No one truly knows the purpose of life, why there is death and suffering. The purpose of life has many meaning and is different for everyone. Good people tend to suffer more because others get jealous and use violence to end the good. In the poems, “Antigone” and, “Prometheus Bound”,and the book, “Gospel of Matthew”, express why the good people suffer and what the purpose of life really is. The poem “Antigone” shows how the good people are suffering and the purpose of life.
As related earlier, catharsis aims to elicit pity and fear in order to purge such emotions from the audience. As such, the tragic hero’s punishment must not be considered entirely deserved otherwise it would be seen as justice and the cathartic effect would not take place. Instead, the punishment must be somewhat excessive so that pities the tragic hero for his misfortune as well as fears for their own lives after seeing the world is not always fair. However, in order to confirm that Oedipus’ punishment exceeds his crime, both must be identified. Oedipus’ crime is quite simply his attempt to escape his own fate.
The most evident demonstration of such intention in Oedipus can be found in the words of the chorus: “The oracles concerning Laius / are old and dim and men regard them not. / Apollo is nowhere clear in honor; God’s service / perishes” (Sophocles 1030-1033). These words reveal the concern that if the prophecy about Oedipus had turned false (or if people thought it was false), it would have undermined Greeks’ respect and fear of gods and their prophets. This is why Oedipus had to become a victim of fate in the story. Other proofs of this motivation being important for the play can be found in various dismissing remarks about prophecies the protagonist and Jocasta make: “Ha!
The Sirens are waiting for the god-like hero to come along to save them. They recognize the power they have over men, but also their weakness in that they need one to save them. This appeals to Odysseus’ ego and he risks death to show off his strength. In Atwood’s poem, Odysseus is not seen as strong because he restrains himself against temptation; he is seen as weak because he fails to save the Sirens. John William Waterhouse also recognizes the powerful temptation of the Siren song, but he sees the Sirens as manipulative and evil, and paints them to look that way.
Marry Shelley’s ‘Frankenstein’ or ‘The Modern Prometheus’, largely resembles the Greek myth, where the subject makes severe mistakes, attempting to play god, as he disregards the ethics of humanity, as well as his own moral. Victor Frankenstein, who is the ‘Modern Prometheus’ in Mary Shelley’s novel, attempt to do the impossible – create life! While the Greek Prometheus (a titan), commits three sins against Zeus, one of them being the giving of fire to humans. Both are in their own way absurd, however in both cases, they succeed. However both are subjected to either pain or suffering, whether it is physical or mental, after realizing what they have done.
In Socrates’ first speech, he regards the rational non-lover as the superior, as they will never be tempted into shameful acts. He wishes to leave, but realizes it is foolish, and sees a daemon (a warning personified) so he corrects his mistake in the second speech. The lover can become holy, even more than the lover, but that comes with risks. They can only be holy with self restraint, without going too far. We can see the parallel with Equus, much like Socrates, Dysart and society in general are seen as the norm and most successful, but Alan forces us to reconsider that, and shows us the flaws in Dysart and society’s values.
In his epics The Iliad and The Odyssey, Homer provides an even-handed portrait of the heroes Achilles and Odysseus. By choosing not to idealize these heroes, Homer provides an insight into the values of ancient Greek culture; both Achilles and Odysseus represent prized characteristics, but also illustrate the dangers of hubris and excessive individualism. Both Achilles and Odysseus cause numerous deaths through their own inflated sense of individualism and pride, but both also illuminate the benefits of their personal strengths when faced with problems throughout The Iliad and The Odyssey. Odysseus, in The Odyssey, thinks he knows what’s best for himself and his men, which on occasion is true, but just as often leads to issues that he could have easily avoided with proper communication. For example, when Odysseus and his crew encounter the Lotus-Eaters, he acts on their behalf, to their benefit: I hauled them back
This is due to the potential of the theatre. In Biedermann und die Brandstifter, Frisch uses a Chorus to reveal Biedermann’s failure to deal with the arsonists. Like its Greek predecessors, the function of the Chorus is to comment on the activities of the actors, and it urges spectators to draw a moral. Frisch employs the chorus as a voice of a reason that warns Biedermann of impending doom. The presence of a morally sound voice shows contrast between Biedermann’s actions, and what the right thing to do is.
In the previous section I determined that in the early stages of his work, Nietzsche's relationship with metaphysics is less conflictual than normally imagined. The evaluation he gives of metaphysics is ambiguous, and depends on which sort of metaphysics is the object of judgment. At least when it comes in the fashion of tragic art, the work of metaphysics even assumes a positive aspect. It is now important to dig deeper in Nietzsche's conception of tragic art. Given the picture of art as the true and foremost metaphysical activity, to explore Nietzsche's understanding of tragic art shall enable us to further elucidate his stance toward metaphysics in BT.
At the end of the play, the tragic flaw is unveiled to the tragic heroes in what is called a moment of recognition or anagnorisis. In this play “Antigone” there were two central tragic heroes, Antigone and Creon, with both similarities and differences. Antigone’s tragic flaw was relatively due to a positive quality, which is extreme loyalty to her brother in addition to another negative quality, which is being revolutionary. On the other side, Creon’s tragic flaw had a negative motive of extreme tyranny and stubbornness against the laws of nature and gods and human emotions, which caused tragic effects that could not be reversed despite his efforts at the end; consequently, Antigone and Creon’s characters meet at the point of recalcitrance. In this artistic drama, the writer delivers a significant message that utmost obstinacy and pride results in harsh punishments known as “the blows of fate” which are surely acute for anyone to