Category: Literary Criticism

Aristotle in his famous book ‘Poetics’ describes the traits needed to complete the tragedy. As in accordance to Aristotle, any tragedy is a perfect tragedy when the action has soberness, expansive, and ideal in it. Some of the important factors of a perfect tragedy are Peripeteia, Anagnorisis, and catharsis. King Oedipus of Greek mythology owns all the features of a complete tragedy. Oedipus epitomizes these aspects by adding an exclusive breadth, exemplifying a complete flow, presenting a tragic complex plot, and having a central character with a tragic flaw or hamartia that brings about Catharsis. For example, the plot of Oedipus is the end to which a tragedy exists. The Oedipus plot has some merits or solemnness due to the disobedience of two common prohibitions It has universal significance through the application of myths, the destabilization of one’s identity, the acceptance of the human condition, and the role of destiny. Prohibited Oedipus violations are an indispensable sin of Patricides and the incest and this drama is the first to involve each of them in the same person. In addition, Sophocles used myths in his play, most exceptionally with the involvement of Apollo the Apostle of the Sphinx, and the Oracle.

Furthermore, according to Aristotle, tragedy sets the sequence of events or occasions that the poets describe. The plot should have virtual unity or a ‘whole’ in which all events resemble a series of reasons and effects. All the events in Oedipus play together in the same event, one after the other as needed individually, each action being unconstitutional with no external interference. Full flow also needs to be of equal importance to the beginning, middle, and equal plots in which the sequence of events, according to the law of probability or necessity, will, fortunately, admit to deterioration (Aristotle 523). There should be a series of even more tragic events that are now not permanent, however as a substitute permanent. The beginning starts with a series of events that all rise to the top and therefore lead to the solution and end of the play.

A tragedy must begin at the moment of stimulation. In Oedipus, it is a plague in Thebes. As the priest pleaded with Oedipus, Thebes had been dying. Oedipus, aware of the dire state of his city, sends Creon to Delphi for advice. Oracle responds that Laius’s killer should be deported from Thebes: ‘Murder inflicts plague on the city’ (Sophocles 395), and Oracle’s response is the second case in the series. Oedipus cursed Laius’s killer and pledged himself to a mission to find the murderer and deport him, saying that he will light it all by himself. The fourth case is about the arrival of the blind prophet Tiresias to accuse Oedipus. This is especially true to build the irony in the play because of its interconnection with blindness, which hurts Oedipus now and he will later suffer physically. It also causes a quarrel between Creon and Oedipus, revealing Oedipus’s flaws to the audience.

According to Aristotle the Peripeteia is another important element of the plot which is the sixth incident in which Oedipus discovers that the man he had killed was his own natal father and the woman he married was his own natal mother.

As Aristotle said, ‘The finest form of identity is that which is reversed” (Aristotle 523). In the plot of Oedipus, Peripeteia is intrinsically linked to agnosia. These two elements combine the rise of Oedipus with a change of fortune from good to bad, from being a respectable king to being a good husband to a cruel murderer of his own father. These events, leading up to the finale, eventually unveil the ultimate catastrophe: the suicide of Jocasta, the loss of Oedipus himself, and finally the closure and resolution in which Creon regrets Oedipus’ fall. In this way, the play does not revolve around Oedipus; rather it focuses on the development of events that accompany it in the play. The character takes second place in the plot. However, according to Aristotle’s view, Oedipus possesses the qualities of a perfect tragic hero. He says of the main character, ‘First and foremost, it should be good. The character should not be too evil but not too good. In this way, Oedipus has been able to follow the prescription of SOPHOCLES. However, Oedipus falls down to his highest position, not because of any fault of his own, but because he failed to escape his destiny. Although it may have flaws, it is inevitable that the cause of its discomfort.

Conclusion: – In this way, Oedipus has all the features of the perfect Aristotelian tragedy. It illustrates the ambiguity, and seriousness of the involvement of the major issues and shows a complex plot with all the necessary components. So Oedipus has not only passed the test of a perfect tragedy but has created in the mind of the audience the same place it used to be on its first day.

Literature is an art that allows an author to exhibit the undesired primal aspects of humanity. The Picture of Dorian Gray written by Oscar Wilde is a prime example of this. Published in London in 1890, the gothic literature carries heavy themes of aestheticism, the superficiality of beauty, homosexual undertones, and hedonism which directly attacked Victorian society’s repressive nature for gross indecency causing multiple controversies surrounding the novel’s release and its author. The novel follows the moral downfall of Dorian Gary after accidentally selling his soul to the devil for physical immortality with a painting portrait of himself taking the burden of his sins. Dorian is influenced by the hedonistic philosophies of Lord Henry leading him to damage his friendship with Basil to the point of murder and to be the contributing factor to Sibyl Vane’s suicide while still maintaining his youthful looks and status in society as a seemingly respectful young man. Showcasing the duality in humanity’s morality. The novel accurately exposes the internal battle within individuals aspiring to fit into their role in society by conforming to the norms of consummation, virtuousness, and honesty versus falling into our temptations and primal sexual desires. This is displayed through the characterization and relationships of the three main characters, Dorian, Basil, and Henry along with allusions.

