Is there an issue? Send a MessageReason:
None
Changed line(s) 1,19 (click to see context) from:
----
* In ''Theatre/SeventeenSeventySix'', John Adams is so hot-blooded that the temperature of the room shoots up to 90 degrees whenever he's around.
* Booth in ''Theatre/{{Assassins}}''.
* ''Theatre/CyranoDeBergerac''.
* In ''Theatre/{{Electra}}'', the title character's passion is her FatalFlaw.
* In Music/RichardWagner's ''Theatre/TheRingOfTheNibelung'', it's ironic for Siegfried to talk about Fafner's blood burning like fire, given that he spent the end of the first act hammering on Nothung while singing at the top of his voice ("Hoho! Hoho! Hohei!")
* Creator/WilliamShakespeare:
** Caius Marcius Coriolanus from ''Theatre/{{Coriolanus}}''. He is the badass who runs into a city ''without backup'' and comes out a) alive, b) victorious, and c) covered in blood and thrilled with it. And that's just the first act.
** Hotspur from ''Theatre/HenryIV, Part 1''.
** Mercutio in ''Theatre/RomeoAndJuliet'' exemplifies this: he exists in a state of constant, violent enthusiasm, whether [[CharacterFilibuster soliloquizing]], reveling, or dueling to his own death.
*** Tybalt also seems to fit the bill: we only ever see him fighting or preparing to fight, but boy, is he enthusiastic about it.
*** Romeo himself is actually not that far off: he can at least keep up with Mercutio's [[HurricaneOfPuns punnery]] and hijinks, and he may be moody, but he ''really'' commits to those moods.
** Gratiano, the Id out of Theatre/TheMerchantOfVenice's FreudianTrio, is always loudly and passionately expostulating on whatever issue he's just decided to care about.
* Hoo boy - ''Theatre/{{Hamilton}}'' is so HotBlooded that he gets not just one, but ''five'' separate {{Quarreling Song}}s, and the musical doesn't even cover such historical facts as the real Hamilton's rather prodigious dueling record (''eleven'' individual duel challenges over his just under 50 years, although to his credit not one of them ever reached the field). Consider the above ''Theatre/SeventeenSeventySix'' example and it's really no wonder that the only interaction between Hamilton and Adams in the show involves the latter insulting the former and the former giving a no holds barred ''vicious'' response (though unfortunately, unless you look up the cut rap, you're left to imagine most of it).
** Aside from Hamilton, each of the others in the revolutionary crew seem to be the same, giving their boastful rapping. In real life, Laurens was probably the hottest (blooded, anyway), which is probably part of the reason he and Hamilton were so close.
** And then there's Phillip, who immediately leaps to his father's defence with righteous indignation when he is insulted, while describing how he intends to follow in his footsteps.
----
* In ''Theatre/SeventeenSeventySix'', John Adams is so hot-blooded that the temperature of the room shoots up to 90 degrees whenever he's around.
* Booth in ''Theatre/{{Assassins}}''.
* ''Theatre/CyranoDeBergerac''.
* In ''Theatre/{{Electra}}'', the title character's passion is her FatalFlaw.
* In Music/RichardWagner's ''Theatre/TheRingOfTheNibelung'', it's ironic for Siegfried to talk about Fafner's blood burning like fire, given that he spent the end of the first act hammering on Nothung while singing at the top of his voice ("Hoho! Hoho! Hohei!")
* Creator/WilliamShakespeare:
** Caius Marcius Coriolanus from ''Theatre/{{Coriolanus}}''. He is the badass who runs into a city ''without backup'' and comes out a) alive, b) victorious, and c) covered in blood and thrilled with it. And that's just the first act.
** Hotspur from ''Theatre/HenryIV, Part 1''.
** Mercutio in ''Theatre/RomeoAndJuliet'' exemplifies this: he exists in a state of constant, violent enthusiasm, whether [[CharacterFilibuster soliloquizing]], reveling, or dueling to his own death.
*** Tybalt also seems to fit the bill: we only ever see him fighting or preparing to fight, but boy, is he enthusiastic about it.
