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Into the wild character analysis
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In Act two, scene five there are powerful revelations detected in this portion. Phaedra is ultimately on a quest to declare her immense love for Hippolytus at all cost. She has this insatiable desire to protest how she feels because she can no longer conceal it. The scene consists of intense emotions and Racine’s writing style conveyed in this scene is to demonstrate how erratic and unstable Phaedra’s emotion has become. This is the scene in where Phaedra can no longer control her emotions. Her emotions become too overpowering. She fantasizes her love for Hippolytus. She is beyond desperate. She transitions from being moderately stable to extremely unstable. Her passion becomes too monstrous turning her emotionally ill and physically. In the scene Racine, capitalizes on Phaedra’s emotions by using strong word choice, metaphor, imagery, and past tenses by using these powerful techniques he can convey Phaedra’s emotions successfully.
There is powerful and strong word choice and metaphors that Racine inserts in various places of the excerpt. One strong word that Phaedra uses is “burn.” The word “burn” operates in the context of showing great passion and love for Hippolytus. There is this undying flame that has never gone out for Hippolytus. The word “burn” serves as a great conduit in her channeling her passion and emotions to Hippolytus. She has this un-quenching desire to make love with Hippolytus. The word “starve,” used in this context, is an indication that she is missing an ultimate piece in her life and that is Hippolytus. She longs for Hippolytus; She is deficient and lacking something and without Hippolytus, she will grow severely weak emotionally and physically. She will die if she cannot get the love, affection, and appr...
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...comes an ultimate tragedy because Hippolytus rejects her love for him. Her passion becomes too monstrous turning her ill emotionally and physically. She has become a slave to her emotions. She becomes an emotional wreck seeking to take her own life. But the love that Phaedra feels for Hippolytus is too immense that her emotions pulsate through her veins like a river. For love is indeed destructive and this is what Oenone admonishes to Phaedra. There is a sense of isolation that comes with the declaration because she knows that what she is doing very atrocious. She is in a constant battle with love and sin. Phaedra vows to take this chance and in the end she committed suicide from this tragedy. Phaedra’s ultimate quest to confess her love for Hippolytus in the event, she uses strong word choice, imagery, metaphor, and symbolism to channel and convey her emotions.
Though the novel is not told from Frado’s perspective, her story becomes more sympathizing and sentimental from a third person narrative. Wilson uses her supporting characters to express Frado’s emotions and to show her development. Through her style, the reader becomes more aware of the Belmont family and society’s prejudices through how they react to Frado’s suffering. For instance Aunt Abby, one of the more sympathizing characters, says “we found a seat under a shady tree, and there I took the opportunity to combat the notions she seemed to entertain respecting the loneliness of her condition and want of sympathizing friends” (54). While Aunt Abby makes an effort to console Frado, there is no real sympathy in her words. They are mechanical and rehearsed. Aunt Abby does not genuinely care for Frado but she does pity her situation.
In the Antigone, unlike the Oedipus Tyrannus, paradoxically, the hero who is left in agony at the end of the play is not the title role. Instead King Creon, the newly appointed and tyrannical ruler, is left all alone in his empty palace with his wife's corpse in his hands, having just seen the suicide of his son. However, despite this pitiable fate for the character, his actions and behavior earlier in the play leave the final scene evoking more satisfaction than pity at his torment. The way the martyr Antigone went against the King and the city of Thebes was not entirely honorable or without ulterior motives of fulfilling pious concerns but it is difficult to lose sight of the fact that this passionate and pious young woman was condemned to living imprisonment.
As the reader examines "Prophyria's Lover" by Robert Browning, one recognizes the complete effort of the speaker to disguise his feelings toward the murder of his wife. The speaker goes through different thoughts in relation to the life he has with his wife. Many thoughts include the positive and negative parts about her and their relationship. Throughout the monologue, the speaker tells the readers of his struggles of coming to the conclusion of murdering his wife and the reasons to do so. In “Prophyria’s Lover”, the speaker is faced with many types of insanity before, during, and after the murder of his wife, Prophyria because of the love he has for her.