Wilde explores the ideals of honesty and modesty within the Victorian era through the character, Basil Hallward. Basil is an artist infatuated by the beauty of Dorian Gray and holds allusions to the music composer, Schumann, who fell head over heels for his art ending in his insanity foreshadowing how Basil’s love for Dorian will lead to his downfall. Early on in the novel, Basil deals with Henry’s astonishment at his declination to send his portrait of Dorian Gray despite Basil’s dream of further building his reputation as a talented artist and clearly having the skills to “make the old men jealous,” stated by Henry. (pg6) Although embarrassed with his reason, Basil declares to Henry that he has put too much of himself into the painting. Through their discussion, we learn that Basil seeks recognition for his talent however controls himself on what he deems acceptable to put out to the world. He places high standards on himself and follows Wilde’s ideals of aestheticism. Disliking the fact that his painting is more than a stunning artwork but instead hides his idolization of Dorian. Even after his discovery of the painting’s monstrous state later on, he begs Dorian, “It is never too late, Dorian. Let us kneel down and try if we cannot remember a prayer.” (pg 151) Even in his incredulity, Basil retains the ability to hope and believe in the redemption of others. Basil symbolizes the ascetic lifestyle and self-discipline from temptations. He represents the good in humanity through the use of characterization and allusions.

The novel further explores humanity’s greed and temptation through the character, Henry Wotton. Henry is a composed witty talker that carries a philosophy of misogyny and hedonism despite not taking part in the actions he speaks of. His words poison Dorian’s beliefs and are the driving force that is vital to Dorian’s demise. As described by Basil, “You are an extraordinary fellow, you never say a moral thing, and you never do a wrong time. Your cynicism is simply a pose.” (pg 8) However despite his wisdom, “Crime belongs exclusively to the lower order” (pg 203) showcases the limitation of his understanding of the human nature. Residing in the upper class of society as seen as his him referred to as lord and his use of formal diction, Henry retains his ignorance and is blinded to his influence upon Dorian. Henry represents the upper class of society. He looks down on those less fortunate than him and is carelessly influential to the lower class corrupting naive souls such as Dorian however Henry himself remains in moral life.

Through the two-faced depiction of Dorian Gray, Wilde challenges the preconceived notion of Victorian-era literature and humanity of that time. At the beginning of the novel, Dorian Gray is characterized as “some brainless, beautiful creature” (pg7) by Henry, heavily reflecting Wilde’s ideals of aestheticism. Valued by Basil despite as alluring however meaningless. It is only after his encounter with Henry that Dorian’s morals deteriorate and the depth of humanity’s inclination toward temptation and sin is explored. A method Wilde portrays his transformation into hedonism is with Sibyl Vane. A lower-class woman whose only worth to Dorian is her beauty and potential in lustful activities. After her newfound emotions towards Dorian, her performance has added meaning to it. To impress Dorian which conflicts with the principles of aestheticism. She frets and thus performs terribly. Losing value to Dorian. This causes her to be easily swayed and cast aside by Dorian once she served her purpose. No longer being beautiful proves the novel’s theme of beauty superficiality and misogyny. This superficiality of beauty is followed by Dorian’s wish to protect his fleeting beauty. “If it were I who was to be always young and the picture that was to grow old! For that- for that- I would give everything! Yes, there is nothing in the whole world I would not give! I would give my soul for that.” (pg28) The physical appeal of a person holds the utmost importance while a person’s personality or actions are inconsequential. Even throughout the novel, Dorian is never ostracised or held accountable for his actions. Midway into the narrative, after mistreating Sibyl Vane, Dorian feels guilt for his actions and promises to rewrite his wrongs to her and marry her in a letter where “when Dorian had finished the letter, he felt that he had been forgiven.” (pg94) This letter unfortunately never reaches Sibyl as she is found deceased. Learning this, Dorian reverts back to his old self and even claims to Henry, “I thought it was my duty. It is not my fault that this terrible tragedy has prevented my doing what was right.” (pg97) Similar to an addict straying away from a drug, once his motivation is broken, Dorian falls back into a life of sin while he becomes closer with Henry showcasing his interest in participation in upper-class corruption. Dorian shares allusion with the character Faust from classic german legends of a man dissatisfied with life leading with a pact to the Devil, gaining unlimited knowledge and pleasures in exchange for his soul. Dorian symbolizes humanity. Pure at birth and seeks acceptance to fit into society by retaining his beauty. A shallow aspect valued heavily by society even to this day however even with the slightest push, he can easily fall back into the pits of hedonism and temptation.

The Picture of Dorian Gray illustrates humanity constantly dueling between their inclinations of cynic behaviors and their endeavor for high morals portrayed by Henry’s and Basil’s influence on Dorian similar to the angel and devil of the shoulder trope. This is showcased through Basil’s characterization of the virtuous side of humanity that can place trust in one another while Henry’s philosophy exposes humanity’s oppressed temptations of sin. Dorian sits in the middle of the two symbolizing humanity as a whole. Chaste at birth but exposed to the wrong crowds, the mind is easily corrupted and poisoned. The Picture of Dorian Gray brilliantly enlightens readers by providing an optimistic yet double-sided perspective of humanity as beings not entirely good or bad but creatures with the ability to control their temptations and desires.

