Hamlet as a tragic hero

A tragic hero has to do the same error twice, according to Aristotle’s tragic narrative. Any element that contributes to a hero’s downfall is considered to be a “painful mistake” in this context. Aristotelian tragedy may be seen in Shakespeare’s Hamlet, the Dane, and Hamlet as a tragic hero. In keeping with Aristotle’s theories of tragedy, Hamlet’s error—which ultimately led to his demise—was his inaction. The whole play is a reflection of Hamlet’s character’s paralysis.


Acts III, episode 3 has several examples of showing how Hamlet made the fatal mistake. By now Hamlet has come to believe Claudius’s argument and has even proclaimed, “I can now drink hot blood and do bad business like the day it would have shaken.” (406–408) on page 99

The play’s opening scenes include the old Ghost of Hamlet telling his son the truth about his death and ordering Hamlet to get revenge for his crime. The first thing that was heard was a hurried deed from Hamlet, saying, “Hurry up to know I have a quick temper omoya I can sweep to get revenge.” Pars. 29–31 on page 34 At the conclusion of that era, Hamlet declared, “This is not a coincidence, O cursed one, that I was born to correct it,” but regrettably, his incapacity to carry out his father’s deceit prevented him from killing King Claudius. Lines 190–191 on page 41

At this time, the spectator gets the impression that he is determined to get retribution because of his own words, “Now I can drink hot blood,” which expresses his wrath upon learning the truth. However, he also pauses as Claudius starts to confess and expresses how terrible he feels, saying, “Please, angels, experiment.” He has a cause to say, “when he’s drunk asleep, or in his anger, or in the sweet pleasure of his bed,” since Hamlet doesn’t want to kill him when he confesses that he wants to murder him when he does anything wrong.

Finding King Claudius by himself, he seizes the chance to act, but he talks to himself almost instantly, deciding that he will ascend to heaven based on the Lord’s petitions. In vengeance for his father’s death, he resolves to kill the Lord again, this time when he is in a vulnerable state, as in “when he was drunk asleep; or in his anger; or in the pleasure of sleeping with his relatives.” (Pages 89–90, page 103) Ghost rushes back to remind Hamlet of his job because he didn’t last long.

Current study examines this tragic figure, who is characterized in Aristotle’s Poetics as a “moderate mind, not a good and just person” whose misery might be brought about not by evil per se, but by a mistake in judgment. The character’s impairment is accurately defined as that of a hero. Additionally, the hero’s traits—which deal with the phases of enlightenment, catharsis, and determination—seem inextricably linked to the terrible deed. Determining precisely what Aristotle means by virtue, justice, humility, moral superiority, and the mistake of judgment requires studying Nicomachean Ethics in light of the concept of a hero. Because equality is a method of justice, this test establishes that a tragic hero simultaneously acts against morality and the authority of judicial knowledge by neglecting to discriminate equitably. For it is the storyteller who divulges secrets, while the obedient soul keeps the details hidden. He did, however, act carelessly. In the last section of the project, King Oedipus from Sophocles is presented as a melancholy hero using the Aristotelian paradigm. The sequence of choice, insight, and catharsis is clearly followed throughout Oedipus the King’s tragic conduct. There is no triumph over rage because of Oedipus’ poor judgment. Upon departing Thebes at the conclusion of Oedipus the King’s tragic deed, Oedipus exhibits profound inner insight, speaks with a voice of practical knowledge, and appropriately refers to himself as alone. Aristotle argues that poetry is ineffective in opposing philosophy, but Plato accomplished the exact reverse. Poems that depict the inner face of sadness enhance philosophy.

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