‘Tragic Hero’ is a literary term and specially applied to tragedy.

The term is used for Greek

literature and especially it is associated with great three dramatists: Aeschylus, Sophocles and
Euripides. Aristotle has broadly defined the term with special reference to Greek Tragedy.
According to Aristotle, "the tragic hero evokes both our pity and terror because he is neither
good nor thoroughly bad but a mixture of both; this tragic effect will be stronger if the hero is
better than we are. Such a hero suffers from a change of happiness to misery because of his
mistaken choice which is led by his hamarcia (error of judgment). The tragic hero stands against
his fate or the gods to demonstrate his power of free will. He wants to be the master of his own
fate. He decides to make decisions but mostly the decision making would lead to weakness or his
own downfall."

In Christopher Marlowe’s play Doctor Faustus, the main character, Doctor Faustus, could be
described and revealed as a tragic hero, similar to other tragic characters, such as
Sophocles’ Oedipus and Shakespeare’s Hamlet 

One of the features that characterize a tragic hero is that this type of character “will mistakenly bring his
own downfall”, (McManus) which is referred to as “hamartia”. In Marlowe’s play, the main character,
Faustus, brings his own downfall by the end of the story. In his opening speech, in Act 1 Scene 1,
Faustus tells and explains the audience and the readers that he has skilled himself in law, medicine and
divinity, but he wants to know more than what he knows and also know more about other things. This
aspect of Faustus, his curiosity to learn and know more, may be thought of as part of the human condition
and human nature and isn’t something that is seen as wrong in our society.

However, this aspect also blinds Faustus from a sense of reason and right from wrong. This eventually
leads Doctor Faustus to make an agreement with the devil, which results in Faustus’ downfall. This
aspect of Faustus’ character and personality is similar to Oedipus, in Sophocles’ Oedipus Rex. Oedipus’
pride blinds him from seeing truth, reason, as well as the difference from right and wrong, which leads to
and results in the character’s downfall and Oedipus, stabbing his eyes out.

This feature will lead to the characteristic and fact that, by doing these mistakes or “flaws”, the tragic
heroes are doomed from the beginning and the audience and readers know the fate of these characters is
sealed. And though this type of character has to be doomed from the beginning of the play, but doesn’t
hold any responsibility for possessing his flaw or fault. This may be seen in Faustus. From the beginning
of the play, from the time that he tells the audience and readers that he wants to acquire more knowledge
and especially when he signs the, the audience and readers think that Faustus is doomed to have a less
than perfect and happy ending. Much like Faustus, Oedipus’ fate is sealed when he refuses to see the
truth, even when it’s standing right in front of him. Though these two tragic heroes may feel some sense
of guilt about their actions, neither Faustus nor Oedipus seem feel some sense of guilt or responsibility of
their flaw.

A third feature or characteristic that the tragic hero should have is that “[t]he protagonist should be
renowned and prosperous”. (McManus) The audience and readers may witness and see this
characteristic in the main character of Doctor Faustus. Early on in the play, the audience and readers
knows that Faustus is well renowned and with some reputation. Over the course of the play, there are
several people, mainly three scholars, talk about Faustus, his knowledge, and such aspects of this
character. The audience and readers may see some signs of prosperity in Faustus. In Act 1 Scene 1,
Faustus calls in his servant and student, which reveal not only that Faustus is prosperous, but also
renowned. 

It could also be said that Oedipus and Hamlet are also prosperous and renowned. Oedipus is king of

Thebes, which leads the readers and audience to assume that he is fairly prosperous. We may also
assume that he is renowned, because the citizens of Thebes come to Oedipus, when the city is attacked
with plague, in the prologue. Hamlet is a prince, which also may lead us to suggest that he
is fairly prosperous and successful.

A fourth feature and aspect involving the tragic hero is that this character must support the plot of the
story, which is similar to many other protagonists. This may be easily seen with Faustus, in Marlowe’s
Doctor Faustus. It is Faustus’ actions, which seem to lead and direct the plot and the entire story of the
play. This is the same situation with Oedipus and Hamlet, in Oedipus Rex and Hamlet.
BothOedipus and Hamlet are tragic heroes, who both lead and guide the story and its plot. This may be
also part of and applied to the human life, as most of us make our own decisions and lead and drive our
own lives, much like Faustus, Oedipus, and Hamlet guide the plays they are in.

 Dr. Faustus wanted to support his own plot to make his own decision. This aspect of his
character was as a result of the Renaissance period, unlike the medieval period, the dominance
of fate upon human life became as a matter of ignorance. It was time for secular matters.
Therefore, the dominance of science shadowed upon individuals thought . Dr. Faustus wanted to
take destiny in his own hands to demonstrate the power of free will against fate.

A fifth feature, which is attributed to the tragic hero, is that the main character must be realistic or present
some sense of realism. This may help the audience and readers relate to the character. This aspect of
the tragic hero is meant for the audience to relate to or feel some form of connection with the characters
and the story of the play. Faustus does have a certain sense of realism to him. For one, the main
character of the play Doctor Faustus makes mistakes, which is part of the human condition and is
something that every human being does. This also adds to a sense of realism to Faustus

There is also the fact that Faustus wants to acquire more knowledge, which adds to the realism of the
play. Acquire knowledge is another aspect that is part of the human condition. Learning and
understanding more and more subjects and obtaining more knowledge is part of how we can grow and
evolve as human beings,

This sense of realism in the tragic hero may introduce pity. This is a crucial aspect to the tragedy genre. If
the audience and the readers pity or sympathizes with the main character, this may lead to suggest that
the audience and readers feel some form of connection with the hero of the play. In order for this to occur,
the character must have some realistic features. This aspect of the tragic hero of Doctor Faustus in
relation to the audience and readers may vary. There may be some who do pity Faustus, while other may
feel no pity for this character. This aspect and feature is part of the human condition and adds to the
realism of the character and of the play. It is impossible to like or sympathize with everyone.