Language Matters

It was A.C. Bradley who popularised the idea that Shakespeare’s tragedies were about “tragic heroes”.  Bradley argued that these heroes possessed a “tragic flaw” (sometimes called their ‘fatal flaw’) which lead to their inevitable downfall.

This was based on Aristotle’s model of tragedy.  Aristotle once said that “A man doesn’t become a hero until he can see the root of his own downfall.” An Aristotelian tragic hero must have four characteristics:

1. Nobility (of a noble birth) or wisdom (by virtue of birth).
2. Hamartia (translated as flaw, mistake, or error, not an Elizabethan tragic flaw).
3. A reversal of fortune (peripetia) brought about because of the hero’s Hamartia.
4. The discovery or recognition that the reversal was brought about by the hero’s own actions (anagnorisis).
5. The audience must feel dramatic irony for the character.

Example of writing about Bradley’s Aristotelian reading (King Lear):

The multifaceted composition of King Lear, with the various language devices; symbolism metaphors and rhetorical questions, in addition to the emotive language and reflective tone, allows various readings of the play to be received in different eras. For example, the earliest interpretation of King Lear by A.C Bradley; an Aristotelian reading of King Lear, is evident when examining the characterization of Lear. His misjudgement, arrogance and irresponsibility inevitably lead to his demise, and the notion of hubris is accentuated through the love test in the introductory scene. Through the language of Shakespeare, Lear is characterised as an egotistical and excessively proud character questioning Cordelia “What can you draw a third more opulent than the sisters”” His fatal character trait is highlighted when considering the previous responses from Goneril’s “Sir, I love you more than word can wield the matter” and Regan’s “I am alone felicitate in your dear highness’s love,” with his lack of satisfaction, and demand for further flattery. Lear insists that Cordelia embellish her words when he opens another opportunity for praise, “Nothing will come of nothing, speak again… Mend your speech a little, lest you may mar your fortunes.” The use of instructive commands, to “Mend your speech” adequately highlights his anticipation of sycophancy.

The hamartia emerges when Lear makes the erroneous decision of dividing the kingdom based upon the love test, which ultimately reflects his irresponsibility as a king. The quick and dismissive command “Out of my sight!” reflects his obsession with power and authority, and through the composer’s repeated reference to sight as Kent advises “See better… remain the true blank of thine eyes,” one is positioned to acknowledge the foolish decision of Lear of splitting the kingdom based on the professions of love. Dramatic irony pervades, as the audience acknowledges his banishment of the most loyal contemporaries, but bonding to those who are corrupt. However, Lear’s failure to see beyond the façade of Goneril and Regan is altered when he realizes that “A man may see how this world goes with no eyes. Look with thine eyes,” after the storm. This continual reference to sight is Shakespeare’s use of textual integrity in order to allow responders to depict the hamartia more easily, in a variety of contexts.

Persuasic Appeals and Logical Fallacies