This furthers the notion that Oedipus’ hamartia is his hubris as a hero’s hamartia is often something that serves as their greatest strength in moderation but their downfall in excess. Oedipus’ confidence in his reason and his charisma derived from self-confidence attracts the support of the Thebans. However, in excess, Oedipus’ pride leads him uncover the devastating truth of his identity and effects the wrath of the gods. Oedipus’ flawed nature is crucial to the development of catharsis as it his flaws that make Oedipus relatable to the audience so that they may become attached to him. Should Oedipus, be too ‘perfect’ the audience would not be able to find themselves in him and thus would not be able to learn from him, which would contradict the purpose of a tragedy according to Aristotle.
Both stories present villains differently, where society is directly criticizing Meursault’s beliefs and actions in The Stranger while Meursault is indirectly hurting Harun in The Meursault Investigation. However, both text function similarly by triggering the protagonists emotions, creating a sympathy towards them. In The Stranger, Meursault is perceived by society as being inhuman with no place in their society but through Meursault 's perspective, society
His lies cause himself to look like the only honest person Othello knows. He clouds Othello’s judgement with a mixture of emotions so that Othello figures he must kill the woman he loves so dearly (Beier). Nevertheless, Iago feels no remorse for his deceptions while the remaining characters are outraged and livid. His reaction shows that while his actions are wrong, he feels justified because he was wronged by Othello
Benvolio and Tybalt have different places in society in terms of respect and trust, and through Shakespeare’s use of language, their sense and understanding of morality is exposed. Despite their significant differences, Benvolio and Tybalt are quite similar when it comes to family. One represents peace and the other one represents the complete opposite, war. Benvolio is the one that does everything in his power to avoid and stop the fighting, and Tybalt is the one with bad tamper and uses the idea of fighting to channel his anger and aggression. Benvolio is considered as more respected and trustworthy due to his aim to keep peace.
Proctor, however, is an example of Miller 's definition of a tragic hero as " the presence of a character who is ready to lay down his life, if need be, to secure one thing, his sense of personal dignity" (Miller, tragedy 4). Proctor embodies this definition because his anger leads him to be free. He has the courage to reveal his anger at Salem and the courage to reveal his affair with Abigail when he tells judge Danforth that he is raising "a whore" over heaven ( II iv 110). His wrath at this evil Salem makes him believe that God has abandoned this place "I say, I say , that God is dead" ( III i 119), so the only thing to direct him is his will to do the right thing, that he can not embrace a lie to save himself. Thus, his
When Teiresas leaves, the chorus members comment on the alarming predictions she has made while persistently supporting the king. In one of the final odes, the chorus magnifies Oedipus’ horror and pain after he raked out his eyes. They choose Oedipus as a prime example of the delicacy of life. The chorus also regards Oedipus as a father figure, “many things learn of thee (46),” meaning that his disgrace smears the whole city’s reputation. The chorus begins by supporting Oedipus, since they believe that he is the right man to fix the city’s problems, based on his past success.
To begin, the first category of love, storge, is a Greek word meaning empathy bond. This love can be described as fondness of familiarity. In “Romeo and Juliet,” Lady Capulet says, “ I beg for justice, which thou, prince must give. Romeo slew Tybalt; Romeo must not live”(III.i.180-181) Tybalt, portrayed as a cruel and prejudice man, is hated by most; even Lord Capulet shows disapproval of the actions of Tybalt. However, he is family, and that natural love makes the Capulet family want his death avenged.
Saul Mcleod explained that Freud believed that when we explain our own behavior to ourselves or others we rarely give a true account of our motivation. This is not because we are deliberately lying. Whilst human beings are great deceivers of others, they are even more adept at self-deception. Our rationalizations of our conduct are therefore disguising the real reasons. (2013), by putting this in consideration Mayella Ewells deceived herself, poured her anger on hopeless man, she uses her powers to oppress who is weaker than her, she was angry of society, angry because her father oppresses her.
Furthermore, Aristotle makes this imperative for a tragic hero in the Poetics when he states that the character “ought to be so constructed that, even without the aid of the eye, he who hears the tale told will thrill with horror and melt to pity at what takes place”(Aristotle). This quote means that the fear and pity invoked due to the situation must be so great that it must be able to arose these feelings with just a verbal description of the situation. Paterno’s condition fits this part of the definition because it arouses fear when he ignores an exorbitant amount of child rape for decades and it arouse pity due to the legacy he built and all the players or fans he helped. Specifically it arouses fear because of shear magnitude of negligence from Joe Paterno In 1977, Sandusky established a foster house for little boys and in this house, he sexually abused these children, with Paterno knowing of this situation from the late 1970’s to 2011 when Sandusky was arrested (Ganim). These sexual assaults from Sandusky even spilled into the locker room of Paterno and this is evident when “a 10-year-old boy said Sandusky gave him a naked hug in a shower”(Ganim).
At the end of the play, the tragic flaw is unveiled to the tragic heroes in what is called a moment of recognition or anagnorisis. In this play “Antigone” there were two central tragic heroes, Antigone and Creon, with both similarities and differences. Antigone’s tragic flaw was relatively due to a positive quality, which is extreme loyalty to her brother in addition to another negative quality, which is being revolutionary. On the other side, Creon’s tragic flaw had a negative motive of extreme tyranny and stubbornness against the laws of nature and gods and human emotions, which caused tragic effects that could not be reversed despite his efforts at the end; consequently, Antigone and Creon’s characters meet at the point of recalcitrance. In this artistic drama, the writer delivers a significant message that utmost obstinacy and pride results in harsh punishments known as “the blows of fate” which are surely acute for anyone to