Shakespeare: the tragic in Antony and Cleopatra
Antony and Cleopatra seems to have a special place in Shakespeare's works because it is at a crossroad between two types of play. It clearly belongs to what are generally called the 'Roman' plays, along with Coriolanus and Julius Caesar. But it is also considered a tragedy. The importance of history in the play cannot be denied, especially where it is compared to Shakespeare's 'great' tragedies such as Hamlet and Romeo and Juliet. But one might wonder what is specifically tragic in Antony and Cleopatra, and what can be said about the tragic in a play which is so different from the other tragedies. Taking into account a wide corpus of plays, from Antiquity as well as from France and England, we can detect several constant features that can define the tragic. The heroes of Antony and Cleopatra have high rank and ability because they are above the level of common people. A tragic hero is usually outstanding, but not perfect. This view is exemplified in the character of Antony.
eNotes Study Guide
On a lonely heath in Scotland, three weird witches sing their riddling runes and say that soon they will meet Macbeth. Macbeth, the noble thane of Glamis, had recently been victorious in a great battle against Vikings and Scottish rebels. For his brave deeds, King Duncan decides to confer upon him the lands of the rebellious thane of Cawdor. On his way to see the king, Macbeth and his friend, Banquo, meet the three witches on the dark moor. The wild and frightful women greet Macbeth by first calling him thane of Glamis, then thane of Cawdor, and finally, king of Scotland. Finally, they prophesy that Banquo’s heirs will reign in Scotland in years to come. Macbeth thinks very little about the strange prophecy until he meets one of Duncan’s messengers, who tells him that he is now thane of Cawdor. Duncan is a kind, majestic, gentle, and strong ruler; Macbeth is fond of him. That night there is much feasting in the castle. Before long, Lady Macbeth’s strong will breaks as well.
Merchant of Venice
The Merchant of Venice Everyone loves a happy ending. In romantic comedies love always triumphs against adversity whether between or against the central characters, but real life isn't like a romantic comedy. The play as it appeared in the 1623 First Folio Bassanio, an opportunistic young man seeks a loan from his best friend Antonio, a prosperous merchant, to court the rich Portia, not for love but for financial gain. Merchant was a departure from its source material of Il Pecorone (The Simpleton) by Giovanni Fiorentino and other playwrights of the period such as Marlowe that featured Jews as money grubbing evil people. The title page from the play's first printing in 1600 featuring some of the play's high points. Like real life, the play has many shades of grey. What caused Shakespeare to have such a sympathetic view of Jews and other aliens to London? Click here to see our production of The Merchant of Venice To view other The Merchant of Venice sections:
What are three internal conflicts that Macbeth faces in Macbeth, and what quotes symbolize the conflicts? - Macbeth - Questions & Answers
In Act 5.3 of Shakespeare's Macbeth, internal conflicts are revealed in the title character. The scene opens with Macbeth appearing confident that he can withstand any attack by his enemies. He is holding on to his faith in the predictions made by the witches. Yet, within only seconds he is despairing, saying he "has lived long enough," and that he should not expect those things that come with old age, such as "honor, love, obedience." Emotionally, Macbeth holds on to the predictions that suggest he is indestructible. Later, in Act 5.5, Macbeth will despair again when he is told that his wife has died. Yet, again, oppositions appear in Macbeth.
Macbeth: An In depth Analysis
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::: Aristotle's Definition of Tragedy :::
“A tragedy, then, is the imitation of an action that is serious and also, as having magnitude, complete in itself; in language with pleasurable accessories, each kind brought in separately in the parts of the work; in a dramatic, not in a narrative form; with incidents arousing pity and fear, wherewith to accomplish its catharsis of such emotions.” (Imgram Bywater: 35). “Tragedy, then, is an imitation of an action of high importance, complete and of some amplitude; in language enhanced by distinct and varying beauties; acted not narrated; by means of pity and fear effectuating its purgation of these emotions.” Excepting the famous concepts of “unit of time” (or length of tragedy) and “character’s flaw” (or hamartia), probably there's not other concept or part in Aristotle’s Poetics as puzzling and celebrated as the famous definition of tragedy. Imitation. What is Action? Catharsis. Notas [1] Short after Prof. [3] Actually we’re jumping “pity and fear”. Bywater, Imgram. Cooper, Lane.
