2. ARISTOTLE
• Philosopher 4th century BC
• Tragedy is a plot which results in a disastrous
conclusion for the protagonist or chief character
• Definition: “the imitation of an action that is
serious and also, as having magnitude,
complete in itself”…incorporating “incidents
arousing pity and fear, wherwith to accomplish a
catharsis of such emotions”
3. • CATHARSIS – release of the emotions of
pity and fear (in Greek signifies
“purgation” – leaving the audience not
depressed, but relieved even exalted.
• TRAGIC HERO – neither thoroughly good
nor thoroughly evil but a mixture of both
- Should be better than WE are – higher
than ordinary moral worth.
4. • HAMARTIA or fatal flaw – he will suffer a
change in fortune due to an “error of
judgment” or his “tragic flaw”
• HUBRIS – a common fatal flaw of Greek
tragedy, meaning “pride” or overweening
self confidence which leads a protagonist
to disregard a divine warning or to violate
an important moral law.
5. Catharsis occurs because:
Since the hero isn’t evil, his misfortune is
greater than he deserves, so we pity him.
He moves us to fear because we recognise
similar possibilities of error in our own
lesser selves.
6. • The plot develops through complication to
catastrophe in which there occurs
ANAGNORISIS – a discovery of facts
previously unknown to the hero
• AND PERIPETEIA – a reversal of fortune
from happiness to disaster.
• In medieval times, the reversal was seen
as the wheel of fortune – the higher you
are, the further the fall.
7. • In what ways is Keller the tragic hero of
the play?
• How does Miller follow Aristotle’s theory of
the catharsis of pity and fear?
• What is Joe Keller’s hamartia or fatal flaw?
• Does he suffer from hubris?
8. • All My Sons may be seen as a tragedy.
Based on what you have studied so far,
discuss in what ways this statement is
accurate.
9. NEWER INFLUENCES –
HENRIK IBSEN (19TH C)
Modern realistic style of the Greek genre.
•Small cast
•Colloquial language
•Realistic situations
•Timeless archetypal emotions and conflicts
(no lightning balls or chariots – just Victorian
drawing rooms)
10. • No clear right or wrong (unlike morality
plays)
• Now – no clear antagonist or protagonist
• Bad things happen to good people
• Challenges conventions (complex female
characters
• KEY = SENSE OF REALISM
• Social critique through the drama of
individuals (we relate to the ‘hero’ or ‘anti-hero’)
11. • Keller – a Greek hero in a contemporary
world?
• Ibsen’s ‘The Wild Duck’ – is linked both
structurally and thematically to AMS. A
young man returns home and discovers
family secrets. He insists on the full truth
which backfires. Some truths are too much
to bear.
• Past influence = inescapable
(Oedipus Rex – results in father/son conflict)
12. SUMMARY
• Miller blends
• GREEK THEMES
• IBSENIAN STRUCTURE
• MODERN IDIOM
Into… a WELL-CONSTRUCTED REALIST
PLAY.
