Fundamental Insights of The Tragic Hero (Hamartia, Hubris) from Aristotle’s Concept in "Poetics"

Importance of Hero in Tragedy

The hero is of overwhelming importance in most literary works, but in no other form of literature is he as important as in tragedy. This is because while most literary forms such as the novel, the short story and comedy are concerned with a host of characters, in a tragedy the entire attention of the audience is focused upon a single character, the protagonist. This is also the reason why most tragedies are known by names of their protagonists Examples are Sophocles’ Oedipus Rex, Euripides’ Hippolytus, Shakespeare’s Macbeth and Marlowe’s Doctor Faustus. Consequently, a discussion of the tragedy is tantamount to a discussion of the hero.  Aristotle, the ancient Greek philosopher, offered profound insights into the nature of tragic heroes in his seminal work "Poetics." Within this treatise, Aristotle identified two critical elements that contribute to the downfall of a tragic hero: hamartia and hubris. His concept as laid down in the Poetics is of such fundamental insights, that it is of abiding importance ever in the 21st century.

Journey from Happiness to Misery

Searching for a viable tragic hero, Aristotle begins with a series of negatives. According to him a good man must not be seen passing from happiness to misery. The Faultless hero reeling under the blows of fate arouses our indignation rather than the tragic emotions of pity and fear. The second case of the bad man falling from happiness into misery would, again, call for celebration rather than the tragic emotions because we rejoice at the sight of the criminal suffering his due punishment. Read More Literary Terms The only other option the third possibility is that the bad man might be seen to become prosperous. But this is certainly the most untragic that a play can possible be. Therefore, Aristotle finds the ideal tragic hero to be an ‘intermediate kind of personage, a man not pre – eminently virtuous and just, whose misfortune however is brought upon him not by vice and depravity, but by some error of judgment’.

Hamartia: The Tragic Flaw 

Hamartia, often translated as "tragic flaw," lies at the core of Aristotle's concept of the tragic hero. It refers to a character trait or an error in judgment that leads to the hero's downfall. Hamartia is not a result of villainy or malicious intent but rather a fatal flaw inherent in the hero's personality or actions.

 Identification of Hamartia

Aristotle emphasizes the importance of identifying the tragic flaw in order to fully comprehend the hero's tragic journey. This flaw can manifest in various forms, such as excessive pride, unyielding ambition, or uncontrollable rage. It is a fundamental aspect of the hero's character that sets in motion the events that lead to their ultimate downfall.

Hamartia: Error of Judgement

The phrase ‘error of judgment’ has been a source of great confusion because the original Greek word, hamartia may also mean a ‘moral flew’. Hamartia is actually a term taken from Archery, which means the missing of the mark by the archer. Since the missing of the mark is not itself a culpable act, and often proceeds from chance, many would argue that the hero is not himself guilty. But other would argue that it may also result from in aptitude and that this would amount to a ‘flaw’ on the part of the protagonist, even if not a ‘moral flow’.

Tragedy may proceed from an accidental error, an error that may proceed from a chance event for which the protagonist is in no way responsible. One example is that of the hero in Sophocles’ Oedipus. He have been banished from home in his infancy and brought up by foster parents in a distant land. He accidentally meets his actual father, whom he does not know, in a distant land, enters into a fight with him and kills him for his arrogance. Later, he rides a country of its plague and is rewarded with marriage to its queen whom he does not know to be his own mother. Latter, he comes to know of this and blinds himself. In his case, the accidental killing of his father and marriage with his mother therefore is not due to any moral fault on his poet. 

Hubris

But there are other tragedies in which the responsibility or the fault of the protagonist is incontrovertible. The most obvious example of such responsibility is King Lear in which the fault of the king lies in his craving for flattery. Hubris or excessive pride is another quality of many tragic heroes.  It is closely linked to hamartia and acts as a catalyst for the hero's downfall. Hubris blinds the hero to their limitations, leading them to challenge or defy divine or societal order. In Julius Caesar it is the unwonted pride of Caesar which leads him to call himself indestructible.