*** Romeo himself is actually not that far off: he can at least keep up with Mercutio's [[HurricaneOfPuns punnery]] and hijinks, and he may be moody, but he ''really'' commits to those moods.
** Gratiano, the Id out of Theatre/TheMerchantOfVenice's FreudianTrio, is always loudly and passionately expostulating on whatever issue he's just decided to care about.
* Hoo boy - ''Theatre/{{Hamilton}}'' is so HotBlooded that he gets not just one, but ''five'' separate {{Quarreling Song}}s, and the musical doesn't even cover such historical facts as the real Hamilton's rather prodigious dueling record (''eleven'' individual duel challenges over his just under 50 years, although to his credit not one of them ever reached the field). Consider the above ''Theatre/SeventeenSeventySix'' example and it's really no wonder that the only interaction between Hamilton and Adams in the show involves the latter insulting the former and the former giving a no holds barred ''vicious'' response (though unfortunately, unless you look up the cut rap, you're left to imagine most of it).
** Aside from Hamilton, each of the others in the revolutionary crew seem to be the same, giving their boastful rapping. In real life, Laurens was probably the hottest (blooded, anyway), which is probably part of the reason he and Hamilton were so close.
** And then there's Phillip, who immediately leaps to his father's defence with righteous indignation when he is insulted, while describing how he intends to follow in his footsteps.
----
to:
* In ''Theatre/SeventeenSeventySix'', John Adams is so hot-blooded that the temperature of the room shoots up to 90 degrees whenever he's around.
* Booth in ''Theatre/{{Assassins}}''.
* ''Theatre/CyranoDeBergerac''.
* In ''Theatre/{{Electra}}'', the title character's passion is her FatalFlaw.
* In Music/RichardWagner's ''Theatre/TheRingOfTheNibelung'', it's ironic for Siegfried to talk about Fafner's blood burning like fire, given that he spent the end of the first act hammering on Nothung while singing at the top of his voice ("Hoho! Hoho! Hohei!")
* Creator/WilliamShakespeare:
** Caius Marcius Coriolanus from ''Theatre/{{Coriolanus}}''. He is the badass who runs into a city ''without backup'' and comes out a) alive, b) victorious, and c) covered in blood and thrilled with it. And that's just the first act.
** Hotspur from ''Theatre/HenryIV, Part 1''.
** Mercutio in ''Theatre/RomeoAndJuliet'' exemplifies this: he exists in a state of constant, violent enthusiasm, whether [[CharacterFilibuster soliloquizing]], reveling, or dueling to his own death.
*** Tybalt also seems to fit the bill: we only ever see him fighting or preparing to fight, but boy, is he enthusiastic about it.
*** Romeo himself is actually not that far off: he can at least keep up with Mercutio's [[HurricaneOfPuns punnery]] and hijinks, and he may be moody, but he ''really'' commits to those moods.
** Gratiano, the Id out of Theatre/TheMerchantOfVenice's FreudianTrio, is always loudly and passionately expostulating on whatever issue he's just decided to care about.
* Hoo boy - ''Theatre/{{Hamilton}}'' is so HotBlooded that he gets not just one, but ''five'' separate {{Quarreling Song}}s, and the musical doesn't even cover such historical facts as the real Hamilton's rather prodigious dueling record (''eleven'' individual duel challenges over his just under 50 years, although to his credit not one of them ever reached the field). Consider the above ''Theatre/SeventeenSeventySix'' example and it's really no wonder that the only interaction between Hamilton and Adams in the show involves the latter insulting the former and the former giving a no holds barred ''vicious'' response (though unfortunately, unless you look up the cut rap, you're left to imagine most of it).
** Aside from Hamilton, each of the others in the revolutionary crew seem to be the same, giving their boastful rapping. In real life, Laurens was probably the hottest (blooded, anyway), which is probably part of the reason he and Hamilton were so close.
** And then there's Phillip, who immediately leaps to his father's defence with righteous indignation when he is insulted, while describing how he intends to follow in his footsteps.
