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Tradegy of hamlet comparison to others
Comparisons between Oedipus the king and Hamlet
Aspects of modern tragedy
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The Tragedies of Hamlet and Oedipus the King
Tragedy is a broad genre that may take many forms. Sophocles' Oedipus the King and Shakespeare's Hamlet both contain the basic elements of tragedy, but Hamlet is a tragic hero, while Oedipus is a tragic villain. From the opening moments of Hamlet, the audience knows that Hamlet must avenge his father's death. Oedipus, on the other hand, kills his own father and unwittingly marries his mother, thus sealing his own fate and fulfilling the prophecy that stated he would do just that.
Sophocles has Oedipus foretelling his own tragedy when speaking to the people of Thebes. The city suffers because of the pollution of Oedipus, and irony is shown when Oedipus suggest that by avenging Laius he will protect himself, or that by getting children upon Jocasta, the dead king's wife, he will be taking the place of the son of Laius, which, unknowingly, is himself. The irony reaches its peak when Oedipus calls on the prophet Tiresias to help uncover the murder of Laius and seek an cure to the plague; the metaphor of vision is ironic in that the blind Tir...
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...Oedipus Rex, edited by Michael J. O'Brien. Englewood Cliffs, NJ: Prentice-Hall, Inc., 1968.
Guerin, Wilfred L., Earle Labor, Lee Morgan, Jeanne C. Reeseman, and John R. Willingham. A Handbook of Critical Approaches to Literature.New York: Oxford University Press, 1992.
Shakespeare, William. Hamlet, Prince of Denmark. The Riverside Shakespeare. ED. G. Blakemore Evans. Boston: Haughton Mifflin Company, 1974.
Sophocles. The Three Theban Plays: Antigone, Oedipus the King, Oedipus at Colonus. Trans. Robert Fagles. NY: Penguin, 1984.
Shakespeare, William. “The Tragedy of Hamlet, Prince of Denmark” Literature: An Introduction to Reading and Writing. Ed. Edgar V. Roberts. 9th Ed. New York: Pearson Longman, 2009. Print
Shakespeare, William. Hamlet, Prince of Denmark. The Riverside Shakespeare. ED. G. Blakemore Evans. Boston: Haughton Mifflin Company, 1974.
If the judge finds that media coverage would interfere materially with the rights of a party to a fair trial, he/she shall deny permission for media coverage. COR 16.02(b).
Sophocles. The Three Theban Plays: Antigone, Oedipus The King, Oedipus At Colonus. Penguin Books. New York, New York. 1982, 1984.
Guerin, Wilfred L., Earle Labor, Lee Morgan, Jeanne C. Reesman, and John R. Willingham. A Handbook of Critical Approaches to Literature. New York: Oxford University Press, 1999. 125-156.
Shakespeare, William. The New Cambridge Shakespeare: Hamlet, Prince of Denmark. Ed. Philip Edwards. Cambridge: Cambridge U P, 1985.
Oedipus from the drama, “Oedipus the King” and Hamlet from, “Hamlet, Prince of Denmark” are two characters that are different, yet they both share the same title of being a tragic hero. Oedipus and Hamlet have many characteristics of a tragic hero that separates them in varieties. However, some of those characteristics show that both characters have and use similar thought processes and methods, which classify them as tragic heroes of their dramas. The five characteristics of a tragic hero are: nobility, tragic flaw, peripeteia, anagnorisis, and lastly irony. Both Oedipus and Hamlet hold or have a nobility position in their drama’s plot. Oedipus is the son of the king, and fate has foretold that he will kill his father and take over the kingdom. Hence, Oedipus was fated into his nobility, so he is required always remain in a status above all others. Hamlet is also the son of the former king that is now dead. Hamlet was born into this nobility, and this makes him the prince. Both characters are royalty, yet their morals and values are what make their nobilities the same. Their actions create heavy and dramatic outcomes, which lead to many more complications. Both men try to resolve their problems different, so their fortunes become reversed. Oedipus and Hamlet are very different, yet almost have the same fates. Out of all the five characterizes, three of them describe and separate both men best as tragic heroes. The tragic flaws, which is defined as hamartia, both men have are the main reason they are heroes of tragedy, their recognitions of their situations, which is an anagnorisis, are at different points in their stories, and lastly both men meet an ending that is meant to be an irony of their fate.
