In the three play, Oedipus Rex, Death of a Salesman, and Macbeth the feminine characters craft their ain personal dockets into the lives of the tragic heroes. Jocasta, Linda, and Lady Macbeth are all similar in their dynamic nature, ability to enable, and their demand to care for others. The geographic expedition of these similarities can besides be considered the driving force which leads to each of the tragic heroes to their ultimate destinies.
This adult female uses female methods of geting power- that is, manipulation- to foster her supposed male aspiration. The singular effectivity of Lady Macbeth ‘s use is evident in several ways. She overrides all of his expostulations to the secret plan she construes. When Macbeth hesitates in slaying Duncan, Lady Macbeth persistently taunts his deficiency manhood and bravery until he feels it necessary to turn out himself. Interestingly, Lady Macbeth and her hubby are presented as being deeply in love. However, many of Lady Macbeth ‘s addresss imply that her control over Macbeth is simply sexual. Lady Macbeth ‘s strong will prevail throughout the slaying of the male monarch. Afterwards, nevertheless, she begins a slow slide into lunacy. Just as aspiration affects her more so before the offense, so does the guilt afterwards. She falls victim to guilt and madness to a greater extent than her hubby. The drama implies that adult females can be as ambitious and barbarous as work forces, but societal restraints deny them the chances to prosecute the aspiration on their ain.
By the stopping point of the drama, Lady Macbeth has been reduced to somnambulating and trying to take unseeable bloodstains. When the pestilence of guilt has eventually done its worse, Lady Macbeth ‘s sensitiveness becomes her failing. Subsequently, her hubby ‘s inhuman treatment and her ain guilt kick on her, directing her into a lunacy which she is unable to get by with. In the terminal, she drives herself huffy because of her guilt over the slayings and she seemingly kills herself.
Linda Loman is Willy ‘s nexus to world. She serves as a force of ground throughout the drama. Linda is by far the toughest, most realistic, and most healthy character in the drama. She sees what her hubby is traveling through. Despite all of his failures and failings, she supports him, loves him, and on occasion enables his behaviour. Linda realizes that Willy is merely an ordinary adult male life in the times, but she does non put incrimination on him. If anything, she loves him more because of it. Linda assumes the function of the defender, the guardian, and the respecter. She protects Willy when Biff battles with him. Linda defends Willy to her boies who believe that he is traveling brainsick. Besides, she respects him plenty to feign that she is incognizant of the fact that he is seeking to kill himself and that he has lost his wage. She knows that Willy is self-destructive, irrational, and hard to cover with ; nevertheless, she goes along with Willy ‘s phantasies in order to protect him from the unfavorable judgment of others, every bit good as his ain self-criticism. Linda tries to protect him, but her attempts are in vain.
Linda enables Willy in many ways, but she besides encourages him. She gently nudges him when it comes to paying the measures and pass oning with Biff and she does non lose her pique when he becomes ireful. Linda knows that Willy is in secret borrowing money from Charley to pay the life insurance and other measures. Despite all of this, Linda does nil, afraid to worsen Willy ‘s delicate mental status. She goes every bit far as throwing Biff and Happy out of the house when their behaviour threatens to upset Willy.
Linda positions freedom as an flight from debt, the wages of entire ownership of the material goods that symbolize success and stableness. Willy ‘s drawn-out compulsion with the American dream seems, over the long old ages of his matrimony, to hold left Linda internally conflicted. She appears to hold kept her emotional life integral. As such, she represents the emotional nucleus of the play. Linda is a character driven by despair and fright. Even though Willy is frequently ill-mannered to her, she protects him at all costs. Harmonizing to Linda, Willy is “ merely a small boat looking for a seaport ” ( ___________ ) . She loves Willy, and more significantly, she accepts all of his defects.
Jocasta ‘s character is merely strongly represented in the shutting scenes in the drama. Throughout the drama, Jocasta tested the beliefs of those around her by shaming incredulity in the Gods herself. Though she put up this false forepart, she did maintain her religion. At the beginning of the scene wherein a courier relayed word of Polybus ‘ decease and Oedipus ‘ right to the throne of Corinth, we see Jocasta praying. In her first words, she attempts to do peace between Oedipus and Creon, pleading with Oedipus non Tiresias ‘s terrorizing prognostications as false. Unlike Oedipus, Jocasta distrusts the prophets and believes that whatever happens will make so by unforeseeable opportunity. However, she is still wary plenty to honour Apollo with offerings in a crisis. Jocasta carries Garlands and incense to the communion table and attempts to appeal to Apollo to sublimate the metropolis of Thebes. Jocasta solves the conundrum of Oedipus ‘s individuality before Oedipus does, and she expresses her love for her boy and hubby in her desire to protect him from this cognition. She pleads with him to halt inquiring inquiries sing the fortunes.
Jocasta ‘s character is intelligent and capable, but non driven to geographic expedition as Oedipus. She carries her ain docket about what should be known and looked into. Jocasta ‘s character is used by the Gods, in a manner, to prove Oedipus ‘s religion. After impeaching Creon of confederacy and lese majesty, Oedipus relates to Jocasta the inside informations of his meeting with Tiresias. Jocasta returns to works uncertainties of the Gods by stating Oedipus the narrative of the Delphic Oracle and the fortunes environing Laius ‘ decease. Again, after Polybus ‘ decease, she excitedly tells Oedipus that his prognostication was evidently untrue, though it was non, and by making so she attempts to suggest that the prophets – and therefore the Gods – are false.
It can be drawn that Jocasta is forced to execute such undertakings for the Gods because she tried to avoid an earlier prognostication. By binding her kid ‘s pess together and projecting him out, she attempted to get the better of the Gods, and this incredulity of class angered them. Her penalty, so, was to prove the beliefs of the really child she cast out.
Jocasta was, in this manner, a victim. Though it was by her ain making that this punishment was cast upon her, it was non something she was happy to make, which becomes apparent when she realizes the truth in her earlier prognostication. It is at this minute that she becomes cognizant of her penalty, and in despair putting to deaths herself. After the realisation of the truth, Jocasta ‘s ain panicky heartache impels her to suicide.
Jocasta is a victim in Oedipus Rex, but non every bit much as she is a accelerator for Oedipus ‘ ain victimization. She keeps her religion throughout and attempts to alleviate Oedipus of his. Because of this, readers may in bend commiseration her and abhor her. But the Gods tested the male monarch of Thebes through her – the chief end of the drama – and both he and she failed.
In the geographic expedition of Oedipus Rex, Death of a Salesman, and Macbeth the feminine characters obvious self-interest dramas an of import function in their counter parts ruins. Jocasta, Linda, and Lady Macbeth are all similar in their dynamic nature, ability to enable, and their demand to care for others. The old geographic expedition illustrates the female docket in contrast to the tragic heroes.