----
Is there an issue? Send a MessageReason:
None
Changed line(s) 7 (click to see context) from:
* In Creator/RichardWagner's ''Theatre/TheRingOfTheNibelung'', it's ironic for Siegfried to talk about Fafner's blood burning like fire, given that he spent the end of the first act hammering on Nothung while singing at the top of his voice ("Hoho! Hoho! Hohei!")
to:
* In Creator/RichardWagner's Music/RichardWagner's ''Theatre/TheRingOfTheNibelung'', it's ironic for Siegfried to talk about Fafner's blood burning like fire, given that he spent the end of the first act hammering on Nothung while singing at the top of his voice ("Hoho! Hoho! Hohei!")
Is there an issue? Send a MessageReason:
Sweeney Todd is just about the opposite of this trope: he's a loner with a Dark And Troubled Past who spends most of the play in a brooding trance.
Deleted line(s) 8 (click to see context) :
* ''Theatre/SweeneyToddTheDemonBarberOfFleetStreet''. Bonus points for being covered in it.
Changed line(s) 12 (click to see context) from:
** Mercutio and Tybalt from ''Theatre/RomeoAndJuliet''. Romeo himself is actually not that far off: he not only is more than able to keep up with Mercutio's pranks, but the reason why he got kicked out of Mantua in Act 3 was him losing his temper when Tybalt fatally stabbed Mercutio and retaliating via killing Tybalt himself.
to:
** Mercutio and in ''Theatre/RomeoAndJuliet'' exemplifies this: he exists in a state of constant, violent enthusiasm, whether [[CharacterFilibuster soliloquizing]], reveling, or dueling to his own death.
*** Tybaltfrom ''Theatre/RomeoAndJuliet''. also seems to fit the bill: we only ever see him fighting or preparing to fight, but boy, is he enthusiastic about it.
*** Romeo himself is actually not that far off: henot only is more than able to can at least keep up with Mercutio's pranks, [[HurricaneOfPuns punnery]] and hijinks, and he may be moody, but he ''really'' commits to those moods.
** Gratiano, thereason why he got kicked Id out of Mantua in Act 3 was him losing his temper when Tybalt fatally stabbed Mercutio Theatre/TheMerchantOfVenice's FreudianTrio, is always loudly and retaliating via killing Tybalt himself.passionately expostulating on whatever issue he's just decided to care about.
*** Tybalt
*** Romeo himself is actually not that far off: he
** Gratiano, the
Is there an issue? Send a MessageReason:
Hot Blooded is about pursuing everything with violent interest. Hamlet vacillates wildly between enthusiasm and gloom—his mood does not approach consistence required for this trope. Anyway, bullet points are not discussions.
Changed line(s) 10,13 (click to see context) from:
** Gaius Marcius Coriolanus from ''Theatre/{{Coriolanus}}''. He is the badass who runs into a city ''without backup'' and comes out a) alive and b) victorious. And that's just the first couple of acts.
** And although ''Theatre/{{Hamlet}}'' is pretending to be mad and ineffectual, he truly seethes with the desire for vengeance: ''"Now could I drink '''hot blood''',/And do such bitter business as the day/Would quake to look on."
*** Right, which is why after the line he proceeds to go chew out his mother instead, and when he does run into the target of his revenge on the way (by accident) he ignores the opportunity to kill him in prayer so that he won't go to heaven, a cool and level-headed response. The point is that Hamlet is a peaceful reflective individual forced into the role of avenger despite it not suiting his character, and the whole play is about his hesitation and doubt, making this a deconstruction of traditional revenge tragedies.
*** In fact Hamlet castigates himself for NOT being hot-blooded ("I am pidgeon-livered and lack gall..."). He claims to admire hot-blooded individuals, such as the neighbouring countries who fight over "a straw", but also says to Horatio "Give me the man who is not passion's slave and I will wear him in my heart's core" and mocks Laertes for his excessive display of grief.
** And although ''Theatre/{{Hamlet}}'' is pretending to be mad and ineffectual, he truly seethes with the desire for vengeance: ''"Now could I drink '''hot blood''',/And do such bitter business as the day/Would quake to look on."
