There is no better way to analyze this relationship than looking at heroes from different styles of literature – particularly the mythical hero in Prometheus, the tragic hero in Antigone and the epic heroes in Gilgamesh and Enkidu. While Prometheus is almost completely divine, Antigone is completely human. Gilgamesh and Enkidu both straddle the middle ground between these two characters, as they are both godly and mortal. The types of mediation that are present across these genres also differs. While Antigone acts as a mediator through her words and actions, Prometheus is an intermediary due to his principal action of stealing fire, and his personality.
Fate plays a profound role in Homer’s epic and is one of its central themes. The reader is constantly reminded of how it is impossible to escape one’s fate and foreshadowing is used to hammer this idea home. Events such as Hector’s death and the subsequent desecration of his body, Achilles’ return to battle, and Achilles’ eventual death are all key events centered around fate that are foreshadowed. Thus, the formal feature of foreshadowing in The Iliad affects the theme of fate in a important way by cementing the principle that one’s fate cannot be escaped or changed. The death of Patroclus as the hands of Hector during Book XIV plays a profound role in foreshadowing multiple central events that occur later during The Iliad.
“ Fate decides who comes into your life, your heart decides who stays.” (Shaikha al Ali). Macbeth is a Shakespearean play about how a virtuous soldier becomes a merciless king, all because of his suggested fate. Shakespeare believes that human’s fate is in their own hands. If we make evil choices then we will forever be trying to wipe the dirt off our hands; Our fate will be tainted and Macbeth can attest to that. Every human thinks fate is predetermined.
He expected to make life so gravely that it transformed into an obsession for him and he would go to any incredible to accomplish his authoritative target. In the wake of being lost in his dream of making a life for such a long time, one can without a lot of an extent see what it looked like for him to go to the affirmation he had made an animal. Exactly when Frankenstein woke from his fantasy, he was dismayed by what he'd done. There never was brilliance in his dream; the dream was a mind flight that he had made in his mind. The moment he genuinely watched what he'd made he felt pounded and he said it unmistakably "and breathless horror and disgust filled my heart".
Another example of superstition transferring to contemporary times, “Romans were extremely superstitious, their world was full of phenomenon making superstitions a perfectly natural part of the relationships between gods and men,” (roman-empire.net). It's natural for humans to be curious and as one can see, it continues to modern day. Superstition and omens is how human beings have made sense of situations and the future for a very long time. Julius Caesar and current culture most definitely can base facts off of
Frankenstein 's arrogant and impetuous character comes back to bite him as he hastily demolishes the creatures companion, even with knowing the risk of doing so. The creature was abandoned ever since he was brought to life, and was forced to fend for himself. Not being able to fit in with human society is what provoked him to ask Frankenstein to create a companion for him. Although it took awhile to convince Frankenstein, he reluctantly agreed and began to create a new creature. However, quite abruptly “with a sensation of madness on [his] promise of creating another like to him, and trembling with passion, [he] tore the thing on which [he] was engaged.
In the story “Where Are You Going, Where Have You Been?” by Joyce Carol Oates the outcome and the meaning relies solely on the reader. For some it’s a riveting fight between good and evil and for others it’s a sordid tale of seduction and loss of innocence. Connie and Arnold Friend represent the struggle between good and evil. Oates’s mixture of literal, figurative, psychological and allegorical makes this a great and suspenseful tale. Oates unmasked Arnold Friend as a satyr which is a demi-god from Greek and Roman mythology.
Heraclitus is a Greek philosopher also known as “the Riddler” because he often contradicted himself and insulted other historians and philosophers. He was interested in “exploring questions about knowledge and the human condition as in exploring cosmological issues” (24). Heraclitus believed that logos was the divine law of the universe which controlled the cosmos. Logos is something said, an account, word, and/or logic. He argued that everyone had the ability to understand this principle but instead act as if they are asleep.
Shakespeare believes that ambition, when taken too far leads to our destruction as shown through Macbeth and Lady Macbeth. In the beginning of the play, Macbeth is a heroic soldier who fights for the king without mercy, but he has strikes for ambition, his curious nature and his wife’s ambition leads him to the witches who told him the prophecies. After the second prophecy has come true, Macbeth has become the thane of Cawdor. He has led to the growth of his ambition by his thought “whose horrid image doth unfix my hair and Ames my seated heart knock at my rib again the use of
Shelley’s novel encompasses the unknown and how ambition drove Victor’s passions, ultimately leading him to the tragic end with many other bumps in the road along the way. As Victor had been in the study of life and its cause, the death of his mother had catalyzed a movement of grief which had started, “…depriv[ing him]self of rest and health. [Which he] had desired it with an ardour that far exceeded moderation…” (Shelley 35). Even though he knew that he had been raiding graveyards, Victor believed that he created the body with the ‘finest body parts’ available. However, upon realizing had created an abomination as he finished, he flees, “…now that I had finished, the beauty of the dream vanished, and breathless horror and disgust filled my heart” (Shelley 35).
Even though they play a role in how fate runs its course, even the gods are bound by fate, the extent to which Zeus is “bound” by fate—as oppose to the understandable “binding” of only mortals that is left arguable. Most of the times the gods and goddesses act in a certain way in order to make sure that things turn out as fate commands, it seems as the gods are more guided than limited by fate’s obligation. Some believe that god plays a more essential role than fate but, however, as mentioned above the gods are merely pledge in the role of fate, as mortals that pledges to the
To this scene, Elizabeth Griffith offers her view of the situation by saying: “Here our detestation and abhorrence … serves to heighten our reinforcement of the injury.”2 Indeed, the reader is pulled into this realm, like Titus, of wanting more blood, more hewn body parts to be added to the protagonist’s belt. It is interesting that, while he was so determined when killing his earlier son and causing the death the beloved son of a vulnerable and helpless, he is so desperate to save his sons from possible death. The answer is obvious: his sons are not dying by his command. Thus, it exposes the hidden desires of control and power within Titus’s heart despite his apparent submission to the tradition of the emperor in Act I. In truth, Titus’s sadistic and controlling attitude is deeply rooted in his unconscious, much more deeply that his supposed persona of