In contrast, George and Hazel in the short story cannot even identify the obstacle that they are facing with their lives. This is evident when Hazel suggests George take his bad down, he refuses by saying that when “[people] get away with it, and pretty soon [they’d be right back to the dark ages again,” and Hazel agreed. Sadly, they are so passionate about “equality”, that they are blind about that fact that they are suffering. In conclusion, both “”Warren Pryor” and “Harrison Bergeron” illustrate the danger of overly controlling humanity. Both texts discuss the barrier of stifling humanity, however, in the poem the narrator decides to suffer under his parents’ expectation, where in the short story the speakers are blind about the barrier that they are
Once her father hears these accusations, he commands to “let her die” as a result of the crimes she committed (IV.i.163). These incidents in the play illustrate Hero’s sacrifice of her angelic and pure character. Hero does little to convince others of her innocence. Moreover, clinging to the traditional views of women, men are unlikely to listen to what women have to say. Shakespeare portrays women 's ranking in relation to men by illustrating Hero’s great sacrifice, and how her closest mentors refuse to help support her.
Both novels, The Wars and A Tale Of Two Cities have a lot of interesting characters but the two that can relate the most are Mrs.Ross and Doctor Manette. Thought out both novels both characters that have similar traits and they both have issues that they face both are identical and are both equally as important in their respective novel. I 've shown examples of how both characters tragedies have affected greatly, and are turning points of the stories and key elements for each character. I 've also shown how both characters changed tremendously throughout the novel, Also how both characters have gathered habits that have been caused by tragedies in the story
Creon’s strong feelings about Antigone burying of her brother transgressed him as the tragic hero because his stubbornness against her caused everyone to turn on him. Such as when Creon is talking to Antigone and he tells her “ In all of Thebes, you’re the only one who looks at things this way.” To which Antigone replies “They share my views, but they keep their mouths shut just for you.” This shows how Creon’s slowly being turned against because his stubbornness. Antigone admits to the burial of her brother and Creon orders her to a cave to survive as long as she can. When Creon’s son hears word of this he goes to talk to Creon and sees his stubbornness. Creon’s son Haemon kills himself when he finds Antigone dead, Creon's wife also kills herself once she hears of Haemon's death.
As the ruler of a city, Pentheus was only fulfilling his duties and trying to protect his people from danger. He did not want the life-style for the people of Thebes to shift or modify regarding this stranger who wreaked havoc on the women of the city. Dionysus not only came many years later to pursue his revenge, but he came in disguise. What would convince Pentheus and the people of Thebes that he is a true God? Dionysus, the product of an illicit affair, is immature, fragile, and so power hungry that he lacks any wisdom a typical God would have.
Oedipus sends his brother in law, Creon, to the oracle to learn what needs to be done. When Creon returns he announces that the oracle said to find the murderer of King Laius. If they discover the murderer it will end the plague among the city. Oedipus calls for Tiresias, a blind prophet, but he refuses to speak. Tiresias ends up accusing Oedipus himself
His loyalty to his power becomes priority over his family, when he decrees his nephews burial illegal. Antigone also falls victim to the excessive force and jaded complexity of her uncle, when he prioritizes patriarchal standards and his law over her moral act of goodness and makes it known that, “while I’m alive, no woman is going to lord it over me” (590). All the trouble Creon put his family through just to save face and show his dominance ends up destroying what was left of his family just to avoid, “never be rated inferior to a woman, never”
When Desdemona marries Othello, she neglects to ask for her father’s permission for the courtship and wedding. Desdemona’s love for Othello is so blind and abundant that she forgets to ask the most important person who loves her for a blessing. This neglect of her loyalty to her father brings shame upon her father, which makes him appear that he has no control over his household, implying weakness in his leadership. Desdemona and Othello’s courtship seriously offends Desdemona’s father, which puts the both of their lives at risk. Desdemona’s father states that he should kill her for her disloyalty from getting married without his permission.
Refusal to yield due to pride is a human weakness evident in both the ancient times and today's society. In Sophocles' Oedipus Rex, King Oedipus refuses to yield when Tiresias urges him that “there’s no help in the truth” (Sophocles 17). Since Oedipus is too proud and stubborn to believe Tiresias, he ignores Tiresias’ advice and unfolds the truth concerning his own past and King Laius’ death, thinking that he will save Thebes from the plague, but ends up only harming himself and his loved ones. Like Oedipus, Muhammad Ali, a professional boxer, is also proud of his beliefs and refuses to yield and join the U.S. military when drafted during the Vietnam War, despite the criticism and punishment he receives. Ali stated that his “ ‘conscience [won't]
Lear believes that his daughter does not care for him and so takes away her inheritance, while Claudio believes that his betrothed has been unfaithful and so shames her on their wedding day. The final similarity is Shakespeare’s use of ‘funny characters,’ those whose value seems to be nothing more than to provide the audience, usually the groundlings, with same base form of amusement. Lear has his jester, and the maid Margaret plays the part in Much Ado. However, often these characters will be given deeply philosophical lines and essential parts in the furthering of the plot, which go unseen by the average, non-academic viewer. “While we might think little of the buffoonery of a Nick Bottom or the witticisms of a Feste, Shakespeare, his contemporaries in the early modern professional theatre and especially his audiences, valued clowning highly – and scrutinised it carefully in its