Hubris as a Catalyst

The hero's hubris often arises from their elevated position, exceptional talents, or past successes. This arrogance compels them to overreach, challenge fate, or dismiss warnings from others. Hubris is the fuel that drives the hero's actions, heightening their hubristic character and exacerbating their tragic flaw.

Tragic Irony and Catharsis

Hamartia often leads to tragic irony, wherein the audience possesses knowledge of the hero's flaw while the hero remains oblivious. This dramatic irony intensifies the emotional connection between the audience and the hero, heightening their cathartic experience. Through this emotional purging, the audience gains insight into the consequences of human fallibility and the fragility of human existence.

Punishment and Catharsis

Aristotle suggests that hubris must be met with retribution to maintain moral balance within the tragedy. The hero's punishment serves as a cathartic experience for the audience, evoking feelings of fear and pity. Witnessing the downfall of a once-great hero humbles the audience and reminds them of the consequences of unchecked pride and arrogance.

The Tragic Hero's Cathartic Journey

Aristotle argues that the purpose of tragedy is to evoke catharsis, a purging of emotions, through the tragic hero's journey. The hero's hamartia and hubris set the stage for their eventual fall, providing a compelling narrative that resonates with the audience.

Protagonist and Antagonist Dichotomy

The tragic hero's journey often involves a clash between their inherent flaws and external forces, represented by the antagonist. The antagonist may exploit the hero's hamartia or challenge their hubris, leading to a gradual deterioration of the hero's fortunes.

Recognition and Reversal of Fortune

Through the hero's journey, they experience a moment of recognition, or anagnorisis, where they become aware of their hamartia and its consequences. This realization sparks a reversal of fortune, or peripeteia, marking the turning point in the hero's fate. The hero's downfall becomes a certainty as their flaws and hubris culminate in their tragic end.

Tragic Catharsis

The culmination of the tragic hero's journey results in a cathartic release for the audience. Witnessing the hero's downfall elicits a profound emotional response, evoking feelings of fear, pity, and empathy. The audience is confronted with the fragility of human existence and the tragic consequences of human actions, allowing them to reflect on their own lives and choices.

Conclusion

Aristotle's insights into the tragic hero, particularly the concepts of hamartia and hubris, continue to resonate in literature and drama. Understanding these elements allows audiences to engage deeply with the tragic journey of flawed heroes, experiencing a cathartic release of emotions and gaining insight into the human condition. By exploring the fatal flaws and excessive pride of tragic heroes, Aristotle's concepts provide a timeless framework for understanding and appreciating the enduring power of tragedy in storytelling. It is noteworthy that Aristotle emphasizes the necessity of the tragic hero being in the enjoyment of prosperity and regard. It is only on rare occasions that the 20th century writers of tragedies such as Galsworthy with his Strife   or Synge with his Riders to the Sea, has been able to make the ordinary character tragic. But this exception only reinforces the general validity of the Aristotle principle of sublimity.

Ardhendu De

Reference

1. Shakespearean tragedy : lectures on Hamlet, Othello, King Lear, Macbeth : Bradley, A. C. (Andrew Cecil), 1851-1935 : Free Download, Borrow, and Streaming : Internet Archive. (n.d.). Internet Archive. https://archive.org/details/shakespeareantra1905brad

2. Aristotles Poetics : House, Humphry : Free Download, Borrow, and Streaming : Internet Archive. (n.d.). Internet Archive. https://archive.org/details/aristotlespoetic032945mbp

3. The complete works of William Shakespeare, with a full and comprehensive life; a history of the early drama; an introduction to each play; the readings of former editions; glossarial and other notes, etc., etc., from the work of Collier, Knight, Dyce, Douce, Halliwell, Hunter, Richardson, Verplanck, and Hudson. Edited by George Long Duyckinck : Shakespeare, William, 1564-1616 : Free Download, Borrow, and Streaming : Internet Archive. (n.d.). Internet Archive. https://archive.org/details/completeworksofw00shakuoft