FINAL PROJECT

Role of Destiny In Shakespearean Tragedies

A study on concepts, techniques, provisions and life

Submitted to: Pratyush kaushik

Submitted by: Inzmamul Haque
Student, 1st year, 2nd semester, Roll-933
Chanakya National Law University
 Table Of Contents

Chapter Page No

Acknowledgement------------------------------------------
1. Introduction-------------------------------------------
a) Objective --------------------------------------
b) Research methodology---------------------------
2. Introduction to Shakespeare -------------------------
3. Concept of destiny or fate-----------------------------
4. Destiny in Shakespearean tragedy--------------------
5. Destiny in literary works----------------------------
6. Conclusion -----------------------------------------
Bibliography -------------------------------------
 ACKNOWLEDGEMENT
I am feeling highly elated to work on the topic ―Role of destiny in Shakespearean
tragedies‖ under the guidance of my English teacher Pratyush kaushik. I am very
grateful to him for his exemplary guidance. I would like to enlighten my readers
regarding this topic and I hope I have tried my best to pave the way for bringing
more luminosity to this topic.

I also want to thank all of my friends, without whose cooperation this project was
not possible. Apart from all these, I want to give special thanks to the librarian of
my university who made every relevant materials regarding to my topic available to
me at the time of my busy research work and gave me assistance. And at last I am
very much obliged to the God who provided me the potential for the rigorous
research work.

At finally yet importantly I would like to thank my parents for the financial support.

-----------------Thanking You
 Introduction
Tragic drama is fundamentally serious, involving the downfall of a heroic figure. The
themes are lofty: passion (Romeo and Juliet), revenge (Hamlet), ambition (Macbeth)
and jealousy (Othello). Destiny plays an important role in plays of Shakespeare as by
bringing an informal change in the play. As like, Caesar was something different from
what destiny makes him.
Unique Elements of Tragedy:
The Tragic Hero: An articulate, social authority, someone who is ―important‖ within
his society (NOTE: ―his‖ is deliberate); this hero has at least one weakness or fault – a
tragic flaw – which during the course of the drama grows until it overcomes his
virtues and leads to his downfall and the destruction of his world.
Chorus: Borrowed from Greek tragedy in which dancers/singers appear at intervals
within the play to comment on the action – express objective judgement on the
proceedings.
“Common Elements that Appear in Shakespearean Tragedy:”1
1. Contrast
- One idea/character or object is thrown into opposition with another or sake of
emphasis or clarity
- Use of contrast heightens distinctions of character and increases interest by placing
opposites side by side (e.g. comic scene just before a tragic scene)
- Character foils (those who provide contrast, usually to the protagonist) are used
extensively by Shakespeare.
2. Fate
- Intervention of some force over which humans have not control
- may complicate the plot but does not bring about the downfall of the Hero (he
ultimately chooses it for himself by his actions)
- Pathos/sympathy may be felt by the audience for those hurt by fate
3. The Supernatural
- Shakespeare knew the appeal of ghosts, witches, premonitions, prophesies and other
supernatural events for his audience
- Thus he included them