*** Right, which is why after the line he proceeds to go chew out his mother instead, and when he does run into the target of his revenge on the way (by accident) he ignores the opportunity to kill him in prayer so that he won't go to heaven, a cool and level-headed response. The point is that Hamlet is a peaceful reflective individual forced into the role of avenger despite it not suiting his character, and the whole play is about his hesitation and doubt, making this a deconstruction of traditional revenge tragedies.
*** In fact Hamlet castigates himself for NOT being hot-blooded ("I am pidgeon-livered and lack gall..."). He claims to admire hot-blooded individuals, such as the neighbouring countries who fight over "a straw", but also says to Horatio "Give me the man who is not passion's slave and I will wear him in my heart's core" and mocks Laertes for his excessive display of grief.
to:
** Gaius Caius Marcius Coriolanus from ''Theatre/{{Coriolanus}}''. He is the badass who runs into a city ''without backup'' and comes out a) alive alive, b) victorious, and b) victorious. c) covered in blood and thrilled with it. And that's just the first couple of acts.
** And although ''Theatre/{{Hamlet}}'' is pretending to be mad and ineffectual, he truly seethes with the desire for vengeance: ''"Now could I drink '''hot blood''',/And do such bitter business as the day/Would quake to look on."
*** Right, which is why after the line he proceeds to go chew out his mother instead, and when he does run into the target of his revenge on the way (by accident) he ignores the opportunity to kill him in prayer so that he won't go to heaven, a cool and level-headed response. The point is that Hamlet is a peaceful reflective individual forced into the role of avenger despite it not suiting his character, and the whole play is about his hesitation and doubt, making this a deconstruction of traditional revenge tragedies.
*** In fact Hamlet castigates himself for NOT being hot-blooded ("I am pidgeon-livered and lack gall..."). He claims to admire hot-blooded individuals, such as the neighbouring countries who fight over "a straw", but also says to Horatio "Give me the man who is not passion's slave and I will wear him in my heart's core" and mocks Laertes for his excessive display of grief.act.
** And although ''Theatre/{{Hamlet}}'' is pretending to be mad and ineffectual, he truly seethes with the desire for vengeance: ''"Now could I drink '''hot blood''',/And do such bitter business as the day/Would quake to look on."
*** Right, which is why after the line he proceeds to go chew out his mother instead, and when he does run into the target of his revenge on the way (by accident) he ignores the opportunity to kill him in prayer so that he won't go to heaven, a cool and level-headed response. The point is that Hamlet is a peaceful reflective individual forced into the role of avenger despite it not suiting his character, and the whole play is about his hesitation and doubt, making this a deconstruction of traditional revenge tragedies.
*** In fact Hamlet castigates himself for NOT being hot-blooded ("I am pidgeon-livered and lack gall..."). He claims to admire hot-blooded individuals, such as the neighbouring countries who fight over "a straw", but also says to Horatio "Give me the man who is not passion's slave and I will wear him in my heart's core" and mocks Laertes for his excessive display of grief.
Is there an issue? Send a MessageReason:
None
Changed line(s) 18,19 (click to see context) from:
** And then there's Phillip, who immediately leaps to his father's defence with righteous indignation when he is insulted.
to:
** And then there's Phillip, who immediately leaps to his father's defence with righteous indignation when he is insulted.
insulted, while describing how he intends to follow in his footsteps.
Is there an issue? Send a MessageReason:
None
Changed line(s) 16 (click to see context) from:
to:
* Hoo boy - ''Theatre/{{Hamilton}}'' is so HotBlooded that he gets not just one, but ''five'' separate {{Quarreling Song}}s, and the musical doesn't even cover such historical facts as the real Hamilton's rather prodigious dueling record (''eleven'' individual duel challenges over his just under 50 years, although to his credit not one of them ever reached the field). Consider the above ''Theatre/SeventeenSeventySix'' example and it's really no wonder that the only interaction between Hamilton and Adams in the show involves the latter insulting the former and the former giving a no holds barred ''vicious'' response (though unfortunately, unless you look up the cut rap, you're left to imagine most of it).
** Aside from Hamilton, each of the others in the revolutionary crew seem to be the same, giving their boastful rapping. In real life, Laurens was probably the hottest (blooded, anyway), which is probably part of the reason he and Hamilton were so close.
