When first comparing the play Medea and Aristotle's Poetics, many people feel that the lead character, Medea, breaks every requirement for being a tragic character. But when we take a step back and view Medea at a different angle, we see that she does actually fit every aspect of Aristotle's tragic character definition. Medea is essentially a good character, she is an appropriate character, she is life like, and she is in most ways, consistent.
[...] In this respect, as in her preoccupation with marriage, Medea is not the bloody, passionate, and transgressive barbarian sorceress of myth, but a stereotypical Greek woman This also shows that Medea is not a cruel, or evil woman, but a woman with no other alternatives. “Medea: No! I shall bury them with my own hands. I'll take them to the shrine of Hera Akraia; that way no hostile person can do outrage tot hem by the desecration of their tomb. [...]
[...] Medea When first comparing the play Medea and Aristotle's Poetics, many people feel that the lead character, Medea, breaks every requirement for being a tragic character. But when we take a step back and view Medea at a different angle, we see that she does actually fit every aspect of Aristotle's tragic character definition. Medea is essentially a good character, she is an appropriate character, she is life like, and she is in most ways, consistent. In Poetics, Aristotle assigns four requirements for tragic characters. [...]
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