1
Introduction to Shakespearean tragedy,
http://www.scs.sk.ca/edf/ce/ela10/b10%20decisions%20unit/elements%20of%20tragedy.pdf, last
accessed on 18-04-2014, at 23:48 IST
4. Pathetic Fallacy
- Since the hero‘s actions affect the entire Chain of Being, all of Nature appears to
react through unnatural happenings in animal behaviour or weather
5. Nemesis (compared to Poetic Justice)
- Nemesis is the Greek goddess of vengeance, the personification of righteous
indignation; she pursues those who have displeased the gods
- By Shakespeare‘s time, the term became associated with any agent of fate or bringer
of just retribution
6. Catharsis
- A term to describe the intended impact of tragedy on the audience; the reason we are
drawn, again and again, to watch tragedy despite its essential sadness
- By experiencing the events which arouse pity and terror, we achieve a purging
(catharsis) of these emotions
- detached pity and involved terror that leaves the spectator with ―calm of mind, all
passion spent‖
7. Suspense
- Uncertainty in an incident, situation, or behaviour
- keeps the audience anxious concerning the outcome of the protagonist‘s conflict
- Two types: that which provokes intellectual curiosity and that which provokes
emotional curiosity
- Shakespeare uses conflict, precarious situations, apparently unsolvable problems,
foreshadowing and delay to develop suspense
8. Soliloquy
- Speech made by character when he/she is alone on the stage (only audience is privy
to the speech)
Purposes include:
- revealing mood of speaker and reasons for it
- revealing character
- revealing character‘s opinion of someone else in the play
- revealing motives of speaker
- creating suspense
- preparing audience for subsequent developments
- explaining matters that would ordinarily require another scene
- reviewing past events and indicating speaker‘s attitudes
 - reinforcing theme
9. Aside
- Comments intended only for the audience (or occasionally for one other character on
stage)
- made in the presence of other characters on stage, but the audience is aware that
these other characters cannot hear the asides
- must be short, or would interfere with the course of the play
Purposes include:
- To indicate character to person speaking
- To draw attention to significance of what has been said or done
- To explain plot development
- To create humour by introducing a witty comment
- To create suspense by foreshadowing
- To remind audience of the presence of speaker, while he/she remains in the
background
10. Dramatic Irony
- This situation occurs when the audience is aware of the conditions that are unknown
to the character on stage or when some of the characters are ignorant of what really is
on the speaker‘s mind

Objective:-
 To know about the Life Of Shakespeare
 To know about the concept of destiny or fate
 To know about the Shakespearean tragedies
 To know about the destiny in literary works

Research methodology:-
For the purpose of research the researcher has relied on primary sources to look for
information relating to laws and statutes relating to ‗Role of destiny in Shakespearean
tragedies‘. The researcher has aimed at doctrinal research and tries to critically
analyse and provide an unbiased account. Researcher has used various books, journals
and online websites for gathering required information used in research.
 Introduction to Shakespeare
This chapter will give a brief outline of Mr. William Shakespeare’s life and his
works.
William Shakespeare is often thought of as one of the greatest writers in the English
Language. His plays have been translated into every major language, and are
performed more often than any other playwright. Shakespeare writing also affected
the way the English language evolved, and several words and phrases, such as "all's
well that ends well", "with bated breath" and "a foregone conclusion" have moved
into everyday use. William Shakespeare, also known as the 'Bard', was born in
Stratford-upon-Avon on April 23rd 1564. It is thought he married his wife, Anne
Hathaway, in 1582, although we have no specific marriage certificate. He pursued a
career as an actor, poet and dramatist in London. His now famous plays were
performed widely during his lifetime, often at the purpose-built Globe Theatre in
London on the south bank of the Thames. ―The first folio was published in 1623, with
154 sonnets, 37 plays, and 2 long poems. It is suggested that his friends put it together
in case others tried to copy Shakespeare's work and claim it as their own. Since then,
he has become internationally renowned as the world's greatest ever playwright.‖2 On
March 25th 1616, William Shakespeare made his will, signed 'by me, William
Shakespeare. He died on April 25th that same year. Some people believe that he
caught a fever at a 'merry party' thrown by Ben Johnson. Others prefer to say that no
cause of death was officially recorded. Shakespeare's will itself is a matter of debate.
The last will and testament helps us to learn about Shakespeare at the end of his life,
providing us with minute details about his final wishes. The source evidence in this
lesson shows that he was a man of considerable wealth by the time he died, and that
most of it was left to his eldest daughter, Susannah Hall. The will also provides us
with one of only six samples of his signature. The issue of leaving his 'second best
bed' appears insulting and mean to us today. Some experts explain that the 'second
best bed' was actually the bed in which William and his wife Anne would have slept,
as the best bed would have been kept for guests only. Others describe this as a direct
insult to his wife, yet there are also suggestions that leaving a bed to your wife was
actually a magnificent gift, as all the valuable bed linen and fine materials would be