Oedipus’ determination, in this case, to rule, can be seen as one of the main reasons for his downfall. In the story, The Sphinx presented the following riddle for those who sought to rule Thebes: ‘What is it that walks on 4 feet and 2 feet and 3 feet and has only one voice, when it walks on most feet it is the weakest?’ (page, line #). Oedipus answered ‘Man’, the precise answer to which won him the crown (page, line #). Socrates used the riddle as a metaphor for Oedipus’ life. This riddle is a metaphor for the life of Oedipus, where he as any child of man would crawl on hands and knees or all “four feet” as The Sphinx had said when a man is the weakest would be as a small child. Depending entirely on others for all their human needs. Just as how he was taken by his parents to the mountain and spared by the shepherd when he was the most venerable his will to live or die was entirely decided by others. As a man grows older and matures, he walks on two feet. This is a metaphor for when Oedipus leaves his family to escape his prophecy. In a rage, he murders a band of travelers and has unintentionally killed his birth father. Oedipus answers the riddle of The Sphinx and in turn, then becomes king of Thebes. This is why he marries his own mother because he unknowingly is given her as a prize of becoming king. Years after their marriage, and four childbirths, the plague sweeps through Thebes’ inhabitants. The Gods tell Oedipus he must locate the killer of Laius, his father. Being the determined man Oedipus is, he finally learns the wretched truth that he was his very own father’s murderer. After learning this certainty, Jocasta, his mother-wife hangs herself in disgust that she had delivered the children of her own son. Seeing this horrible truth leads Oedipus to gouge out

his own two eyes. He will have to bear a walking cane in order to see his surroundings for the rest of his life. This is referring to the three feet that the prophecy states man walks with at the end of his life.

Oedipus used his intelligence as well as his determination in order to decode the riddle of the Sphinx. The majority of intelligent Many of the brightest men of Thebes were killed in their attempts to answer the riddle, however, Oedipus proved to be elite in his intellect compared to theirs. By using this same intelligence and determination Oedipus finds out the truth about the murder of Laius. He never ceases to dormant his search, even with a warning from Jocasta. He invokes the help of the Shepard and incessantly questions him until he is given the unsatisfying truth that he himself is the killer. Oedipus’ intelligence was ultimately another one of his fatal flaws. Also, if Oedipus had not been as courageous or brave, he would have never set out to answer the riddle of the Sphinx. Assuming, even if he had murdered his own father, he would have never become the king of Thebes never marrying his own mother. Oppositely, if Oedipus did have the bravery to attempt but lacked the intelligence to answer the Sphinx, he would have been killed for an incorrect answer anyway. This was how Sophocles so complexly characterized Oedipus as a tragedy. He discovered his fate not because of evil traits or doings but by having admirable characteristics. Sophocles used this to characterize Oedipus as a tragic man for he came about his tragic discovery not because of an evil act or an evil trait but because of the person he was. “Quote from the play”

Oedipus’s traits that acquired his wealth and power inevitably led to his tragic ending. In addition, Apollo, the God prophecy did not fate Oedipus to murder his father and marry his

mother. Nor did he destine it to be prophesized by the oracle, he merely stated knowing it was inescapable because of who Oedipus was and the character he possessed by his own will. Oedipus’ determination in search for knowledge lead him to the finding that he was not a ‘child of luck,’ but a ‘man of misfortune.’ His fate had been determined years before he was born, as stated and then proven by the prophecy given by the oracle. There was no changing his destiny and all that was left for him was to live out his fate as it had been stated, yet he did so with dignity as he unknowingly proceeded to do the opposite of what he was trying to escape from. Oedipus showed pronounced bravery and virtue even in pity and fear. “Quote from the play”

In the end, Oedipus used his outstanding character traits of bravery, intelligence, and determination to pursue the horrible truth to a conclusion. Having blinded himself, Oedipus was a weak and sorrowful man. However, he was also a symbol of how people mirror, as history goes to show. He has proven what it means to persevere living even in defeat. He has shown what it takes to survive in a world that is ruled by unpredictable and predetermined destiny. This is meant to instill the true meaning of suffering and despair. “Aristotle “Pity and Fear” “On tragic character” When Oedipus comes to mind, people are meant to remember that he suffered in order for others to learn. To show that everyone can know the truth about themselves and what may lie in their future, but the world will always remain unpredictable and cruel.

My book was The Odyssey by Homer. The Odyssey is a widely popular ancient Greek epic poem written nearly 2500 years ago in Europe. It tells of Odysseus, the king of Ithaca, on a long journey home after the Trojan War. It tells of his battles with monsters and encounters with gods, his son’s desperate attempt to bring him home to save their estate, and in the end their victory over power-hungry suitors.

The Odyssey is set in Ancient Greece during the Bronze Age. The protagonists include Odysseus, Telemachus, Penelope, and Athena. As for antagonists, the main ones are the suitors who are destroying the palace as they vie for Penelope’s hand in marriage. Odysseus is a round character as we know his background, his family, and all of his actions as well he is dynamic because through the book he changes into a far more patient and less prideful man who even demotes himself from king and takes bullying from his servants so he can win the battle against the suitors instead of his previous foolish and prideful self. Telemachus as well is round as we know his background, family, and actions throughout the book, and just like Odysseus he is dynamic, he develops throughout the book into a far more princely man who is ready to battle to protect his home. Penelope may be a major character in the book but she is flat as we know not much about her other than her loyalty to her husband and her cunningness to deceive the suitors, though she is flat she is very dynamic by the end of the book, she stops being a sad weeping presumed widow and is now able to be viewed as a loyal devoted wife. Athena is somewhere between a round and flat character, we know some about her but she is not nearly as developed as the other characters in the book, as well she is static throughout the whole book she just wants to assist Odysseus. As for the suitors they are both flat and static as we know nothing about them other than their intentions and they never change until they die at the end.

