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Character analysis where are you going
123 essays on character analysis
Into the wild character analysis
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Is Heathcliff a typical literary hero?
Heathcliff is introduced to the reader as anything but a hero in the
beginning. He is bullied by Hindley and looked down upon by the rest
of the household, including Cathy and Nelly to start with -"hardened,
perhaps, to ill-treatment: he would stand Hindley's blows", "spitting
at the stupid little thing;". Heathcliff does not show himself to be
terribly helpful, kind or brave although he does seem to show an air
of strength and resilience when Hindley decides to throw a heavy
weight at him. But instead of throwing it back or running away he just
picks himself up and carries on with what he was doing- "and down he
fell, but staggered up immediately,...". As a child Heathcliff was
quite patient and irritable and did not have any real background or
education. He is supposedly handsome and loyal (to Cathy) but has very
low morals (he tried to kill Isabella's dog when they ran off to
Wuthering Heights)- . He is strong and athletic but is in no way
good-natured as the way he acts throughout the whole book shows you;
like- "Don't torture me till I am as mad as yourself!" The heroic
qualities we see today in our popular super heroes and other more
original characters like Sherlock Holmes, all originated from Greek
legends like Hercules and Perseus and from Bible stories like David
and Goliath.
Heathcliff does not seem to follow any of the patterns in these other
heroes or act like them, but more like the opposite. Heathcliff could
be analysed as a anti or Byronic hero; Heathcliff does show himself to
have the same qualities as a Byronic hero because he is wild and
passionate and has many dark qualities, Heathcliff is very
remorse-torn and moody; these qualities may have ...
... middle of paper ...
... without any
emotion in his life. She shows this when she talks of Heathcliff and
contrasts the both of them- "Whatever our souls are made of, his and
mine are the same; and Linton's is as different as a moonbeam from
lightning, or frost from fire."
Both Edgar and Heathcliff do not have what it takes to be a heros,
Edgar is too nice and emotionless and Heathcliff is too full of
emotion, anger and hate. Together their qualities could make a hero,
but on there own they are two different things. Heathcliff's qualities
show him to be the opposite to a classic literary hero, so he could be
the Byronic hero who is wild, passionate and possesses many hidden
darker qualities. Heathcliff is passionate, he is slightly evil and he
does represent the opposite side of a hero, he possesses all the bad
qualities and mysterious qualities that make him a Byronic hero.
Often through great literature, there is an epic hero. In the Odyssey, Homer tells the journey of one man’s journey home from the Trojan War. The protagonist of the epic poem Odysseus is often regarded as a great hero. However, Odysseus is not quite the glorious soldier that people often see him as. Odysseus shows that he is an antihero through his pride, disloyalty, and bloodthirstiness.
...er him as the hero is was and not the man he was accused of becoming.
We have read an adventurous story called The Odyssey. It was about a hero named Ulysses who goes through many conflicts to get home. He has faced monsters to beautiful women, but he still got home. Ulysses fits the model of an archetype. There are three ways he fits into the model.
The Iliad, the Odyssey, Beowulf, and Hamlet are classical stories that are still relatable and debatable to read and discuss. Though some of the stories are intertwined or continue off one another, the character and stories are distinctive. The stories contain different hero development and progression among them. All the stories contain an idea or concept of a hero that may not necessarily have to do with gaining power or control like modern superheroes. Power and control are referred to having to be the ruler and having the ability to do what you'd like. The modern heroes selflessness of a human on duty or even volunteering, and that person’s willingness to put their own lives on the line for the lives of absolute strangers, is specifically the quality that redefines the modern hero and separates them from heroes in the past.
Everyone has their own perception on what defines a hero; some may argue that they exhibit characteristics such as honesty or courage, while others may think that heroes have special power. Our society may have changed the values in which we associate heroes with, but one thing seems to have never changed: the main character of the book turns out as the hero. In my analyst, Holden Caulfield, the protagonist in The Catcher in the Rye, is put on trial as we see through our own eyes how Caulfield can not be considered a hero in modern society.
Oedipus fits Aristotle's definition of the tragic flaw and protagonist almost flawlessly. Aristotle described the protagonist as "someone regarded as extraordinary rather than typical..."(1117). Oedipus freed Thebes from the Sphinx by solving her riddle-- something nobody else had been able to do. The priest in the first scene of Act I calls Oedipus "...our greatest power" (1121) and describes him as rated first among men.
