Waldorf University Curt Schilling in the End Game Essay write minimum 1000 words based on the instructions Do NOT conduct ANY research for this exam. Your

Waldorf University Curt Schilling in the End Game Essay write minimum 1000 words based on the instructions

Do NOT conduct ANY research for this exam. Your insights are to be YOURS. However, when referring to specific works, follow the conventions of citing the source in the text. For example, In the story “Mourning Glory,” the hero’s journey of Warrenfeltz is clearly shown when his team finally wins the championship. This is when he returns with the elixir. According to Brandon’s father, “There was something greater going on” (Ballard). This elixir, the victory, which was brought to the town by Warrenfeltz, the hero, has a tremendous impact in the entire grieving town.

If you are referring to a film, mention the title, correctly punctuated in the text, itself. There is no need for a Works Cited page for this essay since you will ONLY be referring to works from the class.

All responses should in essay format (Intro paragraph, Body Paragraphs, Concluding paragraph) with complete sentences and paragraphs that have been well developed and carefully proofread). Be sure to provide evidence and examples to support your assertions. There is no specific page requirement; write as fully and completely as possible and until you have nothing more to say for each question. When appropriate, use as many references to course ideas and course material (i.e., film, documentaries, short stories, reading excerpts, class discussion/lecture and examples from the world of sports). ALSO, DO NOT DOUBLE UP ON THE USE OF STORIES. You want to demonstrate a good awareness of multiple readings/films.