The Odyssey starts by telling of Telemachus and his mother Penelope and their troubles with suitors grappling for her former husband’s throne. Telemachus decides he must leave to find his lost father Odysseus so that he can aid him in fending off the men but he fails and is sent back home to Ithaca where he continues to try and find a solution. The climax of the story occurs when Odysseus with the help of the god of wisdom Athena returns home and fends off the mob of suitors. In the end, the news of the slaughter spreads across Ithaca and Odysseus regains his seat at the throne. The conflict in this story is external from the destruction dealt by the suitors to the monsters that Odysseus fights during his many journeys. Ultimately the conflict is solved with Odysseus’ return home and the murder of the suitors.

The major theme in The Odyssey is perseverance as displayed by Odysseus in his long treacherous journey home. As Well as bravery is also shown by Telemachus as he sets off to find his father. And finally, loyalty is exhibited by Penelope as she waits twenty long years for her husband to return from the war before finding a new suitor. Odysseus’ great bow is a symbol of the rightful place as king of Ithaca. When he strings it and completes the challenge after all the others have failed he shows he is the true king of Ithaca.

When comparing whether family or authority holds a higher status to Sophocles, it becomes clear that the aspect of the family has greater value. Although many of the characters believe that a strong authority prevents chaos, the need for authority was taken too far and resulted in their downfall. Even though certain characters were facing high authority, they still attempted to show that their love for their family overpowers any law. Antigone and her family members were willing to risk their lives to do what was morally right, and only when it was too late did Creon realize he mistakenly valued power over his family and he was left eternally alone.

Even as Haemon was on his deathbed, he attempted to show his father that his love for his family, for his wife Antigone, was stronger than any law could ever be. Haemon was extremely devoted to his wife Antigone, but his father Creon was king, therefore he had to respect and obey his authority. Antigone and Creon have opposing viewpoints, Creon believes in harsh punishment and that everyone should carry out his orders, and Antigone follows the rules of the Gods. Haemon faces the decision of siding with his wife or his father. He comes to realize that his father does not care for him as he had initially thought and he then decides Antigone is his priority. Creon says,” It seems he’s firmly on the women’s side.” Haemon replies with,” If you are a woman, it is you I care for.” (Scene 3, page 26) When Creon tells Haemon that Antigone is to be sentenced to death, Haemon loses all admiration for his father. Haemon states,” Not at my side her death, and you will not ever lay eyes upon my face again.”(Scene 3 Page 27)

Antigone is willing to sacrifice her life even though she knows the consequences so that her brother can receive a proper burial. Antigone’s main hamartia is that she is too committed to her family which causes her to make impulsive decisions when it comes to them. When Antigone’s brother Polynieces passes away, he does not receive a proper burial. Creon, Antigone’s uncle, strictly instructs Antigone that Polyneices is not to receive a burial. Antigone is aware that if she were to bury her brother, she would be sentenced to death. However, her loyalty and devotion to her family overpower what king Creon told her. “And my reward is death before my time! “And yet, as men’s hearts know, I have done no wrong, I have not sinned before God.” (Scene IV, page 227) Antigone morally knows that her brother deserves a proper burial, so she risks her life going against the king’s orders. Her own death is not of importance to her. “The death of mine is of no importance; but if I had left my brother lying in death unburied, I should have suffered.” (Scene II Page 209) Ultimately, she courageously puts her family before her own life.

As the story comes to an end, Creon is given a prophecy warning him that he was too late. Creon craved an overwhelming amount of power and control. He was so focused on giving orders that he did not value his family. Once all his family members had died or were no longer in contact with him, Creon came to the realization of what he had done. He finally accepts his defeat, even though it is very hard for him to put aside his pride. “This truth is hard to bare.”(Exodus page 243) Creon is now conscious of the consequences he will receive for his foul actions and accepts his fate.“It is right that it should be. I alone am guilty. I have killed my son and wife.” (Exodus page 245) In summary, although several of the characters believed that a powerful and structured authority prevents chaos, the need for authority was taken too far and resulted in the downfall of many. Even though it required going against the supreme ruler, certain characters still attempted to show that their love for their family overcame the unjust laws. Antigone and her family were willing to risk their lives to try and do what was virtuously right, and only when it was too late did Creon understand he erroneously valued power over his family and was left forever alone.

Sophocles’ The Three Theban Plays explores the faults in one’s character that triggers irrational and unlawful behavior. A specific fault seems to recur throughout the plays and pushes characters to commit the greatest crimes. To find this fault, it is vital to retrace the motivation of each character’s actions. The root of all their actions is pride. Oedipus, Antigone, and Creon all succumb to this fault. These characters’ pride drives their every action and clouds their judgment. Pride is the ultimate vice that leads to one’s ruin.

Creon’s pride leads to his downfall. The first glimpse of his pride is observed when he enacts a law prohibiting to the burial of the body of Polynices. However, this law opposes the laws of the Gods that have perpetuated a tradition that states that all bodies need to be buried properly, so they can enter the underworld peacefully. However, Creon disregards this tradition and creates his law because he believes that he has a divine right to do so since he is in power, yet still believes the Gods would approve of his law. These impious beliefs make his actions punishable by the Gods since no law created by man can transcend divine right. Antigone reminds him of this “Nor did I think your edict had such force that you, a mere mortal, could override the Gods,” (Antigone, 503-505). In her eyes, Creon transgresses the law of the Gods and is wrong to think he can establish an edict that the law of the Gods. His pride clouds his judgment, and this causes him to disrespect the law of the Gods. His pride obscures his reasoning, and thus makes it impossible for him to amend his mistakes. Due to this, he denies both Tiresias’ and Haemon’s claims of his wrongdoings.

