Tragic Dilemmas, Virtue Ethics and Moral Luck

Total Page:16

File Type:pdf, Size:1020Kb

Tragic Dilemmas, Virtue Ethics and Moral Luck TRAGIC DILEMMAS, VIRTUE ETHICS AND MORAL LUCK Leanne Kent A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Applied Philosophy December, 2008 Committee: Dr. Fred D. Miller, Jr., Advisor Dr. Dale Klopfer Graduate Faculty Representative Dr. Daniel Jacobson Dr. David Shoemaker ii ABSTRACT Dr. Fred D. Miller Jr., Advisor Tragic dilemmas are cases in which an agent must choose between two horrific or repugnant options. Such choices are painful and accompanied by emotional suffering on the part of the tragic-agent. Specifically, I argue that the tragic-agent feels torn, guilty, and tainted. I further argue that these responses are appropriate – they are ones we would expect of a good moral agent. Precepts commonly employed by standard versions of consequentialism and deontology, however, make feeling torn, guilty, and tainted unfitting – the feelings are at odds with the moral reality generally espoused by these theories. I argue that these emotions can be straightforwardly accounted for by employing a neo- Aristotelian theory. This framework recognizes multiple areas of human concern and defines virtue as responding appropriately to these concerns. Tragic dilemmas can be understood as situations where all choices available to an agent require the agent to choose in a way that undermines the very ends of virtue that she is disposed to, and committed to, realizing. This explains why agents feel torn. I go on to provide a virtue ethical account of right and wrong action whereby an act is right (or wrong) if and only if it is what a virtuous (or vicious) agent would characteristically do. Since the action in a tragic dilemma is one that is characteristic of the vicious agent, the action is a genuinely wrong action. This then explains why agents feel guilty. If wrongdoing diminishes goodness, then this also explains why agents feel tainted. One concern with such an approach is that wrongdoing diminishes goodness and so one’s goodness is subject to luck. I address this objection and argue that there is reason to embrace rather than resist this conclusion. I further show how embracing this conclusion gives insight iii into the tragic hero and can explain why the tragic hero is regarded as admirable precisely because she is guilty. iv To my parents for never asking, ‘What are you going to do with that?’ v ACKNOWLEDGEMENTS First, and most importantly, I would like to thank my family, and especially my parents, for their unwavering support which made this possible. I would also like to thank my advisor, Dr. Fred. D. Miller, Jr., and my committee members, Dr. Daniel Jacobson and Dr. David Shoemaker, for their helpful discussions and comprehensive comments. Thanks also to the various participants of Dr. Miller’s dissertation seminar for providing insightful comments, criticisms, and suggestions on my project at various stages. The many good friends I have had the opportunity of making during my time at Bowling Green also deserve many thanks. Finally I would like to thank the Department of Philosophy at Bowling Green State University for the Non-Service Dissertation Fellowship, and for travel-funds which enabled me to present portions of this work at conferences. Thanks also to the University Bookstore for the University Bookstore Graduate Student Professional Development Award. vi TABLE OF CONTENTS CHAPTER 1: INTRODUCTION .................................................................................................1 1.1 Tragic Dilemmas, Moral Dilemmas, and Dirty Hands Scenarios ................................... 1 1.2 Why Tragic Dilemmas are Considered Problematic for Moral Theory .......................... 4 1.3 Folk Morality.................................................................................................................... 7 1.4 Overview of Dissertation ............................................................................................... 11 1.5 Overview of Chapters..................................................................................................... 12 CHAPTER 2: PHENOMENOLOGICAL FEATURES OF TRAGIC DILEMMAS.................. 18 2.1 Chapter Introduction .......................................................................................................18 2.1.1 Emotions: Individuation and Justification ...........................................................19 2.2 Feeling Torn .................................................................................................................. 23 2.3 Feeling Guilty................................................................................................................. 31 2.3.1 Features of Guilt .................................................................................................. 32 2.3.2 Guilt, Self-evaluation and Reparative Action ......................................................38 2.3.3 Tragic Choices and Guilt ......................................................................................41 2.3.4 Other Emotions .....................................................................................................46 2.4 Feeling Tainted............................................................................................................... 56 2.5 Conclusion...................................................................................................................... 60 CHAPTER 3: PUZZLES ............................................................................................................. 62 3.1 Chapter Introduction .......................................................................................................62 3.2 Feeling Torn ...................................................................................................................63 3.3 Feeling Guilty .................................................................................................................65 3.4 Feeling Tainted ...............................................................................................................69 vii 3.5 Possible Solutions ...........................................................................................................76 CHAPTER FOUR: NEO-ARISTOTELIAN VIRTUE ETHICS ................................................ 