Although this is deeply rooted in his character, his obsessive thoughts are a product of continuous grieving. In Shakespeare’s Hamlet, Hamlet learns from a ghost of his father’s brutal murder. Hamlet weeps and plans to take action but doesn’t deliver. Instead he plots his revenge and waits for the perfect moment to avenge King Hamlet. The ghost of Hamlet’s father influences Hamlet to seek revenge who would otherwise contemplate the subject to death, GHOST: Revenge his foul murder and most unnatural murder.
Poe was never in the best of mindsets, most likely the reason behind why his story was so hateful. Therefore, I would like to believe I’m more intrigued by how he specifically writes versus typical dark stories.In response to “The Cask of Amontillado” by Edgar Allen Poe, revenge can get the best of everyone. Like most individuals, I too have found myself once glaring from the sidelines annoyed. It takes a lot to make a calm person like myself resentful, but similar to Montresor, it is possible to become so aggravated that a revengeful plot begins to
He would have robbed his novel of the truth—not precisely the truth of the parable or allegory or myth, but the truth of a narrative that describes a world apart and is a system accurate and logical only unto itself"(356, Editor) Lehmann-Haupt then goes on to compare Shame to Midnight’s Children: ". . .this doesn’t begin to account for the extravagantly tragicomic nightmare evoked by Shame, which does for Pakistan what Mr. Rushdie’s equally remarkable first novel, Midnight’s Children did for Inida.
Due to Edgar Allan Poe’s loss of those he cared for throughout his life, Poe’s obsession with death is evident in his works of “The Tell-Tale Heart”, “The Black Cat”, and “The Fall of the House of Usher”, in which in all three death is used to produce guilt. At the end of “The Tell-Tale Heart”, Poe’s fascination with death is apparent when the narrator ruthlessly killed an old man with a disturbing eye, but felt so guilty that he confessed to the police. The narrator dismembered the old man’s body and hid them in the floor, confident that they were concealed. However, when the police came to investigate, the narrator heard a heart beating and began to crack under the pressure. Overcome with guilt, he confessed that he murdered him and pulled up the floorboards.
In his play Hamlet, William Shakespeare frequently utilizes the word “revenge” and images associated with this word in order to illustrate the idea that the pursuit of revenge has caused the downfall of many people. He builds up the idea that revenge causes people to act recklessly through anger rather than reason. In Hamlet, Fortinbras, Laertes and Hamlet all seek to avenge the deaths of their fathers. Hamlet and Laertes manage to avenge their father’s deaths and in doing so, both rely more on their emotions rather than their reasoning, which eventually leads to their downfalls at the end of Hamlet. As the play begins, Hamlet is in a grieving period over the death of his father.
The hubris overpowered both heroes, Hamlet for vengeance of his father’s death and Oedipus to revenge the death of Laius, which ironically was his real father, and he had killed him. Hamlet and Oedipus have the five characteristics of a tragic hero, the main characteristic that both share, is the error of judgment, however, their fate ... ... middle of paper ... ...so, Kurt. "Oedipus Crux: Reasonable Doubt In "Oedipus The King.." College Literature 39.3 (2012): 26-60.ContentSelect Research Navigator. Web. 4 Mar.
Poe doesn't quite allow readers to feel convinced of his main character's peace of mind. Subtle indications are strewn throughout the story that suggest otherwise. Though Montresor intended to cleanse his honor of Fortunato's insults, it may very well be that he only succeeded in creating, for himself, a guilty conscience, forever depriving himself of the sweetness of revenge. "The Cask of Amontillado" is told in the first person by Montresor. In the opinion of John Gruesser, Montresor who "lies on his deathbed, confessing his crime to an old friend, the You' of the story's first paragraph" (129) is signifying his guilt fifty years after the murder.
Emilia tells Othello too late of the lies told by her husband and she dies at the hands of Iago for her confession. Iago's lies have come to a crescendo and Othello realizes he has been deceived. Othello then commits suicide and we find, in this case, in order for love to conquer all, evil must triumph. As is the case oftentimes in real life, there is no happy ending. Iago is, for the literary world, evil incarnate.
This still does not change the fact that Iago is a manipulative trickster whose desire for power and revenge leads him to destruction. When it comes to manipulation Iago knows best. Iago goes out of his way to basically destroy Othello, the man who trusts him the most. Iago spends most of his time planning revenge towards Othello and we are left wondering why. When people do bad things it is usual... ... middle of paper ... ... it was in fact a loss because although he was powerful he was banished into a tiny lamp where his powers were useless.
Macbeth is a character of two battling halves: his reason, or ambition, and his “imagination.” Bradley attributes the hysterical nature of Macbeth’s visions, the dagger, the specter of Banquo, and other ghosts, to his wild imagination. He “acts badly” (Bradley, 136) and loses his composure whenever his imagination triumphs over his practical side; however, Bradley also asserts that Macbeth’s imagination is “the best of him, something usually deeper and higher than his conscious thoughts” (133). Macbeth is therefore unable to make use of the “better” imagination with which he was endowed and instead only appears “firm, self-controlled and practical” when he is “hateful” (136). A product of these clashing sides, Macbeth’s murder of Duncan is borne of his inability to properly acknowledge the conclusions drawn by his imagination. In his soliloquies and in... ... middle of paper ... ...nd his morality.