In both classic and modern literature, characters always seem to have character flaws. A character flaw is an imperfection in a character’s judgment or nature that ultimately brings sorrow and destruction. This concept can be displayed in more than one character, and is usually displayed in most of William Shakespeare’s plays. Hamlet by William Shakespeare has many characters that strongly demonstrate the principal that we are ultimately victims of our own character flaws. Three critical character in the play that completely display a character flaw are Hamlet with his over- thinking nature, Ophelia with her emotional weakness and Polonius with his absolute loyalty to the king.
New York: Routledge, 2005. Print.) Malvolio fulfills the role as the disgraceful, inferior person within Shakespeare’s “Twelfth Night”. The characters in ‘Twelfth Night’ despise Malvolio. Upon Malvolio’s entrance in Act II Scene V, Sir Toby states “here’s an overweening rogue!” (Act 2, scene 5, line 27) after plotting with Fabian and Maria to punish Malvolio, referring to him as a “little villain” (Act 2, scene 5, line 12).
The decisions one makes can influence the course of one's journey through life, all stemming from a single moment in time. In William Shakespeare's tragic play, King Lear, the title character is a flawed man whose inability to see the truth in front of him leads to his downfall. King Lear's journey through the play takes him on a path from denial to rage to isolation, leaving him, in the end, a broken fragment of the king he once was. His denial stems from his not being able to see his daughters' true colors. This denial leads to his rage, when he perceives that Regan and Cornwall are being thoughtless of his authority.
Sir Andrew fits this description perfectly therefore he is the real fool in twelfth night. His name (“Aguecheek”) itself implies he is a character that shouldn’t be taken seriously by the audience. Aguecheek means pale face which shows he is a vile character. He is constantly being manipulated by Toby, is very slow witted and lacks wisdom. All of these things make him a very comical character enjoyed by the audience during Shakespearian times and in the present day.
In the play Oedipus Rex, Oedipus cannot recognize the truth that is right in front of him. Many people tell Oedipus about what is going on. His own character flaws, pride and ignorance blind Oedipus. Oedipus leads himself into his own downfall. He ends up facing exile or even execution.
Throughout the ward’s various machinations, the narrator of the book Bromden is quite acute in his intelligence. He feigns deafness and dumb towards his peers and his attendants, but his astutely aware style of narrative polarizes his way of acting. it is also bluntly apparent that he suffers from some sort of psychosis that buries reality with a seemingly incoherent mess of hallucinations. Kesey’s use of imagery in the novel takes its most basic form of allegory, where he capitalizes on Bromden’s schizophrenic traits to promote the idea that routine and institution are tools of control. Bromden’s hallucinations are a series of metaphors that include fog and machinery, which reveal notions of mind-numbing control and loss of humanity.
Let’s explore the moments within the text where Hamlet actually used his smarts to trick the other conniving characters into thinking that he didn’t love Ophelia and was going insane instead. Throughout Act 3 and 4, the play leads readers to believe the Hamlet does not love Ophelia. He is constantly saying contradicting statements and in a way mistreating her. Hamlet says “I loved you once,” and then four lines later he says “I loved you not.” What’s going on with the mixed messages? Well Polonius, Ophelia’s father does not approve of their courtship and Hamlet know this.
Sir Phillip Sidney exaggerates this expression to construct a drag of hate over time. Desire is depreciated by the speaker throughout the poem, yet not upon its enlightenment but for its golden coating. Sidney provoked pessimistic diction when calling desire just as bad as, “scums and dregs”. By this implication of downgrading “desire” to the lowest of the low, the reader feels the negativity received by the writer though the speaker. Sidney continues the cynical thought by quoting, “band of all evils”.
However, the most incredible of all these passages is found in Act 4, Scene 1, Lines 164-177, where Macbeth contemplates his inner thoughts to himself. Here, Macbeth speaks to time, providing the audience with a more in depth image of its importance. Also, Macbeth’s diction is short and fierce, further pushing the play’s theme of insanity slowly taking over Macbeth’s mind. Lastly, the passage faultlessly illustrates Macbeth’s fatal flaw of ambition slowly ruining his inner being. With these things taken into account, it will be effortless for one to show just how lovely this passage is
Creon becomes too vain that he assumes Haemon “is hopelessly on the woman’s [Antigone’s] side” (224). Creon’s ignorant qualities evolve him to make imprecise choices. Creon is the “real tragic hero” in the play Antigone because of his insensible defects and his destiny which evolves