The overzealous punishments that Oedipus uses to threaten those that jeopardize or taint his image and reputation in the society over which he reins reveals the great extent to which he feels he must sustain his status and standing within the community. A traditional “tragic hero” in the Aristotelian sense strives toward justice or riotousness from that individual’s perspective; they do not strive toward solely self-preservation.
This novel notion that the “tragic hero” of a piece could be an selfish individual not determined to accomplish public justice, but a inner-justice instead brings an incredibly unique perspective of the concept. Lyubov’s character in Chekhov’s piece The Cherry Orchard is another depiction of a novel perspective of the “tragic hero. ” Lyubov’s lack of determination to fight against her orchard’s fate reveals a near reversal of the original perceived definition of what a real “tragic hero” is. A tragic hero fights and struggles to prove their fate wrong.
Lyubov’s state of denial and emotional distress stifles her ability to accomplish this. Just one manner in which her apparent denial and thus, inability to fight against her “fate” is the series of blatant changes in topic of conversation whilst her and Lopackin spoke with one another. Lopakhin was, of course, the clerk in town that kept advising Lyubov to cure her financial lull with a series of real estate decisions such as the division of her orchard and selling of those parcels of land to the highest bidder until she had attained enough money to re-grasp her financial bearings.
However, each time that he would speak to her about such important decisions and the financial possibility, she would ignore him and speak of recollections of the past or family. Additionally, the day before her home was to be sold off in an auction, Lyubov decides to throw a party, as opposed to going to the “drawing bards” and figuring out how to fight her fate, as a traditional Aristotelian “tragic hero” would have done. Instead, her idleness and blatant disregard for fate revealed a new perspective in regards to the possible persona of a true “tragic hero. ”
To conclude, although evidently reminiscent of the true Aristotelian depiction of a “tragic hero,” both Lyubov from Chekhov’s piece The Cherry Orchard, and Oedipus in the renowned Oedipus the King by Sophocles are representations of novel perspectives of such a hero. Oedipus was of course alike the commonly portrayed “tragic hero” in that Oedipus’s determination to maintain his reputation as a result of the pressures coupled with his stature in society led to his inability to become a passable tragic hero in that his blind aggression induces his fighting spirit for all the worn reasons.
A tragic hero yearns to prove his fate untrue simply to rebuke fate itself, but Oedipus rebelled against fate with hopes of maintaining his reputation as an honorable king and other emotion reasons. In addition, Lyubov does represent a “tragic hero” in that her character depicts the journey of a fallen leader, and her demise at the end of the piece is an ironic consequence of the tragic flaw she possesses.
On the contrary, her character completely reconfigures the position of a true tragic hero in that it shows Lyubov as a tragic hero that does nothing to fight her fate and nothing to alter the progression of her demise. Show preview only The above preview is unformatted text This student written piece of work is one of many that can be found in our GCSE Miscellaneous section.