81 4.1 Chapter Introduction .......................................................................................................81 4.2 Virtue Ethics, Aristotle, and Neo-Aristotelian Virtue Ethics......................................... 82 4.3 Virtue ..............................................................................................................................84 4.3.1 Dispositions ...........................................................................................................85 4.3.2 Spheres of Value ...................................................................................................89 4.3.3 Response ...............................................................................................................91 4.3.4 Appropriateness ....................................................................................................92 4.4 Virtuous Action ..............................................................................................................97 4.5 Right Action ...................................................................................................................98 4.6 Action Guidance ...........................................................................................................104 4.7 Conclusion ....................................................................................................................115 CHAPTER FIVE: TRAGIC DILEMMAS ................................................................................116 5.1 Chapter Introduction .....................................................................................................116 5.2 Tragic Dilemmas ..........................................................................................................118 5.3 Dirty Hands ..................................................................................................................127 5.4 Phenomenology Revisited ............................................................................................130 5.4.1 Feeling Torn ........................................................................................................131 5.4.2 Feeling Guilty .....................................................................................................133 5.4.3 Feeling Tainted ...................................................................................................134 5.5 Conclusion ....................................................................................................................135 viii CHAPTER SIX: UNITY OF THE VIRTUES AND PRACTICAL WISDOM 138 6.1 Chapter Introduction .....................................................................................................138 6.2 Unity of the Virtues ......................................................................................................139 6.2.1 Objections to the Unity Thesis ............................................................................142 6.2.2 Natural Virtue, Full Virtue, and Practical Wisdom ............................................143 6.2.3 Weak Unity Thesis ..............................................................................................148
Recommended publications
  • 2-Łamanie (11).Indd
    Yearbook of Conrad Studies (Poland) Vol. 11 2016, pp. 75–86 doi: 10.4467/20843941YC.16.005.6851 ROMEO AND JULIET: A NEW CONTEXT FOR VICTORY? Nic Panagopoulos National & Kapodistrian University of Athens Abstract: The contention of the present comparative study is that the closest Shakespearean work to Conrad’s Victory is not The Tempest, as has previously been thought, but Romeo and Juliet. Besides various thematic links between these two texts, also noted by Adam Gillon (1976), I argue that Victory and Romeo and Juliet are connected on the level of genre, plot, and characterization, with whole scenes in Conrad’s novel mirroring those in Shakespeare’s play. In conclusion I suggest that the striking similarities between the two works can either be explained by a conscious desire on Conrad’s part to imitate Shakespeare’s art, or by a kind of involuntary emulation, whereby the nov- elist had so far assimilated the Bard’s work as to follow it unconsciously while composing his own novel. Keywords: Conrad and Shakespeare, tragedy/comedy, mirroring, Victory, Romeo and Juliet, com- parative study, cryptomnesia In his famous extended essay “Joseph Conrad and Shakespeare,” the late Adam Gillon does a remarkable job of tracing the many textual and thematic parallels between Conrad’s major works and virtually the whole Shakespearean canon. He be- gins by pointing out that Conrad could have read The Two Gentlemen of Verona at the age of eight as his father was translating many of the Bard’s works into Polish around 1856. As is often the case, Shakespeare must have been one the fi rst writers that the young and impressionable Conrad was exposed to, and certainly one of the fi rst English writers in that category.
    [Show full text]
  • AP English Literature Required Reading
    Kerr High School AP English Literature Summer Reading 2019 Welcome to AP Literature! I’m fairly certain you are parched and thirsty for some juicy reading after a year of analyzing speeches and arguments, so let us jump right in. After months of deliberation and careful consideration, I have chosen several pieces from as far back as 429 BC Athens, to 1200 AD Scotland, venturing on to Africa 1800s, and finishing up in 20th century Chicago. Grab your literary passport and join me as we meet various tragic heroes and discover their tragic flaws and tragic mistakes. You will learn the difference between an Aristotelian tragic hero and a Shakespearean tragic hero, not to mention gain a whole bunch of insight into the human condition and learn some ancient Greek in the process. I made sure each piece is available in PDF online. If you choose to use the online documents, be certain you are able to annotate and have quick access to the annotated text for class discussions. The only AP 4 summer writing you will do is five reading record cards. Four of your reading record cards could include all of the required summer reading pieces. It is my expectation that you earnestly read, annotate, and ponder each of the required pieces and be ready to launch into discussion after your summer reading exam. Heavily annotated notes on the four attached tragic hero articles and your handwritten reading record cards will count as one major grade and are due Thursday, August 15, by 3:00 pm. Instructions for the reading record cards are attached.
