Creon believes that he is right in executing his sister’s daughter when all of his workers, sentries, sons, and subjects know that he should not have sentenced Antigone to death for his own goals. The chorus of the play, which represents the thoughts of the commoners, begin to question Creon’s actions when they say, “Then she must die?”( scene II line 183). This suggests that the chorus has begun to waver in their trust of Creon, and proves that his thoughts have not been fully examined by himself because he thought that what he was doing was completely just but the chorus thinks
He denies Polynices the burial that everyone deserves. Because of this, he is the force that goes against Antigone, making him a rather irritating character throughout the entire play. Not only is denying someone a burial, a cruddy thing to do, but it's the fact that he further forces the body to be unburied after Antigone tries to do the morally correct thing. Defying the Gods’ in this time period was the wrong in the play, not the burial of Polynices by Antigone’s hand. Creon is the one who reacts and that only.
Throughout King Macbeth’s impassioned soliloquy in Shakespeare’s Macbeth, his insecurity and inferiority complex is highlighted as he strives to rationalize his position as king and murderer. At the beginning of his soliloquy, Macbeth declares that “to be thus is nothing” despite having committed heinous crimes to become this “nothing”. The parallel structure used in “to be thus” and “to be safely thus” juxtaposes what he has and what he lacks as king, indicating his feeling of inferiority in and his lack of worth of his stolen crown (48). By committing horrible sins to achieve the crown, he had soiled the title of it and demoted it into “nothing”. King Macbeth also reveals that he believes the Sisters placed “upon [his] head...a fruitless crown and put a barren sceptre in [his grip]”, exhibiting how he will not be able to leave behind a legacy as king and how Banquo’s sons will take over his already unstable rank.
In Antigone, the chorus is used to express the concerns of the Thebans who are too frightened by Creon’s power to confront him themselves. In the beginning, the chorus defends Creon’s laws, for they state that “[the] laws of the land, and the justice of the gods… / [will cause him] and his city [to] rise high” (Antigone 410-412). Although, when they learn as to how Creon enforces his laws, their views change, and they state that “even I [now] would rebel against the king” (Antigone 895-896). Creon’s abuse of power has become too barbaric to ignore, causing even his supporters to desire rebellion. In addition to the chorus, Creon’s son Haemon turns against him as well.
That though the Earth is ‘excellent’ and ‘majestical’ place of great beauty, he cannot embrace or see that beauty because ‘foul and pestilent vapors’ are preventing him from being able to see the beauty. The beauty, which all men are granted access to, is now intangible to him, an allusion to his Uncle killing his father for the throne. He now suffers conflicting emotions due to the evil existing in a godly figure such as man and how the world, that was once radiant is now corrupt in his
During everyday life and in society we make distinctions everyday about people we should trust and those not to be trusted based on what they do, and how it affects us. In the novelization of “The Tragedy of Romeo and Juliet” by WIlliam Shakespeare, the character of Friar Lawrence is initially introduced to be a trustworthy character and credible priest, but as the story goes on, he exposes his true characteristics of being very selfish and irresponsible. Romeo and Juliet ultimately die an untimely death as the direct result of Friar Lawrence due to his irresponsibility of marrying them with knowledge of the threatening feud and without consent, and abandoning Juliet in the Capulet crypt, leaving her to see her dead husband and dead husband-to-be. Romeo and Juliet eventually end up
The stories of Arachne, Hippolytus, and Odysseus consistently show the disastrous effects of defying social hierarchal norms like irreverence toward one’s superiors. The epic of Odysseus showcases the potential of reward after the dismissal of hubris and the reinstatement of devotion to the gods. While one may be justified in one’s egotism, these stories in classical mythology send the message to citizens of ancient Greece and Rome that above all, one must abide by the rules within hierarchal power structures and pay due respect to those at the heads of
Marcus Aurelius wrote in his work Meditations that “Injustice is a king of blasphemy. Nature designed rational beings for each other’s sake: to help - not harm - one another, as they deserve. To transgress its will, then, is to blaspheme against the oldest of the gods.” Standing as an emperor who employed religion and
Oedipus the King, by Sophocles, is really a story about the necessity of placing more faith in others and their counsel than in oneself and one’s own beliefs. Repeatedly the titular character is pleaded with to listen to and accept the advice of those around him and each time he refuses to obey. Ultimately, Oedipus’ tendency to do perform the actions he would prefer to do rather than to allow his family to help guide him leads to his downfall and loss of the throne. A common characteristic of Greek tragedy is the “fatal flaw” of the main character and how this flaw leads to the character’s misfortune. Classical Studies professor, Peter T. Struck, argues that Oedipus’ “basic flaw is his lack of knowledge about his own identity.
Another fault in why he fails nobody can fight destiny and expect to win. Yet he still tired and failed it was due to his failure to accept fate he ultimately failed at the end. Conclusion, the reasons why Macbeth fails he doesn’t understand his self-worth which led his wife to take advantage of him and influenced him to do actions unspeakable. The wicked witches and apparitions meddling with his fate by revealing his fate knowing about actions toward it. Then fighting destiny was his major fail because it was his failure to accept fate.