2
Background, http://www.nationalarchives.gov.uk/documents/education/shakespeare.pdf, last
accessed on 19-04-2014 at 01:49 IST
 included. Finally it has also been proposed that a wife would always get the second
best things, with the best reserved for a son or daughter.
―For all his fame and celebration, William Shakespeare remains a mysterious figure.
There are just two primary sources for information on the Bard: his works and various
legal and church documents that have survived from Elizabethan times. Naturally,
there are many gaps in this body of information, which tells us little about
Shakespeare the man.‖3 There is great conjecture about Shakespeare‘s childhood
years, especially regarding his education. It is surmised by scholars that Shakespeare
attended the free grammar school in Stratford, which at the time had a reputation to
rival Eton. While there are no records extant to prove this claim, Shakespeare‘s
knowledge of Latin and classical Greek would tend to support this theory. In addition,
Shakespeare‘s first biographer, Nicholas Rowe, wrote that John Shakespeare had
placed William ―for some time in a free school.‖ John Shakespeare, as a Stratford
official, would have been granted a waiver of tuition for his son. As the records do not
exist, we do not know how long William attended the school, but certainly the literary
quality of his works suggest a solid education. What is certain is that William
Shakespeare never proceeded to university schooling, which has stirred some of the
debate concerning the authorship of his works. William Shakespeare‘s legacy is a
body of work that will never again be equalled in Western civilization.
His words have endured for four hundred years, and still reach across the centuries as
powerfully as ever.‖ Even in death, he leaves a final piece of verse as his epitaph:
Good friend, for Jesus’ sake forbeare
To dig the dust enclosed here.
Blessed be the man that spares these stones,
And cursed be he that moves my bones.”4

3
About William Shakespeare,
http://www.qpac.com.au/resources/images/Works_Shakespeare_13_Study_Guide_2013.pdf, last
accessed on 19-04-2014 at 02:06 IST
4
About William Shakespeare,
http://www.qpac.com.au/resources/images/Works_Shakespeare_13_Study_Guide_2013.pdf, last
accessed on 19-04-2014 at 02:11 IST
 “The Works of William Shakespeare”5

The history plays:-

 Henry VI Part I, II & III
 Richard III
 King John
 Edward III
 Richard II
 Henry IV Part I & II
 Henry V
 Henry VIII
The comedies:-
 The Comedy of Errors
 The Taming of the Shrew
 The Two Gentlemen of Verona
 Love‘s Labour‘s Lost
 A Midsummer Night‘s Dream
 The Merchant of Venice
 The Merry Wives of Windsor
 Much Ado About Nothing
 As You Like It
 Twelfth Night
 Troilus and Cressida
 All‘s Well That Ends Well
 Measure for Measure
The tragedies:-
 Titus Andronicus
 Romeo and Juliet
 Julius Caesar
 Hamlet
5
The work of William Shakespeare,
http://www.qpac.com.au/resources/images/Works_Shakespeare_13_Study_Guide_2013.pdf, last
accessed on 19-04-2014 at 02:44 IST
  Othello
 King Lear
 Macbeth
 Antony and Cleopatra
 Coriolanus
 Timon of Athens
The romances:-
 Pericles
 Cymbeline
 The Winter‘s Tale
 The Tempest
 The Two Noble Kinsmen

Concept of destiny or fate

This chapter talks of how philosophers and other experts conceptualize about destiny.
Fate or destiny is often regarded as the “course that life takes” and karma is one of the factors
that influence this course. People often believe that fate is pre-destined and nothing can be
changed. “Your destiny is shaped according to the combination of conditions pre-determined
at birth and other factors that you are able to change through your own efforts.”6
The factors that form a person's fate

―A person's fate is decided by a complex combination of conditions and factors. Some of

them are already decided at the time of a person‘s birth and some of them come into play
later and shape the course further.‖7 Amongst the factors that shape our fate or destiny, some
of them are settled and some are not. It means that we have a certain scope to change our fate
or destiny by our own efforts. Factor 2 (the family environment) and factor 3 (the social
climate) are elements that should be called the "destiny that is decided" before we are born;
however, there is a great secret involved in these too. Namely, before each reincarnation we
draw up a plan for our spiritual training and we are born having agreed to such details as our
parents, the environment, the social climate and our gender. However, as soon as we are born
into this world, we forget it. Destiny, in this sense, may be experienced merely as
meaningless bondage and pointless suffering or it may be experienced as the fulfilment of

