Aristotle has long ago delineated a renowned   annotate of a Tragic Hero as an honourable   combatant with a  sad flaw. This definition had been conveyed  by means of  clip; from Euripides in ancient Greece to Jean Anouilh in 1940s France. In  revisal to  tax the degree of  sad  chivalry in   twain Euripides Medea and the modern Anouilhs Antigone it is  requirement to reminisce upon this definition with its further details, as  bequeath be clarified later on. By discussing the moral flaw, the  usance of  foreshadowing and of dramatic irony used by the authors in both plays, the pattern of developing tragedy could be  well  accept and evaluated. Even though both protagonists appear to be  tragical in the end, Medea murders her own children while Antigone commits suicide, it is important to note that their tragic  supporterism is diverse due to the significant distinction between the   reference point traits of the heroines. While love drives them both, Medea is experienced, wise and c   unning, whereas Antigone is portrayed as young, naïve and desperate to make a difference.  The best type of tragic hero, according to Aristotle, exists between these extremes . . . a person who is neither  thoroughgoing(a) in virtue and justice, nor one who falls into misfortune through feebleness and depravity, but rather, one who succumbs through some miscalculation.

¹ Consequently, the hero has a moral flaw; for example in Medea Euripides depicts a woman  determined to  fury because of her intense suffering. It can be inferred that Medeas characters hamartia is  runaway passion and a manner of speaking without thi   nking. Euripides protagonist employs the art!    of rhetoric and with the  admirer of  rough-and-ready diction he accentuates her past nobility intertwined with her flaw, the  extremist  jam: Medea:...but when she is wronged in her marriage bed, no creature has a  drumhead more murderous (l.265-66)...                                        If you want to get a  serious essay,  rear it on our website: 
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