Creon’s encounters with Hameon and Tiresias exemplify his pride and impious actions. Haemon reports that the town’s people believe that Antigone should not be punished but rather she “deserves a glowing crown of gold” (Antigone 782) for her glorious actions to bury her brother. The people believe that Antigone did not do anything wrong, but simply respected the burial rights of her brother. The only person who believes she did something wrong is Creon, and he still thinks her punishment is justified. His response, “And is Thebes about to tell me how to rule?”( Antigone, 821), illustrates that his pride governs his every action because he is insulted by the behavior of the citizens telling him how to rule. During this heated discussion, Hameon even questions his father’s reasoning for condemning Antigone believing that Creon’s laws “ trample down the honor of the Gods” (Antigone 835). Hampton believes his father’s actions infringe on the laws of the gods. With the seer, a similar situation occurs. Upon their encounter, Creon affirms “never wavered from [Tiresias] advice” (Antigone, 1096). Creon trusts the seer and highly values his prophecies since they do come directly from the Gods. However, when Tiresias tells Creon that the Gods are “ deaf to our prayers” (Antigone 1127) because he has disrespected the laws of burial, Creon immediately believes the seer is lying. Creon accuses the seer of lying and being only driven by money. Creon completely dismisses all credibility of the seer, yet Tiresias has always said the truth in the past. He does this because of his pride; he cannot admit to himself that he has made a mistake. Finally, the seer warns Creon that “the god of death to strike you down with the pains that you perfected!” (Antigone, 1196-1197). Punishment is imminent for Creon because he has disrespected the rule of the Gods.

As predicted, Creon faces his ultimate punishment, the death of his whole family. At this moment, he realizes that his “ stupidity” (Antigone, 1399) has led to the destruction of his life, and “ the guilt is all mine” (Antigone, 1441). He finally accepts responsibility for his actions and truly believes he is the only one at fault for the death of his loved ones. This demonstrates the power of piety and how destructive it can be if one does not obey the traditions. Due to his pride, Creon commits impious actions that anger the Gods, and thus results in the destruction of his life.

Oedipus’s pride leads to his downfall. His pride is revealed through his belief that he can control his fate. He naively thinks he can outwit the prophecy of the Gods and prevent his fate from occurring. Oedipus hears of his prophecy claiming that he “must make love to my own mother, shed my father’s blood with my own hands” (Oedipus the King, 1091-1992). He believes by fleeing the city of Corinth, will prevent his prophecy from coming to pass. However, it is his pride that leads him to unravel the truth about his life. The chorus observes this flaw and comments on Oedipus’ behavior“ But if any man comes striding, high and mighty in all he says and does, no fear of justice, no reverence for the temples of the Gods – let rough doom tear them down, repay his pride, breakneck, ruinous pride” (Oedipus the King, 972-978). The Chorus notes that pride is consistently the downfall of man. In his attempt to find to disprove his fate, he only proves to himself and those around him that a cruel fate awaits him.

The encounter with Tireseis exemplifies his pride. Tiresias, a reputable seer, claims that Oedipus has killed Louis. His pride prevents him from even considering Tereisis’ words, so he quickly refutes “ you’ve lost your power’’(Oedipus the King, 423). Denying Tiresia’s claim is impious in itself since Tiresais’s prophecies are directly from the Gods. Dismissing Tiresias’s words in itself is impious since his words come directly from the Gods. He does not want to believe the words of the seer in fear of the truth, so he dismisses them as his pride will not let him do otherwise. These actions ultimately lead to him discovering the truth about his family and thus reinforcing the truth of the prophecy. He learns that he truly did kill his father and married his mother. This revelation prompts his mother’s suicide and leaves Oedipus in ruin. He blames himself for the deaths of his family and demands justice for his actions. His persistence to find the truth leads to his demise because he has lost his parents and is now exiled from his home. Later, he does discern the power of piety.

In Oedipus at Colonus, Oedipus has a whole different mindset. He no longer believes he is guilty of any crime but rather that killing his father was “ self-defense” (Oedipus at Colonus, 290). He understands he cannot be guilty because it was fate. Nobody can control one’s fate, so he finally respects the law of the Gods. He recognizes the importance of respecting the Gods, “never honor the Gods in one breath and take the Gods for fools the next” (Oedipus at Colonus, 298-299). After this incident, Oedipus realizes the importance of piety and how it affected his life.

Antigone exemplifies that pride is the ultimate vice. Unlike the previous characters, Antigone embodies the idea of piety. Despite being forbidden by Creon’s law, Antigone buries her brother, Polycines. She justifies her actions by believing that burying the dead is seen as a divine right given to them by the Gods and that all bodies should have a proper burial. Antigone strongly agrees, and not burying the body would be “dishonoring the laws the Gods hold in honor”(Antigone 91-92). She upholds the law of the Gods to the highest degree, so she reasons that it would be acceptable the laws of men are always secondary to the laws of the Gods. Despite her piety, Antigone is prideful.

Antigones suicide exemplifies her pride. Antigone is very prideful in her belief in the Gods and is enraged by Creon’s impious laws against the burial of her brother. She would rather die at her own hand than at the hand of one who tarnishes the law of the Gods. Her pride prevents her from seeing any other solution to the problem and thus must kill herself to preserve her pride. Since Antigone is prideful and pious, piety cannot be the ultimate flaw. Thus, pride is the ultimate vice.