    [Show full text]
  • Sentimentalism and Moral Dilemmas
    Sentimentalism and Moral Dilemmas András Szigeti Linköping University Post Print N.B.: When citing this work, cite the original article. Original Publication: András Szigeti, Sentimentalism and Moral Dilemmas, 2015, Dialectica, (69), 1. http://dx.doi.org/10.1111/1746-8361.12087 Copyright: Wiley: 12 months http://eu.wiley.com/WileyCDA/ Postprint available at: Linköping University Electronic Press http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-118875 Sentimentalism and Moral Dilemmas András SZIGETI UiT The Arctic University of Norway/Linköping University Email: [email protected] ABSTRACT: It is sometimes said that certain hard moral choices constitute tragic moral dilemmas in which no available course of action is justifiable, and so the agent is blameworthy whatever she chooses. This paper criticizes a certain approach to the debate about moral dilemmas and considers the metaethical implications of the criticisms. The approach in question has been taken by many advocates as well as opponents of moral dilemmas who believe that analyzing the emotional response of the agent is the key to the debate about moral dilemmas. The metaethical position this approach is most naturally associated with is sentimentalism. Sentimentalists claim that evaluation, and in particular moral evaluation, crucially depends on human sentiment. This paper is not concerned with the question whether moral dilemmas exist, but rather with emotion-based arguments used on both sides of the debate. The first aim of the paper is to show that emotion-based arguments by friends or foes of moral dilemmas cannot garner support from sentimentalism. The second aim is to show that this constitutes a serious problem for sentimentalism.
    [Show full text]
  • Deal Simultaneously with Literary Forms. with the Chronological
    .1\ * 4 411, 1, 1, 44' .041. 1 t i s 4 I .4 . DOCUMBN.T RESti.01E ED 033 114 . I. f g , .to O . 604 4 0,4 re 44 4. I 'to TE 001 533 By Sauer, Edwin H. I to *. t et°. Sequence and Uniformity in the High School Literature Program. o Metropolitan Detroit Bureau of School Studies. Inc.. Mich. ' Pub Date 28 Mar' 63 .., . 4 Y. 1* Note-16p.; Address before the 13th Annual English Conferenceof the Metropolitan Detroit Bureau of School Studies. Detroit. Michigan. EDRS Price MF -$025 HC -$0.90 Descriptors -Classic& Literature. Comedy. Curriculum. *Curriculum Design.Drama. *English. English Instruction. Literary Genres. Literary History. *Literature. Mythology. Novels.Poetry. Satire. *Secondary Education. *Sequential Programs. Thematic Approach. Tragedy A good. sequential literatureprogram for secondary school students should deal simultaneously with literary forms. with thechronological development of literature, and with broad themes of humanexperience. By employing the abundance of teaching aids.texts. and improved foreign translations available today.an imaginatively planned program can help studentsdiscover themselves as wellas become aware of their cultural heritage and rapidlychanging world. In grades 7-9. such a program should include mythology from all periodsand cultures. the literature of the great heroes from Agamemnonto Robert E. Lee. and the mysteryor cycle plays of the English Middle Ages. In grades 10-12.the lyric poem. satire and irony. the comic and tragic hero. the comedy ofmanners. the 'problem drama. the historical romance. the social novel, the novel of sensibility, the theme ofmovement, and such non-literary components as current eventsmay be covered.
