Lear's tragedy is made in the foolish decision that his pride drives him to in Act I scene 1, and he is distinct from the tragic hero of Macbeth in the nature of his tragic flaw and in the fact that throughout the play he is only surrounded by characters who love him, support him and want what is best for him. This is of course in sharp contrast to Lady Macbeth.
He goes to say, “At length I would be avenged; this was a point definitely settle – but the very definitiveness with which it was resolved precluded the idea of risk” (727). Although Montresor is vengeful he doesn’t want to lose anything in the act. For example, he says, “I must not only punish, but punish with impunity (727). A big part of the story is made up of Montresor’s vengeance of Fortunato, avoiding impunity, and successfully killing Fortunato. The second characteristic that describes the narrator is that he is observant.
Lear begins to realise that he has made terrible errors of judgement. He starts discerning in himself a small glimpse of mistake: he let “folly in; And thy judgement out!”. In contrast to the deceitful characters Kent remains loyal to the king despite his banishment, whereas Edgar and Cordelia remain true to their fathers despite being cast off without a second thought. In his disguise Kent might look like a servant, but Kent is a nobleman. Being noble by nature he remains loyal to his master, the king.
He appears warm hearted and eager to end the conflict at first but then you see his real intentions and his real state of mind is focused on “what the people want” and not what is best for Romeo under the given circumstances of the families’ feud. He is materialistic. Tybalt, unlike Capulet, has no sense of discretion. It would be best to take Romeo aside and quietly tell him to be on his way. So far it appears to be that the Prince, Capulet, and Tybalt don’t know how to handle situations.
The unsighted acceptance of traditions and strict social conformity in The Chrysalids leads to the persecution and destruction of fellow human individuals. In John Wyndham's The Chrysalids, characters are willing to go to extremes in order to keep the old ways. According to old Jacob, they are afraid of having another "dose of Tribulation," (88). The blind acceptance of traditions leads to the destruction of the Waknuk society. In The Chrysalids, it can be seen that Joseph Strorm is very faithful to Waknuk's traditions, and there are many points that can prove it.
Character Flaw: Even though Oedipus is praised by his people for being a responsible and honest king, he possesses a major character flaw in his attitude towards the gods which causes the tragic torture he faces in the end. His incestuous ways are the outcome of anger from the gods for being intelligent and because the leader of the state is plagued with such a flaw the state must suffer for the wronging of the leader. Belief: This sense of contamination ultimately leads the gods to cleanse the state, household, and Oedipus by revealing the flaw to everyone and Oedipus at the same time. He is driven to the belief that he can control his own fate, and not leave it up to the gods. Lack of Belief: The people of the land are religious and live there lives according to what messengers and oracles tell them.
A Hapless Hero Arthur Miller demonstrated in Death of a Salesman that tragic heroism still possible in the modern world, but the tragic hero or tragic heroine should be of noble birth or hold an important social position, be basically virtuous, and desire to do good. However, Wily Loman is not a tragic hero because he is hapless rather than heroic, his personal tragedy that comes from his lack in ability to admit his errors and learn from them. Instead, he fits Miller's description of the pathetic character, one who "by virtue of his witlessness, his insensitivity, or the very air he gives off, is incapable of grappling with a much superior force," (Miller1). The definition of a tragic hero is a condition of life that allows an individual to find the route of self-realization and discover to the fullest extent of his or her capabilities. This insight only occurs when an individual bravely endure the "total examination of the 'unchangeable' environment" (Miller1).
This ironic hindsight into the war also gives the audience a sense of the inspector's wisdom. He is portrayed as the conscience because all throught the play the Inspector is seen as guiding the Birling's away from sin, trying to teach them selflessness and responsibilty for others, in this sense the style of the play is one of morality.We see an opinion of responsibility through the inspector's attitude torwards the sinful actions of the Birling family. He attempts to make Sheila accept her share of the blame 'you're partly to blame'. The Inspector's speech on page 56 of the play clarifies for the audience and
In the world we live in, it seems that every other person is out for self gain They will step on anyone and do whatever it takes to get what they want, but does that make them purely evil? What if in their final moments they go something good? Or if their evil ways are result’s of circumstances that they can no control over? It’s a hard line to draw and in King Lear Shakespeare explains why through the use of conclusions. The most important conclusion Shakespeare has drawn about the nature of humanity in King Lear is the fact that evil is not something the gods have cursed you with at birth but it is something that you choose for yourselfACt .
He uses others as tools for his own purposes, calculating the qualities in them which he finds would be of best use to him. Throughout the play, he repeatedly boats of how he values reason over emotion; due to his sense of his own superiority it leads him to separate himself morally from others. The character is deceitful, and he is an outsider because he deliberately positions himself that way. He prefers to use others to get to the position he wants instead of having to serve underneath Othello, and not receive credit for it. He shows no reluctance in involving Cassio with Othello’s wife Desdemona, in an elaborate plan to destroy Cassio as well as Othello and his relationship with Desdemona, it is also a plot to “get his place” (I, 3, 365).