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According to Classical Greek tragedy and ethical theory, the greatest flaw was the sin of hubris [hybris] that in its original and mythological connotation described the hubristic individual as one who believed that they were equal to or greater than the sempiternal, omniscient and ominpotent gods. An example in Classical Greek mythology was the figure of Bellerophon who attempted to ascend to the realm of the gods [Empyrean: the heavenly realm of the incorporeal] of the Olympian Pantheon through the winged horse Pegasus. In addition, Aeschylus viewed the hubris of the Medio-Achaemenid dynasts of Persia as their downfall [Example: Darius I and Xerxes I]. Such immoderation/excess or hubris through the insatiable and voracious desire for the subjugation of others resulted in nemesis or a divine retribution with the repulsion of Persian troops and the defeat of the Persian viceroy Mardonius that resulted in the loss of Persian hegemony over Thessaly, Thessalonica, Macedonia, Thrace, etc and the humiliation of the Persian "Megas Basileus" [Great King].
Aristotle differed slightly from the earlier mythological viewpoints of hubris as a sin followed by the divine retribution from the gods. In Aristotelian tragedy/literary theory, the hamartia [The tragic flaw] is the sin/flaw of hubris. This is then followed by peripeteia [A reversal in fortune] and then by anagnorisis [A realization of the tragic flaw of hubris]. Finally, catharsis [A purgation of raw emotions] and an epiphany [A revelation] occur. Thus, the Aristotelian tragic figure though of good qualities in general and endowed with superior elements [In the domains of the intellect, heritage, prowess, etc] underwent a form of moral dilapidation [decay] and in turn would suffer a reversal of grace and fortune. Aristotle carried on the viewpoint of hubris being a sin of excess/immoderation from its mythological connotation, however, it was categorized and given a distinct character through his compilation of literary theory. In his "Nicomachean Ethics", the aim of the good and happy life [Eudaimonia] and of achieving greatness was the path of moderation. Sophrosyne [moderation] was contained between the two separate polarities of immoderation/excess: hubris or in the Aristotelian sense an emerging definition of arrogance and overvaulting pride, and pusillanimity or the state of being irresolute, cowardly and vacillating. Thus, two main endpoints arose: the concept of megalomania or "greatness" acquired through coercion, domination, subjugation, etc which Alexander III of Macedonia embodied, and megalopsychia ["A magnanimity of the soul"] which is greatness not through processes or acts of subjugation and the imposition of will but through friendship, benevolence, kindness, moderation, love, continence, the acquisition of knowledge, etc.
The dilapidation or decay of the tragic figure had two main effects upon the audience: either instilling fear and trepidation or offering a transcendence from vulgar human passions and from humanity's obsequious bondage to vice and barbarism by avoiding the flaws that led to the downfall of the tragic figure. Thus, through catharsis the audience is driven through internal turmoil and fury that results in a certain upheaval of the soul and a transitional phase that ends with either 1. An elevation and transcendence from human baseness through an emotional purgation or 2. A degradation and debasement of the human character with the futility of individual sovereignty and individual autonomy leading to a person with his innermost recesses as inchoate [Senseless, massless and formless], repellent and shrouded in the tenebrous or unshaped/unformed and to forever dwell in ignominy and defeat.
1.) In the mythological context, hubris was defined as a general means of immoderation/excess by challenging the will of the gods leading to divine retibution or nemesis;
2.) In the context of Aristotelian literary, dramatic and ethical philosophy, to be consumed by hubris was an indication of moral dilapidation and was defined as a specific kind of immoderation through pride and vainglory; and
3.) The modern, contemporary connotation of the tragic flaw is that hubris simply refers to anyone who is arrogant and conceited as opposed to a process of decay featured within Classical Greek, Roman and Renaissance literary, dramatic and aesthetical elements.






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