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Into the wild character analysis
The stronger character analysis
Into the wild character analysis
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There is a deep sense of realism that lies in the play Ion. The opening of the play arouses an old wrong, the seduction of Creusa by Apollo, which slowly develops into a tangled plot of deceit. The theme of the play is unique in how it is centered on a human dilemma that many can associate with in some way.
From the beginning, one can only imagine the outcome of Apollo’s seduction of Creusa. To make matters worse she has a child. There is an uncanny feeling of darkness and silence as she is made to keep her lips sealed. It appears that she gave up her son from fear of her parents. Like many young girls today she made a drastic decision in order to conceal her pregnancy. Apollo in this play is given human attributes. He is depicted as a barbarian who truly lacks the goodness of a god. Indeed a critical problem has developed with Apollo’s seduction of Creusa.
Apollo from the beginning is perceived as a demanding figure. Creusa is seen as the passive figure with no say in her circumstances. How could a mortal expect to make a god care for a child? This is where Euripides attempts to bind the mortals and the gods together. Apollo and Creusa share a common problem, and each makes different decisions in how they will go about solving that problem.
Immediately after Creusa leaves Ion in the cave, Apollo rescues him. Apollo’s actions are strange in that he goes as far as to catch the soul of the priestess so that she would care for his son but yet refused to give aid to Creusa. As a youth, Ion is appointed as a guard of Apollo’s gold, then an altar attendant and later the chief caretaker. Ion knows nothing of his birth, and asks no questions because of his deep respect for Apollo. He is happy in his service to the gods never knowing the agony that his mother is suffering as she longs for her lost son. It is critical to recognize that throughout the story no one acknowledges Apollo as the agitator of all the problems.
Creusa marries Xuthus and they find themselves unable to have children. While she longs to have a child, she can only regret the loss of her son years ago. Because they desire to have children, they go to Delphi to consult the gods.
In the plays female sexuality is not expressed variously through courtship, pregnancy, childbearing, and remarriage, as it is in the period. Instead it is narrowly defined and contained by the conventions of Petrarchan love and cuckoldry. The first idealizes women as a catalyst to male virtue, insisting on their absolute purity. The second fears and mistrusts them for their (usually fantasized) infidelity, an infidelity that requires their actual or temporary elimination from the world of men, which then re-forms [sic] itself around the certainty of men’s shared victimization (Neely 127).
Throughout the book, Apollo only wanted to gain his powers as a god again and go back to Mount. Olympus, cared for only his own troubles, and concern for only himself (only in the beginning though). This all proves
Prometheus Bound is quite different from other tragedies in that it is peopled entirely by gods. The play focuses on the story of Prometheus, and we have versions of this myth in Hesiod's famous works. There is reason to think that the author of Prometheus Bound was not only acquainted with Hesiod's version but actually drew on Hesiod directly in this play. This essay therefore aims to establish in what ways the author of Prometheus Bound seems to have drawn from Hesiod's version of myth, in what ways he has diverged from it, and what reasons he might have had for making these changes and innovations. This might therefore highlight any particular emphasis or purpose of Prometheus Bound and what its author might have been trying to get across. Though there is not space in this essay to discuss the problems of attributing this play, it must be recognised that this ambiguity of authorship and dating makes it even more difficult than usual to look at views and purposes behind the play.
Throughout Antigone, Electra, and Medea, many double standards between men and women surface. These become obvious when one selects a hero from these plays, for upon choosing, then one must rationalize his or her choice. The question then arises as to what characteristics make up the hero. How does the character win fame? What exactly is excellent about that character? These questions must be answered in order to choose a hero in these Greek tragedies.
The society in which classical myths took place, the Greco-Roman society was a very patriarchal one. By taking a careful gander at female characters in Greco-Roman mythology one can see that the roles women played differ greatly from the roles they play today. The light that is cast upon females in classical myths shows us the views that society had about women at the time. In classical mythology women almost always play a certain type of character, that is to say the usual type of role that was always traditionally played by women in the past, the role of the domestic housewife who is in need of a man’s protection, women in myth also tended to have some unpleasant character traits such as vanity, a tendency to be deceitful, and a volatile personality. If one compares the type of roles that ladies played in the myths with the ones they play in today’s society the differences become glaringly obvious whilst the similarities seem to dwindle down. Clearly, and certainly fortunately, society’s views on women today have greatly changed.
The character of Orestes is somewhat down-played in The Eumenides and in fact his role is far less significant than that of Apollo. Our first sight of Orestes sees him in a contradictory stance at Delphi, "Orestes holds a suppliant's branch in one hand, wreathed with a shining, pious tuft of wool, but in the other hand a bloody sword - bloody from his mother's wounds or from Apollo's purges, or both, since purging contaminates the purger and Apollo's shrine is polluted either way." (Fagles, R., The Serpent and the Eagle, p. 73, Penguin Classics, 1977.) Orestes admits his guilt (with no small amount of rationalization) but also attempts to place the bulk of the blame on Apollo, "And Apollo shares the guilt - he spurred me on, he warned of the pains I'd feel unless I acted, brought the guilty down." (Aeschylus, The Eumenides, Robert Fagles Trans., lines 479 - 481, Penguin Classics, 1977.) Apollo is representative of the new gods and, more particularly, of Zeus. "In the rapid succession of scenes at Delphi the representatives of the male and female divine forces appear before our eyes in bitter enmity with each other. And, they are indeed only representatives. Apollo speaks with the voice of Zeus... and hence of the Olympian patriarchy..." (Harington, J.,...