WRITE THE ESSAY #1

1. Thinking about Curt Schilling in “End Game,” argue, in a well-developed essay, that he is a tragic hero according to Aristotle’s characteristics of a tragic hero as presented in our class notes. Which of Aristotle’s characteristics of a tragic hero are reflected in Schilling? Use specific references to the story to show how the characteristics are displayed by Schilling. Which traits are not reflected? Be sure to demonstrate a clear understanding of Aristotle’s theory by including all the characteristics and using direct references to the work to support all of your points. One character flaw that we see in our ancient heroes and our sports heroes of today (and in
many other ways of life) is hubris. It makes the hero’s journey even more difficult, as Odysseus
(Ulysses) showed in his encounter with the Cyclops.
Hubris is excessive pride, overconfidence, lack of humility, and/or outrageous
arrogance. Note that it is the degree that defines hubris. Confidence can be
a positive, but when it is unfounded, extreme confidence, that is hubris.
One of the most famous examples of hubris comes with the adventure with the Cyclops.
Odysseus (Ulysses) uses his wit to outsmart the Cyclops, but the hero cannot resist the
temptation to foil his own brilliant strategy. Odysseus can’t live with Cyclops thinking that the
person who defeated him was actually named “No Man” or “Nobody,” so the Greek hero
whispers his real name to the beast, eventually leading to disaster for the crew of Odysseus
aboard their ship. We hear Odysseus relate the storyin Book 9.
“But I would not listen to them, and shouted out to him in my rage, ‘Cyclops, if
any one asks you who it was that put your eye out and spoiled your beauty,
say it was the valiant warrior Ulysses, son of Laertes, who lives in Ithaca.”
Aristotle’s definition of TRAGEDY has been used, analyzed and critiqued for
centuries. This is Aristotle’s definition: “A tragedy is the imitation of an action that is serious
and also, as having magnitude, complete in itself; in appropriate and pleasurable language;… in a
dramatic rather than narrative form; with incidents arousing pity and fear, wherewith to
accomplish a catharsis of these emotions.”
Here is an explanation of this definition:
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“the imitation of an action that is serious and also, as having magnitude, complete in itself;” This
means that a good tragedy deals with one issue that is very “serious.” You can’t have a tragedy
about something trivial like breaking a fingernail. “Magnitude” here means great importance. The
issue has to be serious and very, very important. That’s why a lot of tragedies deal with
someone’s death.
“Complete in itself” means that the play must stick to the o ne issue; otherwise, the audience will
get lost in the p lot.
“in appropriate and pleasurable language:” Ancient Greek tragedy had a chorus whose role was
to comment on the action of the play. The chorus sometimes sang their part. Aristotle said that
the language should be easy to listen to. It should have rhythm and good harmony for the lines
that were sung.
“in a dramatic rather than narrative form;” To narrate a story is simply to tell the story, like telling a
friend what happened over the weekend. In a play, the story must be dramatized or acted out.
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“with incidents arousing pity and fear,” In a tragedy, the events or episodes in the play should
lead the audience to feel very sorry for the main character–the tragic hero. The audience should
also feel afraid for the hero as he moves toward a destructive end.
“wherewith to accomplish a catharsis of these emotions.” As the play moves along, the events
should build up the emotions of pity and fear. A catharsis is a purging, or cleansing of the
emotions–a release of tension. In a tragedy, this is often a moment of revelation when the tragic
hero “falls flat on his face,” and the audience can finally “explode.”
Excerpt from: Paredes.us Blogs and Research Papers
In another of his works, Nichomachean Ethics, Aristotle also defines NEMESIS. To Aristotle,
It represents
the “righteous indignation” because of someone else’s success without merit.
However, today, the meaning has changed. Today, nemesis usually refers to a
long-standing rival or an archenemy; someone who has always caused
serious problems for an individual.
the term means a feeling of pain at undeserved good fortune and/or success.
Aristotle analyzed the Greek plays of such playwrights as Sophocles, Aeschylus, and Euripides.
Centuries later, we see these tragic themes play out in the famous plays of Shakespeare, and
we will mention a couple of them in this lesson.
The character is of noble stature and has greatness.
The character must occupy a “high” status position.
Must embody nobility and virtue as part of his/her innate character.
Pre-eminently great, but he/she is not perfect.
Audience can relate to flawed hero.
Viewed as like us, perhaps elevated to a higher position in society, but still
keeping the characteristics of a :common man.
The hero’s downfall is from free choice, not of accident or some overriding, malignant fate. The
main source of the blame is the fault of the hero. It is not chance or fate. Shakespeare’s Julius
Caesar provides this line from Cassius: “The fault, dear Brutus, is not in our stars, But in
ourselves.”
Julius Caesar (I, ii, 140-141)
The error of judgment or some character flaw is known as hamartia and is usually translated as
“tragic flaw.” Often the character’s hamartia involves hubris.
We have discussed hubris, but hamartia is a new term that might need some explanation.
Hamartia is a personal error of judgment, an imperfection often caused by a moral flaw in a
hero’s personality, which brings about his/her tragic downfall in a tragedy. This defect in a
hero’s personality is also known as a “tragic flaw.”
Some examples from recent movies might helps to clarify harmartia :
Snow White’s flaw is that she is too trusting, and she willingly takes a poisoned apple from the
disguised queen.
The Beast in Beauty and the Beast nearly destroys himself due to his pride-first because
he is cursed by the sorceress and then because he won’t let Belle see the real person that he is.
In Frozen, Elsa nearly destroys her sister and her kingdom because she refuses to accept
herself. She refuses to love herself and allow others to love her in return.
The hero’s misfortune is not wholly deserved.
The punishment exceeds the crime.
Othello is flawed, and his jealousy leads to disaster. However, the plotting of Iago is also a
significant factor, and the combination of this with chance leads to utter ruin for Othello and
Desdemona, along with others.
Last week, we considered the case of Lindsey Jacobellis, Olympic snowboarder in the 2006
Winter Games, who makes one mistake, has one moment of hubris that costs her the gold
medal she spent years training and preparing for. Does she deserve such a disappointing fate
for a split second mistake? Does the punishment exceed the crime, in her example?
The fall is not pure loss.
There is some increase in awareness, gain in self-knowledge, and/or
discovery on the part of the tragic hero.
(Whether Greek plays or Shakesperean, there is an opportunity for the hero to
redeem himself or herself, even if he or she is doomed).
The tragic fate of the hero arouses solemn emotion in the audience, but this emotion ultimately
leaves the audience (or other character(s) )feeling cleansed.
“Unhealthy” emotions of pity and fear are rid through a catharsis which comes from the
audience watching the tragic hero’s terrible fate. The audience and/or other character(s)
experience this ridding of unhealthy, excessive pity and fear.

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