Centuries later, Elizabethan theatre gained popularity. Shakespeare was the pinnacle of this era; he even invented his own genre of tragedy: the Elizabethan revenge tragedy. Even so, many of his tragedies build upon ideologies founded in Greek theatre. His tragedies also consisted of a tragic hero whose demise brought about a purging of emotions such as pity and fear. Within
It’s surprising that Shakespeare’s King Lear is not treated as a comedy. His portrayal of a power hungry nobility only serves to mock the monarchical system. Both of Lear’s elder daughters deceive their own father in order to procure his wealth of land, and Edmund the bastard cannot stop killing and lying in order to climb up the royal succession. This backstabbing nature of the monarchy is exactly what makes it so ridiculous. Most importantly, Shakespeare depicts the tragic life of King Lear, an abdicated ruler.
Because of her accusation Theseus cursed his son which resulted in his death. While Racine sets the play in Troezen and kept it in its original era, he changed... ... middle of paper ... ...dre and Desire Under the Elms are derived from Greek tragedies, they take very different approaches to creating a modern-day Greek tragedy. While one sets the play in Greek times and adheres to the formal requirements, the other goes for the effect that Aristotle says tragedy should induce. There is no doubt that they should both be considered tragedies, if for no other reason than that they both fulfill requirements that have been set for tragedies. While they may fulfill different requirements, the essential effect of catharsis is achieved, to one degree or another, in both.
The blending of right and wrong, good and evil, and a general equivocal position begins with the ominous appearance of the witches in Act I, Scene 1 of the play. For Shakespeare they serve the role of the Greek gods in ancient tragedy. With their comments "the battle's lost and won" (1.1.4) and "Fair is foul and foul is fair" (1.1.11), we are prepared for the equivocal uneasiness that pervades the entire work. Banquo shows perceptive insight into the role the witches serve and their potential affecting of the lives of both he and Macbeth when he says: But 'tis strange; And oftentimes, to win us to our harm, The instruments of darkness tell us truths, Win us with honest trifles, to betray 's In deepest consequence. (1.3.123-126) Afterwards Duncan proceeds to allow the new thane of Cawdor, Macbeth, to deceive him at the cost of Duncan's life and cause what the first thane of Cawdor had lost (the uprising against the king) to be won by Macbeth.
Often this flaw or error has to do with fate a character tempts fate, thinks he can change fate or doesn't realize what fate has in store for him. In Agamemnon, the classic Greek drama, Aeschylus demonstrates the concept of the tragic flaw in the character of Agamemnon. While on his journey to the battle at Troy, Agamemnon has to make the choice to sacrifice his daughter for the sake of his fleet. It is this choice that begins the cycle of tragedy. Agamemnon’s wife, Clytemnestra, sees her husband’s act as unforgivable, and upon his return from battle, she murders him in an act of vengeance.
Hamlet's choice of speech for the Player King, is no accident. The revenge/family motif of the Trojan conflict was well known to the Shakespearean audience. The two "court" families, one Royal and the other in Royal service, are linked initially by Hamlet's love for Ophelia, but as the play develops, these links become more complex and more sinister, until there is a mortal collision which results in death and multiple tragedy. There is antagonism between Polonius and Hamlet from the outset, as Hamlet sees himself as a victim of Polonius's support of Claudius as King. This adds to the sense of betrayal which he already feels as a result of his mother's actions.
The central theme is the incest of Oedipus with his mother; and then, the killing of his father. Depending on how one reads the intricacies and vagueness of Athenian culture and the author's questionable character, Sophocles, in this play about King Oedipus, is viewed as either virtuous or immoral. The most common interpretation of Sophocles' Oedipus the King maintain that the incestuous conduct that takes place between Oedipus and his mother and the murderous act he commits against his father are viewed morally. Consequently, the notion is given that Oedipus commits a sin by sleeping with his mother and killing his father, and is punished because of it. Others will argue that this sort of moral interpretation is, in fact, wrong as further research into the translation of the play reveals a rationalization of an entirely different perspective.
Sophocles’ rendition of the tragic play Electra forms a useful focal point for the analysis of how dike and its associated values are presented and translated. As Kitto (Kitto, H.D.F, ‘Greek Tragedy’, 1997, Routledge Page 131, Section 4) pointed out, this play’s, ‘central problem is a problem of ‘dikh’ (‘Justice’). The play itself examines both the desire for justice by the children of the murdered Agamemnon as well as the arguments of justice by his wife (Clytaemnestra for his murder). All of this takes place under the watchful eye of Apollo, the God of both reason and prophecy, both of which play a part in the story that is told. The first extract is that of the argument between Clytaemnestra and Electra (Sophocles, Translator Watling, E.F., ‘Electra and other plays’, pg 84-56, lines 518-543) concerning her justification for the murder of Agamemnon.
Fortinbras as Foil for Hamlet In the play, Hamlet, by William Shakespeare, the character of Fortinbras, has been used as a foil for the main character, Hamlet. Hamlet and Fortinbras have lost their fathers to untimely deaths. Claudius killed Hamlet's father, King Hamlet, and King Hamlet killed Fortinbras' father. Both Hamlet and Fortinbras have vowed to seek revenge for the deaths of their fathers. Since the revenge tactics of Hamlet and Fortinbras are completely different, Hamlet perceives the actions of Fortinbras as better than his own and the actions of Fortinbras, then, encourage Hamlet to act without hesitating.