Hamlet infers, “conscience does make cowards of us all” suggesting that these potential consequences disallows Hamlet from taking action. Because of his tendency to over-think, he develops a lack of urgency in his decision-making, defining himself as truly a procrastinator instead of a “man That is not passion’s slave” (Act III. Scene ii. Lines 73-74). The death of Hamlet’s father and his mother’s hasty remarriage to his uncle commences Hamlet’s depressed state; however, his internal conflict and procrastination further Hamlet’s melancholic disposition.
Accordingly, this play sends a strong message of fate and free will to the audience. Oedipus’ free will to pursue knowledge of his identity is significant; fate is responsible for Oedipus’s incest and many of the other devastating events in the play. By the importance of fate, Sophocles sends a message across that his characters cannot be fully responsible for their actions. A perfect example of this is blaming Oedipus for marrying mother. His ignorance was his flaw leading to his downfall, fulfilling the prophecy he “tried” so hard to avoid.
Because he was blind to the prophecy, he blinds himself to remember everything he had done. His fate would have been execution, but by punishing himself, he makes other believe that he is punished. In addition to Oedipus avoiding his fate he is a coward in terms of his actions. He tells Creon to exile him far away because he is too afraid to deal with all that has happed. When he says “Drive me out of this country as quickly as may be to a place where no human voice can ever greet me.” (Ln.
Second, this shows that Tybalt was malicious when it came to the Montagues and he felt hate whenever he saw anyone of them. To sum it all up, Tybalt's unfriendly and resentful approach to the Montagues were one of the many reasons he bid farewell early in the story. Tybalt's turbulence was another one of the main reasons of his early termination in Romeo and Juliet. As an example, in the first act, Tybalt threatened Benvolio and said, "Turn thee, Benvolio. Look upon thy death."
Is John Proctor a tragic hero and is this play an example of a tragedy? John Proctor portrays the tragic hero in Arthur Miller’s “The Crucible.” Proctor, the protagonist of the piece, is revealed to the audience in his time of anguish and struggle, making his untimely death all the more unfortunate. In this tragedy, Proctor fights to save the town from insanity and chooses his death, rather than shame, in his struggle. The elements of a tragic hero are applied to Proctor in order for the audience to a feel sympathetic connection to a character who committed an unholy sin of adultery. John Proctor though not of high noble stature is, nonetheless, a good man and is highly regarded in Salem.
When actions are to be taken into consideration by him it seen that he situation is horrible, which Hamlet feels he has no control over. He allows his anger towards Claudius to let him fall into a madness. The depression Hamlet is encountering is due to the actions that King Hamlet is demanding of him. He cannot complete the task asked of him of his procrastination, which causes him to nearly take his own life. “To be or not to be, that is the question; whether’ tis nobler in the mind to suffer...” (Shakespeare Act 3, Scene 1).
In Act 1 of A View From the Bridge, Alfieri states ‘ I was powerless to stop it’. How far do you agree with the view that the tragedy of Eddie Carbone is inevitable? Arthur Miller’s A View from the Bridge unfolds the tale of hardworking longshoreman, Eddie Carbone, who is the protagonist of the play. Eddie Carbone witnesses the breakdown of love and trust in his home and a storm in his mind. Eddie’s tragic downfall is triggered by his inability to understand his ‘improper’ feelings for Catherine, his some what foster daughter, his hubris and his ignorance of the warnings given to him by both Alfieri and his wife, Beatrice.
Hubris destroys people, it can blind people to the reality of their situation and leads them to their downfalls as shown by the characters in Sophocles’ plays Antigone and Oedipus Rex. By looking at Oedipus and Creon, the careful reader can see how the excessive pride of each character leads them to their doom. In the play Oedipus Rex an example of Oedipus’ excessive pride is when he is asked to move aside by the former King of Thebes, Laios and Oedipus refuses. Oedipus’ pride overwhelms him and drives him into a murderous rage, as Sophocles illustrates, “the groom leading the horses forced me off the road at his lords’ command; but as the chariot lurched over towards me I struck him in my rage …He was paid, back and more!” (Oedipus Rex 43). In his rage, Oedipus kills the old man and his fellow travelers.
In this play, Hamlet struggles against the truth, and struggles against that horror to fulfil his task, and the realization of the truth. Hamlet’s reaction to the struggles he face dramatizes the conflicts between his sensitive self and the calloused, seamy world and the outcome of the story provides a resolution of the conflicts. Hamlet finds the horror of the truth, and is incapacitated to do anything to the truth. He struggles against the truth and dramatizes the situation by pretending to be mad. Firstly, Hamlet feels sad about the remarriage of his mother and his uncle escalated to pretend to be mad.
Loneliness puts The Monster in a mentally unstable position. He believes that he is a monster for the reason being he was created by one. In comparison, Othello’s betrayal is demonstrated throughout the play, but especially through Iago when he confesses to the audience his plan to manipulate and destroy Othello’s love life with Desdemona. Although Othello trusts Iago with anything, Iago hates the “Moor” and is willing to do anything to destroy him. Iago feels that the best way to do so is by manipulating Othello telling him that his wife is cheating on him with Cassio, who Iago coincidently hates as well.