Tragic Flaw and Hamartia
Tragic Flaw and Hamartia
Tragic Flaw and Hamartia
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Aristotle, as writer of the Poetics, has had many a lusty infant, begot by some other
critic, left howling upon his doorstep; and of all these (which include the bastards
Unity-of-Time and Unity-of-Place) not one is more trouble to those who go to take
it up than the foundling 'Tragic Flaw'. Humphrey House, in his lectures,1 delivered
in 1952-3, commented upon this tiresome phrase:
The'phrase 'tragic flaw' should be treated with suspicion. I do not know when it was
first used, or by whom. It is not an Aristotelian metaphor at all, and though it might be
adopted as an accepted technical translation of 'hamartia' in the strict and properly
limited sense, the fact is that it has not been so adopted, and it is far more commonly used
for a characteristic moral failing in an otherwise predominantly good man. Thus, it may
be said by some writers to be the 'tragic flaw' of Oedipus that he was hasty in temper; of
Samson that he was sensually uxorious; of Macbeth that he was ambitious; of Othello
that he was proud and jealous-and so on.... but these things do not constitute the
'hamartiai' of those characters in Aristotle's sense.
House goes on to urge that 'all serious modern Aristotelian scholarship agrees...
that "hamartia" means an error which is derived from ignorance of some material
fact or circumstance', and he refers to Bywater and Rostagni in support of his view.
But although 'all serious modern scholarship' may have agreed on this point in
1952-3, in 1960 the good news has not yet reached the recesses of the land and many
young students of literature are still apparently instructed in the theory of the
'tragic flaw'; a theory which appears at first sight to be a most convenient device
for analysing tragedy but which leads the unfortunate user of it into a quicksand of
absurdities in which he rapidly sinks, dragging the tragedies down with him.2
What then are the history and pedigree and the crimes committed in the name of
this phrase? It is, as Humphrey House wrote, difficult to assign to any single
progenitor. But it is most frequently found in company with references to the
Aristotelian 'hamartia' and seems to have arisen as a misreading of this theory. In
his edition of Aristotle on the Art of Poetry (Oxford, 1909), Ingram Bywater refers to
such a misreading, though without using the term 'tragic flaw':
aa1
ciuape'av nvad:al6 d
!aaapriav teyaA7r)v? daprna in the Aristotelian sense of the term is
a mistake or error of judgement (errorin Lat.), and the deed done in consequence of it
is an a'daprprtia(erratum). In the Ethics an addpraprlais said to originate not in vice or
depravity but in ignorance of some material fact or circumstance.... This ignorance, we
are told in another passage, takes the deed out of the class of voluntary acts, and enables
one to forgive or even pity the doer.... In thus making the tragic story turn on an
1 Aristotle's
Poetics, ed. Colin Hardie (London, 1956), p. 94.
2
If it is argued that in any case Aristotle's findings have no bearing on, and ought not to be
applied to, post-classical tragedy one can only disagree. It is true that Romeo and Juliet, The
Duchess of Malfi and Ghosts, for example, do not fit the Aristotelian pattern of the most funda-
mentally tragic drama; but Aristotle also recognized other forms of tragedy and was familiar
with them in the works of Aeschylus, Euripides, and Sophocles himself. His pattern play,
Oedipus Tyrannus, and the tragic principles which he deduces from it provide not dogma but a
fruitful approach to the study of the most fully tragic but diverse dramas such as Hamlet,
Macbeth, Faustus, Rosmersholm, and The Master Builder, and even to tragic novels such as The
Mayor of Casterbridge. And the theory of 'hamartia' or the 'tragic error', rightly interpreted, is
so obviously fundamental that it is essential to evict the feeble but persistent usurper, vi
'the
MLR
tragic flaw'.
2121 M L.R. LVIII
It is noticeable that, in all these passages, T. R. Henn alone indicates that the
'tragic flaw' is a difficult and complex concept.
Classical scholars are still arguing among themselves as to the interpretation to
be placed upon Aristotle's a'tap-ca and in view of the state of the text it seems un-
likely that any ultimate and definitive pronouncement can be made. Whether or not
Aristotle propounded even in a limited sense a theory of the 'tragic flaw' as a
'mainspring' of tragedy is, however, a matter about which we may have opinions,
ranging ourselves with Bywater and Humphrey House or with Butcher and Kitto
according to our preference for one or another interpretation of the text. But the
student and devotee of the art of tragedy, in the study and in the theatre, may
benefit from a warning: if the so-called doctrine of the 'tragic flaw', in any but the
most limited sense, is made to serve as the mainspring of tragedy it leads to a
narrowing of scope and significance which is stultifying and crippling. On the other
hand, if it is given a very wide significance, it ceases to have any meaning at all.
Let us then consider these facts in relation to specific tragedies, ancient and
modern, bearing in mind the fact that though Aristotle's doctrine of adapi-a was
never intended by him to be applied blindly to all tragedies he does say 'The
theoretically best tragedy, then, has a plot of this description, that is a plot with a
single issue in which the change in the hero's fortunes is from happiness to misery,
not through any depravity but because of' some great error on his part'. We should
notice too that Aristotle distinguishes 'four distinct species of Tragedy' in accord-
ance with the constituents of the plot. He was also conversant with 'a tragic situa-
tion that arouses the human feeling in one, like the clever villain (e.g. Sisyphus)
deceived, or the brave wrong-doer worsted'.l But his conception of the perfect
tragedy inevitably requires the element of aJdap-ra and if this term is translated as
'error' we can trace it in the most fully tragic plays of various periods.
To begin with Aristotle's pattern play, the Oedipus Tyrannus, it is evident that
the 'hamartia' of Oedipus is, as Bywater had indicated, an 'error' which consisted
of Oedipus' ignorance of his true parentage. His strength and weakness of character,
namely his courage and intelligence and his hastiness, then cause him to act in a
1 Some critics would deny that Ibsen intended to produce a tragedy. See an account of the
discussion in Ibsen's Dramatic Method, by J. R. Northam (1953), pp. 126-9.
2 See above, p. 323. 3 Op. cit. p. 99.