The majority of tragedies have the main role of a tragic hero. Tragic flaws were indeed popular with the Greeks, so Aristotle wasn’t off the mark; several ancient Greek stories, such as those of Achilles and Oedipus, were centered on the leading characters’ tragic flaws. As Aristotle points out, the fall of a scoundrel or villain evokes applause rather than pity. However, in my opinion, Iago can only be feebly considered a tragic victim. As a result, tragedies needed to tell the story of a character who was humanly flawed rather than a virtuous hero or evil villain. Aristotle goes on to say that tragedy effects "the catharsis of these emotions"--in effect arrousing pity and fear only to purge them, as when we exit a scary movie feeling relieved or exhilarated. Aristotle had regarded the thoroughly depraved evil character as being unworthy of becoming a tragic hero saying that such a character fails to evoke pity and fear among the audience. TRAGIC HERO A tragic hero is an honorable protagonist with a tragic flaw, also known asa fatal flaw, which eventually leads to his or her demise according to Wikipedia. Macbeth's character is somewhat of a deviation from this concept and it is here that Shakespeare adds a different dimension to his tragic … There are three fundamental components guided by Aristotle’s “Poetics” that will help us distinguish how the narrative of tragic hero is reshaped from “Othello” to “The Godfather.” The ideal tragic hero is a character of noble prestige and prominence. At any rate, a tragic villain is so because he apparently does not want to become said villain (hence, it is tragic). He will neither evoke pity nor fear which is totally alien to the spirit of tragedy. Aristotle says that the tragic hero should have a flaw (hamartia) and/or make some mistake. If a villain suffers then his sufferings are entirely justified because he deserves it. Aristotle's Poetics (Greek: Περὶ ποιητικῆς Peri poietikês; Latin: De Poetica; c. 335 BC) is the earliest surviving work of dramatic theory and first extant philosophical treatise to focus on literary theory. The tragic hero must be essentially admirable and good. Shakespeare uses Aristotle’s ancient description of a tragic hero - a character between good and bad - to portray the protagonist in the tragedy Macbeth. Tragic heroes rise to power, experiences a major catastrophe, doom themselves with hamartia, have the occurrence of peripeteia, builds up events leading to their downfall, must be enlightened, and the audience needs catharsis . Aristotle’s pieces are either comedies or tragedies. The tragic hero's powerful wish to achieve some goal inevitably encounters limits, usually those of human frailty (flaws in reason, hubris, society), the gods (through oracles, prophets, fate), or nature. compares tragedy to such other metrical forms as comedy and epic.He determines that tragedy, like all poetry, is a kind of imitation (mimesis), but adds that it has a serious purpose and uses direct action rather than narrative to achieve its ends. Here is something a bit SPECIFIC.....TRAGIC VILLAIN. The term tragic hero comes from ancient Greek times and was defined by Aristotle. The fall is … Aristotle's guidelines form the basis of Tragedy, as outlined in Poetics; here they are much abbreviated: Have a hero of great status and prosperity (which is why many tragic main characters are nobles or royalty), who suffers a terrible fall, usually death. Hence, an ideal tragic hero in Aristotle’s views is the one who is possessor of both good and bad qualities. Critical Essay Aristotle on Tragedy In the Poetics, Aristotle's famous study of Greek dramatic art, Aristotle (384-322 B.C.) Aristotle’s theory that tragedy must evoke pity or fear from the audience can be done effectively through an everyman character. A character who, although acting for primarily "evil" or selfish goals, is either not in full control of their actions or emotions and the reader or viewer can sympathize for due to them not being evil by choice; but …