From this place, Baba is cowardice merely his strong and powerful mask cover his cowardice hides inside his heart however Rahim Khan knows that. Yet, Amir always shows his cowardice whatever to Hassan or to Baba. Amir thought his happiness would increase by betraying Hassan, but his guiltiness increases and it tortures. But Amir, acts more rationally and reasonable after he grows up. Amir thought Hassan as “the lamp he had to slay.” on the contrary, his guilt is relentless, and he recognizes his selfishness abates his happiness.
Contempt Machiavelli argues is something to be avoided. “A shrewd prince will lay his foundations on what is under his own control...He should simply take pains not to be hated” (Machiavelli 47). This is the establishment of a theme that Machiavelli continues through the rest of the book, the theme distilled is that a loathed prince cannot remain in power for his people will not support someone they hate and welcome his demise. Machiavelli then dedicates the entirety of chapter XIX to avoiding hatred. Creon of course though his execution of Antigone earns the hatred of his people and is unable to retain his rule because of the lack of support from his people.
His knowledge of the future still did not enable him to understand the full extent of his punishment. Furthermore, though he claims himself the enemy of those who submit to Zeus, he also argues that sympathizing with Zeus’s enemy—in this case himself—is “a load of toil and foolishness” (14). He believes that it is, and presumably was, unintelligent to align oneself in opposition to the king of the gods. Finally, although he lauds the benefit he gave specifically to the originally “Senseless” humans (16), he later seems unhappy that he chose humans, saying they are useless to him. In the middle of delineating all the good, admirable things he did for them, he laments that humans have “no invention / To rid me of this shame”
Creon’s tragic flaw is that he is too stubborn and lets his pride obscure his decision making. When Eteocles and Polynices kill each other in battle, Creon orders his men to give Eteocles a complete military burial and decree Polynices’ body to remain unburied. Stubbornness is another defining tragic flaw of Creon. Creon demonstrate his stubbornness by not wanting to be proved wrong because of pride. When the Choragos tried to tell Creon that he made a mistake by telling that nobody can bury the body of Polyneices.
Caesar’s scornful behavior towards the soothsayer illustrates his arrogance. Later, in Act 2, Calpurnia pleads Caesar to stay home because she realizes that all the omens are pointing to Caesar’s death. Despite her plea, Caesar insists “Caesar shall forth: the things that threaten’d me ne’er look’d but on my back; when they shall see the face of Caesar, they are vanished” (2.2.15-17). These incidents show that Caesar’s pride blinds his ability to see his tragic end. Moreover, Caesar ignores his own feeling of uneasiness towards Cassius for the sake of his pride.
Not only does he refuse to admit when his actions cause something bad to happen, but his unwillingness the help the greater good rather than only himself is the deciding factor in why he is ultimately the main character to blame. After Romeo is banished from fair Verona, the Friar portrays the outcome like it can solely be linked back to Romeo when he tells, “Romeo, come out. Come out, you frightened man./ Trouble likes you, and you’re married to disaster.”(3.3 1-4) The Friar refuses to accept that the banishment of Romeo can eventually be linked back to him. The way that the Friar speaks to Romeo perfectly portrays his cowardice, as he refuses to own up to his own actions. However, the Friar also puts forth another type of cowardice, that he typically withholds, which is his fear of getting blamed, even at the sacrifice of others.
While Montresor pretends to be a good friend to Fortunato, it is strange that Fortunato does not realize the problems between them. In order to be believable for readers, the insults must be very painful for Montresor, so it urges him to commit such a crime. “The Cask of Amontillado” is missing an important element of Montresor’s motivation to punish Fortunato by burying him alive. Montresor neglects to explain how Fortunato insults him as the story lays the foundation at the opening paragraph, “The thousand injuries of Fortunato I had borne as I best could, but when he ventured upon insult I vowed revenge.” (Poe 866); however, no evidence to be found in the story to support Montresor’s claim. No one would not know what Fortunato did to Montresor and should the insults lead to
Although Macbeth has done some really bad deeds, he cannot be called a bad person out and out who goes on to achieve his ambitions without any consideration. He’s also a victim of the realization that there is no meaning as such in this world. This instability snatches his power to think and he gives in to his wife’s provoking speeches without providing any counter arguments to her. If he had any of his individuality left, he certainly must have had given some thought to her speeches but the lack of it shows his confusion. As soon as he joins the opposites foul and fair, he’s encountered by the weird (which is undefined because in the world of Macbeth nothing is normal).
Claudius tries and fails to pray for forgiveness, but Hamlet mistakes this for repentance. Because of this, he decides to "trip him that his heels ay kick at heaven" and delays in killing him. Unfortunately for him, his uncle is not truly remorseful for his sins, saying "My words fly up, my thoughts remain below. Words without thoughts never to heaven go". The king is deceptive without even trying, it is second nature to him.
The irony is further developed by Iago’s thought that his plan “is engendered. Hell and night must bring this monstrous birth to the world’s light” (Shakespeare 383-384). Which personifies his plan as a birth that will take place as result of his villainous acts. Iago’s plan was created solely because of his jealousy about Cassio and Othello’s positions as a higher power than Iago. By using manipulation he will take the both of them down and get the position that he believes he
The tragedy begins with Iago’s soliloquy, here Iago’s envy towards Cassio is immediately conspicuous. He states that Cassio has “Never set a squadron in the field, Nor the division of a battle knows, More than a spinster”. Consequently Iago’s envy is mistaken for jealousy, which is why he comes across as the villain in the play. However, he also tries to disguise his villainous actions by “justifying” them. “Heaven is my judge, not I for love and duty” “I am not what I am.” Here Iago is trying to hunt for motives in order to justify his malignity and envy towards Othello.
He had no motive and just wanted to see Othello and everyone else around sink in complete and utter chaos. Shakespeare wrote the ending this way so the audience could have their own view on why Iago did this and where the evil originated from. Reinstating the idea that Iago did not act without motive and did have a reason to carry out the horrific plans. With the term “motiveless malignity” disproven as the main reason for Iago’s evil there has to be a reason for why he is doing these things and risking so much. We see early in the story that Iago has a disdain and unlovable relationship with his boss Othello.
(SNT) Othello and Okonkwo’s Tragic flaws Okonkwo 's flaw is that of pride, being incredibly proud of his heritage and his refusal of allowing an alien community and its religion infiltrate daily life (Douglas, 107). Othello 's major flaw is his jealousy. Iago, when informing Othello, but does not provide sufficient evidence the Moor accepts it anyway and allows attempted murder of Cassio. It is because he was led to believe that Desdemona and Cassio had slept together. Iago and