    [Show full text]
  • Teorie Vědy / Theory of Science / Xl / 2018 / 2 The
    TEORIE VĚDY / THEORY OF SCIENCE / XL / 2018 / 2 ////// studie / article //////////////////////////////////////////// THE PARADOX OF Paradox moralistického omylu: MORALISTIC FALLACY: argument proti nebezpečné A CASE AGAINST THE znalosti DANGEROUS KNOWLEDGE Abstrakt: V článku je rozveden Abstract: In this article, the concept koncept moralistického omylu, of moralistic fallacy introduced by který předložil B. D. Davis. Jsou B. D. Davis is elaborated on in more diskutovány základní charakteris- detail. Th e main features of this fal- tiky tohoto omylu s cílem představit lacy are discussed, and its general jeho obecnou formu. Moralistický form is presented. Th e moralistic omyl má přitom nechtěné následky, fallacy might have some undesirable z nichž některé dokonce mohou být outcomes. Some of them might even v přímém rozporu s původní morální be in direct confl ict to the original pozicí, která stojí v začátku tohoto moral position. If this occurs, it samotného omylu. Pokud takovýto is possible to characterize it as stav nastane, lze ukázat, že mora- a paradox of moralistic fallacy. Th e listický omyl způsobuje paradox. possibility of this paradox provides Možnost takovéhoto paradoxu pak a further reason not to prevent any poskytuje důvod k tomu, aby bylo scientifi c inquiries and not to depict odmítnuto omezování vědeckého any knowledge as dangerous. zkoumání a aby nebyla žádná zna- lost charakterizována jako nebez- Keywords: moralistic fallacy; pečná. reverse naturalistic fallacy; Bernard D. Davis; paradox of moralistic Klíčová slova: moralistický fallacy; dangerous knowledge omyl; reverzní naturalistický omyl; Bernard D. Davis; paradox moralistického omylu; nebezpečná znalost TOMÁŠ ONDRÁČEK Department of Corporate Economy, Masaryk University Lipová 41a, 602 00, Brno, Czech Republic email / [email protected] 191 Tomáš Ondráček Introduction Is there knowledge which should be considered as dangerous and unwanted? Knowledge which should be prevented from acquiring? Th ere have been many attempts to prohibit some knowledge in history.
    [Show full text]
  • Tragedy and Transcendence: Tracing Tragedy from Early Modernity to Present William J
    College of the Holy Cross CrossWorks Honors Theses Honors Projects 5-20-2012 Tragedy and Transcendence: Tracing Tragedy from Early Modernity to Present William J. Giancola '12 College of the Holy Cross, [email protected] Follow this and additional works at: https://crossworks.holycross.edu/honors Part of the English Language and Literature Commons Recommended Citation Giancola, William J. '12, "Tragedy and Transcendence: Tracing Tragedy from Early Modernity to Present" (2012). Honors Theses. 1. https://crossworks.holycross.edu/honors/1 This Thesis is brought to you for free and open access by the Honors Projects at CrossWorks. It has been accepted for inclusion in Honors Theses by an authorized administrator of CrossWorks. TRAGEDY AND TRANSCENDENCE: TRACING TRAGEDY FROM EARLY MODERNITY TO PRESENT by William Giancola COLLEGE OF THE HOLY CROSS Worcester, Massachusetts May, 2012 For Charles Flowers Table of Contents Introduction: Tragedy and Transcendence………………………………………………………...1 Tragedy’s Concerns and Structure………………………………………………………………...4 The Tragedy of Dr. Faustus……………………………………………………………………...13 The Tragedy of Hamlet…………………………………………………………………………..23 The Tragedy of King Lear……………………………………………………………………….34 The Modern Sense of Tragedy…………………………………………………………………...44 Modern Tragedy and Pessimism – Death of a Salesman………………………………………...53 Modern Tragedy and the Absurd – Endgame……………………………………………………63 Conclusion: The Future of Tragedy…………………………………………………………...…70 Introduction: Tragedy and Transcendence Tragedy, in comparison to epic, comedy, satire, and lyric – as representations of life – seems to occupy a more fundamental position. By this I do not mean to say that tragedy is objectively superior to these other genres, but instead that it more earnestly, in some respects, offers insight into human nature, life’s necessities, and the cosmic forces at play in the world as they relate to and have a bearing on human existence.