Tragedy comes in many forms, for example earthquakes, tornadoes and hurricanes are all types of tragedies. On the other hand, when talking about tragedy in literature, it has a whole different meaning. Tragedy in literature is on a smaller scale than things like earthquakes, tornadoes and hurricanes. In literature tragedy is usually about one person and the horrible things that happen to them during their life in a story or play.
Guerin, Wilfred L. A Handbook of Critical Approaches to Literature. New York: Harper & Row,
Guerin, Wilfred L., et.al. A Handbook of Critical Approaches to Literature. New York: Oxford University Press, 1992.
Shakespeare, William. The Tragedy of Hamlet, Prince of Denmark. Ed. Barbara A. Mowat and Paul Werstine. New York: Simon & Schuster Paperbacks, 2012. Print.
The dual character of her sexual impersonation announces that all sexual identity is enacted as to disguise ones self. As s result of her performance, sexed identity in the seduction scenes is represented as a series of gestures and moments that dispense now femininity, now masculinity. Her indecisiveness between genders necessarily subjects to the site of gender division to continual movement, and under pressure the bipolarity it customarily becomes unstable (Heng 123). Through close analysis of the seduction scenes and all the temptations of Lady Bertilak, there are many sexual connotations in Sir Gawain and the Green Knight, hidden behind the characters dialogue, gestures, language, and physical objects including the girdle. Men and also Knights stood as a chivalric symbol during the late 14th century, but with the exception of Gawain, he loses his virility through Lady Bertilak. Another angle in which this poem can be seen through, Lady Bertilak is given the masculinity Gawain looses and with that, she is given power. As we know women during the 14th century were marginalized and were not given the same rights as men had. In the poem she is able to get what she pleases and desires. Through my precise analysis of Heng’s article and others, now several questions have evolved while developing this paper such as: under what circumstances is a “knight” or a “lady”? What is a woman or a man? What positions are available to each, in the disguise of sexual identity? Thus it would go on forever and I think that is what draws my interest in Sir Gawain and the Green Knight. Although some answers and arguments are set valid, there are many questions that are still unanswered and that is the beauty of it because it keeps us on our toes trying to figure out answers through recent literature and literature that were written centuries
Shakespeare, William. “The Tragedy of Hamlet, Prince of Denmark” Literature: An Introduction to Reading and Writing. Ed. Edgar V. Roberts. 9th Ed. New York: Pearson Longman, 2009. Print
Those opposed to the legalization of marijuana do have valid reasons. The harmful consequences of marijuana use include addiction, coordination and perception impairment, and a number of mental disorders including depression, hostility and increased aggressiveness(Say it Straight). There are over 10,000 scientific studies that prove marijuana is a harmful addictive drug with no studies stating that it has any medical value. Therefore marijuana can have withdrawal symptoms such as those listed above. Also marijuana impairs short term memory, legalization of marijuana would cause “carnage on the highways”, and the use of marijuana is a gateway to harder drugs such as cocaine and heroin.
In 350 B.C.E., a great philosopher wrote out what he thought was the definition of a tragedy. As translated by S.H. Butcher, Aristotle wrote; “Tragedy, then, is an imitation of an action that is serious, complete, and of a certain magnitude; in language embellished with each kind of artistic ornament, the several kinds being found in separate parts of the play; in the form of action, not of narrative; with incidents arousing pity and fear, wherewith to accomplish its catharsis of such emotions. . . . Every Tragedy, therefore, must have six parts, which parts determine its quality—namely, Plot, Characters, Thought, Diction, Spectacle, Melody. (http://www.cnr.edu/home/bmcmanus/poetics.html)” Later in history, William Shakespeare wrote tragedies that epitomized Aristotle’s outline of a tragedy. Shakespeare’s Hamlet is one such tragedy.