6
Anonymous, the essence of Buddha, pg 140
7
About fate and destiny, http://www.happy-science.org/fate-and-destiny, last accessed on 19-04-2014,at
10:20 IST
one‘s own deepest, but as yet unknown, identity; that is, as creative freedom. This will
depend largely upon the individual‘s capacity for awareness, his ability to experience
symbolic significance, and to attempt a cooperative acceptance of the tragic as well as the
joyful patterns of his life. Fate and destiny are terms that are often used as synonyms as if
there were no differences between the two words. The most important factor that shapes our
fate or destiny is, in fact, the decisions that we make at the turning points in our lives. Our life
as it is now is created by the results of the choices we ourselves made according to the
tendencies of our own mind, each time we encountered a specific event. It may thus be said
that it is none other than freedom of choice which is the most important factor in shaping a
person's fate or destiny. This is an overwhelming task. Its basic or minimum requirement is a
consciousness of the situation as a whole and the will to risk and accept the results rather than
to remain in unconscious bondage to unconscious compulsion. Only to the extent that we are
aware of destiny can such freedom from unconsciousness be attempted at all. The line of
destiny is comparable to the wind in sailing. It cannot be disregarded; it is the force which
pushes the sail and hence the boat. To make full use of it, we must study its direction and
strength. Then with skill and knowledge we can maintain a personally satisfactory course,
even in the face of difficult weather; but when we disregard it, we are likely to capsize or to
lose our momentum. ―When Paul Tillich developed the idea of destiny, he conceived of it as
a limiting yet meaningful context of freedom. The consequence of his view is that destiny is
understood as integral to the self rather than as the result of external forces. This
understanding provides an alternative to the predestinarian theology in the Augustinian-
Calvinist tradition. Consequently, destiny cannot be reduced to the category of causality or
derived from absolute freedom. Predestinarian thought ascribes remote causes to God and
proximate causes to the human world and makes them symmetrical.‖8 Destiny is indeed
bound to freedom, but freedom is finite. As Rollo May emphasizes, freedom is both
existential and essential. Existential freedom is exercised in personal choices. Szondi‘s
scheme of the five choices pertains to existential freedom. Marriage, friendship, vocation,
illness, and mode of death are crucial decisions that exhibit a destiny existentially. Essential
freedom is a sense of wholeness that is experienced in the highest unity of the self beyond
space, time, and causality. The theory of destiny is not identifiable with chance. The reason
is that the dispositions for existential choices come out of one‘s personal background.

8
Towards a theory of destiny,
http://www.szondiforum.org/The%20Concept%20of%20Destiny%20in%20Depth%20Psychology%20an
d%20Theology.pdf,last accessed on 19-04-2014 at 11:21 IST
Tillich‘s sense of what the precedents are can be illumined by two theories of the
unconscious which Szondi has synthesized. The collective unconscious is central to Jung‘s
psychology and the familial to Szondi‘s. Whereas the former is inferred from the eruption of
archetypes into symbolic forms, the latter is expressed through existential choices, such as
marriage, that do not occur by chance. Szondi has criticized Jung for failing to ground the
collective unconscious in biological reality. Since destiny is a part of finite freedom, it is also
capable of self-contradiction. We are free to give up our freedom. The fact of self-
contradiction requires the distinction between fate and destiny. Self-contradictions are
manifest in various neurotic and psychotic pathologies. Each of the foregoing theories can
account for the pathologies, but Szondi‘s is the most comprehensive. He knows that the
increase of fate correlates with the decrease of the power of freedom. A compulsive choice
has only the superficial appearance of freedom. Thus, the concept of destiny embraces a
wide range of free or fated possibilities. Destiny is not a matter of a simple process
explainable in linear terms. Destiny combines both choice and the fate aspect, but fate
excludes any sense of free choice.

Destiny in Shakespearean tragedies

This chapter deals with the depiction of the part played by destiny in Shakespearean plays.