    [Show full text]
  • Late Sophocles: the Hero's Evolution in Electra, Philoctetes, and Oedipus
    0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE Late Sophocles Late Sophocles The Hero’s Evolution in Electra, Philoctetes, and Oedipus at Colonus Thomas Van Nortwick University of Michigan Press Ann Arbor Copyright © Thomas Van Nortwick 2015 All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and ex- cept by reviewers for the public press), without written permission from the publisher. Published in the United States of America by the University of Michigan Press Manufactured in the United States of America c Printed on acid- free paper 2018 2017 2016 2015 4 3 2 1 A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging- in- Publication Data Van Nortwick, Thomas, 1946– . Late Sophocles : the hero’s evolution in Electra, Philoctetes, and Oedipus at Colonus / Thomas Van Nortwick. pages cm Includes bibliographical references and index. ISBN 978- 0- 472- 11956- 1 (hardcover : alk. paper) — ISBN 978- 0- 472- 12108- 3 (ebook) 1. Sophocles— Criticism and interpretation. 2. Sophocles. Electra. 3. Sophocles. Oedipus at Colonus. 4. Sophocles. Philoctetes. I. Title. PA4417.V36 2015 882'.01— dc23 2014049364 For Nathan Greenberg colleague, mentor, and friend Preface Oh children, follow me. I am your new leader, as once you were for me. (Sophocles, Oedipus at Colonus 1542– 431) Sophocles’s Oedipus at Colonus ends with his most famous character walking serenely through the central doors of the stage building (skēnē) in the Theater of Dionysus and into the grove of the Eumenides.
    [Show full text]
  • Tragedy Tragedy: Drama That Shows the Downfall of a Noble Hero, A
    Tragedy Tragedy: Drama that shows the downfall of a noble hero, a generally good person of high birth who makes a tragic mistake or error in judgment. It can also be a character flaw. (In Greek tragedy, it is usually hubris, or excessive pride, that causes the downfall of the character.) Prior to his death, the hero usually has some realization about human fate and destiny. A tragedy was supposed to arouse pity and fear in the audience—pity that a man of reasonably good character is suffering and fear that the same thing could happen to them. The end of tragedy was intended to produce katharsis, the purging or cleansing of the excess pity and fear aroused by the play. The goal of tragedy was to reduce negative emotions to a healthy, balanced proportion. Aristotle loved Sophocles’ play cycle of Oedipus the King and considered it the perfect tragedy. He wrote Poetics to give the “rules” of tragedy. There are six elements, with plot being the most important and spectacle being the least. 1. Plot: must have a beginning, middle and end. In Greek tragedy, there is only one plot, no subplots. Each event in the plot must play off the others. There can be no “coincidences.” A tragic plot must be serious. 2 A plot should be complex, and must show that the tragic hero recognizes the cause of his problems and is sorry for his actions before his death. According to Aristotle, there is a definite cause and effect chain throughout the play. 2. Character: character supports plot, and the motivations of the character are tied to the plot.
    [Show full text]
  • What Makes an Emotion Moral?
    What Makes an Emotion Moral? by Mara L. Bollard A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Philosophy) in the University of Michigan 2018 Doctoral Committee: Professor Daniel Jacobson, Chair Professor Sarah Buss Professor Peter A. Railton Associate Professor Chandra Sripada Mara L. Bollard [email protected] ORCID iD: 0000-0002-2416-948X © Mara L. Bollard 2018 Acknowledgements I could not have completed this dissertation without the support of many people, and I regret that I cannot properly express my gratitude to everyone who helped shape this project, and my time in graduate school, in these few short pages. First of all, tremendous thanks are due to my committee members: Daniel Jacobson, Sarah Buss, Peter Railton, and Chandra Sripada, all of whom played no small role in my decision to come to Michigan in the first place, and have continued to intellectually enthrall, challenge, and encourage me ever since. I am especially grateful to my advisor, Dan Jacobson, whose guidance, humor, and unflagging support got me, and this project, across the finish line. Special thanks, too, to Chandra Sripada, who has been a cheerful and constant advocate of my work, my teaching, and the Mind and Moral Psychology Working Group. The research and writing of this dissertation was supported by a Mellon Recruitment Award, a Rackham One-Term Dissertation Fellowship, a Sweetland Dissertation Writing Institute Fellowship, and numerous Rackham Conference Travel Grants. I am grateful for incisive and helpful feedback on these chapters from members of the University of Michigan Mind and Moral Psychology Working Group, the University of Michigan Graduate Student Working Group, the 2016 University of Michigan Candidacy Seminar, and the 2017 Sweetland Dissertation Writing Institute.
