Aristotelian Tragic Hero

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edit your stuff create a content page work on the sample template parts are havent been touched go according to ms choos comments that i cant find This section outlines the search strategy and selection criteria adopted for this review, and provides descriptions of the types of studies reviewed. The methodological foundations upon which the reviewed research rest are then discussed.
Search Strategy
Relevant research concerning Shakespeare’s maturity as a writer in relation to his divergence from Aristotle’s model of a tragic hero was identified by a comprehensive search of Internet resources for research material as well as in-depth
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This influence resulted in Shakespeare's Romeo, Hamlet, and Macbeth conforming to some of the precepts of Aristotle, though several characteristics in Hamlet and more so in Macbeth deviated from the Aristotelian theory of tragedy. Detailed comparisons of Shakespeare’s heroes to the Aristotelian model have been conducted by countless of literary scholars in the past, as Shakespeare’s famed heroes inevitably rose to contest the preconceived notion of a tragic hero. However, few scholars have analyzed more than one of Shakespeare’s heroes, and even fewer so have attempted to draw multiple comparisons between his various heroes and the Aristotelian model of tragic hero in relevance to Shakespeare’s experience as a playwright. Nevertheless, the determining of how closely the heroes conformed to the Aristotelian model of tragedy was instrumental in the reflecting of Shakespeare’s growth as an original…show more content…
This is due to two factors: (a) the difficulty in quantifying the impact these pre-established works had upon Shakespeare’s writing process, and (b) the possibility of other pieces of inspiration that have not been discovered and/or documented. In regards to the first factor, while it is possible to recognize any references that Shakespeare may have made to previous works in his writing of the tragic hero, the extent of which the works influenced his changes to the model of the tragic hero, whether these works acted as an entire epiphany or a mere catalyst to instigate Shakespeare’s edits to his writing, cannot be reasonably determined. For the second factor, it is possible that some of Shakespeare’s inspirations for his tragic hero have not be identified or are not easily identifiable, for example the inclusion of more obscure works of literature, or a variety of personal and social factors experienced by Shakespeare throughout his life. Both these considerations have the possibility to skewer the measurement of Shakespeare’s originality as a writer as well as that of his lessened dependence on pre-established
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