** And then there's Phillip, who immediately leaps to his father's defence with righteous indignation when he is insulted.
** Aside from Hamilton, each of the others in the revolutionary crew seem to be the same, giving their boastful rapping. In real life, Laurens was probably the hottest (blooded, anyway), which is probably part of the reason he and Hamilton were so close.
** And then there's Phillip, who immediately leaps to his father's defence with righteous indignation when he is insulted.
Is there an issue? Send a MessageReason:
None
Changed line(s) 15,16 (click to see context) from:
** Mercutio and Tybalt from ''Theatre/RomeoAndJuliet''. Romeo himself is actually not that far off. He not only is more than able to keep up with Mercutio's pranks, but the reason why he got kicked out of Mantua in Act 3 was him losing his temper when Tybalt fatally stabbed Mercutio and retaliating via killing Tybalt himself.
to:
** Mercutio and Tybalt from ''Theatre/RomeoAndJuliet''. Romeo himself is actually not that far off. He off: he not only is more than able to keep up with Mercutio's pranks, but the reason why he got kicked out of Mantua in Act 3 was him losing his temper when Tybalt fatally stabbed Mercutio and retaliating via killing Tybalt himself.
Is there an issue? Send a MessageReason:
None
Changed line(s) 3,12 (click to see context) from:
* SweeneyTodd. Bonus points for being covered in it.
* Hotspur from Creator/WilliamShakespeare's ''HenryIV, Part 1''.
* In [[Theatre/SeventeenSeventySix 1776]], John Adams is so hot-blooded that the temperature of the room shoots up to 90 degrees whenever he's around.
* Ditto, Coriolanus from Shakespeare's ''Coriolanus''. He is the badass who runs into a city ''without backup'' and comes out a) alive and b) victorious. And that's just the first couple of acts.
* And although Theatre/{{Hamlet}} is pretending to be mad and ineffectual, he truly seethes with the desire for vengeance: ''"Now could I drink '''hot blood''',/And do such bitter business as the day/Would quake to look on."
** Right, which is why after the line he proceeds to go chew out his mother instead, and when he does run into the target of his revenge on the way (by accident) he ignores the opportunity to kill him in prayer so that he won't go to heaven, a cool and level-headed response. The point is that Hamlet is a peaceful reflective individual forced into the role of avenger despite it not suiting his character, and the whole play is about his hesitation and doubt, making this a deconstruction of traditional revenge tragedies.
*** In fact Hamlet castigates himself for NOT being hot-blooded ("I am pidgeon-livered and lack gall..."). He claims to admire hot-blooded individuals, such as the neighbouring countries who fight over "a straw", but also says to Horatio "Give me the man who is not passion's slave and I will wear him in my heart's core" and mocks Laertes for his excessive display of grief.
* Come on, Shakespeare fans, what about [[Theatre/RomeoAndJuliet Mercutio and Tybalt]]?
** Romeo is actually not tha far off. He not only was more than able to keep up with Mercutio's pranks, but the reason why [[spoiler: he got kicked out of Mantua]] was him going HotBlooded when [[spoiler: Tybalt fatally stabbed Mercutio]] and retaliating via [[spoiler: killing Tybalt himself.]]
* In Creator/RichardWagner's ''Theatre/{{Siegfried}}'', it's ironic for Siegfried to talk about Fafner's blood burning like fire, given that he spent the end of the first act hammering on Nothung while singing at the top of his voice ("Hoho! Hoho! Hohei!")
* Hotspur from Creator/WilliamShakespeare's ''HenryIV, Part 1''.
* In [[Theatre/SeventeenSeventySix 1776]], John Adams is so hot-blooded that the temperature of the room shoots up to 90 degrees whenever he's around.
* Ditto, Coriolanus from Shakespeare's ''Coriolanus''. He is the badass who runs into a city ''without backup'' and comes out a) alive and b) victorious. And that's just the first couple of acts.
* And although Theatre/{{Hamlet}} is pretending to be mad and ineffectual, he truly seethes with the desire for vengeance: ''"Now could I drink '''hot blood''',/And do such bitter business as the day/Would quake to look on."