“Antigone,” is a wonderfully crafted play by Sophocles, which manifests various psychological aspects of humankind like anger, bravery, jealousy, ignorance, arrogance, deceit, and sacrifice to a greater degree. Out of the many characters that represent these human frailties, Antigone is portrayed as the strongest of all. Antigone, despite being a woman in the era, when the gender of women was considered below the status of men, shows great defiance against the cruelty of the reigning monarchy. People secretly approve the generous act of Antigone burying her brother, Polyneices. But, Haimon is the only other character that shows some courage and fight against Creon. His eloquently put together words are, as compelling as, it could get in his failed attempt to defend Antigone. Antigone’s action becomes more heroic, when she buries her brother, knowing the inevitable death that follows and nobody, not even her fiancé, Hamon, could defend her.
...k him years to understand that what he did was wrong and with his guilt, he takes his own sight from him. As he climbs this hill to get back some peace he become a prophet and predicts Polynices death, which he accepts it his death. At the end of Oedipus’ life he has a peaceful death and will protect the city of Athens. I think that the three themes of this play, illustrated that no matter how hard someone tries to predict their lives, it will always be in fates hand. And something greater than Oedipus want what is best for him, like the gods giving him a peaceful death.
...e truth. This scene is the single greatest and most powerful scene of the play, and possibly all of theatre because it captures the very essence of the entire work. However, it is not the apparent climax. Instead, this scene completes the characterization of Oedipus as he conquers his tragic flaw and fully exhibits his most heroic traits. However, the ultimate irony of the play occurs at this point as well. Oedipus emerges both victorious and beaten. By triumphing over himself and his tragic flaw, Oedipus has begun the rapid descent into the deepest reaches of tragedy ever performed. This scene epitomizes Oedipus as one of the greatest tragic heroes ever created by chronicling the completion of the battle between Oedipus’ searing, sizzling, scalding anger and his attempts to control, expel, or extinguish it as he finds the truth he searches for throughout the play.
In the story, the supreme ruler of Athens, Thesius ends up marrying Hippolyta, the Queen of the Jungle. However, during the whole story, Hippolyta never throughly discusses her feelings and ideas about the marriage. She acts as if she has no choice but to marry Thesius. This can be proven by examining Hippolyta's position in the relationship between herself and Thesius. Hippolyta was captured by Thesius during battle and Thesius intimidates Hippolyta into marrying him since he is a supreme ruler and she was defeated by him. Thesius reveals that he capture Hippolyta in battle in the following quote, "I wood thee by my sword/ And won thy love doing thee injuries" (Act I, Pg 7). The above quote and the fact that Hippolyta never discusses her feelings about the wedding leads the re...
The Enlightenment period is based on general belief’s that human reason should serve as a guide for religious, philosophical, and scientific reasoning. As seen in Phaedra, Phaedra lacks moral responsibility, truth, and reasoning. . Phaedra is seen as the tragic hero. Tragic Heroes are common for plays and stories during the Enlightenment period. During the play Phaedra does anything she can to achieve her state of happiness; until it turns everyone’s life to misery. All of humanity is guilty of the lack of reasoning and the absence of moral responsibility at any given time. In the play Phaedra moral responsibility is diminished for her actions toward Hippolytus. Phaedra knew it was wrong to lust for Hippolytus, and then she would lie about it ...
...the horrific incident of his murder to his dearest Porphyria. Finally, the employment of the clever use of irony serves in proving the persona’s inner madness, as what he thinks and does is contrary to what Porphyria has done earlier prior to her death. Though the persona’s execution of his late lover was done to keep his everlasting moment of intimacy with her, the act was still malevolent and evil, and was a poor and foolish attempt in displaying his own affection for his love. In the end, it greatly epitomized his greediness over keeping Porphyria to himself, and his cruelty by taking away her life for his own benefit.
