He is also able to drive the plot as a result of his actions, creating a reaction following by support characters. This combination creates a tragic hero that the audience relates to, feeling pity and fear, which according to Aristotle, “this being the distinctive mark of tragic imitation” (Aristotle XIII). This clashes however, with the modern perception of the leading character. Through modern interstation, we see that Clytaemnestra is the clear protagonist of The Agamemnon. She possesses the more significant involvement in the play, as well as character development. In addition, a modern audience is more perceptive to sympathize with a female role, seeing her rise to power, from a “lowly woman” to queen of the city, and then the inevitable downfall as a result of her actions. This is the definition of the tragic hero, and we can clearly note today, that Clytaemenstra is the protagonist of The
He is also able to drive the plot as a result of his actions, creating a reaction following by support characters. This combination creates a tragic hero that the audience relates to, feeling pity and fear, which according to Aristotle, “this being the distinctive mark of tragic imitation” (Aristotle XIII). This clashes however, with the modern perception of the leading character. Through modern interstation, we see that Clytaemnestra is the clear protagonist of The Agamemnon. She possesses the more significant involvement in the play, as well as character development. In addition, a modern audience is more perceptive to sympathize with a female role, seeing her rise to power, from a “lowly woman” to queen of the city, and then the inevitable downfall as a result of her actions. This is the definition of the tragic hero, and we can clearly note today, that Clytaemenstra is the protagonist of The