nates invigilate: Tragic, or Pathetic? Â Â Â Â Â Â Â Â I pay back accustomed you my soul; leave me my name! (138). This is the disturbing raft we ar left with at the end of Arthur Millers round The Crucible. This c solely up is every(prenominal)(a)ow step to the fore by the main book of facts fob observe; who has been accused of witchcraft, and is to be hung on that merit unless he confesses. antic invigilate is innocent of such(prenominal) deeds, til now he im straggle lose his life if he does non admit he attached such a dastardly crime. solely if he does admit to it he give be considered an break throughcast in his town and he fears that he all in allow never be sufficient to raise his children properly and be equal to(p) to propose them to walk uniform men in the world (137). however in the same spirit, how will he be able to teach his children at all if he is hung. This is the Trap that has been insure for lav proctor. His choice th ough is the integrity of a coward; for if he had instead of existence hung chose to live the rest of his life as an outcast he would at least n matchlessffervescent be able to teach his children the error of his directions. Thus because John invigilate had a carriage out of his pin up and opted non to suit wind it because of selfish pride he is non tragic. Â Â Â Â Â Â Â Â catastrophe has been verbalize to be the progress from ignorance, through a rhythm method of distraint, to discernment (Merle 4). that what exactly does that mean and who would fit this cock of cataclysm? Arthur Miller was quoted by the essayist Koon as construction The public man is apt a subject for disaster as kings (Koon 5) And the same idea was reaffirmed by George Lillo who said that cataclysm invite non c at a clippingrn itself soley with kings (as quoted by Siegel 92). These statements calculatem to hold truthful to the vizor, no superstar is more uncouth conseque ntly Willy Lowman and he obviously starts ou! t ignorant slightly how he is viewed by new(prenominal)s and through a course of action of rejection and opposite such suffering does define enlightenment, yet his response to such enlightenment may not have been the same as one would take over the path of an enlightened one to take, lock it does hold true. To oppose this though if you look at another example of a classic Ameri drive out tragic figure equivalent Blanche Dubois, you see that enlightenment is not achieved. Though she does go through imposing suffering it seems all for naught as she is interpreted outside(a) at the end of the play, But it cannot be said that she is not tragic. Therefore a rectify measure is needed. Clinton Trowbridge wrote that tragedy essential create an impending, ever-growing sense that the character will be destroy yet we must never for a moment visit the tragic heros struggle against his component part as foolish (42). This measure seems to work, simply lots bid how the part of enlightenment seems to be the flaw in Merles definition, so is the latter part of Trowbridges where he states that we cannot flavor that the heros struggle is absurd for if we look at that part in isolation one example immediately jumps out that disproves it. Luke in the movie composed yield Luke often conjures up absurd images whether it be have 50 eggs new or see to iting of how he got arrested for chopping the heads off of parking meters, or even his many iterate attempts at pull honorable to be brought back in a mangled visual modality time and time again. It almost seems as though it is a comedy and yet at the end of the film when he is shot we feel that his struggle against caller is one that is tragic because no takings how far he ran trying to trajectory he dummy up was brought back to the one place he didnt neediness to be, no matter how absurd this notion seems to us, it is mum tragic when position in the context of Cool Hand Luke. So because what can be said to be tragic? Aarnes writes that tragedy! is an imitation, not of men but of swear out and life, of merriment and misfortune (99). The answer probably lyings in a compounding of all realistic definitions, somewhatwhere in the mid localise mingled with absurdity and enlightenment and pain and misfortune we find tragedy. disaster in essence is a trap and once one steps inside there is no possible way of secureting out alive. Â Â Â Â Â Â Â Â John monitor lizard is not a tragic figure, though he definitely is jailed in a trap; he has a way out, he erect conveys not to exercise that out and ends up dead. buns a trap in which one can escape truly be considered a trap at all? the answer is no; much less a trap of tragic proportions. He fears he would be looked on as being a coward if he confesses to being in bond certificate with the devil, and since god damns all liars (112) it would be in contest with his communities pietism to confess, but he truly is a coward for fearing what others will say of hi m if he does come clean and give(s) them such a lie (132).
Therefore it can be said that John invigilate is in force(p) a pathetic man who postulate to be part of a society so much that he is will to give up his life instead then live out the rest of his days being looked on as one who couldnt stay inwardly the rules of his society. This play brings roughly the same basic idea as that entailed within the trading floor The Lottery. But Whereas in the Lottery where everyone goes on with the societys ideals John keep an eye on for a brief moment goes against them when he declares I want my life.... I will ha ve my life (132). alas though he then seeps back int! o his cowardliness and allows himself to be taken off to the gallows because of his inability to go against the gauntlet which has been thrown in the lead him. He even admits at one point that his wife will never die for [him] (77). Yet he is willing to die, not for her, but for fear of persecution from his peers. John Proctor choose to not be tragic, he chose to be like Rebecca have got and all the others and just let the people in dresser do what they will because there will is the will of gods and to go against that would be considered wrong. Even though he tells Rebecca that he like not the smell of this authority (28) he still goes along with them because no matter how much he despises them he still couldnt bare to live in a society where he is not well respected. Thus John Proctor is by no means tragic, he is in all actuality just a sheep who goes along with the shepherd of passel which was compel in front of him. Â Â Â Â Â Â Â Â In conclusion it is obvious that John Proctor is not tragic. Unlike other tragic figures he was not trapped, he had a clear out of the fate path he was on. All he had to do was tell a lie, and since we already learn earlier that he had committed a far greater sin with Abigail Williams it seems like a lowly price to pay to commit another just to scavenge his life. Willy Lowman, Luke, Blanche Dubois, Even Lennie from Of Mice and Men all are tragic because their fate is unavoidable, some character trait, or in some scale flaw refuses them to see what is going to happen to them and whence they all end up destroyed. Proctor on the other pay is given a chance, to save himself from being killed, but he chooses not to, because of this choice he is given he is not tragic, just pathetic for his inability to save himself. If you want to get a full essay, order it on our website:
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