After some confrontation from Teiresias(a prophet),and Creon’s son Haimon who is also set to marry Antigone, Creon decides that he is wrong about putting Antigone to death. By the time he realizes this Antigone is already dead, and because of Antigone's death Haimon kills himself which causes his mother to also kill herself.
Whether we realize it or not, we all relentlessly pursue perfection. In our lives, we strive to be something better or at least to...seem that way. To live a life without faults, without the flaws that make everyone else so imperfect, but always seem to fall too far from that ideal. Perfection remains an objective that can never be reached, something that is unattainable and in stark contrast with reality. In Homer’s “The Odyssey” the traces and nuances of this pursuit can be found in the very structure and hierarchy of Ancient Greece.
As more information is uncovered, Oedipus’ legacy is exponentially diminished as a childhood prophecy revolving around Oedipus, murdering his father and marrying his mother, is brought to light. Knowledge possesses the power to catalyse devastation in stages as demonstrated through Oedipus’ ignorance, his overwhelming curiosity, and his psychological anguish. From the beginning, Oedipus was raised in a legion of lies, believing Merope and Polybus to be his true parents. This cloak of ignorance not only shielded Oedipus from the knowledge of his biological parents, but allowed the prophecy to act as a catalyst for his fleeing of Corinth.
The Odyssey is one of two major ancient Greek epic poems attributed to Homer. It is, in part, a sequel to The Iliad, the other work ascribed to Homer. The epic raises questions about what an odyssey is for Odysseus and secondary characters who mimic Odysseus's progress throughout the story. In Zimmerman’s play viewers experience a simplified interpretation of Homer’s grand and verbacious text. As viewers experience secondary characters like Agamemnon, Telemachus and Calypso exhibit emotion through actors in Zimmerman’s stage direction.
He’s already dead in Doug’s eyes. What people experience in childhood affects them into adulthood. Firstly, Doug randomly woke up on his 48th birthday and decided he had to kill Ralph. Doug lying next to his wife with children of his own sleeping in the other room woke up and decided that he “will arise and go now and kill Ralph Underhill”
Haemon is Antigone’s fiance and when he found out that his soon-to-be wife is going to be killed, he confronts his father about it. Sophocles foreshadows Haemon’s death when he says, “Bring out the wretch, that in his sight, at once, here, with her bridegroom by her, she may die!”(Sophocles 42). Haemon ends up killing himself because he did not want to live without Antigone, for he loved her too much. Once Eurydice found out what had happened to her son, she could not take it. “...a voice of woe to my own household pierces through my ears; and I sink backward on my handmaidens afaint for terror…”
Death, tragedy, misery, love, and unity, all of these words describe the story of Romeo and Juliet, but it all revolved around Tybalt making his first terrible mistake. In the play Romeo and Juliet written by Shakespeare, the short story is that two young lovers secretly get married, people murder in anger, the two lovers get separated, and then end their lives in a tragic death because of no communication. But, like I said, this all revolves around a mistake Tybalt makes because of the feud between the Capulet (Juliet’s family) and the Montague (Romeo’s family). Tybalt is the character most to blame for the tragic events in Romeo and Juliet because, he killed Mercutio, which lead to Romeo 's banishment, which then leads to the suicides of Romeo
In the Greek Tragedy Oedipus, Oedipus’ fate and lack of knowledge and arrogance leaves him and his family in shambles. Upon finding out that he is not only the reason everything in his kingdom of Thebes is dying, Oedipus also realises that he's has inadvertently fulfilled a prophecy saying that he will kill his father and mary his mother. Driven to the point of extreme anguish his wife/ mother changes her self, upon seeing that Oedipus gouges his eyes out. Later on in Sophocles’ Greek tragedy Antigone Oedipus’ two sons have killed each other in battle before the play starts, and one of his daughters Antigone, ends up hanging herself because
This city is Thebes” (vv. 95-96). As is often the case with Roman plays, the character provides the background before the actual performance. The god addresses the audience directly, and creates the so-called meta-theater, which is created when Mercury or other actors talk about the play itself or they expound the events of the narration. Indeed, still in the prologue, Mercury creates another moment of meta-theater while announcing to transform the original tragedy into comedy: “I will change it. If you want, I’ll immediately turn this same play from a tragedy into a comedy with all the same”(vv.
Hamlet’s uncle sent him to England to be killed, but Hamlet finds a way to get out of it. Both, Simba and Hamlet, have their father’s death which they take revenge upon by killing their uncles. Simba ends up fighting his uncle until he is eventually killed by the Hyenas, and Hamlet kills Claudius with poison just how Claudius killed Old Hamlet. In the end, Hamlet and Simba did what each of their fathers said to and can let their souls rest in peace. It is obvious, Hamlet and Simba have many
Human beings have been baffled by existential questions and conflicts throughout history, and we humans attempt to answer these questions and reconcile these conflicts through various cultural depictions of gods and goddesses, religion, and spirituality. Homer’s The Odyssey and Sophocles’ Oedipus the King provide two interesting examples of how Ancient Greeks sought to define meaning in life, establish and enforce morality, justify social hierarchies, explain powerful forces, and especially to explore the age-old question of whether our lives are tied to fate or whether we exercise free will. In The Odyssey, Homer writes of numerous gods and goddesses, intimately known by his hero Odysseus and his Ancient Greek audience. The gods and goddesses
Pride is considered one of the worst of the seven deadly sins because of its destructive properties. It is a common quality of many tragic figures throughout literature, but Oedipus Rex takes the cake for the most destructive case of pride. A plague spreads across his city of Thebes, threatening the entire population. King Oedipus swears to his people that he will do whatever it takes to save the city. He finds out he has “to take revenge upon whomever killed [King Laïos]” (Sophocles 962) in order to save everyone.
Oedipus, the tragic hero of Sophocles’ play Oedipus Rex, has a flaw that causes his downfall. Aristotle, in his Poetics, says that “Tragedy is essentially an imitation not of persons but of action and life, of happiness and misery” (135). This tragic flaw is what causes Oedipus’ fate to hurt him and is why he loses everything. Oedipus’ tragic flaw is his blindness, which is seen in the play when he argues with the blind seer Teiresias, when he ignores the messenger from Corinth, and when he does not connect the evidence from Iokaste.
Exploring the Writings of Sophocles: The Tragic Hero, Oedipus The greeks sure do love their tragic heroes, in fact, lots of plays had one. But what makes up a tragic hero and why is Oedipus one? In King Oedipus, we see recurring themes such as blindness and sight that guide our hero Oedipus through his journey. Idealisms such as these relate to the traits of Oedipus being a tragic hero. In the Classic Greek Tragedy “ King Oedipus”, the traits that make Oedipus a tragic hero are his Hamartia and his Great Suffering or Falling from grace.