This bachelor thesis deals with a tragic death in three plays written by William Shakespeare.
These three plays are called King Lear, Romeo and Juliet and Hamlet. The major part of the
thesis focuses on analyzing these three works. In all of these masterpieces, there are some
characters that influence the whole play and can be called main characters. In the end these
characters die, of course. In Hamlet there is Hamlet, the prince of Denmark, the man of many
faces, seeking for revenge for the death of his father. In Romeo and Juliet there are two
characters, which can be analyzed. It is Romeo and Juliet. They are in love but the society
stands against their love and only their death solves the problems between two families. And
in King Lear there is poor Lear who becomes a pawn in the intrigues of his two daughters,
and Cordelia, the only daughter who truly loves Lear. Lear finds out late that he left behind
the wrong person. Each of these characters dies and, in some way, their tragic death helps to
solve the situation. The tragic death is an instrument used to make things better between
people.
―William Shakespeare became one of the most influential playwrights in English literature.
Some critics still believe that Shakespeare existed but was not able to write so many works
and that these were written by somebody else.‖9

Assuming that the author is a real historical figure and he really wrote all of the plays, and the
majority of critics would agree with this opinion, his works and characters are interpreted in
many ways. If we take Hamlet into consideration, for example, this character‘s ambiguity
causes a lot of problems, when someone tries to interpret it. Hamlet looks like a complete
idiot at first sight, but the reader cannot be sure whether he really is an idiot or only acts like
one. He can really be trying to revenge his father‘s death by all means or he can only be
trying to persuade everybody else that he is acting in his father‘s name and still act only for
his own profit. His death, as well as the death of other characters in play, means the end of
one sad era and the beginning of a new one.

The tragedy of King Lear becomes the most tragic of all of Shakespeare‘s plays. The reality
of our lives is very cruel and people have to pay for their deeds and for the deeds made by
others. The rawness of the world has no boundaries and the main characters of this play get to
know it very well. Cordelia‘s death is in some way unjust because she died, even though she
did nothing wrong. Goneril‘s and Regan‘s deaths are well-deserved but Cordelia dies as well.
One false step changes the lives of many. The tragic nature rises from the fact that the
innocent girl has to pay a really high price for her father. She has to redeem her father‘s soul
by her own sacrifice. The bond between the two of them ties them really strongly, Lear
recognizes it and dies as well, in the name of his beloved daughter, Cordelia. The destiny
spoke here and no one could do anything about it. They are dead but together. This tragedy
illustrates another practice of Shakespeare's. King Lear has a secondary plot, that which
concerns Gloster and his two sons. To make the beginning of this plot quite clear, and to
mark it off from the main action, Shakespeare gives it a separate exposition. The great scene
of the division of Britain and the rejection of Cordelia and Kent is followed by the second
scene, in which Gloster and his two sons appear alone, and the beginning of Edmund's design
is disclosed. In Hamlet, though the plot is single, there is a little group of characters
possessing a certain independent interest,—Polonius, his son, and his daughter; and so the
third scene is devoted wholly to them. And again, in Othello, since Roderigo is to occupy a
peculiar position almost throughout the action, he is introduced at once, alone with Iago, and
9
Introduction, https://is.muni.cz/th/217587/pedf_b/bachelor_thesis.pdf, last accessed on 19-04-2014 at
11:38 IST
his position is explained before the other characters are allowed to appear. Macbeth could be
seen as a tragedy of both destiny and character; however, with Shakespeare, he prefers to
point out the weaknesses in individuals as well as society. The best answer would be that of
the character.

We first see Lady Macbeth as the ambitious character. She is so determined for her husband
to wear the crown that she chastises him with what she would do for him if he asked it from
her.

―Shakespeare‘s tragedies usually share several features. Most begin in an ordered society and
move toward chaos, as the hero allows his flaws to rule him. Often, this chaotic change is
reflected in the natural world, with storms and strange mists being characteristic. Most
importantly, the plays feature heroes whom audiences can identify with and feel sorry for.
The protagonist of Shakespeare‘s tragedies are not villains or saints but generally good
people destroyed by their own ego or ill fate.‖10

