The Complex Alceste of The Misanthrope
"I cannot improve on it, and assuredly never shall," said Molière of his satire The Misanthrope, {1} and the critic Nicholas Boileau-Despréaux concurred by accounting it one of Molière's best plays.{2} But the French public did not like it much, preferring the dramatist's more farcical The Doctor in Spite of Himself--a play that, according to tradition, was written two months after The Misanthrope's premiere to make up for the latter's lack of success.{3} In fact, The Misanthrope horrified Rousseau, who thought that its aim was, in Donald Frame's words, "to make virtue ridiculous by pandering to the shallow and vicious tastes of the man of the world."{4} Both he and Goethe after him regarded Alceste, the protagonist, as a tragic figure rather than a comic one.{5}
It is evident from such a diversity of sentiments that the work before us is complex enough to provoke a variety of reactions. On the one hand, Molière made The Misanthrope a comedy, not a tragedy. Alceste, despite his bold railings against the hypocrisy of society, often finds it impossible to set a heroic example in front of his all-too-"civilized" circle. He is no lone upholder of a noble creed forced to martyrdom for his beliefs; in fact, his announcement, at the end of the play, of the martyrdom he is imposing upon himself--exile to "some solitary place on earth/Where one is free to be a man of worth"{6}--makes him look less heroic than ridiculous.
And yet, if we do not place our sympathies with Alceste, we search this play in vain for another character worthy of them. The silly marquises do not command much respect. Arsinoé is conniving, spiteful, and a critic of everyone else's morals. Oronte is not only as vain a...
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...f which is given in Brown and Kimmey, pp. 121-72), this is marked as V.viii, ll. 21-2.
{7} Cf. John Dover Wilson, "Introduction," in William Shakespeare, Hamlet, ed. Wilson (Cambridge: Cambridge UP, 1936), p. xlviii.
{8} II.v, ll. 711-30 (ll. 153-72 in Wilbur).
{9} I.i, line 118 (so also Wilbur).
{10} Frame, "Introduction to The Misanthrope," op. cit., p. 21.
{11} Richard Wilbur, "Introduction to The Misanthrope," in Brown & Kimmey, p. 360.
{12} Ibid., p. 361.
{13} V.iv, line 1782 (V.viii, line 50 in Wilbur).
{14} I do not include Arsinoé in this, since in a sense she receives some sort of punishment when in the last scene (V.iv [V.vi in Wilbur]) she is put to shame by Alceste's implication that he is fully aware of her true motives. Her discomfiture should be enough to satisfy a sense that poetic justice has been served in her case.
I never thought that I would read a book over the summer, but over the course of these past two months, that changed. Harriet Beecher Stowe’s novel “Uncle Tom’s Cabin” forever changed how I view slavery. I loved reading it. Throughout the whole novel, Stowe uses her experience and knowledge to portray the terrible hardships and struggles that slaves endured everyday. Not only does this book express the thoughts of the slaves and their faith in God, but also of the people around them. “Uncle Tom’s Cabin” wanted so badly for America to give freedom and equality for all people, and that is what I enjoyed most while reading.
Harriet Beecher Stowe’s “Uncle Tom’s Cabin” opened the eyes of millions of people worldwide. The book portrayed the brutal life of the black slaves. It went on to sell millions of copies and was given the title “The Greatest Book of the Age”. (pg. 616) It is had been commented that this book had helped “lay the groundwork for the Civil War”, according to Will Kaufman, and is widely regarded to one of the reasons of the Civil War. Langston Hughes refers to this book as a "moral battle cry for freedom." The characters in her book debated the causes of slavery, the Fugitive Slave Act of 1850, the future of freed persons, individualism and racism. The Civil War arose from a combination of causes counting regional conflicts between the Southern and Northern states, economic forces, and humanitarian concerns for the welfare of enslaved people. The four year war opposed one section of the country against each other and nearly rescinded the United States of America. It is no wonder why when Abraham Lincoln met Stowe, he responded that she was “the little woman who wrote the book that started this great war” and I would agree with that statement of his. Whether this is true or not, the gush highlights the public linking between Uncle Tom's Cabin and the Civil War.
In Antigone, by Sophocles, which centrals around themes such as bravery in the face of death, civil unrest, and unyielding dedication to divine justice, it is easy to understand why Ismene’s character is often called cowardly, docile, and indecisive. However, this view of her undercuts the most basic facet of her personality, the one which is absent in Antigone — a will to live. With this in mind, Ismene’s personality is far one-dimensional, as there are are certain traits she needed to embody in order to survive. She endured her tragic upbringing through rational thought and an optimism that others will do the same, all the while keeping her love for her unfortunate family intact. Though not fearless in the face of death, Ismene is a sympathetic character whose rationality, optimism, and loyalty are not to be underrated.