Pride is the root of one’s downfall. Oedipus exemplifies this through his time as the ruler of Thebes. Oedipus’ belief that he can outwit the Gods reveals his pride. He believes that he can control his own fate without the Gods interfering. However, this pride quickly turns into disgrace as the murder of his father and his incestuous relationship with Jocasta are revealed. Creon experiences a similar cycle of destructive pride. He defies the law of the Gods by mandating a law prohibiting the burial of Polycines. His pride prevents him from realizing this and prompts him to disregard the rational opinions of others. Consequently, Creon is left with nothing and must endure the consequences. Antigone’s pride is perceived through her dedication to respecting God’s law over human law. She openly admits that she buried her brother despite Creon’s edict and does not fear the wrath of Creon. However, her pride overpowers her actions which ultimately causes her death. Pride is the ultimate evil that leads these characters to their demise.

Brilliantly interesting and convincingly demystifying was Joseph Campbell’s revelation of the hero monomyth. This revelation is detailed in his prominent work The Hero with a Thousand Faces, in which Campbell stresses the significance of the hero monomyth present in all heroic myths. And because the monomyth can be identified in any work presenting a hero, similar patterns emerge among the many different myths. These patterns consist of phases and sub-phases of the hero monomyth. And although the main phases can be found in each hero’s story in an expected order (Departure-Initiation-Return), the order of the sub-phases may be guided erratically and the chance of all sub-phases appearing in every myth is unlikely. As such, the purpose of this paper will be to identify the formulaic phases in the heroic stories of Heracles and Oedipus; however, a few sub-phases will be identified in this essay to help understand the main phases—which will be limited in number for they are too abundant and chaotic of order to address entirely in description and explanation.

Thus, by detailing Heracles’s and Oedipus’s departures from their ordinary lives (Departure) to the fantastical worlds and adventures of their stories (Initiation) to the culmination of their eventual return to the traditional worlds they once left (Return), the order of the main phases of the hero monomyth presented by Campbell should be evidently inherent in these heroic myths. Additionally, all sub-phases used will be placed in parentheses in accordance with their respective main phases to provide clarity.

Beginning with Heracles, his Departure —which uses all of Campbell’s Departure sub-phases—is fraught with grief after he unknowingly slaughtered his children from a madness that Hera cast upon him (The Belly of the Whale) for not accepting Eurystheus’s command for him to perform the ten labors (Refusal of the Call) Zeus promised Heracles must complete before becoming immortal. The act of killing his children prompted unfortunate Heracles to recede from his ordinary life, to become cleansed of his misdeed, and to seek the oracle of Delphi for advice (Supernatural Aid). The oracle suggests Heracles accept the labors of the king (The Call to Adventure) and he heeds her advice, accepting his call. The acceptance of The Call to Adventure leads him to the new, unknown world when Eurystheus commands Heracles to acquire the skin of the lion of Nemea (The Crossing of the First Threshold).

From here, Heracles must begin his Initiation. After much sorrow endured from the detachment of his known world due to his loss of children, his transition to his fated call given by Zeus grants him his trials and tribulations (The Road of Trials). These trials consist of the aforementioned lion skin and eleven other tests for Heracles to complete in order to realize and unite his inner frailty with his outer strength and allow him to totally alleviate his past transgressions (The Ultimate Boon).

And finally, Heracles must face his Return after his last trial is completed, which required him to bring Cerberus, Hades’ pet, back to Eurystheus and then return it back to the Underworld—another example that could be deemed The Ultimate Boon. Upon completion of his final task, Heracles takes on further exploits, despite no longer needing to (Refusal of the Return). Years later, during his Return, Heracles’s wife, in a fit of jealousy, contaminates a tunic with the blood of the poisonous hydra and sends it to Heracles as a present. Upon fitting the tunic, Heracles subsequently writhes in pain from the poison causing him to rip the tunic and his skin off together. This physical pain evokes him to act quickly and drastically by building his own funeral pyre to die upon (Freedom to Live). As the flames are lit, Zeus sends lightning and cloud to Heracles for his ascension to the realm of the gods to become immortal, and at last fulfill Zeus’s wish, has arrived (Apotheosis).

Unlike Heracles, Oedipus’s Departure does not begin as roughly and without the death of loved ones; however, his journey is not without emotional strife and physical anguish. His journey begins when he is persuaded to seek the oracle of Delphi (The Call to Adventure) after being taunted by some of his fellow Corinthians and his adoptive parents failed to answer his queries (Supernatural Aid). When meeting with the oracle, Oedipus is told he would kill his father and marry his mother, so he decides to avoid his adoptive parents entirely to prevent the prophecy from being actualized (Refusal of the Call)—which he believed were his biological parents. Oedipus leaves Corinth and heads to Thebes (The Crossing of the First Threshold). Along his travel to Thebes, he is met with a chariot full of men who meet Oedipus’s anger. Oedipus kills all men except one—including his own father, although Oedipus was unaware of this fact. Soon after, he arrives in Thebes and is eventually greeted with the dead king’s brother’s decree that the one who feels the Sphinx that plagues the city shall be crowned king. The Sphinx poses a riddle (Belly of the Whale) that Oedipus solves to free the people of Thebes from their affliction and take them to the throne.