Destiny in literary works

Most of the literature quotes that the destination of each ones destiny is influenced by two
important factors namely karma and dharma. Karma is nothing but the action of life and the
lessons we have to learn from it to correct our destiny whereas dharma means to live our life
according to our destiny or according to our duty to be done in this birth. God has created
each one of us in this world with a reason and we are obliged to perform the duties given to
us instead of sitting back and relaxing for then nothing comes into our life. So it is our ardent
duty to fulfill the purpose in our life by praying and striving after God and do what he wants
us to. A person who has opted to live a life of alcoholic will never reach his destiny unless
and until he goes in the right direction to recreate his destiny. There are certain books like the
bible which says all men are born to do some work, but what if you are born with a silver
spoon where there is no need for you to work for the next two or three generation. Here when
we put a clause of what would happen when you loose your wealth, and there comes on
action the duty to work.

Mahayana form of Buddhism talks a lot about alaya which is nothing but the consciousness

10
Shakespearean tragedies, http://www.wisegeek.org/what-are-shakespeares-tragedies.htm, last
accessed on 19-04-2014, at 11;56 ist
storehouse of karma. This stored karma in our alaya does not come and deposit all of a
sudden but it depends on our behaviour since we are born. Depending on the karma either
good or bad, it effects may either witnessed in this birth itself or it may be carried to the next
birth also or even later. It can also be taken the other way where the accumulated karma of
our past life is responsible for the good and bad things happening in this life. It does not mean
that when we die our karma also ends but instead it is carried into the next life also and
sometimes even beyond that till we tally the effects of good and bad karma. In other words,
one is born with karma from the past that has already accumulated in the depths of life or the
alaya.

―According to literature duration of one's life is an example of one's past karma influencing
the present. History cites many examples like King Ajatashatru and Ch'en Chen and
Bodhisattva who prolonged their life by practicing Lotus Sutra and transforming the karma.
Buddhist concept of changing one's destiny says that though a person has to eventually die,
through their actions to promote the correct teaching they lessen the retribution of the karma
and can alter the time and the nature of the effect‖11. However this concept of Buddhists
philosophy of changing ones destiny does not agree with western philosophy for they believe
in a fixed destiny and nothing can be altered. Thus according to the Buddhists philosophy just
realizing the cause of ones suffering is not going to help him in any way but instead create
new, positive causes that will relieve the suffering. From this it becomes very evident that we
can improve and prolong our life span by changing our karma.

Latest religions confers that each one of us choose our life even before we are born and god
has already destined a plan for our life. During god‘s conversation with Jeremiah the prophet,
he tells him that he knows him even before he was formed in his mother‘s womb. But if that
is the case then why should we ever be bothered about our life or our future for everything is
predestined. We all face problems in life in the form of punishment or tests for that is the
only way to become closer to God. The basic aim is that we should not loose the ground
during the struggle to reach at our aim. As the famous saying goes ―as you sow so you reap‖
good karma makes good happenings and the bad karma gives bad things. The law of Identical
Harvest says that effects produced by our thoughts are more identical in nature to the thought
itself, like a corn reproduces only corn and a mango can reproduce only a mango. The events

11
Anonymous, http://www.findyourfate.com/destiny/literature.html, last accessed on 19-04-2014, at
12:02
or the happenings of the world although not visible to your eyes each one is acted upon by a
supreme force.

Most of the literature and religions say never loose faith in God and keep pushing yourself
towards him and always is an optimist work hard or pay the cost of what you want which
really not belongs to you. But if you are a pessimist you will end up nowhere near God. Each
one of us is destined for a destiny pattern and in such case when we try to help out others
either variably or invariably we might end up in problem with no solution. So when ever we
go to help someone we should make sure if we could really help them out instead of adding
more burden to their already existing problem. When we know that we are going off track or
away from our destined destiny direction then it is wise to change the track and move in the
right direction. This is how we learn to use our god charted plan by the trial and error method
and finally reach divinity.
Conclusion

Shakespeare wrote a number of tragedies, the greatest among which are Macbeth, Othello,
King Lear, and Hamlet. Can the tragic experience as conveyed by Shakespeare in his
tragedies be conceptualized into an intellectually coherent system? To generalize, said Blake,
was to be a fool. Moreover, Shakespeare himself, as A. C. Bradley observes, had only ―a
sense for tragedy‖, not a ―philosophy‖ of it. Nevertheless, we certainly can arrive at a few
factors which are shared, more or less, by all the great tragedies of Shakespeare. We can, as
Bradley says, be able ―to descend on certain well-built principles which underlie almost every
Shakespearean tragedy.‖

The starting point to shaping our own fate is to abandon the cowardly attitude of blaming
other people or our environment for our present unhappiness or mistakes; we must adopt the
stance that "everything is our own responsibility." In addition, it is important to change the
state of our mind, reflect on the tendencies of our own soul and break free from committing
the same mistakes again.