** Right, which is why after the line he proceeds to go chew out his mother instead, and when he does run into the target of his revenge on the way (by accident) he ignores the opportunity to kill him in prayer so that he won't go to heaven, a cool and level-headed response. The point is that Hamlet is a peaceful reflective individual forced into the role of avenger despite it not suiting his character, and the whole play is about his hesitation and doubt, making this a deconstruction of traditional revenge tragedies.
*** In fact Hamlet castigates himself for NOT being hot-blooded ("I am pidgeon-livered and lack gall..."). He claims to admire hot-blooded individuals, such as the neighbouring countries who fight over "a straw", but also says to Horatio "Give me the man who is not passion's slave and I will wear him in my heart's core" and mocks Laertes for his excessive display of grief.
* Come on, Shakespeare fans, what about [[Theatre/RomeoAndJuliet Mercutio and Tybalt]]?
** Romeo is actually not tha far off. He not only was more than able to keep up with Mercutio's pranks, but the reason why [[spoiler: he got kicked out of Mantua]] was him going HotBlooded when [[spoiler: Tybalt fatally stabbed Mercutio]] and retaliating via [[spoiler: killing Tybalt himself.]]
* In Creator/RichardWagner's ''Theatre/{{Siegfried}}'', it's ironic for Siegfried to talk about Fafner's blood burning like fire, given that he spent the end of the first act hammering on Nothung while singing at the top of his voice ("Hoho! Hoho! Hohei!")
to:
* Hotspur from Creator/WilliamShakespeare's ''HenryIV, Part 1''.
*
* And although Theatre/{{Hamlet}} is pretending to be mad and ineffectual, he truly seethes with the desire for vengeance: ''"Now could I drink '''hot blood''',/And do such bitter business as the day/Would quake to look on."
** Right, which is why after the line he proceeds to go chew out his mother instead, and when he does run into the target of his revenge on the way (by accident) he ignores the opportunity to kill him
*** In fact Hamlet castigates himself for NOT being hot-blooded ("I am pidgeon-livered and lack gall..."). He claims to admire hot-blooded individuals, such as the neighbouring countries who fight over "a straw", but also says to Horatio "Give me the man who is not passion's slave and I will wear him in my heart's core" and mocks Laertes for his excessive display of grief.
*
** Romeo is actually not tha far off. He not only was more than able to keep up with Mercutio's pranks, but the reason why [[spoiler: he got kicked out of Mantua]] was him going HotBlooded when [[spoiler: Tybalt fatally stabbed Mercutio]] and retaliating via [[spoiler: killing Tybalt himself.]]
* In Creator/RichardWagner's ''Theatre/{{Siegfried}}'', it's ironic for Siegfried to talk about Fafner's blood burning like fire, given that he spent the end of the first act hammering on Nothung while singing at the top of his voice ("Hoho! Hoho! Hohei!")
Changed line(s) 14,16 (click to see context) from:
* CyranoDeBergerac.
* Booth in Theatre/{{Assassins}}.
* Booth in Theatre/{{Assassins}}.
to:
* CyranoDeBergerac.
In Creator/RichardWagner's ''Theatre/TheRingOfTheNibelung'', it's ironic for Siegfried to talk about Fafner's blood burning like fire, given that he spent the end of the first act hammering on Nothung while singing at the top of his voice ("Hoho! Hoho! Hohei!")
*Booth ''Theatre/SweeneyToddTheDemonBarberOfFleetStreet''. Bonus points for being covered in Theatre/{{Assassins}}.
it.
* Creator/WilliamShakespeare:
** Gaius Marcius Coriolanus from ''Theatre/{{Coriolanus}}''. He is the badass who runs into a city ''without backup'' and comes out a) alive and b) victorious. And that's just the first couple of acts.
** And although ''Theatre/{{Hamlet}}'' is pretending to be mad and ineffectual, he truly seethes with the desire for vengeance: ''"Now could I drink '''hot blood''',/And do such bitter business as the day/Would quake to look on."