Upon taking the throne and marrying the queen, he learns later that she is his mother and sets forth a series of unlucky events (The Road of Trials). This act completely sunders his familiarity with the world and himself, and in blinding himself, concludes his transformative stage. From this transformative stage, his Initiation has begun. He is isolated from society and dons the fate of the pharmacies (a “scapegoat” for human indecencies). Oedipus and his daughter Antigonê wander the world after his expulsion from human habitation. In his exile and blindness, Oedipus is no longer blinded by his obliviousness, and his suffering has become his relief from his wrongdoings (The Ultimate Boon).

At last, Oedipus must face his Return. But, his is a difficult one that relies on his daughters’ help (Rescue from Without) as he is a homeless wanderer. And in his last moments, Oedipus accepts his death with dignity as he honors his daughters before disappearing before Theseus without having tears or a whimper (Master of the Two Worlds).

Ending this paper shall see its thoughts returned to its original idea Campbell. For departure from the accustomed comes initiation into the extraordinary and ultimately the return of the hero from his or her journey. No matter which ends we read or see, another is close to following in its steps that shall assimilate the patterns of the hero monomyth the predecessor or brethren myth has left behind. The main phases of the hero monomyth remain constants among the changing faces myths wear as their heroes and the sub-phases that accompany them. And although Heracles and Oedipus have different faces and names and sub-phases, their stories contain and enjoy the same three rudimentary phases of the monomyth. Their journey and all other heroic journeys that have succeeded may well have done so because they serve the same paradigm of the hero monomyth.

Quote: ‘just because everything’s different doesn’t mean anything has changed’ – Irene Peters

Young people often make irrational decisions that determine the outcome of their lives. William Shakespeare’s Dramatic Tragedy Romeo and Juliet (1895) explores love and how characters can hold more responsibility than fortune does. Irene Peter’s quote, ‘Just because everything is different doesn’t mean that anything has changed’, applies to how Juliet was promised to Paris by her father but still has a strong love for Romeo. Although an arranged marriage seems like a drastic thing to even consider doing in modern-day society it is unfortunately still a strong aspect of some families’ lives that has continued even after the Elizabethan era.

Some say that our lives are written in the stars but when the stars fall what happens then? In the opening prologue, the chorus refers to the protagonists as “star-crossed lovers”, giving an allusion to believing the stars and planets have the power to control events on earth. This quote leads many to believe that Romeo and Juliet are destined to fall in love but are as equally destined to have it destroyed. Although the world has evolved massively into a more opinionated society creating a democracy within a chaotic world there are still beliefs and strong opinions on how the world works. Such as fate and how our lives have been written in the stars. We have all grown up with different cultures and beliefs but also a strong opinion of free will. We can decide if we would like to believe in these stars or simply believe there must be a logical answer for everything. Although these beliefs were created many centuries ago, they are still very vivid in today’s society which just shows as much as we have changed we have stuck to our roots as well. The prologue shows the first and maybe the most famous example of celestial imagery in Romeo and Juliet, referring to the stars, moon, and heavens throughout the play. In Act 1, scene 4, Romeo states that he fears, “some consequences yet hanging in the stars” when he and his friends head to the Capulet ball. When the stars are next mentioned by Romeo he does not mention the astrological power but rather uses the image of the stars to describe Juliet’s beauty. Most of the upcoming celestial images in the play are said in vain, from Romeo’s comparison of Juliet to the sun to Juliet’s own wish to “ cut (Romeo) out into little stars”, when he dies. Throughout the play, these celestial images are often associated with the two lovers than with fate, telling us that as the play goes on we cannot simply place all the blame for this tragedy on some impersonal outer force.

How do we tell what love is if there is no real explanation? Romeo’s tendency for rash actions often causes him and his beloved to get into a lot of trouble. His impulsive behavior has made him a romantic icon in our culture, but in the play, it proves his downfall. From the very beginning, Shakespeare heeds us not to view Romeo’s sudden passionate moments as too perfect. After all, Shakespeare makes a point to show that Romeo’s love for Juliet is merely another infatuation to replace his broken heart. In Act 2, scene 2 Romeo states, “Call me but love, and I’ll be new baptized. Henceforth I never will be Romeo”, telling us he is willing to change his name and forget his family if it only means he can be with Juliet. This particular scene and many more in this script use pathos within it to try to make the reader feel some kind of sympathy, to make them drawn to this tragic romance of forbidden love. If we were to compare the standard of love in the Elizabethan era compared to our generation now most would say that the expectations have changed through time and the standards of effort made for love. Although there are different perspectives of love evolving the feelings you experience when falling in love or having a deep liking for someone has not. Some people have become more protective of their love or heart in fear it may get hurt as staying in a real relationship in today’s society isn’t consistent compared to the Elizabethan era. They’d give their body and soul to one person as they had more belief in fate to belong to one partner and one partner alone. In Act 2, scene 2 when Romeo states, “The exchange of thy love’s faithful vow for mine”, saying I would be satisfied if we made each other true promises of love tells you although it is rushed love it is a commitment both Juliet and Romeo are willing to take. They believe this is their final love and ending leading me to believe the feeling of love hasn’t changed through these centuries but the standard of it has.

Romeo and Juliet conclude with a strong concept of love and an understanding of the difference between responsibility and fortune. The script written by William Shakespeare has proven to be one of the most complicated scripts to explain as it has so many themes and concepts to break down. This tragic love story of 1895 has shown to have strong aspects such as the standards of love and beliefs that have still stuck around in today’s society that we have still to learn from.

