One of the best ways to have a reversal and recognition is through a calamity. Combining these three elements correctly generates a powerful tragic plot. The sixth and last element is the audience’s response. In The Poetics Aristotle said that a tragedy should produce both pity and fear (catharsis) in the audience. “The plot should be so constructed that even without seeing the play anyone hearing of the incidents happening thrills with fear and pity as a result of what occurs.” Aristotle also stated, “the one [pity] being for the man who does not deserve his misfortune and the other [fear] for t... ... middle of paper ... ... character that was to go through it and wondering why does it have to happen like that.
In light of the situation, the author describes the first few morals shown in the Capulet family. Shown to be filled with trickery, Shakespeare gives a bad reputation of the Capulet family by making the first few scenes of trickery and arguing. But it is not Sampson’s fault. Since he is driven by his masters, Sampson follows ... ... middle of paper ... ...lems that could have been solved and avoided but because of their ignorance, everything turns out bad. Quarrels and arguments can influence people to take unnecessary actions and change their morals.
The ideas of manliness, hostility and aggression are pivotal for the structure of the play to succeed; the three ideas are used prophetically to show the audience that the play can only end in a hostile and aggressive disaster as a result of the characters manly features. Arthur Miller's views aren't clearly portrayed in the play, but I think that he feels hostility and aggression doesn't solve anything and often the real man is the one who will try to discuss issues and reach a compromise.
(Shakespeare, and Alexander, Act 1, scene 1, line 64). One may think that he is an honest person but as it turns out, Iago feels that Cassio is ignorant and not well suited to be g... ... middle of paper ... ...of the wrongs they commit to them end up having far much worse outcomes even for the avenger. This is clearly brought out in Othello through Iago and what he faces after his revengeful acts against Othello. Othello, who is a noble hero, is also brought down as a result of revenge. The revengeful nature has to be conquered and tamed if man is to proceed in life, acts of forgiveness and love must instead replace the urge to avenge a misdeed.
By the end of the play the audience is left with two facts, Oedipus fate is destine for downfall, and indeed Oedipus does fulfill his destiny. Nevertheless, the truth of the situation is that the path in which Oedipus’ ultimately takes is what leads him to fulfill the prophecy. If the audience choose to see the play from this prospective, then Oedipus’ the king will become much more significant, by doing so, giving the play a far better interpretation. Although Sophocles never clearly mentions in the play that Oedipus fate is due to his poor choices, the suggestion of the storyline is full with indication that the only person responsible for his own fate is Oedipus himself. Through his play Oedipus the King, Sophocles demonstrates to his audience the outcome of
The destructive suction of a black hole not only perilous, but inescapable once matter becomes close enough. Similarly, in William Shakespeare’s Hamlet and George Orwell’s 1984, the protagonists are seduced by their ids, the source of a person’s desires and impulses, to indulge themselves in attaining their deepest aspirations. Although the superegos, the contraction to the id, of Hamlet and Winston warn them not to succumb to their instincts they overlook the precautions and view their superegos as hindrances to their ids. Hamlet and Winston, while breaking societal rules to satisfy their ids, attempt to hide behind their egos, the reality principle, in order to avoid the consequences of their misdeeds. Eventually the ids of the protagonists overcome their superegos, thus influencing them to commit crimes previously thought to be absurd.
The first reason Hamlet would have to make people think that he is crazy is the freedom it grants him. As in any society, the world in which Hamlet lives has social norms and taboos. However, if one is insane, then one is not expected or required to abide by those standards. Therefore, if the people in Hamlet's life are convinced that he is insane, then he is no longer bound by the social restraints of society. The best example of Hamlet using his "madness" to do things otherwise inaccessible to him can be found right before Hamlet's players put on "The Murder of Gonzago."