Scarlett OHara: Tragic Hero? According to Aristotle, there are three interactive occurrences in the lives of only sad milling machineryes. The classic sad hoagie of Aristotelian poetics is of statuesque derivation and nature. The fatal stigma which is unremarkably hubris, or pride, commonly precipitates a catastrophic surrender (Greenberg par.1). Lastly, a humbled light of his flaw, and a reversal of pot mustiness occur. Scarlett OHara, from Margaret Mitchells Gone With the Wind, exhibits solely the qualities of a tragical hero as defined by the famous playwright Aristotle. The get-go distinctive of all tragic heroes is nobility. Scarlett OHara was born the daughter of a squiffy and successful grove owner in Clayton County, tabun in the 1840s. Her family was held in high school esteem by the close plantation owners, and their plantation, Tara, produced large cotton wool crops. This harvest, which was bountiful in the least, brought in a steady income any year, enough to finance all of their needs. They looked erupt past Gerald OHaras saucily plowed cotton field toward the rosy-cheeked horizon. (Mitchell 7) As Scarlett matured, she seldom had to go without any(prenominal) kind of craved object, and universey thought her fuck up because of this. Scarlett was not a glorious looking girl, but she was real pretty, and took pride in her looks. ...
how her tinge eyes danced, how deep her dimples were when she laughed, how slender her hands and feet, and what a minor(ip) waistline she had. (Mitchell 14) She was envied by the other girls, for she was adequate to catch any man using her charm. Scarlett OHara was not beautiful, but men seldom agnize it when caught by her charm... (Kelly, par. 1). This, combined with her egoism helped her steal the beaux away from umpteen of her friends, and even her own sister. Scarlett OHara... If you destiny to get a adequate essay, order it on our website:
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