We have only the present, but it is so fleeting, that then becomes past, and the future becomes the present. Why, the conclusion is, therefore, carpe diem, leverages today. 4 Topic of doctrine of free will or free agency the topic raises the fact that human beings must have the right or the free will of determination of his life; or you must be able to decide what you want to be and do in life each time the life of others is not affected. When one’s freedom is detrimental to another, falls into debauchery. Aspects such as morality, social prejudices, the presidio, slavery, human exploitation, subjugation, harms, ethics, social laws, human coexistence should be considered for the analysis of this topic. Swarmed by offers, Gensler is currently assessing future choices. 4 Topical of the fate the fate (tragic fate, moira or ananke) is the destination toward which moves in a biased way the protagonist of Greek tragedy, dragged by a cosmic force irresistible and inexorable that neither the humans or gods can counteract or overcome.
It is an unfortunate, fatal, grim, fateful, hapless destination. If it is possible to escape the fate, it can only be through the dramatic artifice of the deus ex machina, or a God who appears in the play to save the hero. It governs the classical tragedy an irresistible force called ananke, the need, the destination. Not can today interpret whole reach the target had in the thought of the Greeks. Sometimes poets show him as a great cosmic force, to which are subject, men and gods. The force of destiny is invincible says Aeschylus and neither the same Zeus can avoid it.
The fates weave him into the bosom of the old Cronos. But next to this relentless fate it imposes the men from their metaphysical remoteness, the tragic hero feels immediate architect of his own destiny; March to catastrophe and death by his will, following the straight line of a higher duty. Nothing would oblige him to sacrifice, but he wants it as well, and determines that his personal destiny. This desire by the hero is essential for the tragic conflict arises. Clear is that the springs that shoot the will of the hero and lead him to fight and succumb can not be vulgar patterns of everyday life, but high ideals, ethical and religious: justice, well, friendship, duty, patriotism, piety, Atonement (Gili Gaya, 1967, 37). In classical tragedy the tragic fate is inexorable, indisputable, inevitable: avoided cannot be changed; in modern tragedy, elements such as reason and passions of the character are usually imposed on the destination. It has become a topic of universal literature from Greek literature, the fate, tragic fate or predestination. -Kayser, Wolfgang (1970), interpretation and a4nalisis of the literary work, Madrid: Editorial Gredos, Spain. Gili Gaya, Samuel (1967), initiation in literary history Universal, Barcelona: Editorial Teide, Spain. Original author and source of the article.