OEDIPUS and HAMLET: Heroes or NOT?

How ever so, it is in the manner in which they launch themselves on this data track of exercise that is different between the two char fiddleers. Oedipus' acceptance of his destiny sums from his communally-directed nature while critical point's is overmuch more one of self-direction. In Oedipus, we encounter that Oedipus' main business concern is the deteriorating state of Thebes, a city in the midst of chaos, hatred and ruin. Oedipus accepts his destiny as the King of Thebes, and, as such, the protector of the people. Because of this, his frontmost concern is correcting the dire state of affairs in Thebes no matter what cost is incurred. It is this motivation that makes him follow his destiny and course of action regardless of the outcome. Oedipus, therefore, represents the German explanation of the sadal title-holder but his motivation is communal. As he says to Creon "Speak out, give tongue to to us all. I grieve for these, my people, far more than I fear for my own life" (Sophocles 163).

Hamlet also represents the definition of the sad hero from the earlier Germanic definition. However, his course of action is accepted with a certain reluctance, a certain futility that he should somehow be thrust into the position of ridding Denmark of all that is ill-smelling "The time is out of joint:?O cursed spite, that ever I was born to set it right!?" (Shakespeare I.v.220-221). Oedipus follows his destiny in the name of community justice while Hamlet bemoa

Shakespeare, W. Hamlet. In William Shakespeare: The Complete Works. New York: Gramercy Books, 1975, 1071-1112.

If we analyse the Aristotelian definition of the tragic hero, we do see an looking at of Aristotle's definition revealed in the Poetics that does represent both Oedipus and Hamlet. This aspect of the tragic hero is hamartia, roughly translated as frailness or error. This frailty or error is usually a character deface which helps destroy the otherwise noble hero. We see the hubris of Caesar typically associated with his tragic fall. In Oedipus, the tragic flaw is his blindness to his own chequer and his blind pursuit of justice despite those who try to gratuity him away from his course of action.

Hamlet, as much as either typically labeled tragic hero, understands the concept of hamartia, the one tragic flaw that can otherwise spoil an heroical nature. We see him practically define Aristotle's concept in his speech to Horatio, where he talks of the one vicious mole that can niggle the noble substance of the individual:

Smithers, G. V. Destiny ad the heroic warrior in Beowulf. In J. L. Rosier (ed.). Philosophical Essays: Studies in Old and centerfield English Language and Literature in Honor of Herbert doyen Meritt. Paris: Mouton, 1970, 65-81.

Horatio tries to dissuade Hamlet from following his destiny by telling him he will lose the rapier and thorn contest Laertes has orchestrated between he and Laertes. Yet Hamlet is not dissuaded from his course of action. He knows, whether fair or not, just or not, or happily or not, his time to act has come. He will heroically enter the contest astute that it may end with his death. As he explains to his close maven Horatio "Not a whit we defy augury: there's a special providence in the fall of a sparrow. If it be now, ?tis not to come; if it be not to come, it will be now; if it be not now, yet it will come: the readiness is all: since no man has aught of what he leaves, what is't to leave betimes" (S
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