    [Show full text]
  • A Modern Tragic Hero in Arthur Miller's Play Death of a Salesman
    Ç.Ü. Sosyal Bilimler Enstitüsü Dergisi, Cilt 21, Sayı3, 2012, Sayfa 101-110 A MODERN TRAGIC HERO IN ARTHUR MILLER’S PLAY DEATH OF A SALESMAN ARTHUR MILLER’IN DEATH OF A SALESMAN OYUNUNDA MODERN BİR TRAJİK KAHRAMAN B. Ayça Ülker ERKAN* Abstract This paper discusses Arthur Miller’s character, Willy Loman, in Death of a Salesman in terms of his being a tragic hero. There are several debates on Willy Loman pointing out that he is not a tragic hero in classical tragedy. The classical definition of a tragedy points out that "tragedy is a story of exceptional calamity leading to the death of a man of high estate because of his tragic flaw." Still Loman cannot be totally considered as a classical tragic hero since he is a common man. He is indeed a modern tragic hero in 1940’s America whose desire is to be “someone” in the society. His problems stem from his own delusions, the American Dream turning sour, and misunderstanding his job and family. Loman is a modern tragic hero turning the American dream into American Nightmare because of his personal flaw. For those reasons, this play can be classified as a "bourgeois" tragedy. This modern tragic hero represents individuals who try to survive and quest for self identity in a capitalistic commercialized world. Key Words: American dream, tragedy, modern tragic hero Özet: Bu çalışma, Arthur Miller’ın Death of a Salesman adlı oyunundaki karakter Willy Loman’nın trajik bir kahraman olmasını tartışır. Willy Loman’nın klasik trajedi tanımına göre trajik bir kahraman sayılamayacağı ile ilgili birçok görüş ileri sürülür.
    [Show full text]
  • Tragic Hero – Luke Skywalker the Popular Star Wars Series Contains Many Similarities with Sophocles Opedial Trilogy Or the Ancient Myth Itself
    World Literature Name __________________________________ Second Semester 2014-2015 Block _____ Mr. Searcy Due 5/4 Writing Assignment 4 Tragic Hero – Luke Skywalker The popular Star Wars series contains many similarities with Sophocles Opedial trilogy or the ancient myth itself. The central character Luke Skywalker, is compelled by destiny and a burning inner desire to become a member of the ancient but dying order of Jedi Knights. In the tradition of ancient Greek tragedy the conflict Luke is engrossed in is a war of good vs evil as he becomes a member of the Rebel forces battling the powerful and relentless forces of the Empire. To do so he must journey to a far off mysterious planet to gain the wisdom of the ancient Yoda (a parallel to the oracle of Apollo) who teaches him the secret of the "Force"-- a universal energy something akin perhaps to the stoic notion of the "Logos". Soon he finds himself on a mission to save a Princess belonging to the old, and presumably legitimate, royal family who has fallen into the hands of the Empire and the notorious Darth Vader. Luke does rescue the princess and soon falls in love with her only to find later that he is her brother. Likewise, throughout the film Darth Vader has a strange preoccupation with the fledgling knight and seems to have a premonition that he will perhaps be the one who will precipitate his death (paralleled with Laius in Oedipus Rex). In a dramatic duel to the death with Darth Vader Luke later discovers that his arch nemesis is none other than his father himself.
    [Show full text]
  • 1 "What Is a Tragic Hero?" According to Aristotle, the Function of Tragedy Is
    1 "What is a Tragic Hero?" According to Aristotle, the function of tragedy is to arouse pity and fear in the audience so that we may be purged, or cleansed, of these unsettling emotions. Aristotle's term for this emotional purging is the Greek word catharsis. Although no one is exactly sure what Aristotle meant by catharsis, it seems clear that he was referring to that strangely pleasurable sense of emotional release we experience after watching a great tragedy. For some reason, we usually feel exhilarated, not depressed, at the end. According to Aristotle, a tragedy can arouse these twin emotions of pity and fear only if it presents a certain type of hero, who is neither completely good nor completely bad. Aristotle also says that the tragic hero should be someone "highly renowned and prosperous," which is Aristotle's day meant a member of royalty. Why not an ordinary working person? we might ask. The answer is simply that the hero must fall from tremendous good fortune. Otherwise, we wouldn't feel such pity and fear. the change of fortune presented must not be the spectacle of a virtuous man brought from prosperity to adversity: For this moves neither pity nor fear; it merely shocks us. Nor again, that of a bad man passing from adversity to prosperity: For nothing can be more alien to the spirit of tragedy; . it neither satisfied the moral sense nor calls forth pity or fear. Nor, again, should the downfall of the utter villain be exhibited. A plot of this kind would, doubtless, satisfy the moral sense, but it would inspire neither pity nor fear; for pity is aroused by unmerited misfortune, fear by the misfortune of a man like ourselves .
    [Show full text]