They also lay the foundation for the occurrence of the incidents unfolding in the play, by outlining the background to the present actions. The Chorus at times seems to directly affect the action in the play. They assume different roles at different times. This is necessary for the progress of the tragic action of the play. In Greek tragedy, it was considered
One of the worst moments where his pride got the better of him when he blinded Polyphemus and escaped. He was pride of the trick he pulled and began to mock him. He revealed his identity when he said “... Odysseus, raider of cities, took your eye: Laertes, whose home is on Ithaca”. (3.459-60). Revealing all of this vital information would allow Polyphemus to pray to his father, Poseidon to curse Odysseus and make him lose all his men and have hardships when he returns home.
This quote demonstrates the deadly sin of pride because the foolish rioters think they can avenge their friend against an unknown enemy. This sin is used in order to show how pride in one's own self may lead to unwanted repercussions. Because this tale was written in this time period, boasts and pridefulness were common. The use of pride develops the characters from being a band of brothers to becoming each other's murderer.
By refusing to read the will several times and admitting that what it contains will cause the people to have such a great love for Caesar that knowing he is now dead will be unbearable, Antony ignites curiosity in the people and furthermore, a subconscious feeling of respect and graciousness toward Caesar. Basically, Antony uses Caesar’s will to convince the people that Caesar was a selfless, kind-hearted man and those who killed him should be ashamed and punished for killing an innocent man. Through Antony’s use of paralipsis, he is able to plant a seed of admiration for Caesar and one of hate for the conspirators in the hearts of the plebeians. In his speech to the citizens, Antony also asks many rhetorical questions to cause his audience to pause and reflect on how they really feel, or how Antony wants them to feel, about certain people and events that have recently become important. In one instance.
Gawain’s loyalty to kin is often mentioned in Le Morte, and his need for revenge tends to be the main reason why he is shamed throughout the text. Later on in the book Gawain and his brothers take down Lamorak in a shameful ambush, and afterwards none of them repent their deeds or get into trouble. The fact that Gawain is able to shame a woman and a fellow knight and then ambush and kill another without consequences, makes it easy to argue that King Pellinor’s death was a major turning point in Le Morte. This is because if Arthur had punished his nephews in the way all other knights would have been punished for this behavior then he could have prevented further murder, including the deaths of the his own sister Margause and her lover Lamorak, among others (Bedwell 6). The “contract” enforced by King Arthur and Queen Guinevere forbids behavior such as outrage or jealousy, treason, murder, denial of mercy, and crimes against women.
Criss Jami once said, "Confidence turns into pride only when you are in denial of your mistakes." Pride finds a way to elicit the worst in someone. Unwanted pride can be seen evident in ones daily life, education, politics, history, etc. Could pride educe the best in someone? Maybe; however, I agree with Playwright Sophocles that , "all men make mistakes, but a good man yields when he knows his course is wrong, and repairs the evil.
Sidney Ison AP English Mrs. Sutton November 24, 2015 Manipulative Mercy In Geoffrey Chaucer’s The Canterbury Tales, the Pardoner, a corrupt, greedy man, uses his tale to manipulate his audience into repentance for his own profitable benefit. The Pardoner is known for cheating people and stealing their money through his selling of false relics. Through his tale, he manipulates his audience by inspiring repentance through his ability to evoke emotions of shame, guilt, and fear. These emotions are evoked by his being able to read and adjust to his audience, making his tale relatable to his audience by social status and monetary desires, and instilling in the pilgrims a fear of death and damnation. The prologue to the tale begins with the Pardoner
Now he calls the policemen villains, and that’s pretty ironic, because he’s the villain, right? The policemen have not done anything, but he thinks that they’re making fun of him. So he has this impression, and he always acts on his impressions, and unfortunately they’re wrong. “The Tell-Tale Heart” is not only the heartbeat that alerts the officers, it makes him reveal his crime of murder. As the table has been turn to the readers with the unexpected guilt and the dramatic close of the narrator's
Sophocles, author of Oedipus the King, reveals the purpose of Creon is to develop the character of Oedipus because of the use of foils and dramatic irony to reveal Oedipus’s hubris. To begin, Creon develops Oedipus’s character by serving as a foil to him. By serving as Oedipus’s foil, Creon emphasises Oedipus’s arrogance. Creon states, “I have a suggestion. You in your turn listen to a reply as long as your speech, and, after you have heard me, then judge me”, and Oedipus replies, “You are a clever speaker but I am a slow learner-from you.
Throughout the story Montresor and Fortunato show that they are both very clever, but one of them becomes far more clever than the other. Characterization proves the theme that Fortunato's insults make an enemy of Montresor. Montresor becomes vindictive when Fortunato’s insults start turning towards his family. Montresor’s family motto is no one punishes him and gets away with it (Fields). This gives reason to believe that honor dictated that Montresor avenge the insults Fortunato laid at his feet.
It is a terrible, agonizing moment, even in description, but in the depths of his pain Oedipus is magnificent. He does not submit passively to his woe or plead that he committed his foul acts in ignorance, though he could be justified in doing so. He blinds himself in a rage of penitence, accepting total responsibility for what he did and determined to take the punishment of exile as well. As piteous as he appears in the final scene with Creon, there is more public spirit and more strength in his fierce grief and his resolution of exile than in any other tragic hero in the history of the theater. Oedipus unravels his life to its utmost limits of agony and finds there an unsurpassed grandeur of