Another example of catharsis is exemplified when the two lovers, Romeo and Juliet, meet for the first time. As Juliet says, “My only love, sprung from my only hate!” (I, v, 137) the audience feels extreme pity due to the fact that they know that these two people, who love each other, cannot be together because they are enemies. Yet, the reader wants them to be together, but know that it is impossible because of the blistering hatred of these two families. Aristotle explains that “tragedy arouses the emotions of pity and fear in order to purge away their e... ... middle of paper ... ...does not follow through with her responsibilities. Lastly, Romeo is impetuous in many different senses throughout the play, such as his sense of love, pride, and actions.
Antony flees Actium to follow Cleopatra, because he is trapped by his feelings towards her. The play begins with the Triumvite in a weak state; this is because of Antony's debauchery in Egypt with Cleopatra. Caesar wages war with Antony because Antony was disloyal to Octavia as he still had feelings for Cleopatra. I feel that the theme of love triumphs over the theme of the struggle for power.
In the play Romeo and Juliet, Mercutio’s death functions as a major turning point that establishes the major concerns of tragedy. In this scene, Shakespeare uses techniques to juxtapose the central themes of hatred, violence and love to establish a sense of tragic loss, which also foreshadows the inevitable, devastating finale that is awaiting the two lovers. The themes of hatred and violence portrayed through the feud between the two families, significantly shapes the formation of tragedy. As conflict arises between Mercutio and Tybalt, Romeo attempts to intervene to stop their fight, but seemingly fate conspires to bring about the death of Mercutio. At this point, the sense of tragedy becomes illuminated in the audiences’ mind.
Romeo and Juliet: A True Tragedy An Aristotelian tragedy consists of several different aspects. In William Shakespeare’s Romeo and Juliet, the main characters contain a tragic flaw, or hamartia, that contributes to their fall from esteem or regal status. Additionally, the audience experiences pity and fear evoked by Shakespeare for the duration of the play. Furthermore, the two star-crossed lovers undergo a catastrophe at the end of the tragedy, where the characters meet a tragic and horrendous death. Shakespeare’s Romeo and Juliet is a true Aristotelian tragedy because both Romeo and Juliet possess a tragic flaw, a catastrophe takes place in which both characters meet a tragic death, and the audience is aroused with pity and fear.
Throughout the play, Shakespeare establishes a love-hate relationship between Antony and Cleopatra. In doing so, there are times when the lovers are characterized as stark opposites of each other as well as instances where these characterizations are reversed. The Romans, represented b... ... middle of paper ... ...defining Antony and Cleopatra’s equally oppositional relationship. The battles within her reflect Antony’s personal struggles, as well as the greater wars within their relationship. Thus, the dualities within Enobarbus’ speech reflect the oppositional relationships both within the play as a whole and within the greater context of Act II.ii.
In William Shakespeare’s Othello the experience of jealousy as expressed by Othello, Iago and Roderigo play a large role in depicting the fate of the three characters throughout the play. Subsequently jealousy serves as the backbone for the downward spiral of Iago, Roderigo, and Othello. Jealousy is the driving force behind Othello’s accusations towards Desdemona. Roderigo’s jealousy escalates after Othello’s marriage to Desdemona is secure. Iago’s ill will towards Michael Cassio’s promotion puts Iago in a jealous rage and Iago will do whatever it takes to destroy Michael Cassio not caring who is taken down along the way.
To display the characters’ flaws, Shakespeare uses three main characters: Hamlet, Ophelia, and Claudius. Hamlet’s downfall is demonstrated through his flaw of inaction. Ophelia lacks self-confidence and opinion, and has to obey men like her father, Polonius. Claudius’s greed for power is the reason for his tragic fall. In Shakespeare tragic play Hamlet, the characters’ flaws of Hamlet, Ophelia, and Claudius makes them victims of their flaw.
Both, through mere days of desperation, elation, deception, and grief, were ultimately cheated out of their lives by their love. Shakespeare develops a similar opinion through Helena in A Midsummers Night’s Dream. Helena is able to recognize love as a volatile creature, yet with uncontrollable power over the heart.The transient nature of love is channeled through deception and clouded judgement. Although seemingly constant, love changes on impulse to align with wanton desire. In Act I, scene 2, of Romeo and Juliet, Romeo is introduced as a classic Petrarchan lover, pinning over the beautiful Rosaline, who has sworn to be chaste.
The tragic in Antony and Cleopatra His captain's heart, Which in the scuffles of great fights hath burst The buckles on his breast, reneges all temper And is become the bellows and the fan To cool a gipsy's lust. Antony and Cleopatra seems to have a special place in Shakespeare's works because it is at a crossroad between two types of play. It clearly belongs to what are generally called the 'Roman' plays, along with Coriolanus and Julius Caesar. But it is also considered a tragedy. The importance of history in the play cannot be denied, especially where it is compared to Shakespeare's 'great' tragedies such as Hamlet and Romeo and Juliet.
In the tragedy Macbeth; the reader witnesses the inevitable downfall of the tragic hero Macbeth as he attempts to do the impractical. While Macbeth turns from an admirable nobleman into the traitor fiend that is the result of his wife’s relentless coaxing, the reader distinguishes more and more of the “appearance versus reality” or the “things are not what they seem” theme that intertwines with Macbeth’s hubris thus leading to his downfall. As Macbeth furthers his plans, which fall in step with the weird sisters’ prophecy, he uses, “False face must hide what the false heart doth know,” (Macbeth, Act1.Scene7.Line82) in order to deceive his fellow noblemen and fulfill the prophecy of his becoming the Thane of Cawdor and the King of Switzerland. Even as Macbeth tries to defy fate, he realizes that what appears to be the truth is in fact unreal, and Shakespeare’s tragic hero does not fully apprehend that his difficulty in discerning between the real and unreal worlds is a chief factor in his demise until the completion of the prophecy/the death of Macbeth and of course, his foreseen downfall. Throughout Macbeth, Macbeth is a little bit on edge, and gets to such a point, that the reader can’t determine if what Macbeth is seeing is actually there, or in Macbeth’s own head.