*** Right, which is why after the line he proceeds to go chew out his mother instead, and when he does run into the target of his revenge on the way (by accident) he ignores the opportunity to kill him in prayer so that he won't go to heaven, a cool and level-headed response. The point is that Hamlet is a peaceful reflective individual forced into the role of avenger despite it not suiting his character, and the whole play is about his hesitation and doubt, making this a deconstruction of traditional revenge tragedies.
*** In fact Hamlet castigates himself for NOT being hot-blooded ("I am pidgeon-livered and lack gall..."). He claims to admire hot-blooded individuals, such as the neighbouring countries who fight over "a straw", but also says to Horatio "Give me the man who is not passion's slave and I will wear him in my heart's core" and mocks Laertes for his excessive display of grief.
** Hotspur from ''Theatre/HenryIV, Part 1''.
** Mercutio and Tybalt from ''Theatre/RomeoAndJuliet''. Romeo himself is actually not that far off. He not only is more than able to keep up with Mercutio's pranks, but the reason why he got kicked out of Mantua in Act 3 was him losing his temper when Tybalt fatally stabbed Mercutio and retaliating via killing Tybalt himself.
*
* Creator/WilliamShakespeare:
** Gaius Marcius Coriolanus from ''Theatre/{{Coriolanus}}''. He is the badass who runs into a city ''without backup'' and comes out a) alive and b) victorious. And that's just the first couple of acts.
** And although ''Theatre/{{Hamlet}}'' is pretending to be mad and ineffectual, he truly seethes with the desire for vengeance: ''"Now could I drink '''hot blood''',/And do such bitter business as the day/Would quake to look on."
*** Right, which is why after the line he proceeds to go chew out his mother instead, and when he does run into the target of his revenge on the way (by accident) he ignores the opportunity to kill him in prayer so that he won't go to heaven, a cool and level-headed response. The point is that Hamlet is a peaceful reflective individual forced into the role of avenger despite it not suiting his character, and the whole play is about his hesitation and doubt, making this a deconstruction of traditional revenge tragedies.
*** In fact Hamlet castigates himself for NOT being hot-blooded ("I am pidgeon-livered and lack gall..."). He claims to admire hot-blooded individuals, such as the neighbouring countries who fight over "a straw", but also says to Horatio "Give me the man who is not passion's slave and I will wear him in my heart's core" and mocks Laertes for his excessive display of grief.
** Hotspur from ''Theatre/HenryIV, Part 1''.
** Mercutio and Tybalt from ''Theatre/RomeoAndJuliet''. Romeo himself is actually not that far off. He not only is more than able to keep up with Mercutio's pranks, but the reason why he got kicked out of Mantua in Act 3 was him losing his temper when Tybalt fatally stabbed Mercutio and retaliating via killing Tybalt himself.
Is there an issue? Send a MessageReason:
None
Changed line(s) 1,2 (click to see context) from:
to:
Changed line(s) 5 (click to see context) from:
* In Theatre/[[SeventeenSeventySix 1776]], John Adams is so hot-blooded that the temperature of the room shoots up to 90 degrees whenever he's around.
to:
* In Theatre/[[SeventeenSeventySix [[Theatre/SeventeenSeventySix 1776]], John Adams is so hot-blooded that the temperature of the room shoots up to 90 degrees whenever he's around.
Is there an issue? Send a MessageReason:
None
Added line(s) 3 (click to see context) :
Changed line(s) 3 (click to see context) from:
* In Theatre/{{1776}}, John Adams is so hot-blooded that the temperature of the room shoots up to 90 degrees whenever he's around.
to:
* In Theatre/{{1776}}, Theatre/[[SeventeenSeventySix 1776]], John Adams is so hot-blooded that the temperature of the room shoots up to 90 degrees whenever he's around.
Added DiffLines:
Is there an issue? Send a MessageReason:
None
Added DiffLines:
* SweeneyTodd. Bonus points for being covered in it.
Is there an issue? Send a MessageReason:
None
Added DiffLines:
* Hotspur from Creator/WilliamShakespeare's ''HenryIV, Part 1''.
* In Theatre/{{1776}}, John Adams is so hot-blooded that the temperature of the room shoots up to 90 degrees whenever he's around.
