Our antagonist is an astounding piece of work. He obstinately pleads indifference despite dedicating his entire existence for revenge. A more favorable course of action involves starting over with a clean slate but he couldn’t as a result of his wounded pride. In addition, he is self-destructive seeing that he allowed racial hatred to consume him and become his undoing. Even though he invents elaborate lies to be in control, he claims a reputation for honesty.
Caesar and Brutus have a tragic flaw that causes them to collapse in all directions, and die. However, Brutus fits the definition of a more tragic hero than Caesar. Because of his personality, and his heart, he is a hero, and a good person. He is much better than Caesar. Brutus’ only flaw is innocence, so that he believes in others, it makes him suffer in his heart, and he could not forget for the rest of his life.
But tell me one more thing that will throw light on this” (43). Oedipus’ continual investigation reveals his determination to find the killer at all cost, even to himself. His commitment to finding the complete truth at any cost reveals his determination. Oedipus was a tragic hero whose hubristic nature, quick temper, and determination lead to his downfall. His pride led to him insulting and treating others poorly, which made them tell the truth about Oedipus’ past.
His madness is poor Hamlet’s enemy.”(5.2.180-85) The mental instability that Hamlet manifests lies not in his own consciousness, but in the pragmatic way of thinking that he adopts, and that ultimately poisons his faculty of reason: " I essentially am not in madness/ But mad in craft." (3.4.176-77). Thus Hamlet´s trap depends on his genius interpretation of insanity, and for that he has to palpably play the madman, which he does with the utmost brilliance ,and that afterwards makes it difficult to believe he was ever sane. Unmasking the scheming murder of his father is not an easy task, this much we have established, but the real problems appear when Hamlet “thinking too precisely on the event” (4.4.40-41), loses sight of reality, and crosses that thin line between right and wrong, between who is innocent and who must pay the consequences of his father´s death. But the problem
/ ‘Glamis hath murdered sleep’" (2.2.42-42). This has caused Macbeth to become paranoid that the whole house is now aware that he is a murderer. If his actions are exposed, then everything he had done would be for naught and he would suffer great consequences. Even though he knows that the voices could not be real, it arouses much fear for what he has done. This "disorder and moral darkness into which Macbeth [has] plung[ed] himself" (Knights 41) into is still a little unsettling to him.
Further, his rank in society corrupts his thoughts and he refuses to listen to others, even when he is at fault. Creon’s title as ruler undoubtedly has impacted his pride. Creon displays a contemptuous belief that his way is the only way. Teiresias the phrophet yet again forwarns Creon on his fateful mistake to punish Antigone. “Think: all men make mistakes, but a good man yields when he knows his course is wrong, and repaired the evil”(5.77).
Oedipus qualifies as a tragic hero because of his characteristics and dramatic irony in the story. For a common trait for a tragic hero, Oedipus has suffered more than he deserves. Oedipus also understands his doom when he discovered his fate by his own action. Oedipus in lines 338-706, his anger and arrogance makes him think that Creon and Tiresias are conspiring to overthrow him because Tiresias would not tell him who his father murderer is. This also shows dramatic irony because of Tiresias is blind, but can see the truth.
Iago Iago, the triumphant villain within Othello is a perplexing character, his true intentions are buried deep in deception and deviance that help create who he is. The heinous goals he sets out to achieve are unfathomable, yet without his presence Othello would be nothing more than a romantic drama. Iago is the villain we love to hate; he is the sole instigator of the tragic events that take place within Othello. And yet still Iago is one of the most complex characters within Shakespearean tragedy. In order for Othello to be as effective as it is, the depiction of Iago as the perfect example of evil itself was essential, and is accomplished with his particular characteristic traits.
That being said, it is ignorant to say that his fatal flaw is the sole reason for his downfall, as there were many contributing factors such as his jealousy and insecurity that factored into it. Nevertheless, his gullibility is ultimately the root cause as it enabled for these factors to come into effect. His fatal flaw is first pointed out by Iago, who comments that “The Moor is of a free and open nature/ That thinks men honest that but seem to be so” (1.3, 392-393). As the play progresses, Iago capitalizes on this weakness to plant seeds of doubt in his mind of Desdemona. Iago points out that “[Desdemona] did deceive her father, marrying you” (3.3,204), and thus brings to Othello’s attention that Desdemona is capable of lying.
The next example is ironic and an unknowing internal conflict when Oedipus speaks to Laius’ killer as if he is actually right in front of him and commands him “ to turn his hand against [him]” even though Laius killer is himself (KO 29). Oedipus’ pride will not let Laius’ killer get away with an unjust murder. Oedipus, believing the murderer is a sneaky and unjust man, tries to talk to him even though he is nowhere in sight. Unwittingly, his efforts are useless because Laius’ killer is Oedipus all along. The scene contributes to his downfall because as he searches for Laius’ killer he unravels the spark that will contribute to the flame.
The character Oedipus fits Aristotle 's criterion of character as a leader and a person because he remains consistent in trying to remove the curse from Thebes. In the introduction, Oedipus is addressing the priest about the condition of his city. "You are sick to death, but no one is as sick as I. / Your pain strikes each of you alone, each / in the confess of himself, no other. .