A tragic hero could be considered a "noble person with a fatal flaw" or "an opponent of society who is willing to take action that 'sensible people' might applaud
There are many authors that use a well-known historical figure to contrast the protagonist of their novel. One great author that uses this method of comparing a renowned person to a fictional character is Mary Wollstonecraft Shelly. In her novel Frankenstein, she uses the subtitle “The Modern Prometheus.” Prometheus, the Greek god, and Victor Frankenstein, the creator of the Monster, have contrasting qualities and behaviors that allow them to go against God’s will and attempt to create life.
Throughout history, there have always been heroes. Those strong-willed, brave individuals who perform courageous acts for fame and glory are prevalent in most cultures.. Societies have these heroes as standards of their cultures’ moral codes. Every society has their own definition of these codes are, so a unifying definition of hero can be hard to achieve. However, Philip Zimbardo says “Simply put, then, the key to heroism is a concern for other people in need—a concern to defend a moral cause, knowing there is a personal risk, done without expectation of reward.” With this basic definition, I will be examining various epic heroes I’ve studied throughout the course of my senior year for characteristics. From the copious amounts of studying, I’ve deduced that Achilles, Odysseus, Aeneas, Socrates, Gilgamesh, Beowulf, and Arthur all have characteristics that make them heroic.
Comparative Character Analysis of Classical Vs. Modern Tragic Protagonists. A hero/ heroine is described as the principal male/ female character in a literary or dramatic work or the central figure in an event, period, or movement. The classic tragic hero was defined by Aristotle in the fourth century as, “someone who is highly renowned and prosperous” (LATWP, 639), suggesting that there is a “natural right ordering and proportion of traits within the human being that if violated, produces calamity” (LATWP, 639). The book goes on to define classical tragedy as one that “involves the inevitable destruction of a noble person by means of character flaw, usually a disproportionate measure of a specific human attribute such as pride, jealousy or indecision” (LATWP, 639).
We all know what a hero is defined as right? A hero is a figure that portrays a unique quality that makes them special. An example being superman, superman has the ability to fly and in doing this he saves lives which cause him to grow as a hero. Tragic heroes are alike in the way that they both carry a special quality trait but different in a way that a tragic heroes special power leads to their destruction and down fall. Victor Frankenstein is the tragic hero of Mary Shelley's novel, Frankenstein ,because no matter his good intentions, his thirst for knowledge leads to his destruction because of a single cause and primary key factors that evident to heart wrenching results.
...teristics and literary devices. The general archetypical description of a hero follows an outline of a muscular figure and super abilities. Yet on the contrary, in myths, heroes may not possess any of those traits. Whether the so-called hero is learning their lesson, overcoming struggle or even descending into darkness, all heroes share some similar and almost identical characteristics. A vast majority of all mythological heroes share the same basic idea which, helps audiences identify whether or not the character is indeed a hero or not. From story to myth or fairytale to drama, the hero is one character who changes the plot entirely. Whether that hero may be saving a burning building, or discovering who they are themselves, our heroes all give us hopes and dreams that one day even our worth will be recognized by ourselves and others as our admirable hero’s are.
Hamlet. Romeo. Othello. These men not only star in some of Shakespeare’s finest plays, but they are all classic examples of tragic heroes. A tragic hero is one who is courageous and admired but who has a tragic flaw that leads to his downfall. Othello was one of the greatest military men of the time. He was highly respected among his superiors for both his military prowess and level headed nature. This was a man who could be in the heat of a battle and would remain collected. Though this great hero also had great shortcomings. Othello was naive, jealous, and concerned with public appearance. Othello is truly a dynamic character. As the play continues and his jealous increases, Othello gradually changes from a flawless military general into
Ernest Hemingway has the tendency to use his heroes in some unheroic ways. At first the hero may seem obvious, but later on it is discovered that the true hero is not who it seems to be. In A Farewell to Arms Hemingway uses the true hero to guide the main character into becoming a hero, but fails miserably.
For a time, the main characters in a story, poem, or narrative were easily classified as either being a hero or a villain. A hero would be easy to identify by the traits he'd possess, such as bravery, honesty, selflessness, trustworthiness, courage, leadership, and more. The villain would be easy to identify as well, possessing traits such as maliciousness, deceitfulness, immorality, dark, wishing harm upon others, and more. But what if the character lacked the natural heroic qualities but wasn't a villain either? What if the person displayed personality flaws that would traditionally be associated with a villain, but has heroic intentions? These questions were finally answered with the emergence of the anti-hero in literature.