Tragedies, be they modern or renaissance, rarely manifest a positive nature that transcends the bleakness of their character. The protagonist?s scholarship of self- association shines through the dyedness in Nino Ricci?s Lives of the Saints and Shakespeare?s tear Lear. The cataclysm evolves from the beginning and reaches its apex, resulting in the protagonist?s science of self-recognition and consequently outshines the catatonia of the story. Both main characters are more(prenominal) than sinned against than sinning yet their suffering is necessary because it allows them to gain knowledge that they would not deal otherwise obtained. From the very first scene, the reviewer sees the dyedness manifest in King Lear. Lear, a ideal monarch used to getting his own way, decides to make a show of dividing his kingdom between his leash daughters. To his misfortune, he commits triple fatal sins that eventually lead to his despair. First, in a imposing display of rage, he disow ns his honorable daughter, Cordelia, when she tries to be sincere towards him. He responds with, ?Better thou/Hadst not been born than not to turn out pleased me better? (1.1.67). In a similar blunder, he banishes his faithful servant, Kent. Finally, as he divides his land between his chafe evil daughters, Goneril and Regan, his fate is sealed and the process of this bleak cataclysm is set into motion.
The darkness in Lives of the Saints is established later in the novel, beginning with Vittorio witnessing a blue-eyed queer fleeing the shed where Cristina, Vittorio?s mother, has been bitten by a snake. It?s down hill for Vittorio from here as, though she s! urvives the snakebite, his mother?s illicit affair with the blue-eyed fantastical is somehow made public to the entire town, who respond in a superstitious and unfriendly manner. New to all these dark facets of human nature, Vittorio is confused, resentful... If you want to get a full essay, good it on our website: OrderCustomPaper.com
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