At the outset of Oedipus Rex no female characters are present; the reader sees a king who comes to the door full of curiosity: “Explain your mood and purport. Is it dread /Of ill that moves you or a boon ye crave?” When the priest has responded that the people are despairing from the effects of the plague, the king shows sympathy for his subjects: “Ye sicken all, well wot I, yet my pain, /How great soever yours, outtops it all.” Thomas Van Nortwick in Oedipus: The Meaning of a Masculine Life : “We see already the supreme self-confidence and ease of command in Oedipus. . . . exudes a godlike mastery in the eyes of his subjects. . . .”(21-22); such “godlike mastery” will be his undoing. The critic Ehrenberg warns that it “may lead to ‘hubris’” (74-75). Throughout the drama Sophocles draws out an ongoing contrast between the “godlike mastery” of the king and the softer, more balanced and selfless characteristics of Jocasta, his wife. She is a foil to Oedipus. Shortly thereafter Creon, Jocasta’s brother, is returning from the Delphic oracle with the fateful words of the god’s command: “...
The play was considered comic by the ancient Athenians because of its rhyming lyricism, its song and dance, its bawdy puns, but most of all because the notion and methods of female empowerment conceived in the play were perfectly ridiculous. Yet, as is the case in a number of Aristophanes’ plays, he has presented an intricate vision of genuine human crisis. In true, comic form Aristophanes superficially resolves the play’s conflicts celebrating the absurdity of dramatic communication. It is these loose threads that are most rife with tragedy for modern reader. By exploring an ancient perspective on female domesticity, male political and military power, rape, and efforts to maintain the integrity of the female body, we can liberate our modern dialogue.
...wants to save his people. He discovers that his real parents are King Laius, the man he killed, and Queen Jocasta, his wife. All along he was the man that put the curse on the city he loved and he sees that the Oracle that he was certain he got rid of actually came true.
Throughout the Greek play, “Antigone”, we see one of the main character’s, Creon, who recently was named King of Thebes due to his Nephews battling to the death for the throne. Creon by the end of the play would eventually develop a theme known as a “Tragic Hero.” His character's emotion and motivations conflict with another main character, his Niece who the play is named after, Antigone. The characteristics of Creon have conflicting motives such as his hierarchy, greed, and vengefulness are highlighted by Antigone’s opposing ethics. Ultimately these conflicting motivations develop Creon as a tragic hero by making him regret his Decree and rash decisions once he has learned of his fate.
In his literary work, Eça’s female characters are marked for life and are either weak or are prostitutes; in the case of Genoveva in “The Tragedy”, she is the latter (King and Sousa 200).
Starbucks is currently the industry leader in specialty coffee. They purchased more high quality coffee beans than anyone else in the world and keep in good standings with the producers to ensure they get the best beans. Getting the best beans is only the first part, Starbucks also has a “closed loop system” that protects the beans from oxygen immediately after roasting to the time of packaging. They did this through their invention of a one-way valve which let the natural gasses escape but keeping oxygen out. This gave them the unique ability to ensure freshness and extended the shelf life to 26 weeks. Starbucks isn’t only about the coffee, it’s also about a place where people can escape to enjoy music, reflect, read, or just chat. It is a total coffee experience. The retail outlet has been responsible for much of Starbucks growth and has contributed substantially to their brand equity.
...scene and the misogynistic views of such as Iago, 'How if she be black and witty'' with the later scene of Act IV Scne iii and Desdemona's refusal to say the word 'whore', 'I cannot say whore/It does abhor me', then the dark baseness of the male world is seen in opposition and dark contrast to the innocence and naivety of Desdemona.
A person can’t go anywhere today without seeing Starbucks. There are coffee stores all over the world, Starbucks inside Target’s and military installations, to Frappuccino’s and teas sold in grocery stores and gas stations.
One could argue that this could be imitated by competitors but it also is very costly. Another strategy is their strategic alliances and acquisitions such as Teavana (Tea), Bay Breads, Evolution Fresh, and many more. Their acquisition strategy has known to be very horizontal. This gives Starbucks the ability to effectively leverage their cornerstone product differentiation strategies by offering a premium product mix of the highest quality beverages and snacks. Starbucks’ goal is to provide each and every customer with a unique “Starbucks Experience” excellent customer service, and well maintained stores which in turn translates to a high degree of customer loyalty. Its HRM value-based approach is for building strong internal and external relationships with suppliers which helps its deployment to international markets, horizontal integration, and organic expansion across the world. Starbucks is known for its high knowledge employees. Human capital is the main asset for most companies and they are provided with great benefits, stock options, retirement accounts, and competitive pay. Good human capital translates into great customer service. I talked to my friends about working at Starbucks and they both said it