The prophecy controls some of Oedipus' life, but it's because the fear of it coming true that drives the characters to take ill action. Throughout the play we are given evidence showing his poor decision making and anger issues, but never any definitive proof that Oedipus' future is out of his control. Oedipus the King tells of Oedipus' struggle with his fate. It is Oedipus' short temper, pride, and poor decision making that cause him to make the choices that lead to his demise. Oedipus and his family take action to ensure the prophecy of him killing his father and sleeping with his mother would not come true.
and ?Prometheus Bound.? Greek Tragedies: Volume 1. The University of Chicago Press: Chicago, 1991. 178-232, 65-106. Grene, D., and Lattimore, R., eds.
Both plays, using the vice of flattery in different ways, argue the same point: that flattery is the act of taking advantage of personal weakness while rebellion is the act of taking advantage of political opportunity. Therefore, flattery and rebellion are similar vices because they both take advantage of a flaw in a single person, the King. Throughout Edward II and Richard II, the term flatterer is never defined, but is rather assumed to be general negative force on the King and the overall state. In the beginning, both Shakespeare and Marlowe both present foolish Kings who, due to the influence of flatters, do not listen to reason. This description automatically lays out the assumption that a flatterer is someone within the King’s circle.
 Carl N. Degler. The New Deal. Chicago: Quadrangle Books, 1970. 125.  William Dudley.
Creon knew this decision would be hard on some people, but did not anticipate how greatly it would affect his niece, Antigone. Because Antigone goes against Creon’s will and law and buries her brother, she forces him into a position where he again has to make a difficult decision. He must choose to kill his own family member and uphold the law, or punish her less severely and show that he was wrong in a previous decision. Creon’s pride does not allow him show leniency toward Antigone, and he arrogantly defends his decision by stating, “ whoever may be the man appointed by the city, that man must be obeyed in everything, little or great, just or unjust” (line 608). Creon’s arrogance and pride is the tragic flaw that leads to his inevitable downfall.
Brutus’ honesty and being overly trusting leads to his demise. In these two plays the tragic hero are very different, but they are both still considered tragic heros. They both have tragic flaws, but Brutus is still considered a integrable man inspite of his flaw, whereas Creon is considered to be dishonourable by his flaw. Both Brutus and Creon stood up for what they believed was but right but Brutus is the most tragic of the two. In the play Antigone King Creon is the tragic hero.
Its making her an outcast separates her obligation to it; she is a free-... ... middle of paper ... ... false and unnatural relation" (ch 4). He is aware of his selfishness and impure affiliation, yet he wreaks vengeance upon Dimmesdale, who really does love Hester. Existing with one extreme or another, the characters in The Scarlet Letter must weigh the importance of maintaining the standards of society against satisfying their own impulses. The pressures to conform to ideals are great; only Hester Prynne withstands them fully and stands boldly in the light of her sin. Her cowardly lover Arthur Dimmesdale is not so strong, and it takes the intervention of Pearl and Roger Chillingworth - granted they impact Dimmesdale oppositely - before he is finally able to uphold his sin publicly.