The theme of impulsivity in Romeo and Juliet causes much pain and suffering for the lovers and their family. Impulsivity is Romeo’s fatal flaw; he’s so reckless he kills himself believing Juliet is dead, even though she is warm and appears as she is only sleeping. She wakes up minutes after he takes his life. “Beauty’s ensign yet/Is crimson in thy lips and in thy cheeks, And death’s pale flag is not advanced there … O true apothecary! Thy drugs are quick.
Love is parasitic. Oftentimes perceived positively, it silently renders its host subservient to lust, irrationality, anger, and vengeance. The manipulative Greek sorceress Medea falls victim to this curse in Euripides’ tragedy Medea, where after falling deeply in love, her husband Jason leaves her for another woman. Heartbroken, she goes on a murderous crusade to exact her revenge that even results in the death of her children. Aspects of Medea’s quest are apparent in the relationships in Jesmyn Ward’s coming of age novel centered around Hurricane Katrina, Salvage the Bones.
In this chapter there will be dealt with the biggest dishonesties shown by each character and the way these behaviors have contributed in the life of the main character Hamlet,and what kind of role they have played in the tragic ending of the story. Firstly the cruelest figure in the play, Claudius will be analysed. The way how he has killed his brother and married his widow. How do his actions degrade up to the point he indirectly kills Hamlet? It willbe spoken of Gertrude`s role as a mother.
The children corrupt the system; they take over the reigns and twist the perceptions of their people until they became the ones in control. With a deadly mix of radicalism and hysteria, the once-peaceful village became a nightmare for those who didn 't fit the perfect Puritanical mold. John Proctor is given a disproportionately punishment to his crime — yes, he commits lechery. Yes, he lies to his community about the affair with Abigail Williams. No individual, however, deserves the suffering these accused witches are forced to experience.
The Use of Allusions to Characterize Claire and Critique Human Nature in The Visit Friedrich Dürrenmatt’s The Visit is an absurd, yet profound play, critiquing flaws of human nature and society, most notably the ruthless thirst for justice and revenge that people often succumb to. These vices are illustrated through the prototypical town of Güllen, which falls prey to the billionairess Claire Zachanassian’s vengeful schemes. Claire’s goal is to get revenge on the man who betrayed her in their youth, going to great lengths and hurting relatively innocent people to secure “justice”. Claire’s characterization as a ruthless woman scorned is integral to the play’s plot and it is facilitated by allusions to Greek mythological characters, such as Medea, the Fates, and the Furies, who all represent some aspect of Claire’s character and ambitions. Dürrenmatt uses allusions to Greek mythology to characterize Claire Zachanassian and critique the abuse of power to ruthlessly obtain justice and seek vengeance.
Many of his poems explore the ramifications of war, corrupt government and unrequited love, detailing the havoc they wreak on their most vulnerable victims. Auden describes a war-ridden world as one where “girls are raped, that two boys knife a third, were axioms to him, who’d never heard of a world where promises were kept, or one could weep because another wept” (Auden, W. H. “The Shield Of Achilles”). Having experienced World War I, World War II and the Spanish Revolution, Auden is no stranger to war (Yezzi). Pulling inspiration from his experiences during World War II, Auden writes the poem “Refugee Blues.” In this poem Auden depicts the public’s hatred toward Jews, describing a “poodle in a jacket” and “a door opened and a cat let in” (lines 22-23) followed by the realization that these animals were treated with this kindness because, unlike the refugees, “they weren’t German Jews” (line 24). Auden uses this example of animals being treated better than Jews to convey the idea that even seemingly compassionate people are easily influenced against their fellow man.
Sometimes, sheconverts herself into beast and tries to seek the revenge on society. It is a kind of psyche, which is resulted from her worst experiences. The barbarity of human being is exposed through ‘The Color Purple’ in the form of images, strong words, and morally difficult concepts. Here, readers are shocked when s/he will come across the striking purposes and functions of vulgarity and violence while reading the novel. The novelist hammers the burning issues of the uncivilized societies of every age and borderless world.
She leads “a life of utter humiliation and desolation…. Life for her is only a conundrum” (Batra 43) Amla puts it very sharply when she asks,” Aunt, why did they marry”? (VC 198). This paradigm presents an acute complication and heart-crushing agony. Monisha’s winding journey towards her horrible ending paints her physical and psychical diversion in black, mourning colours.
Ophelia and Hamlet were in love which in turn made it burdensome for her to forgive him for killing her father. Similarly to Hamlet, Ophelia went “mad” when her father was killed. Specifically, Gertrude said, “Her clothes spread wide, And, mermaid-like awhile they bore her up, Which time she chanted snatches of old lauds, As one incapable of her own distress Or like a creature native and endued Unto that element” (Hamlet 4.7.172-175). Ophelia had to be bored up because she couldn’t handle the distress that she was feeling. Ophelia’s madness was easily seen with her actions and appearance.
In the text, women are prone to treachery, betrayal, violence, jealousy, and wickedness, presenting at times mortal danger to the male protagonists. One of the most extreme manifestations of this belief occurs in the Tale of the Enchanted King, during which a brutal dispute between the King and his wife over the wife’s adultery results in the virtual destruction of the kingdom. His wife, “with [her] magic and cunning,” hexes the King into half stone and half man to avenge her lover, a slave who the King attempted and narrowly failed to behead (601). Each morning, his wife strips him naked and mercilessly whips him, uncaring of her husband’s “deafening and enervating cries that deprive [the fisherman’s king] of sleep,” then tends to her vegetative lover (603). The wife is therefore portrayed as a purely wretched woman, “the dirtiest of whores and filthiest of all venal women,” whose cruelty knows no bounds (601).