People who observe themselves and others with an enquiring mind, who minutely analyze the
habits, tendencies, strengths and weaknesses of their soul, and who continually strive to
change themselves and discard their current self: these are the people whose fate will change.
This is Happy Science‘s fundamental thinking with regard to "fate." His usual plan in tragedy
is to begin with a short scene, or part of a scene, either full of life and stir, or in some other
way arresting. Then, having secured a hearing, he proceeds to conversations at a lower pitch,
accompanied by little action but conveying much information. For example, Romeo and
Juliet opens with a street-fight, Julius Caesar and Coriolanus with a crowd in commotion; and
when this excitement has had its effect on the audience, there follow quiet speeches, in which
the cause of the excitement, and so a great part of the situation, are disclosed.
In Hamlet and Macbeth this scheme is employed with great boldness. In Hamlet the first
appearance of the Ghost occurs at the fortieth line, and with such effect that Shakespeare can
afford to introduce at once a conversation which explains part of the state of affairs at
Elsinore; and the second appearance, having again increased the tension, is followed by a
long scene, which contains no action but introduces almost all the dramatis personae and adds
the information left wanting. The opening of Macbeth is even more remarkable, for there is
probably no parallel to its first scene, where the senses and imagination are assaulted by a
storm of thunder and supernatural alarm. This scene is only eleven lines long, but its
influence is so great that the next can safely be occupied with a mere report of Macbeth's
battles,—a narrative which would have won much less attention if it had opened the play.
William Shakespeare works very often with the tragic characters in his tragedies. These
characters are in some way always doomed. No one in the world can choose their destiny and
the destiny is a crucial part of the life. Even though, there are some flashes in which the
characters might do something but these flashes disappear as quickly as they appear. An
example of a flash could be a letter sent to Romeo about the faked death of Juliet. It never
gets to him, even though it could prevent terrible things from happening. Or Hamlet‘s first
attempt to kill Claudius, had he succeeded here, maybe he could have lived and rule the land.
It is the destiny that prevents the messenger from delivering the message and that prevents
Hamlet‘s sword from stabbing Claudius. The analyzed characters have a lot in common.
They all come from the

highly regarded families. King Lear is the king of the land, Cordelia his daughter, Romeo and
Juliet are the members of noble Houses, Hamlet is king‘s son. Also their destinies are
fulfilled by the same power, love. Yes, it is love that brings all these characters into
destruction. Either it is the love between parents and their children, as we can see in King
Lear or in Hamlet, or it is the love between two lovers, Romeo and Juliet. Love makes them
dependent on their other parts and makes their lives useless without the beloved ones. The
world becomes so distant and meaningless for them that the only way how to escape from
unhappiness is to die and leave this world.
 Bibliography
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 http://www4.nac-cna.ca/pdf/eth/shakespeare_an_overview.pdf
 http://www.nationalarchives.gov.uk/documents/education/shakespeare.pd
f
 http://www.qpac.com.au/resources/images/Works_Shakespeare_13_Stud
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 http://phillipkay.files.wordpress.com/2011/07/william-shakespeare-
plays.pdf
 http://www.youngwriterssociety.com/viewtopic.php?f=63&t=93154
 http://www.happy-science.org/fate-and-destiny
 http://www.szondiforum.org/The%20Concept%20of%20Destiny%20in%
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 https://is.muni.cz/th/217587/pedf_b/bachelor_thesis.pdf
 http://www.enotes.com/homework-help/macbeth-tragedy-destiny-
tragedy-character-do-you-344844
 http://www.wisegeek.org/what-are-shakespeares-tragedies.htm