Soon, he befriends another slave and the oracle takes notice in him from a vision she has by touching him. She decides to escape with Theseus and a few slaves determined to kill Hyperion. Another of the Oracle's visions tell her that Theseus needs to bury his mother, and when he does, he finds the Epirus Bow, but is attacked and poisoned by Hyperion soldiers . After defeating them, the oracle cures him and has sex losing her visions powers. They return to the oracle temple and find it filled with enemies who capture the Bow.
‘A plague a’ both your houses!’ Shakespeare has used the word plague because plague is a disease that kills people one by one and he used the word to define grudge as something that kills everyone one by one. Shakespeare used this technique; imagery to make act 3 scene 1 exciting and dramatic for the audience because this part of the scene in the whole play, when Mercutio dies which is very significant because Mercutio was Romeo best friend and until now Romeo was calm so after the event we don’t know how Romeo is going react towards Tybalt which increases the tension to the climax because this part of the scene the character Romeo is going to change from calm to violent.
Throughout the play Romeo and Juliet, countless losses of loved ones were seen from both of the feuding families, the Capulets and Montagues. Many could say that fate was the cause of numerous deaths over the course of the play. However, free will is the main cause of these deaths. Every choice has resulted in different effects in the play. In this tragedy by William Shakespeare, multiple deaths occur due to the decisions made by Romeo, Friar Lawrence, and Lord Capulet.
The death of the star crossed lovers, Romeo and Juliet was caused by Friar Lawrence. He is responsible because he came up with the plan for Juliet to have a fake death. Friar Lawrence convinces her to do this when he says, “Take thou this vial, being then in bed, And this distilling liquor drink thou off; when presently through all the veins shall run a cold and drowsy humor; for no pulse,” (Romeo and Juliet VI, scene i, 93-96). He tells her to take the medicine and it makes everyone believe that she is dead. Romeo finds out she is “dead” and comes to see her.
They blame him for the problems and want him to leave town. B. They want him to rid Thebes of the problems and restore the city. C. They want him to make a sacrifice to Zeus to appease the gods. D. They want him to offer his youngest daughter to the fiery volcano.
King Hamlet's ghost uttered to Hamlet, “The serpent that did sting thy father's life now wears his crown” (1.5.39). Hamlet agreed to avenge his father's death. Now, his life had a purpose, which is to kill Claudius. Aside from his father's death, there was something else that sent him spiraling down. He was denied access to his love, Ophelia.
Thus, Macbeth’s tragic demise is considered by many prominent critics such as M. C . Ridley, to be Divine Retribution for him trying to alter the course of poetic justice and Divine Order. This external conflict thereby creates an internal conflict within Macbeth that leads to the unravelling of his tragic flaws and a polar reversal of character that eventually leads to a reversal
He wants to defend their honor but is guided by his father to be discreet so Lykos won’t uncover his plot. Unknowingly, Lykos goes in the house in search of Megara to lead her to her death. Still blinded by the fact that Herakles has indeed return he is still sure that he won’t. As Lykos enters the house, he is killed. Two messengers of the gods, Iris and Madness are conversing about the prophecy that is set for Herakles and his children.
Today, in the 21st century, people often turn to professional experts or their own personal experiences to decide how to respond to certain situations or events. In Caesar’s era, people often regarded supernatural occurrences and ancient superstitions as the Gods telling them the best way to handle a certain predicament. Three omens or “signs from above” in William Shakespeare’s Julius Caesar are: the violent thunderstorm at Cicero’s house, Calpurnia’s dream of Caesar’s statue with a hundred holes pierced in it and blood flowing from them, and Brutus’ guilty conscience manifesting Caesar’s ghost. Although in modern society, superstitions are generally regarded as foolish and naïve muses of the mind, they held much importance in Caesar’s time and often greatly affected people’s decisions and choices. In Julius Caesar, the omens, which usually would be highly regarded and well respected, are ignored.
Hamlet – Shakespeare’s use of the supernatural to enhance and shape the tragic world of Elsinore The supernatural is something of a keystone in directing the tragic events of the play; Shakespeare employs its over shadowing presence as a device to explore the terrifying world of the unseen, the untouchable and the unknowable. In Act 1 Scene 1, uncertainty and insecurity are crucial elements in the building of tension and the foreshadowing of disaster. The play even begins with a question: “Who’s there?” Bernardo’s terror of what he cannot see or touch, even in the most mundane sense, is deeply significant in this private environment (the battlements) where fears and uncertainties fester and grow without the need to present a picture of poise in the face of the comforting known; Shakespeare’s juxtapositioning of the inherently public court in the following scene serves to emphasise this and undermine the illusion of order presented in the court. The opening scene progresses until the source of the tension becomes evident: a “thing”, a “dreaded sight”, an “apparition”, an “illusion”, an “erring spirit”; Shakespeare’s use of tautology and refusal to call it ‘Ghost’ shapes our understanding of the supernatural: that we do not understand it and its definition is embedded in the perception of each character on stage. Shakespeare’s elusive language also relates to the issue of the morality of this ghost: J.A.