The Tragic Hero In The Epic Of Gilgamesh

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The hero Gilgamesh, passed through various tests and turns out better for it. For at the beginning the epic the king appears in the form of an unbridled, corrupted and cruel young man, then after the death of Enkidu, he is finally capable of a heartfelt deep sorrow. For the first time he becomes aware of the futility of existence, feeling the fear of the death, the hero of the poem turns to the gods to find out the secrets of life and death. From now on, Gilgamesh cannot simply rule his people, he wants to know the secret of death. His soul comes to complete despair: how could the immortal power and energy in the body of Enkidu die? This fire of the soul leads the hero all the further from his native land, gives strength to overcome unprecedented…show more content…
Consequently, having found himself in a closed and authoritarian controlled locus, physically or mentally immersed in it, prisoners must "work" in order to restore freedom, “Thou best know’st What torment I did find thee in; thy groans Did make wolves howl, and penetrate the breasts Of ever-angry bears. It was a torment To lay upon the damn’d, which Sycorax Could not again undo. It was mine art, When I arriv’d and heard thee, that made gape The pine, and let thee out.” (Shakespeare, 1564-1616; 1958) It is very tempting to learn the physical freedom, selected Prospero in all, without exception, inhabitants of the enchanted island, through the post-colonial prism or in the paradigm of the slave relationship. Prospero also throws himself into a dangerous position. The actual plot of the play can be regarded as organized in the form of a composition of a picture. Before the audience's intrinsic gaze, other characters take their positions in the three-dimensional space available within the framework of nature set by Ariel and Caliban in the background and the opposite poles of Miranda and Ferdinand in the foreground. In the work, it is compared to the theater, “Our revels now are ended. These our actors, As I foretold you, were all spirits and Are melted into air, into thin air; And, like the baseless fabric of this vision, The cloud-capped towers, the gorgeous palaces, The solemn temples, the great globe itself, Yea, all which it inherit, shall dissolve, And, like this insubstantial pageant faded, Leave not a rack behind. We are such stuff As dreams are made on, and our little life Is rounded with a sleep.” (Shakespeare, 1564-1616; 1958) The contradiction between the schemes is also established on the imaginary horizontal dividing line: the choice of giving in favor of another or personal advantage. Ultimately, of course, the plot focuses around Prospero. His decision is detailed
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