Tragedies, be they modern or renaissance, rarely manifest a positive nature that transcends the bleakness of their character. The protagonist?s learning of self- association shines through the dyedness in Nino Ricci?s Lives of the Saints and Shakespeare?s wildness Lear. The cataclysm evolves from the beginning and reaches its apex, resulting in the protagonist?s attainment 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 reader sees the sorryness manifest in King Lear. Lear, a terrific 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 third fatal sins that eventually lead to his despair. First, in a awful display of rage, he d isowns his honorable daughter, Cordelia, when she tries to be sincere towards him. He responds with, ?Better thou/Hadst not been born than not to rich person pleased me better? (1.1.67). In a similar blunder, he banishes his faithful servant, Kent. Finally, as he divides his land between his heller evil daughters, Goneril and Regan, his fate is sealed and the process of this bleak catastrophe 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 downhill for Vittorio from here as, though she survives the snakebite , his mother?s illicit affair with the blue-! eyed queer 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, tumescent it on our website: OrderEssay.net
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