Although published in 1967, Outsiders by S.E Hinton an easy-to-read narrative is still relevant to many teenagers today. Darry and Sodapop host a ‘good cop, bad cop’ bringing up and complimenting one another’s stern affection for Ponyboy. However, Pony also feels Darry is pushing and expects too much of him which is collateral to teenagers today. Hinton also shows one’s growth by their capability to view things undividedly and on a wider spectrum. The novel is written in a fourteen-year-old’s voice and assists in creating and displaying his growth and emotions.

Ponyboy’s relationship with his two brothers symbolizes a traditional dual-parent relationship. Much like many typical parents Darry takes a father figure. He is a disciplinarian and a stern rule maker however is successful as he always knows “where I (Ponyboy)” and “what he is doing”. While Sodapop sticks up for Pony and reiterates Darry’s love and sacrifice for him. The Greasers look for love and a sense of belonging and turn to the gang for this whereas many teens today can find this in their household. Pony’s eventual ability to appreciate his family and the sacrifices made for him at the end of the book shows his growth and maturity. This is an evident similarity between teens today who are maturing into adults in this modern age and showcases the importance of family in one’s future values

The recurring theme of expectations throughout Hinton’s novel is a painful similarity to how many teenagers feel today under exam or career stress. Ponyboy feels Darry wants him to get nothing but A’s however wants him to be supportive regardless of what grade he gets. Hinton puts forward that even teens who are brought up in socioeconomic security feel great expectations and pressure that they must succeed given they have “everything given” to them. This shows their status does not guarantee a problem-free childhood which is very congruent with children brought up in this fashion. Darry as a guardian also finds much potential in Ponyboy and as a result is very firm on his performance given he would like Pony to go to college, something he was unable to achieve. In the same manner as many teens today Ponyboy doesn’t recognize his meaningful intentions at first and later finds the importance to his future.

In a “black and white” world where things are either cat or dog, Hinton’s use of colors suggests there is a middle field. Many of the greasers were associated with cool colors, Dally’s eyes were “blue blazing with ice, cold with hatred” which reflected his dark meaningless manner while Two-Bit Mathews had “gray eyes” showing his uncomplex personality of simple structure with the capacity to love and care within his gang. Socs are mentioned alongside warm colors where warmth is usually thought of inside and cool features belong outside which is the way many gang members of the greasers feel, treated unfairly and unjustly by others. Pony’s fascination with sunsets and later his appreciation of the countryside around the church in which they hid symbolizes his ability to slow down and think from a wider point of view where things aren’t good or bad, pretty or ugly, naughty or nice. He “loved to look at the colors of the fields and soft shadings of the horizon” and kept him “gold”. This is similar to teenagers where all things are new and heightened.

S.E Hinton’s well-written fiction by a fourteen-year-old is relatable and relevant to teenagers today. The author intends for the reader to take something away from the novel. It shows that even the rough streets of Oklahoma aren’t just good or bad and engages us to analyze the content deeper. Hinton plays with the boundaries of stereotypes and uses a complex character base with deep connections. It also emphasizes the importance of family and supports the phase of maturity which proves collateral with a wide range of teenagers today.

Wilde was actually looking to ridicule the rigid aristocratic lifestyle by observing their snob-ism through a tale of romantic webs and dual identities. Being an aristocrat himself, Wilde had other feelings as to what an aristocrat should really be: not superficial or materialistic, but more intelligent, well-educated, and passionate about true life morality, and ethics. Wilde had the right idea on how to entertain education, yet the play was considered comical as it conveyed farce at the culmination. In a time of industrialization where the entrepreneur thrived and the working class struggled in poverty and ill health, plays such as this were a much-needed distraction to alleviate disgruntlement.

The play is a static spectacle of what isn’t really being said, thus the language used was artificial but also perfectly controlled, enunciated, rehearsed, and elaborated through the use of puns, repartee, epigrams, inversions, and sardonic irony. It is an upper-class articulated and even exaggerated language.

Through Wilde’s use of satire, he uncovers society’s follies and vices of that time: men being dishonest and materialistic, fickle women, and snob-ism (Lady Bracknell). It’s a comedy of manners.

As for Irony, Wilde displays his genius by defining one thing for its opposite in a vast number of ways. Here, Wilde purposely defines love and marriage as pure business, where in fact, marriage should always be initiated by genuine love between two people.

Clever wordplay (epigrams), themes like the weather, food, and health, where Wilde uncovers the utter inconsiderateness of aristocracy for the hard-working class’ poverty and ill health, make out the outstanding playwright that stood the test of times, being considered one of the top dramas even today. A careful analytical eye discovers that the work portrayed by Oscar Wilde here is more than a humoristic or even trivial play like he loved to call it; in reality, here we have another example of irony! Because the issues Wilde tried to clarify are not at all petty. And again, his brilliancy, being ahead of his time, was taken for granted, simply as another humoristic play designed to entertain the tired or the bored.

There are a number of key themes applied, crucial to the play, themes like the double lives aristocrats adopted to suit their convenience, signifying laziness, food theme revealing selfish greed, and marriage more like a business than representing true love. There is also a theme of religion, portrayed as feeble and monotone, almost insignificant. “My sermon on the meaning of the manna in the wilderness can be adapted to almost any occasion, joyful, or, as in this case, distressing. [All sigh.]” (Chasuble, p35) Furthermore, the christening was considered more like a social tool rather than a sign of faith or spirituality. To extend further there is a theme on orphans, considered repugnant by the high social class, whereas according to the Holy Scriptures, orphans should have protection, considered precious in God’s eyes. The theme of the handbag where Jack has been miss-placed as a baby may have a slight reference to the religious origin story of Moses.