.... banishment and even the death of the murderer. In his ironic action, the reader discovers that this murderer that Oedipus is so determined to discover is none other than Oedipus himself. In adhesion to the definition of literature, this tragic plot reveals to the reader three main commentaries about the nature of man: man cannot escape his past, pride is the sin which leads man to greater evils, and although the life of man is in itself a positive good, there will always be a shadow of terrible tragedy that falls across it. All throughout literature, many works have portrayed characters who carry with them a dark and gloomy past, and try to .....

.... truth of nature and realities of language and demonstrates that much of what the audience regards as fact is fiction as he explores the uncertainty of human existence. When an audience of the 1960's went to the theatre, it can generally be assumed that they had preconceived ideas about what they expected and what they are going to gain from the theatrical experience. The traditional attitudes towards theatre and the conventions of realist drama are disrupted by Pinter. This confronts the assumptions and values of the audience, an experience which would be disconcerting and frightening to many. Pinter divorces and exposes society's codes, i .....

.... Also, since Dorothy's adventure to Oz is clearly in the form of a dream, it seems a good way of analyzing Dorothy's maturation is by looking at this dream compared with real ones, and using modern dream analogy from the Freudian perspective. The act that spurs the entire action of the movie, according to Freudian Daniel Dervin ( Over The Rainbow 163 ), is Dorothy witnessing the "primal scene". The "primal scene" refers to a child witnessing sexual intercourse between mother and father; an moment that is both terrifying and confusing to the child. According to Dervin, this event sends Dorothy towards her final stage of childhood de .....

.... although there might appear to be comic elements in the play King Lear that the tragic elemen seem to outweigh the comic. Therefore, the position taken by Knight is not accurate in describing King Lear. The tragic hero, according to Bradley, is a person who suffers tremendously, whose suffering goes beyond him. The tragic hero also takes the action that produces the suffering and calamity which leads to death. Other characteristics of a tragic hero are as follows. The tragic hero is a person who is of high degree, and his welfare is intimately tied up with the welfare of the state. The hero is an exceptional being, of high degre .....

.... thee a jay's nest, and instruct thee how To snare the nimble marmoset. I'll bring thee To clustering filberts, and I'll teach thee to get Young scamels from the rock. Does't though attend me? Stephano: I do. For all this service what want'st you in return. Caliban: I ask but one simple service. The death of my tyrant master. Stephano: You ask me to murder for you? Caliban: I ask only that you remove your only opponent in making me your vassal. Stephano: Well bargain'd for a monster .....

.... responded for this reason. The producer and screenwriter of the film knew America craved this portrayal. Critics of the film from this period, applauded it's "realism", but in hindsight studies of the film in the seventies and eighties were a little more critical of the film. David O. Selznick was the man behind the vision of this film and Selznick is best known for film classic's like; Gone With the Wind, (from which the formula of this movie draws heavily from) Rebecca, and King Kong. This film was a special project for Selznick at the time, and it was seen as his contribution to the war effort. The academy awards recognized Selznick .....

.... which has led him to the brink of suicide. Hamlet voices his thoughts on the issue: ‘O that this too too solid flesh would melt...' (I. ii. 135). He is prevented from this drastic step only by a faith which teaches him that God has ‘fix'd/ His canon ‘gainst self-slaughter' (I. ii. 131-2). To Hamlet appears his dead father's spirit, and he must continue to live in the ‘unweeded garden, / That grows to seed' in order to fulfill the obligation he has to his father (I.ii. 135-6). Making Hamlet more a story of personal growth than a dark murder mystery, Shakespeare emphasizes the emotional, rather than the physical, obstacles t .....

.... and the gravedigger. Hamlet convinces Ophelia of his madness by going into her room “with a look so piteous in purport as if he had been loosed out of hell to speak of horrors,� (2.1.92)and grabbed her and examined her face. Then he let out �a sigh so piteous and profound as it did seem to shatter all his bulk and end his being.� (2.1.106) After that incident, Polonius believes, that Hamlet's madness “is the very ecstasy of love.�(2.1.115) Claudius is convinced, however, that that is not the case. He believes that something else is troubling Hamlet. “Love? His affections do not that way tend; Nor what he spake, .....

.... seven deadly sins were the cause of evil. Thus in the play Macbeth, Macbeth's tragic flaws were actually the deadly sins. They were greedy and envy. Macbeth was not satisfied with his current position, "Thane of Glamis," and not even his newly gained "Thane of Cawdor" would please him. He had only one thing on his mind, the throne. When he became the king, he envied Banquo's having heirs who would be rivals for the throne. The Christian also developed the theory of the great chain of being. It basically stated that a person could not and was not allowed to change his social status. Thus in the play, everyone eventually turned agains .....

.... from the reader since Hamlet feels the pain of losing his father along with the burden and obstacles in avenging his murder. Act four places a special emphasis on Hamlet's intelligence. In scene two, Hamlet is very insolent and rude towards Rosencrantz and Guildenstern with such phrases as, That I can keep your counsel and not, mine own. Beside, to be demanded of a sponge, what replication should be made by the son of a king? (IV, ii, 12-14) The reference to the sponge reflects the fact that Rosencrantz and Guildenstern are easily ordered by the king and do not have minds of their own. Hamlet does not lik .....