Therefore, the ancient struggle between the two families played a great role that proves this p... ... middle of paper ... ...to Friar Lawrence who comes up with the sacrificing plan that went wrong and resulted to a brutal end. Suppose if Capulet had not forced Juliet’s marriage or rearrange it on an earlier day, it is sure Romeo and Juliet would not have died the way they did. To conclude, Capulet’s threat brought the young couple to a barbaric death. In conclusion, the hatred between the families, the strong young love, and Juliet’s forced marriage played great roles which lead to the brutal death of these star crossed lovers. The parent’s hatred blinded them to pay attention to their children’s needs, the love kept Romeo and Juliet together through all costs and the Friar’s plan to avoid the marriage went wrong which lead them to their death.
They both had a sense of honor and were full of love and idealism. These virtues, honor, love and idealism, that seek to sustain life, end up destroying them. Romeo and Juliet become victims of their own fate because they carry everything to the highest standards and are too inexperienced to decide the fate of the love between them. Romeo had honor as his virtue, which caused him to fight Tybalt for killing Mercutio: Romeo. …My very friend, hath got this mortal hurt / In my behalf – my reputation stained / With Tybalt’s slander – Tybalt, that an hour… / And in my temper softened valor steel!
Appropriately, Creon's station as king place shim in a position of great power, influence and responsibility. The extent of this power was quite evident when he sentenced Antigone to death for disobeying his proclamation. Creon's tragic flaw was his hubris or his pride and arrogance in the face of divine powers. His downfall began when he denied the basic divine right of burial to Polyneices and was cemented when he condemned Antigone for her opposition to his law. When one closely examines Antigone's reasons for burying her brother, it becomes clear that she was simply demonstrating her love, honor, and loyalty to her family.
Revenge in Aeschylus' The Oresteia Trilogy and Sophocles' Electra The act of revenge in classical Greek plays and society is a complex issue with unavoidable consequences. In certain instances, it is a more paramount concern than familial ties. When a family member is murdered another family member is expected to seek out and administer revenge. If all parties involved are of the same blood, the revenge is eventually going to wipe out the family. Both Aeschylus, through "The Oresteia Trilogy," and Sophocles, through "Electra," attempt to show the Athenians that revenge is a just act that at times must have no limits on its reach.
Hotspur, who is in many ways the ideal man by the standards of his time, is killed by his lust for honor. In creating Hotspur, Shakespeare has created a variation on the tragic hero of other works: the stubborn tragic hero, who, dying for his fault of honor, does not at last understand his weakness. The fault of the classic tragic hero, hubris, is very similar to Hotspur's need for honor. While hubris is excessive pride, the quest for honor can be viewed as the quest ( of the proud ) to get more titles and accolades, more things to be proud of. In addition, Hubris and honor drive their victims to ultimate failure in a similar manner: Oedipus is driven to find out the truth about his origins by his own pride just as Hotspur is driven by his need for honor to fight against the odds.
Gender and power intersect in shaping the tragedy of Sophocles’ Antigone. Despite Creon’s edict that Polyneices should be left to rot in the battlefield for being a traitor, Antigone defies the rule of man to obey the rule of the gods and her obligation as kin, as she properly buries her brother. Creon and Antigone can be both argued as tragic heroes, but the focus dwells on the King of Thebes. A line has been specifically selected to explain why he is a tragic hero. The context of the line is that Haemon pledges allegiance to his father, who criticizes women, in general, but attacks Antigone, in specific.
Hamlet's relationship and actions towards Ophelia are not exempt from his dual personalities. In private, he is deeply devoted to her; but in public, he humiliates and belittles her... ... middle of paper ... ... are dead at the end of the play. If Hamlet had not chosen to pretend to be mad, the outcome of the events would probably of been different. Hamlet's quest of destroying the King is selfish, in that it affects the innocent as well as the guilty. Hamlet's false madness finally brings about true madness at the end of the play that is inescapable.