avoid his own fate, something that in the end he cannot do. This literary work raises many questions regarding fate and its control over our lives, and more interestingly, our control over it – yet never gives us an answer which we can draw a solid conclusion from. One could prove that Oedipus' decisions and actions are the factors that affect his life, but whether or not “fate” can also encompass a control over one's actions is a question that cycles back to the question of control over fate. In Sophocles'
because he questions Sisyphus' thoughts about his fate. " At that subtle moment when man glances backward over his life, Sisyphus returning toward his rock, in the sight pivoting he contemplates that series of unrelated actions which becomes his fate, created by him, combined under his memory's eye and soon sealed by his death." As Sisyphus returns to his rock, does he question his fate? Unlike blacks in America, Sisyphus created his own fate. Sisyphus is aware that he will labor in futility
the island, he drives Alonso into a state of confusion from which any escape would be welcome. He turns Alonso's men against him and separates his son, inciting the paranoia and fear that come with an insecure station, while reminding him of his own fate twelve years prior—proof that such paranoia is not without foundation. Prospero's magic is a display of power, a power which he only foretells renouncing. While in some stage productions Prospero will break a staff or burn a book, the text itself
really knows, but we are for certain one thing: “the heart isits own fate.” For Romeo Montague and Juliet Capulet, two star-crossed lovers in Shakespeare’s masterpiece play ‘Romeo and Juliet,’ this holds especially true. Romeo and Juliet’s “misadventure piteous overthrow” is fueled by their love for each other and their determination to be together, no matter what. Romeo and Juliet’s love with stands the hate surrounding them. Thus, fate is undoubtedly the most responsible influence for the two young
Hamlet from the state in which he was able to easily arrange for the deaths of Rosencrantz and Guildenstern to one in which he can feel deep sorrow at the loss of Ophelia. It further grants him a better perspective on the nature of death and on his own fate. Its sharp focus on death further serves to prepare the audience for the conclusion of the play. Up to this point, Hamlet has been an active agent in trying to fulfill his destiny as prescribed by his father's ghost. His actions were disorganized
ignore the crucial lesson of their story that such an attitude can be fatal in extreme circumstances," (79). This example expresses that Bettelheim believes the Frank family did not pre think their situation and that their actions created their own fate. Bettelheim claims, "The Franks' hiding place had only one entrance; it did not have any other exit. Despite this fact, during their many months of hiding, they did not try to devise one. Nor did they make other plans for escape," (80). Bettelheim
consequences of the character's actions reveals the biggest contrast. In Oedipus Rex, Oedipus' 'sin' of not listening to the Gods and trying to avoid his fate assisted in his downfall. Not only does his internal blindness result in him marrying his mother; it also results in a "plague" across his land. In addition, the blindness towards his own fate causes Oedipus to display a decidedly unkingly side when he accuses Kreon of being the source of the woes of the state. The consequences of Oedipus'
of slavery as an institution and the humanity of black people. Today, slave narratives are one of the few reliable sources for the study of slave lives. Many female slave narratives indicated that gender was an important factor in determining the fate of a slave even though slave owners often did not differentiate between genders in the assigning of tasks. Thus, women often ended up working along side men. Most male slaves performed chores such as trapping and hunting animals or working in the fields
“The Diver” Robert Currie’s “The Diver”, on the surface, recounts a diver’s descent and ascent into a river as onlookers eagerly anticipate his fate. Beneath the surface, this poem is actually very spiritual. The diver’s descent into the water, and his arising from the water, can be compared to the crucifixion of Jesus. Through the masterful use of imagery and Biblical comparisons, Currie depicts the message that rebirth and hope can captivate and revitalize our spirits. An essential key to the
The play also forces the audience to ask themselves if there is such a concept as fate. From the very beginning of Oedipus, it is made clear “that his destiny be one of fate and worse”. The irony is that Oedipus unknowingly repeatedly predicts his own fate: “It was I who called down these curses on that man.” Oedipus has unconsciously married his mother and killed his father, just as the Oracle predicted. Fate is proven to be unavoidable to Oedipus as the play shows a devout belief in the Greek