The characters in the play Antigone all suffer a downfall of some sort. The major characters suffer the most, though. In this short essay, I will document on how the two main characters, Creon and Antigone, both inevitably become tragic heroes.
In the awe-inspiring play of Antigone, Sophocles introduces two remarkable characters, Antigone and Creon. A conflict between these two obstinate characters leads to fatal consequences for themselves and their kindred. The firm stances of Creon and Antigone stem from two great imperatives: his loyalty to the state and her dedication to her family, her religion but most of all her conscience. The identity of the tragic hero of this play is still heavily debated. This tragedy could have been prevented if it had not been for Creon's pitiful mistakes.
In the Antigone, unlike the Oedipus Tyrannus, paradoxically, the hero who is left in agony at the end of the play is not the title role. Instead King Creon, the newly appointed and tyrannical ruler, is left all alone in his empty palace with his wife's corpse in his hands, having just seen the suicide of his son. However, despite this pitiable fate for the character, his actions and behavior earlier in the play leave the final scene evoking more satisfaction than pity at his torment. The way the martyr Antigone went against the King and the city of Thebes was not entirely honorable or without ulterior motives of fulfilling pious concerns but it is difficult to lose sight of the fact that this passionate and pious young woman was condemned to living imprisonment.
Antigone’s own excessive pride drives her to her defeat. Her arrogance and strive for self-importance blinds her to the consequences of her actions. Ismene, Antigone’s sister, rejects to take part in the crime leaving Antigone all on her own. Ismeme declares “why rush to extremes? Its madness, madness” (Sophocles 80). Ismene fails to comprehend the logic behind her siste...
The dilemma of identifying the true hero, or heroine, of Sophocles’ Antigone has tortured students for years. It is indeed a difficult decision to make. The basis for this decision is what the reader perceives to be Sophocles’ dramatic issue in this play. The dramatic issue of the play is twofold: Antigone is a fanatic who is driven by her religious fever to bury the body of her criminal brother, Polyneices, against the edict of Creon. In the second part, Sophocles shows how the new King Creon’s refusal to change his decision in the face of adversity is admirable, but at the same time his political morals end up destroying his family. His fall from grace is tragic, whereas Antigone's fall is welcome. In this manner, Sophocles sympathizes with Creon, and thus he becomes the hero of the Antigone.
It is in the duality of Orgon, the believing subject, and Tartuffe, the manipulating hypocrite (or impostor), that Moliere takes his digs at the extremes of enthusiastic belief. Tartuffe plays the role of a man whose greedy actions are cloaked by a mask of overwhelming piety, modesty and religious fervor. Orgon is the head of a household who has taken Tartuffe in. We laugh at Orgon because everyone else (except his mother) knows that Tartuffe is a fake. All of Orgon's relatives warn him of Tartuffe's gluttony and of the false nature of his pious proclamations.
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.
When the title of a play is a character's name, it is normally assumed that the character is the protagonist of the play. In Sophocles' Antigone, most people probably believe Antigone to be the tragic heroine, even after they have finished watching the play. It may be argued, however, that Creon, not Antigone, is the tragic character. When we examine the nature and concept of the Greek Tragedy and what it means to be a tragic character, it becomes clear that Creon is indeed the tragic hero of the play Antigone.
Sophocles’ Antigone is a text rich with layers of meaning. In this essay, I intend to uncover some of these layers in order to assert the extent to which Antigone is responsible for her tragic end. I will argue that the protagonist is responsible for her own actions – actions that by her own choice result in her death. The catalyst for said death, however, is the result of other characters and events. I will focus particularly on the edict of Creon and his role in the tragedy, as it is the juxtaposition of their beliefs, which results in both of their tragic endings. Throughout the essay I will analyse scholarly works on the subject, as well as the events in the text itself, in order to weigh the ultimate accountability of Antigone.
...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.
Walley, Harold R. “Shakespeare’s Conception of Hamlet.” PMLA, 48.3. Modern Language Association, 1933. pp. 777-798 . 19 February 2009.
Innate is a defense you are born with and is nonspecific. Its job is to detect, deflect, and destroy. The innate immune system deals with stuff we were born with such as: external barricades like skin and mucus membrane, as well as, internal defenses like phagocytes, natural killer cells, and antimicrobial proteins. The first step in the innate immune system stats with the physical barrier—your skin, which keeps out vengeful microorganism. As longs as the skin doesn’t get beat up too much. But if so no worries, we also have our mucous membrane as a physical barrier which lines the cavities that are exposed to the outside world. These physical barriers also offer chemical protection as well, acid from skin, mucin that forms mucus, microbiota