The greatest realization faced by a character is that of Oedipus who for many years has come to terms with his situation. The Prophet Apollo’s predictions that he will kill his father and have sex with his mother. The course of his life is shaped by this prophecy. What Oedipus has been told from the beginning of his life shaped his thinking, this also allows the reader to grasp that this myth is relevant to their lives. The physical actions of Oedipus are the results of a man with high principles and probing intelligence. The story can be separated into points where Oedipus gathers more information about himself. The “ignorance” that Oedipus faces is the foundation he was brought up by. He has believed that he lived with his birth mother and father and therefore when he learns of Apollo’s prophecy he leaves home so that it cannot come true. Slowly as the story progresses Oedipus discovers bits and pieces of his true-life story, as Oedipus learns that he killed Laius by the story of the shepherd. He continues on his journey to discovering the truth. When he pieces together what he has done he cannot face himself. The chorus best shows his true emotions
As the tale unfolds, it becomes clear that Phaedra is aware that her love for Hippolytus can never be fulfilled, and the shame that she feels from this passion is true. After confessing her love to Hippolytus in Act 2, scene 5, she curses the Gods for torturing her soul by making her love someone against her will, and she even goes as far as to ask for death. The power of shame has overcome her, and she feels that if she can not be with the man that she loves then she wishes to die by his sword as if she were a "monster". When Theseus returns home, her shame is heightened by the presence of him, and by the thought that her incestuous love will be made aware to all. However, this shame quickly turns to the offensive when she allows Oenome to plot a reverse of guilt and accuse Hippolytus of loving Phaedra. The power of shame is no more evident then at this point in the story, because Phaedra, feeling the height of shame after admitting her love to Hippolytus, must face both her husband Theseus, the man she should love, and Hippolytus, the forbidden love. Feeling confused and helpless, Phaedra allows Oenome to place the blame on Hippolytus, and this begins her change from feelings of shame to guilt.
Love, lust and infatuation all beguile the senses of the characters in this dreamy and whimsical work of Shakespeare, and leads them to act in outlandish ways, which throughly amuses the reader. True love does prevail in the end for Hermia and Lysander, and the initial charm of infatuation ends up proving to have happy consequence for Helena and Demetrius as well. Even when at first the reader thinks that, in theory, the effects the potion will wear off and Lysander will once again reject Helena, Oberon places a blessings on all the couples that they should live happily ever after.
It was not long before the king fell ill with what the playwright depicts, following a future diagnosis, as porphyria, a metabolic disorder, rather than the play’s contemporary diagnosis of “madness.” The king was unable to control his language, yielded to incessant and nonsensical talking, as well as abusive and obscene statements.
Dryden, in this portion of the playwright, draws attention to this idea that Palamede’s misery can only be cured in one way: through sexual encounters with his mistris. This thought process comes to the surface at many different portions throughout the play. Married people, as Dryden points out with these couples, are subject to obligation and
Throughout the tragic tale, the troubled young Oedipus is faced with many opportunities to give in to fate and throw his life away- all of which he accepted and executed proudly. After having been informed of his undesirable fate, the young man finds himself at a crossroads, pestered by another traveler. In a blinding flash of rage, Oedipus murdered the very man he was trying to avoid, as he later recounts to his wife and mother, “My stick had struck him backwards from the car and he rolled out of it. And then I killed them all”. While fully aware of the possibility that he may know not the true identity of his parents, he was not at all concerned that he may fulfill his prophecy in any violent act he commits. Oedipus took the prophecy seriously enough to uproot his life and leave his home in Corinth, but not seriously enough to even attempt to take up a life of pacifism. His misplaced efforts placed before him a choice between a bruised sense of self worth and uncalled for brutality, his inability to discern the difference between a necessary evil and an absurd liability lead him to begin fulfilling his prophecy. Since first discovering the foul outcome the divine had planned for him, Oedipus was disgusted with the thought of marrying and taking to bed his mother, but in a moment of excitement and thoughtlessness he mar...