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AG -- Cassandra the seer has a vision of the murder about to take place: "Home cursed of God! Bear witness unto me, Ye visioned woes within -- The blood-stained hands of them that smite their kin…!" Clytemnestra has determined to murder Agamemnon -- it is her revenge; and Cassandra sees it as a curse about to be carried out.
EL -- "O my father Agamemnon! In Hades art thou laid, butchered by thy wife and Aegisthus…" Thus wails Electra, fueling the hatred in her blood that will not be satisfied till it spills out the blood of the woman who murdered Agamemnon. Thoughts of murder consume Electra.
5. Abstraction:
DD -- Robespierre begins to see that he is living in a nightmare reality: his dreams seem real and what is real seems like a dream: "What's walking then but a clear dream? Are we night wanderers, and all our doings dreams? Hard, definite purposeful dreams? Who can blame us for that? Our souls in an hour act more in thought than the clumsy machines, our bodies, could bring off in as many years." Robespierre is lost in an abstraction -- he cannot quite reconcile his fancy with the horrible reality he is pursuing.
KC -- Christophe is lost in his abstracted state: He refuses to attack as Magny advises. Magny attempts to convince Christophe that all will be lost if he does not get his head out of the clouds, but Christophe only replies: "We have to believe it's possible, Magny." Magny answers: "I only hope that your eyes aren't opened too late." Christophe's eyes will be opened -- but as Magny fears, they will be opened too late.
MC -- Abstraction comes in the form of the song, repeated throughout: "Christians, awake! Winter is gone! The snows depart! Dead men sleep on! Let all of you who still...
Relationship between Rhetoric and War:
AG -- The Chorus provides the Rhetoric and the kings of Greece the War: Aeschylus shows are the two are twined about one another: language and deed are one -- and the high-minded nature of the chorus reflects the high-minded nature of the kings' glory: they are ambitious in the quest for justice: "Go forth to Troy, the eagles seemed to cry -- And the sea-kings obeyed the sky-kings' word, When on the right they soared across the sky…"
KC -- Christophe carries himself away with his own rhetoric, vowing to restore his honor through war. He contemplates the noise and reckons it thunder and immediately his thoughts leap to: "Thousands of half-naked blacks vomited up by the sea one night…Thunder: power to speak, to make, to construct, to build, to be, to name, to bind, to remake." Christophe believes that by the very power of his voice (which is like thunder) he will restore their place and dignity.
DD -- The Revolutionaries deliver the best rhetoric for carrying out violence. Robespierre leads the citizens on to more violent deeds thus: first he empathizes with them, then he compliments them, then he boasts of them -- and all the while wraps them around his finger to do more of his bidding: "Poor people! Virtuous people! You do your duty, for you sacrifice your enemies. People, you are great! Your voice is made known in thunderclaps and in the flash of lightning…Come then, people, follow to the Jacobins…On our enemies we will hold bloody assize. To the Jacobins!"
Revenge Edgar Allen Poe's "The Cask of Amontillado," Andre Dubus's "Killings," and Louise Eldrich's "Fleur" are all short stories about revenge. Although they treat the theme of revenge differently, the authors show that the exacting of revenge can indeed be a satisfying finale to a life consumed by tragedy. In each of these three short stories, revenge is depicted as an act that fulfills the protagonists' deepest need. Therefore, guilt does
The inclusion of an immortal spirit as a key catalytic character in the play underscores Shakespeare's intention. Hamlet states, "For this same lord, / I do repent…I must be their scourge and minister," (Act III, Scene 4). Here, Hamlet clearly sees himself placed in the unfortunate roll of champion of spiritual justice. Antigone is perhaps even more directly concerned with spiritual matters than with mundane law. The realm of human
Revenge is contagious. Titus begins the wave of revenge when he sacrifices Tamora's son. Her reaction demonstrates her humanity in a sense. She is outraged, vows revenge and schemes with Aaron to frame Titus' sons for murder. Revenge is more than simply "getting even" in some cases. For Tamora, revenge involves getting even but doing so in the most painful of ways. Her request for her boys to do away
. that the manslayer who killed any person by accident may flee into.' Willful murderers were not entitled to such refuge from the 'blood avenger,' but accidental killers were entitled to protection until passions cooled. The Bible recognized that the passion for revenge may be just as great against the accidental killer as against the premeditated murderer (124)." Dershowitz is succinct and exact in his analysis, and even the most
(Terry 1070) The play Hamlet therefore reflects this complex change in the honor code and the way that personal elements were being integrated into the traditional view of honor. The characters of Hamlet and Laertes also show this complexity in their motives and actions. Terry points out that there was no clear distinction between the different honor codes at the time but that there was rather an overlapping of elements
Character Comparison Comparison: Revenge and its Motivators in Frankenstein and Wuthering Heights Mary Shelley's Frankenstein and Emily Bronte's Wuthering Heights are two of the most significant literary works in history, both maintaining the ability to remain successful and relevant far beyond the years immediately following their respective publications. While each novel is exceedingly different from one another, with one focusing on the perils brought about by a man-made monster who seeks to