragic flaw. After becoming the king, he vows to punish whoever killed the former king (Sophocles, 429 BC). As he gathers leads he encounters a reluctant seer who takes the round-a-bout way to explain to him that he is his own enemy. But the king angrily forces the seer to reveal that the man he killed was his father and has been married to his mother. It is apparent that a wiser king would have dropped the pursuit of the enemy if he were aware that the hunt would backfire on him.
Aristotle was specific on the plot layout in a tragedy and insisted that anagnorisis was a major milestone in the development. This comes at the moment where the tragic hero is furnished with the knowledge of his true characteristics (Myers, 1949). The self realization is meant to outline the course of life that the tragic hero may follow for the play to achieve a tragic ending. Oedipus learns from the oracle that he would kill his father and marry his mother prompting him to run away from his adopted home in order to escape his fate. Unfortunately, he is not aware that the revelation drives him to the course of actions that will ensure that the tragedy comes to pass. Oracles were important in the solution of intriguing problems and reappear when a plague hits the kingdom when Oedipus has become king. Through Creon, Oedipus learns from the oracle that the murder of the former king is the root of all the suffering that the people undergo. It is during the search for the culprit that he ends up realizing that the prophecy has come to pass and that he must act in accordance with his promise to the people by punishing himself.
Catastrophe is another feature of a perfect tragedy which shapes the denouement as the play nears the end (Myers, 1949). It is at this point in the play that a resolution is achieved or matters are deeply explained. The play ends in a catastrophe after the revelation that Oedipus killed his father and married his mother. After the truth sinks in, the king retreats to confer with his mother/wife only to realize that she has committed suicide. The suicide is the first phase of the catastrophe since it directly affects the tragic hero. Other phases follow when he gouges his eyes and leaves the kingdom in the same way he had vowed to punish the king’s murderer.
The cathartic effect, characterized by a purging of emotions, is another feature that every well rounded tragedy must possess (Myers, 1949). A critical audience follows the story in full knowledge that the hero is still human. Although he has had extraordinary achievements, he is prone to making mistakes that may determine his fatal fall. However, it is been noted that the tragic hero undergoes great suffering that is greater that the indulgences that triggered his downfall. In the case of Oedipus, for example, the audience is moved to identify with his anger and pride such that he is forgiven for the wrongs that he did. On the other hand, he has had great achievements that have touched many lives in his kingdom. For him to lose a mother, sight and homeland, therefore, the play stirs up pity and fear in the audience who believe that he deserved better than that.
References
Aristotle (335 BC). Poetics.
Myers, H. (1949). Aristotle's Study of Tragedy. Educational Theatre Journal, 1 (2), 115-127. doi:10.2307/3203554
Sophocles (429 BC). Oedipus the King.
