The Iliad expresses the truth that " 'wicked arrogance' and 'ruinous wrath' will cause much suffering and death." This is shown in The Iliad in the quarrel between Agamemnon an Achilles. The Odyssey also teaches the same truth when Odysseus shouts his name to Polythemus. Dr. Owen Duncan said that The Iliad teaches another important lessons is the theme that "pride leads to disaster, yet not to be proud, is not to be Greek." This was illustrated when Achilles challenged Hector to a battle to the death, and Hector accepted although he knew he would be defeated.
On the other hand, Antigone believed in the divine laws of the gods that those who... ... middle of paper ... ...versial question of who is the tragic hero is answered with King Creon. Sophocles’ tragedy Antigone puts King Creon in the spotlight of the tragic hero because of his unyielding pride which blinds him from recognizing his mistake earlier. When he does realize his mistake, it is too late—he has lost his loved ones and now lives in despair. Furthermore, Antigone’s character was not as developed as King Creon because she never reached perpeteia or anagnorisis; she was headstrong in her determination to abide to the divine laws. Antigone teaches us that “There is no happiness where there is no wisdom… [that] Big words are always punished,/ And proud men in old age learn to be wise” (Sophocles et al.
It’s considered a sickness, a consuming love that only leads to misery. In Hippolytus, Euripides uses the word sickness to describe the illegitimate desires that Phaedra had for her step-son Hippolytus. In current times love as a sickness can also be used to describe the illicit love that is still looked down on. Euripides’ use of gods to remove some accountability is excused due to the fact that in Ancient Greece it was common to believe that gods had control of human lives. Now that excuse just won’t do and in today’s society people hold all the accountability of their actions.
In Oedipus the King, however it is a different situation. While Oedipus learns more about himself, a messenger tells him this, “It is plain that all of your fears are empty, Polybus was no kin to you in blood” (Sophocles, 8). This is significant because Oedipus learned that he was raised by an adoptive fathe... ... middle of paper ... ...did not want to go through the same consequences Oedipus went through. This shows that ignorance to the truth can affect ones self and others. The play is strengthened as a tragedy because the audience does not want to be like Oedipus and let their actions determine their destruction.
Madea’s obsessive pride and inability of the separation of her and Jason drove her to destroy everyone she loves. Jason cannot be the tragic hero because he brought the situation upon himself. Madea gave up her family and life for him and Jason does not appreciate anything she did for him in order to escape and marry him. Aristotle’s De Poetica defines tragedy as mimetic, serious and contains rhythm. A tragedy also contains six elements; plot, thought characters, song, diction, and spectacle.
The phrase implied that the gods could help man avoid the dictates of fate, but that they cannot alter fate. Sharing the terrible facts of Laius' death, Teiresias tells Oedipus: "It is not fate that I should be your ruin, Apollo is enough; it is his care/to work this out" (Sophocles 376-378). The prophet's pronouncement links fate and Apollo, yet he suggest... ... middle of paper ... ... the Sphinx in its puzzling presence and ruthless punishment of the innocent. If Oedipus the King does not define fate, it aptly demonstrates its workings. Works Cited: Greene, David and Richmond Lattimore, Eds.
42), and “I was born a god” (ln.63). These statements reflect Dionysus’s ignorance to who he is, and the forgotten Greek sentiment of “know thy self”. It is not only the audience who recognizes that Dionysus is lacking the ‘ideal” attitude of a god but reasonable characters of the play will pick up on this as well. ... ... middle of paper ... ...trated this by betraying the trust that people had in men and the gods with his foolish and reckless action against Cadmus and his family. Dionysus refuted rational thinking by letting his emotions for revenge stand in the way of his contemplating how a god should behave.
Even though he is blind he can see what Oedipus cannot. It proves how blind Oedipus really is to the truth, and how unwilling he is to accept the truth of his own fate. As well when he first hears about the oracle and fled Corinth, to avoid the prophecy from happening. After having knowledge about his fate he claims “having heard… a tale of horror and misery: how I must marry my mother…and kill my father. At this I fled away, putting the stars between me and Corinth, never to see home again, that no such horror should ever come pass” (Lines 795-797).
The spectators of the tragedy feel a deep sympathy for the protagonist because the decision made by this character was done without intending evil (New T-349). In Oedipus the King, Oedipus chose to leave Corinth to prevent the prophecy that he would kill his father and marry his mother. Even though this appeared to be an appropriate decision, it was wrong. In the process of leaving Corinth, Oedipus came across his real father at a three-road intersection and during a scuffle killed him. Later he married his mother, Iocastê, fulfilling the prophecy.
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.