Men fear the idea that women can have a mindset of their own, and this fear drives Victor to destroy his second creature. The destruction of the female enrages the male wretch, and unleashes his wrath upon Frankenstein and his loved ones. The absence of the female is critical since it was what triggered the monster’s anger and retaliation towards Victor, which stripped him of all his loved ones. The absence of a major female character highlights the power of a woman, and how men suffer and are greatly affected by the lack of a female figure in their
She remains subservient to Iago until her duty to him causes her to betray the one she has to her friend and mistress, Desdemona. After becoming cognizant of her involvement in Iago’s villainy, Emilia abandons all loyalty she previously held to patriarchal forces and is motivated exclusively by morality and dedication to Desdemona. In many instances, Emilia and Iago’s relationship serves as a reflection of the misogyny of the play and the time period in which it was written. Throughout the play, the conduct of Iago and the rest of the male characters suggest they hold relatively strong antifeminist beliefs. Iago is especially expressive in his discrimination, frequently condemning the entirety of the gender as weak, useless, and sexually indiscriminate.
At this point Othello realizes the false truths created by Iago. His emotions start running wild and he changes into a new person of hate and anger, this is because he saw some type of proof to reassure his already questionable thoughts. These new profane thoughts of murder are seen when Othello says, “Ay, let her rot and parish and be damned tonight, for she shall not live! No, my heart is turned to stone” (4.1.176-177). This is the point when we see the soon to come fate of Desdemona.
When Macbeth willingly murders, massacres, lies and deceives, he loses his heath and sanity. Evil corrupts everything it touches, and Macbeth decides to be evil's servant. But, when Macbeth embraces evil, it corrupts him, and it ultimately destroys him as well. Lady Macbeth is a victim of Macbeth's fatal flaw, since she is drawn in, and becomes greedy for power herself. She pushes Macbeth into destruction when she adds the small touch that plunges Macbeth into a chain of murder, destruction, and lying followed by the loss of their sanity and health.
The gods, particularly Apollo, takes great offence to this and decides to put Oedipus back in his place by punishing him and his state. (Mannani 2005) The punishment of the state is a se... ... middle of paper ... ...his blood cannot be cleansed by anyone but the gods and his religion. In conclusion, Oedipus's fate is his destruction in the chain of being, the ultimate cleansing of the state, the household, and himself. His rejection and persistence to ignore the power of the gods and religion is the cause for his great demise. Oedipus, a character too proud and knowledgeable, is seen as a threat to the gods.
Moreover, he struggles with his moral standing on this issue because he is partly responsible for Abigail's vendetta against his wife. This guilt is best demonstrated when Proctor says at the end of the second act: ... ... middle of paper ... ... integrity are among the most important things. He also uses Proctor to demonstrate what an unjust system can do to an individual with good intents. The play is a parallel to the anti-Communist McCarthy era. Through John Proctor we see the ludicrous nature of mass hysteria that exists when society has gone awry.
It settled upon his face, as if to deepen the gloom of his darksome chamber, and shade him from the sunshine of eternity (3). These points classify Hawthorne as a dark romantic because he had a sad childhood and a stressful adulthood, and his obsession with common people. The years after college his silent and productive years were when Hawthorne became a transcendentalist and he started to write in the style of a dark romantic. His themes of sin, guilt, personal choices, and how individuals deal with the consequences on their decisions played many vital roles in his story helping classify him as a dark romantic.
Another malicious character is Iago, the villain in one of William Shakespeare’s greatest tragedies, Othello. In this play Iago sets out to destroy Othello for multiple reasons, most of which are unsubstantiated imaginings. Iago’s role as a malicious villain is evidenced by his misogynist, racist, and manipulative behaviors. The first evidence of Iago’s malicious villainy is his misogyny. Iago hates women and repeatedly debases sex.
In the effort to purge their surroundings, they ended up killing their loved ones. This extreme effort to secure perfection and rid themselves of sin left no room for earthliness, for human error and weakness. They would both rather lead lives of complete perfection than lives where amounts of imperfection are tolerable. The younger man sees the sin in the eye of the older man and exudes a severe reaction of enraged sinfulness, where he himself takes on his own gruesome mortal sin and his own extreme imperfection in the act of murder. Similarly, Aylmer sees the sin in the birthmark of Georgiana and reacts with repulsed sinfulness, where he himself also takes on his own horrible mortal sin and his own severe imperfection in the act of murder.
These men all see her as an object to appease their lust. Voltaire use of these scenes, especially Lady Cunegonde’s, show the lust of man and how it damages the people that come into contact with it. Unfortunately, lust brought about another trouble to the world, syphilis. Voltaire mentions this downfall to expand upon the point that lust is a terrible flaw of Humanity that causes suffering where ever it is. This suffering is shown in Pangloss, who gets the disease from the maid and “[loses] only an eye and an ear” (Voltaire 27).