The synopsis below may give away important plot points.
Here it is in its entirety: The most widely regarded view is that Shakespeare used the model of tragedy set up by Aristotle. There are some problems with this, however. Aristolean Tragedy The model of an Aristotelian tragedy begins with the protagonist tragic hero.
The protagonist must begin as someone of importance or fortune. The usual example is someone of royalty. He cannot be perfect, though. The audience must be able to relate to the hero, so Aristotle said the hero must have tragic flaws that balance his otherwise good character.
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Aristotle usually made this flaw hubris an all-consuming pride that causes the individual to ignore a moral tenant or a divine warning. These flaws culminate in the humiliation, defeat, and death of the protagonist. This should invite the audience to feel a great pity for the character because he can be related to, and the audience can put themselves in his position.
The play must end in a catharsis.
The catharsis is the event of the audience losing their feelings of anxiety and feer and finally reaching a sense of completion. The Aristotelian model also follows the classical unities of time and place. The five plays I talk about on this site need to be divided into two groups.
These are the four great tragedies and best follow the Aristotelian model. They all have a protagonist that has a tragic flaw that eventually leads to his downfall.
Aristotle had a tendency to exaggerate the flaw, while Shakespeare makes it more real. This is just about the only thing it has in common with the Aristotelian tragedy though.
Shakespeare loved to make a complicated plot with many sub-plots in order to make the play that much more real and meaningful to the audience. Therefore, he did not limit his tragedies to the classical unities.
The catharsis is another difference. Instead, the plays end with the audience remaining in awe at the absolute destruction of the protagonist.
There is just the feeling of amazement at the utter despair of the play. It does not even attempt to follow the Aristotelain tragedy. Their love could be interpreted as tragic flaws, but such a thought is a long stretch.
Their love is attacked by external forces, however.Refreshingly different: man is not circumcised, and resisting it is a token for thinking for oneself.
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