Abominable action are executed by Scar, he murdered his own brother and king to seize his position as king; he also tried to murder his nephew Simba, the heir to the throne but failed and told him to run away. As a result, he became the king ruling the kingdom in with a lack of consciousness and ruthlessly s. Scar believed he was entitled to perform as he pleased; his behaviour was no longer the surviving behaviour to seize the position of king. There was a food and water shortage but he responded he would rather prefer death to come along to all of them in order to stay as king, in power of the whole kingdom. His main focus in life was being king and is above every other animal in the hierarchy and he behaved as he was not even concerned about his death but only his legitimate
Montresor is so consumed by his hatred for Fortunato that he deliberately creates a plot to murder Fortunato to seek justice for himself and his family name. In order to convey this to the audience Poe uses foreshadowing, suspense, and exposition to reveal the intentions of Montresor. The first literary tool Poe uses in order to reveal the intentions of Montresor is exposition. Poe uses exposition in the beginning of, “The Cask of Amontillado,” in order to get the rest of the story in motion.
When nobody comes fourth with the truth he then curses whoever the murderer is, vanquishing them from the kingdom. “For the worst penalty that shall befall him is banishment--unscathed he shall depart” (Sophocles 6). He calls in Teiresias, a blind follow that can see into the future, longing for an answer to this madness. He hints around saying that Oedipus is the killer. Oedipus stands up for himself and blames Teiresias for being jealous of Oedipus because he is the new king and all he wants is to steal the throne away from Oedipus with this outrageous alimony.
When he first met Julia, he admitted “I wanted to rape you and then murder you afterwards” (Orwell 120). He obviously is only concerned about whether or not she is a spying on him and is ready to defend himself, even if it meant killing her. Similarly, Winston shouts “Do it to Julia! Do it to Julia! Not me!
Yet he is still infuriated because Macduff fled to get Malcolm and Donalbain to help him get rid of him. In reaction he sends murderers to kill Macduff’s family in act 4 scene 3. This was the start of his undoing. Macduff arrives to Malcolm and succeeds in convincing him to help him rid of Macbeth then the prophecies start to come true. Macduff is coming to kill Macbeth.
He chose to kill Duncan when speaking to his wife “I am settled, and bend up Each corporal agent to this terrible feat. Away, and mock the time with fairest show. False face must hide what the false heart doth know.” (1.7.79-82) He has decided not only to kill his king, but to pretend that he is innocent, and take his throne, It is his decision, not Lady Macbeth’s.
The second element of a tragic hero is that they are suffering or will suffer a catastrophe during the course of the play. Brutus’s catastrophe is that formed an alliance with the conspirators and agreed to assassinate Caesar since he believed he would be doing it for the right reasons like to protect the freedom of Rome but the other conspirators assassinated Caesar for their own personal gain. “…Countrymen, my heart doth joy that yet in all my life I found no man that was true to me” (V.V. 34-35). The third element of a tragic hero is that they have a fatal flaw in some way or another. Brutus’s fatal flaw
This part of the soliloquy shows us that he is committed into killing Duncan to become King. If he did not want to do it he would not have had such a detailed and realistic dream. In this quote he discovers that this dagger is a ‘dagger of the mind, a false creation’. He also said that it originated from the heat-oppressed brain’. This means that this thought came from a feverish and ill brain.
Othello swears he will kill his wife, Iago then encourages Othello to kill his wife. Thus completely going against what Roderigo is asking him to do. Once the fifth act comes Iago goes from talking about killing to just killing people. Iago, while Roderigo is trying to kill Cassio, just goes up to Cassio and stabs him in the back. Then when help begins to come Iago stabs Roderigo as if he was helping Cassio.
In the kidnappings of Equiano and Rowlandson they both can relate to each other’s feelings. Giving information to colonists led to the kidnapping of Mary while Equiano was captured to be a slave. Treated poorly and being starved can take a toll on your body making your body slow down. Being in the same time periods as slavery and wars it is not a safe environment.
The dastardly conspiracy for revenge undertaken by Caliban is focused upon the physical ruination of Prospero; Caliban wants him dead. Through Caliban’s vivid language , of the tortures Prospero has inflicted on him, the motivation for Caliban’s murder plot was formed. The overall plot of The Tempest, is paralleled by Caliban’s murder plan in his comedic subplot. Without it, Prospero would never have to deal with the effects of vengeance upon him and Shakespeare 's exploration of revenge would lose thematic significance.
At the scene of Romeo and Juliet’s death, Friar Lawrence confesses, “I am the greatest, able to do the least, yet most suspected, as the time and place doth make against me, of this direful murder. And here I stand, both to impeach and purge myself condemned and myself excused” (5.3.32-36). He explains that because he was there at the time of Romeo and Juliet’s death, he is suspected to have killed them. He should have been able to stop Juliet because he was there.
In “The Lay of the Werewolf”, Bisclavaret was able to see the true identity of humans when he took on his disguised identity. An archetype of a disguised identity is present through Bisclavaret, and also his wife, which sheds light onto her betrayal to him. Archetypes are details, plot patterns, character types, or themes that appear in the literature of many cultures (Doc E). Bisclavaret represents the typical disguised identity because his normal form is a human but when the time comes he transforms into his second identity of a werewolf. During the Middle Ages, having the ability to transform could only occur in demon-
Stephanie Ericsson begins her explorative essay, “The Ways We Lie,” with a personal anecdote of all the lies she fabricated in one day. She told her bank that a deposit was in the mail when it was not, told a client that the traffic had been bad when she was late for other reasons, told her partner that her day was fine when it was really exhausting, and told her friend she was too busy for lunch when she just was not hungry, all in the course of a day. She shifts from talking about herself to talking about everyone, claiming that all people lie, exaggerate, minimize, keep secrets, and tell other lies. But, like herself, most still consider themselves honest people. She describes a week in which she tried to never tell a lie; it was debilitating, she claims.