They support the chain of events in Romeo and Juliet by using character traits and majors events to connect the plot and illustrate how the characters create their own ending. For this reason, Romeo and Juliet is a genuine tragedy because of its use of significant, tragic elements; tragically-flawed protagonists; and inevitable fate. Throughout the play there are many, highlighted tragic elements used to show how Romeo and Juliet’s lives are dramatically shaped into a tragedy. One important element is the anagnorisis: the point of time when a main character finally realizes that one of his decisions went too far, yet he is unable to fix it. For instance, when Romeo kills Tybalt out of pure abhorrence he responds regretfully, “O, I am fortune’s fool!” (III, ... ... middle of paper ... ...s that could be present in daily life.
It is often argued whether Oedipus is truly responsible for the loathsome crimes of patricide and incest. Some may argue that Oedipus was merely an unfortunate victim of cruel fate but this would be an incorrect assumption. It is clearly demonstrated throughout the play that a product of blind pride and deeply questionable choices make Oedipus responsible for his crimes. From his dealings with the Oracle at Delphi and his actions while traveling to Thebes one can determine Oedipus’s terrible decisions make him undeniably responsible.
Tragedy deals with the element of evil, with what we least want and most fear to face, and with what is destructive to human life and values. It also draws out our ability to sympathize with the tragic character, feeling some of the impact of the evil us. It is difficult for the reader feel pity for Macbeth because he is merely part of the evil force that has always existed in our world and not the poor, forsaken, fate-sunken man, according to Aristotle's idea of tragedy. The reader can sense the power and greed upon which Macbeth thrives, prospers, and finally falls and therefore the reader sees Macbeth as a bad guy, feeling little or no pity for him.
In keeping with the Aristotelian concept of tragedy, Agamemnon is seen as neither entirely good nor entirely bad, thus invoking pity. But his decision to sacrifice his daughter for the good of his fleet and his acts against Thyestes demonstrates the fatal error in judgem... ... middle of paper ... ... influence over the events of the tragedy. Similarly, in Hamlet, the other characters are much more complex than in Greek tragedies, and the interactions of the characters, which may represent their communities as a whole, greatly impact the eventual outcome. From Agamemnon to Hamlet, we have discovered the progression of the form of dramatic tragedy. We can see the evolution from the earlier Greek tragedies, that focus on divine intervention and vindication for acts that displeased the gods, to the very humanly emotional Hamlet, whose eventual realization of his own responsibilities introduce an entirely new concept to the tragic form.
Sophocles uses dramatic irony to develop the play, by introducing Oedipus’ hardships directly at the beginning: “For who knows, tomorrow this selfsame murderer / may turn his bloody hands on me. / The cause of Laius therefore is my own” (Sophocles 11). At this point in the story, Oedipus is well aware of Laius’ disappearance, but is unaware that he is the source of his explicit agony. Another example of dramatic irony that influences Sophocles tragedy would be when Oedipus bickers with Tiresias over the true killer. Tiresias mentions, “I tell you this... ... middle of paper ... ...eveloped into a full out tragedy.
Without the knowledge of the nature of good, Iago will not be successful in mastering schemes of nature of evil. Each point is explored further into Iago’s manipulation schemes and will analyze the nature of evil portrayed throughout the play. Shakespeare Othello was an act of many evil traits, including betrayal, manipulation and jealousy. Evil can be described as an act of someone who causes grievance, destruction, or impairment for one owns satisfaction; Iago, unquestionably, fits the description. Othello represented these traits through character, Iago, as he reveals his true nature of evil by diminishing people lives and becoming the downfall of many people around him.
Soft and fair, not so: For if I hang myself, let's know, who will revenge Horatio's murder then?” This question is the central di... ... middle of paper ... ...o his failing mind but there are other forces acting upon the final tragic event. In conclusion drawing reference form the Spanish tragedy by Thomas Kyd and the filmic adaptation of Shakespeare’s Macbeth by Roman Pollanski all great tragedies are in part brought about through the tragedy in the minds of the main protagonists of Hieronimo and Macbeth and through the madness of supporting characters like Isabel and Lady Macbeth. However there must be elements of the play to bring about this psychological tragedy and in addition to this there are aspects in both tragedies of the superhuman and that divine that seemingly influence the end. In light of all of this it is safe to say that all great tragedies are at least in part a tragedy of mind but that the tragedy of the human mind isn’t seen as the only reason for the final tragic conclusion of the play.
Heroes and Revenge in Hamlet and The Spanish Tragedy In Elizabethan drama, it was accepted that the villains of the piece would, because of their evil methods and aims, be revealed and punished - in other words, justice would be served. The problem, however, arises when the "heroes" of the piece use the same methods as the villains. I use the term hero warily, as the traditional hero of a revenge tragedy is one who would at first seem completely unsuited to a revenging role; Heironimo is portrayed as being too old, while Hamlet is seen as being too young. It can be generalised that the revenger starts off as being dissatisfied with the events have happened prior to the play, and it is an event within the play that catalyses his transformation from being merely a malcontent into a revenger. In Hamlet, it is the appearance of old Hamlet that convinces the young Hamlet that his suspicions about his uncle are correct: Ghost ... but know, thou noble youth, The serpent that did sting thy father's life Now wears his crown.
The drama otherwise follows a similar pattern of Greek tragedy; in defining Macbeth’s ultimate tragic flaw and cause of his downfall, however, he and the plot and organization of the tragedy is caused primarily by human error, provoked by supernatural and fate (Bradley).Whatever force might otherwise be detailed in determinism and used as a basis for a hamartia, downfall and tragic philosophy, the closest Shakespeare comes is in his supernatural element, mainly encompassing the role of the witches, of Macbeth (Bradley).Their irrelevance to this tragic element of the drama, however, is observed throughout the plot of the novel, wherever the hero is approached by supernatural.The prophecy of the witches is not another force creating Macbeth’s downfall, but rather the message to provoke him into insanity and drive him to his end, and a reflection of his inner flaws (Shakespeare). His downfall is not predicted or caused by a supernatural force, so that Macbeth’s murder sprees, his guilt, his insanity and death and all aspects of his downfall are ultimately done at his own hand and in free will where no factor playing into was unavoidable (Bradley). Macbeth’s tragic flaw is in character traits, where his downfall is entirely his own fault and human error, so that the tragedy of Macbeth is completely unrelated to determinism and puts forth another theme
Not only did pride bring about the collapse of their lives, but brought death and agony to those that surrounded them. In Othello, Iago was toying with Othello’s pride (his major weakness). In doing that, Othello came to believe that his actions and choices are just and moral. Othello believed he was bringing Desdemona to “justice”, but it really was an act out of revenge. Othello was disappointed to hear that Desdemona is “cheating” on him with Cassio, who was the lieutenant of Othello.