Both men weep uncontrollably. Achilles is overwhelmed with feelings of pity, sympathy, and compassion. He recognizes their common humanity and that suffering has importance. He agrees to give back the body of Hector without expecting anything in return. This performance of virtue is especially significant because it is an act of kindness offers to an enemy.
After that he wants revenge by killing hector. First off, Achilles talks about how sad he is about the death of Patroclus. Achilles groaned and answered, 'Mother, Olympian Zeus has indeed vouchsafed me the fulfillment of my prayer, but what pleasure is it to me, seeing that my dear comrade Patroclus has fallen—he whom I valued more than all others, and loved as dearly as my own life? Here, Achilles talks about how much he loved Patroclus almost more than he loved himself. By what he is saying there, you can see that he is very sad, but that he will not just sit there, that something needs to be done.
Priam urges Achilles to think of his own father and then pity Priam in his outrageous position, a king "who must put my lips to the hands of the man who has killed my children." Achilles immediately accepts Priam’s appeal and the two weep for their sons, fathers, and friends. This sharing of common grief becomes a bridge back to human sympathy. In an amazing speech Achilles soothes Priam's sorrow by painting a picture of their common misfortune and the inevitable limits of mortality. He reminds Priam that “there is not anything to be gained from grief for his son.” “You will never bring him back,” he says, “sooner you must go through yet another sorrow.” Though Achilles has matured dramatically since the beginning of the Iliad the complexities of his character don't disappear instantly.
In doing so, the audience can understand the characters pain and growth to certain situations. In many stories at times the narrator wants to build up the conflicts so that the audience can see the character in a true life state showing their compassion to certain outcomes. In The Iliad, Homer describes how Achilles suffers his friends death, “He, deeply groaning—"To this cureless grief, Not even the Thunderer 's favour brings relief. Patroclus—Ah!—say, goddess, can I boast A pleasure now? revenge itself is lost;”(Homer 232) by doing so Homer emphasizes Achilles regret for sending Patroclus to fight instead of himself.
The epic The Iliad by Homer argues Achilles has a reaction of rage in numerous situations. Achilles’s choice to respond in such a way that it is of great significance. This incredible emotion influenced his day-to-day life. Many literary critics have started discussion as to whether Achilles’s rage exists as a virtue or a vice in this epic. Other characters throughout The Iliad have commented on his rage, such as Athena, who says, “I came to see if I could check this temper of yours,” (Homer, 235) in a discussion she has with Achilles pertaining to his quarrel with Agamemnon.
Can A Tragic Hero exist in the Hero’s Journey? The tragic hero was a staple of Greek Drama. This type of hero forced audiences to fall in love with the character, only to have their heart broken when the character falls. Every tragic hero has a flaw that will eventually lead to his or her demise and this flaw is displayed through the play. For example in Oedipus Rex Oedipus’s flaw is that he is quick to anger.
Enkidu was troubled that once he died everyone would forget about him, but Gilgamesh would not let that happen to him. Once Enkidu perishes, Gilgamesh tumbles into a deep spell of depression. So distraught after the death, Gilgamesh leaves behind his precious city or Uruk to go on a quest to help him heal. On the journey, Gilgamesh tells Utanapishtim, “The gate of grief must be bolted shut, sealed with pitch and bitumen!” (Line 174) By spending time alone and going to find his ancestor, Gilgamesh is closing the gateway of anguish to come into his
It was 6am and Barry the park keeper's alarm began ringing loudly. Barry yawned and tried to wipe... ... middle of paper ... ...st it is a temperate one. The play park is again extremely empty and free from noise. Even the swing has stopped its lonely, squeaking motion; the roundabout and slides are still but there cold metal somehow retains a sense of heat from the days burning sun. No child would recognise the play park as the dusk intensifies and gathers the shadows to itself.
William Shakespeare's Antony and Cleopatra Shakespeare’s Antony and Cleopatra is aptly named, not just because the play centers around these two characters, but also because it encompasses the play’s fixation on the lovers’ oppositional relationship. On the surface level, Antony embodies the Roman ideals of a good, noble man, while Cleopatra represents the hyper-sexualized, dangerous Eastern woman. However, upon further examination both Antony and Cleopatra display complicated internal conflicts that effectively reverse these polar positions repeatedly throughout the play. In this way, the opposition between Antony and Cleopatra that exists on a simple, interpersonal level is echoed by more complicated, internal conflicts within each of these characters on a deeper, more individual level. The tension between the title characters creates the love that draws them together at the same time as it drives them further apart, thus establishing yet another layer of antagonistic relationships within the play.
Kilimanjaro as a way to end his laziness with writing and to become inspired. While on his way there, he cuts his leg and contracts gangrene at the bottom of the mount. As he passes away, his soul is taken to the top of the mount which is considered the “House of God” where a leopard’s dead body has been preserved. “When Harry looks at Kilimanjaro, he sees it as a symbol of truth, idealism, and purity. When he dies, tragic irony exists.