He has already lost a few sons at the hands of Achilleus and expects that Hektor cannot possibly win. Since his father recognizes his weakness, this is the first hint about the outcome of the battle. But Hektor, brave man that he is, will not be so easily convinced that Achilleus is stronger. Even Hektor's mom is skeptical he can triumph over Achilles and begs him, "Do not go out as champion against him, o hard one; for if he kills you I can no longer morn you..." (Homer 437). She too has little faith that he will overcome Achilleus and is concerned he will die at the hands of this great warrior.
Achilles willingly lets hundreds die due to an insult to his honor, and a loss of glory. The noble soldier Sarpedon, wishes for peace but fights for glory. Dolon marches off in a quest for glory, but is nowhere near ready. Achilles has a hunger for glory that is unquenchable. Achilles knowingly marches to his death for his mother told him that “if [he] hold out here and [he] lay siege to Troy, [his] journey home is gone, but [his] glory never dies” (Book IX line 498-501).
Troy's Battle with Anger in August Wilson's Fences Conflicts and tensions between family members and friends are key elements in August Wilson's play, Fences. The main character, Troy Maxon, has struggled his whole life to be a responsible person and fulfill his duties in any role that he is meant to play. In turn, however, he has created conflict through his forbidding manner. The author illustrates how the effects of Troy's stern upbringing cause him to pass along a legacy of bitterness and anger which creates tension and conflict in his relationships with his family. Troy?s relationship with his father was one, which produced much tension, and had a strong influence on Troy?s relationships with his loved ones as an adult.
While wise men, good men, wild men, and grave men have differences they each learn too late, and lament their lack of foresight, even they “do not go gentle into that good night,” instead they “Rage, rage against the dying of the light” . Through Thomas’ use of building blocks like form and character he creates an observation of every man’s last resort to begging his father to not give into death. True, Thomas is angry, but no child wants to lose a parent. Thomas’ father is dying and naturally Thomas is having a difficult time accepting his father’s death. Thomas wants his father to understand that even his “old age should burn and rage at close of day” .
Achilles remains absent for most of the book, and the only thing that pulls him back into the war is the death of his dearest friend, Patroclus, who Achilles lets go into battle as him because it would bring him even more kleos. This amount of vanity, of stubbornness, is something that can only become eroded by the truth of war and violence. Until Achilles felt an important loss, there was no way for him to understand the impact of his actions. He, along with everyone else, is not safe from the destruction war
In the tradition of tragic heroes such as Oedipus Rex, Willie Loman, and Marcus Brutus, Troy Maxson from August Wilson's Fences is a noble man with a tragic flaw that leads him down a path ending in ruin. Troy's hamartia is his stubborn, self-centeredness. He lives in his own little world and views the people in his life as revolving around him. When he ruins Cory's chance of gaining a football scholarship, he did it because he believed whites wouldn't let his son play, but the world had changed and Troy stubbornly refused to believe it. It has to be noted that Troy Maxson isn't a bad man.
To completely renounce his own father’s way of life would have been a heavy blow to their already weak relationship. In severing ties with his father Biff has planted the final seed for Willy who now feels no use to his son alive thus attempts to provide for Biff one last time through is death. Biff's epiphany, though crucial for him to start living a fulfilling life, was also the catalyst for his father's death. Despite the growing pains, Biff is now free to seek out who he really is and what he really wants. No longer will he feel obligated to follow in his father’s footsteps because he know knows that he is his own man.
This leads Creon to get enraged at his son and his mind is still set on executing Antigone. Haimon responds by saying “Not here, no: She will not die here, King... ... middle of paper ... ...herself from suffering. However, this wasn’t the case with Creon because his entire family perished right before his eyes and he has no way to relief his pain. Thus, Creon is the tragic character of the play due to his everlasting grief caused by his flawed personality. In conclusion, Creon is the tragic character of Antigone because of his pride which caused him never ending agony by the end of this tragedy.
Laius could have saved Oedipus from numerous difficulties and horrible mistakes throughout his life but he doesn’t and as a result Oedipus makes terrible decisions that will affect his life in a negative way forever. As a result of Laius leaving his son in the wild to fend for himself, he leaves the opportunity for another father figure to appear. The shepherd com... ... middle of paper ... ...nately both Cory and Oedipus make it of their ordeals alive, but they are both mightily scarred for life. Oedipus physically loses both of his eyes once he finds out what he done to his real father and mother. If any of his other father figures had informed him who he was, that wouldn’t have happened.
This was priceless to him. He just needed to be forgiven of his dreadful deed by everyone. Hercules despaired at this but was overjoyed because he would be serving a who at this current time in the world be lower in status and less popular to most people to him, but he knew he had to do it, for himself and everyone he just had to get through it, yet afraid to oppose his father Zeus. Which would be an even bigger crime and would ruin his whole life and everyone .Eventually he placed himself at Eurystheus's disposal, ready to face whatever and whenever he wanted him too. He did not have a good feeling about them.