* Ditto, Coriolanus from Shakespeare's ''Coriolanus''. He is the badass who runs into a city ''without backup'' and comes out a) alive and b) victorious. And that's just the first couple of acts.
* And although Theatre/{{Hamlet}} is pretending to be mad and ineffectual, he truly seethes with the desire for vengeance: ''"Now could I drink '''hot blood''',/And do such bitter business as the day/Would quake to look on."
** Right, which is why after the line he proceeds to go chew out his mother instead, and when he does run into the target of his revenge on the way (by accident) he ignores the opportunity to kill him in prayer so that he won't go to heaven, a cool and level-headed response. The point is that Hamlet is a peaceful reflective individual forced into the role of avenger despite it not suiting his character, and the whole play is about his hesitation and doubt, making this a deconstruction of traditional revenge tragedies.
*** In fact Hamlet castigates himself for NOT being hot-blooded ("I am pidgeon-livered and lack gall..."). He claims to admire hot-blooded individuals, such as the neighbouring countries who fight over "a straw", but also says to Horatio "Give me the man who is not passion's slave and I will wear him in my heart's core" and mocks Laertes for his excessive display of grief.
* Come on, Shakespeare fans, what about [[Theatre/RomeoAndJuliet Mercutio and Tybalt]]?
** Romeo is actually not tha far off. He not only was more than able to keep up with Mercutio's pranks, but the reason why [[spoiler: he got kicked out of Mantua]] was him going HotBlooded when [[spoiler: Tybalt fatally stabbed Mercutio]] and retaliating via [[spoiler: killing Tybalt himself.]]
* In Creator/RichardWagner's ''Theatre/{{Siegfried}}'', it's ironic for Siegfried to talk about Fafner's blood burning like fire, given that he spent the end of the first act hammering on Nothung while singing at the top of his voice ("Hoho! Hoho! Hohei!")
* In ''Theatre/{{Electra}}'', the title character's passion is her FatalFlaw.
* CyranoDeBergerac.
* Booth in Theatre/{{Assassins}}.
----
* In Theatre/{{1776}}, John Adams is so hot-blooded that the temperature of the room shoots up to 90 degrees whenever he's around.
* Ditto, Coriolanus from Shakespeare's ''Coriolanus''. He is the badass who runs into a city ''without backup'' and comes out a) alive and b) victorious. And that's just the first couple of acts.
* And although Theatre/{{Hamlet}} is pretending to be mad and ineffectual, he truly seethes with the desire for vengeance: ''"Now could I drink '''hot blood''',/And do such bitter business as the day/Would quake to look on."
** Right, which is why after the line he proceeds to go chew out his mother instead, and when he does run into the target of his revenge on the way (by accident) he ignores the opportunity to kill him in prayer so that he won't go to heaven, a cool and level-headed response. The point is that Hamlet is a peaceful reflective individual forced into the role of avenger despite it not suiting his character, and the whole play is about his hesitation and doubt, making this a deconstruction of traditional revenge tragedies.
*** In fact Hamlet castigates himself for NOT being hot-blooded ("I am pidgeon-livered and lack gall..."). He claims to admire hot-blooded individuals, such as the neighbouring countries who fight over "a straw", but also says to Horatio "Give me the man who is not passion's slave and I will wear him in my heart's core" and mocks Laertes for his excessive display of grief.
* Come on, Shakespeare fans, what about [[Theatre/RomeoAndJuliet Mercutio and Tybalt]]?
** Romeo is actually not tha far off. He not only was more than able to keep up with Mercutio's pranks, but the reason why [[spoiler: he got kicked out of Mantua]] was him going HotBlooded when [[spoiler: Tybalt fatally stabbed Mercutio]] and retaliating via [[spoiler: killing Tybalt himself.]]
* In Creator/RichardWagner's ''Theatre/{{Siegfried}}'', it's ironic for Siegfried to talk about Fafner's blood burning like fire, given that he spent the end of the first act hammering on Nothung while singing at the top of his voice ("Hoho! Hoho! Hohei!")
* In ''Theatre/{{Electra}}'', the title character's passion is her FatalFlaw.
* CyranoDeBergerac.
* Booth in Theatre/{{Assassins}}.
----
