What did Aristotle refer to as the flaw or error that brings about suffering for the protagonist of a Greek tragedy?
He depicts the downfall of a basically good person through some fatal error or misjudgment, producing suffering and insight on the part of the protagonist and arousing pity and fear on the part of the audience
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Horse Isle Answer: Hubris Real Horseisle Answer: pride -Iceleaf of grey server ;) NOTE- I put pride and got it right soo... They are both correct =] - Cwtsh, pinto server
The tragic flaw is the human frailty or weakness in the hero.
Aristotle referred to the flaw or error that brings about suffering for the protagonist of a Greek tragedy as what?
He referred to is as Hamartia.
If Aristotle claims that part of the plot of a tragedy is suffering why do you think that people would want to view a tragedy?
Humans are thrilled and enthralled by the suffering of others. German even has a word for it: schadenfreude. On some primitive level our reactions to the pain of others is pro…bably a defense against our own vulnerabilities and fear of calamity. Our reactions to tragedy are manifestations of our desired indesctructability. Interesting too is the fact that an important element of a lot of comedy is pain.
the protagonist in a greek tragedy must be
Hamartia is a flaw or error in the main character that plays a partin bringing about suffering.
Aristotle identified as the moment in a Greek tragedy when the protagonist recognizes his or her role in bringing about suffering?
Aristotle identified _____ as the moment in a Greek tragedy when the protagonist recognizes his or her role in bringing about suffering. . A: anagnorisis
Aristotle identified what as the moment in a Greek tragedy when the protagonist recognizes his or her role in bringing about suffering?
In Greek tragedy, hamartia refers to the protagonist's biggestflaw. It is the one sin or error that is in the main character orhero's personality that leads to their own downf…all.
He identified the characteristics of Greek tragedies.
the protangonists in ancient greek tragedies were sometimes:
capable of making mistakes.
happiness into suffering good luck with
Strong heros from myths
Do you agree or disagree that Hamlet suffers because he is ill-suited to be the protagonist for a revenge tragedy?
It's an old theory about Hamlet that he is "a man who couldn't make up his mind", (this simpleminded statement is made at the beginning of Laurence Olivier's 1948 Hamlet movie…), and that his indecisiveness is what keeps him from revenging himself on Claudius at the beginning of Act II. Hamlet himself supports this in his soliloquy "How all occasions do inform against me." It is an even older idea that Hamlet is a dilletante, for whom taking action is all too sordid. This is the Hamlet painted by Delacroix and loved by the Victorian romantics. A newer idea is that Hamlet has developed a modern ethic in which revenge is wrong, and that he suffers conflict between his duty to his father and his belief that what he has been commanded to do is wrong. In all of these cases there is a notion that Hamlet has some kind of genetic flaw which prevents him from executing the revenge with alacrity. But an example of any other revenge tragedy reveals that the revenger does not rush in in act two and consummate his revenge--he lays some devious and complicated plot which takes most of the play to work out. Middleton's Revenger's Tragedy or Kyd's Spanish Tragedy are good examples. So in this sense, Hamlet's cautiousness about completing the revenge is typical of all revenge tragedy heroes and makes him most suitable for the role. (They all suffer as well). A further approach would jettison the notion that characters in plays never develop and have some permanent and incurable flaw which does them in. Basically, this means chucking Aristotle in the bin (where, in the opinion of Fintan O'Toole and your answerer, he belongs) and recognising that people change and that plays about people who change are more interesting than those about unchanging caricatures. In this view, Hamlet starts out as a self-absorbed and somewhat ineffectual man who, as the play goes on, goes through periods of self-doubt and control freakiness to become the kind of man who can turn the tables on Rosencrantz and Guildenstern, leap aboard a pirate ship, confront Laertes at Ophelia's funeral and ultimately to "defy augury" and to accept his fate. And through this process he becomes the kind of man who can indeed be the protagonist in a revenge tragedy, which he of course is--the protagonist in the greatest revenge tragedy ever.
Greek philosophy describes tragedy as an "imitation of an action"