In ‘Antigone”, Ismene says, “To them that walk in power; to exceed is madness, and not wisdom”. Her statement makes it clear, those who “walk in power”, allow it to corrupt them. Throughout the history of humanity there has been a correlation between those who have excessive power and corruption. Webster’s Dictionary defines corruption as, “impairment of integrity, virtue, or moral principle”. In the story of Antigone the tragic hero Creon, shows all of the common characteristics of corruption.
Iago’s Jealousy In Shakespeare’s tragedy Othello, good is often confronted by evil, in which almost every case is in the form of jealousy. Iago, the plays antagonist, is a very manipulative villain. Iago uses his own agony and distress brought upon him by his envy of others, to provoke the same agony within the characters in the play. Jealousy’s ability are shown to influence people to new ends and make all humanistic judgment disappear leaving that man a monster torn apart by envy. Jealousy’s true destructive wrath and the pure evil it brings out in people can be revealed through Iago’s actions throughout the tragedy Othello.
After Antigone is banished to death in the cavern, the chorus details the downfall of the mythical figure Lycurgus: “And there his rage his terrible flowering rage burst – sobbing, dying away… at last that madman came to know his god – the power he mocked, the power he taunted in all his frenzy trying to stamp out the women strong with the god…” (108). This passage essentially serves to foreshadow Creon’s demise. It can be seen from this passage that there are parallels between Creon’s, Antigone’s, and Lycurgus’ downfall. In this particular moment in the story, Creon “mocks” and “taunts” the power of the gods by “stamping out” Antigone. Antigone can be considered a “woman strong with the [gods]” because of her decision to uphold divine law over state law.
In “Oedipus the King”, Oedipus effectively portrays the idea of the classic “flawed hero”. He becomes arrogant and brash. He accuses Creon and Tiresias of treachery. Even worse however, Oedipus goes against the gods. This causes them to punish him severely.
Conclusively, throughout Don Quixote, Miguel Cervantes explores the transformation of reality. By doing this, he critiques and reflects conventional societal literary norms. In three distinct scenes, Don Quixote or his partner, Sancho, transform reality. Often they are met with other’s discontent. It is through the innkeeper scene, the windmill scene, the Benedictine friar scene, and Quixote’s deathbed scene that Cervantes contemplates revolutionary philosophies and literary techniques.
Such jealousy as Othello’s converts human nature into chaos, and liberates the beast in man; and it does this in relation to one of the most intense and also the most ideal of human feelings. (169) Helen Gardner in “Othello: A Tragedy of Beauty and Fortune” agrees with Bradley, saying that “its subject is sexual jealousy, loss of faith in a form which involves the whole personality at the profound point where body meets spirit” (144). Of course, jealousy of a non-sexual nature torments the antagonist, the ancient, to the point that he ruins those around him and himself. Francis Ferguson in “Two Worldviews Echo Each Other” describes: On the contrary, in the “world” of his philosophy and his imagination, where his spirit lives, there is no cure for passion. He is, behind his mask, as restless as a cage of those cruel and lustful monkeys that he mentions so often.
I hear the boot of Lucifer,I see his filthy face! And it is my face, and yours Danforth! For them that quail now when you know in all your black hearts that be fraud - God damns our kind especially, and we will burn, we will together!”(111) John is saying how Danforth is accusing innocent people and that even he knows the truth now. He symbolizes God in his speech and tries to make Danforth scared about his guilt. He also underscores that Danforth is as guilty as him and they will burn in hell together.
He himself sins as he tries to destroy Arthur's soul. Roger soon comes to resemble the devil. He even notices this similarity in himself. He says, "I have already told thee what I am! A fiend!"
The impetus for the downfall of Oedipus, "Known far and wide by name" (Sophocles, 1), is his anger. Enraged he slew King Laius and in anger he hastily pursued his own ruination. From the aforementioned recriminations of Tiresias to the conflict with his brother-in-law Creon (his ill temper again displayed - "Tempers such as yours most grievous to their own selves to bear,... . (Sophocles, 25); through the revealing exchanges with his wife/mother Jocasta and her slave (whose pity saved the infant Oedipus), damming insight grows in a logical sequence, all the while fueled by the Oedipal rage.
His evil nature derived from his lust for power. Macbeth’s lust for power is an unhealthy obsession that is the root of all evil throughout the play. Macbeth describes his urgency for power when he says, “The expedition of my violent love Outrun the pauser, reason” (2. 3. 111-112).