King Lear has a large cast of characters that can be classified as either loyal or deceitful. By the End of Act 1 the dissemblers Goneril and Regan have deceived King Lear, whereas in the secondary plot Edmund betrayed his half-brother Edgar and deceived his father, the Earl of Gloucester. As Goneril and Regan have profited, Edmund too intends to possess his sibling’s share by deception. In his soliloquy, Edmund reveals his character and his plan for advancement. On meeting Gloucester he draws attention to the letter by seeming to want to hide it.
We, as the reader, see this as unfair but they see it as normal as during the Victorian times, a husband could put their wife in a madhouse without question. Maud is presented at first as clueless as to what is going on around her but our opinion changes as we get further into the novel. “’and your last mistress’ she went on then, ‘she was quite a fine lady’” here, Maud is deceiving Sue, making her believe that she is ignorant to her plan. The way Waters’ makes the character of Maud act blind to what is going on around her is how she deceives the reader, by making them believe one thing and then revealing the other. Maud makes Sue believe that she is a lovely, kind person to aid her deception.
Similarly in The Duchess of Malfi, when the Duchess’ attempt to deceive her brothers and conceal her marriage leads to her death. However self-deception is also a recurrent theme in both of the plays, in Othello, it can be argued that Othello’s self- deception proves just as destructive as Iago’s, as by deceiving himself of his true nature and labelling himself as “one not easily jealous,” he continually supresses his feelings of inner turmoil until he breaks under the influence of Iago. F R Leavis agreed with this stating, “The mind that undoes [Othello] is not Iago’s but his own.” The role of deception would be nowhere near as essential to the play without the influence of Iago; described by AC Bradley as the “artist of evil” his ruthless manipulation of the other characters in the play ensures not only the destruction of Othello, but his own. Self- deception plays a crucial role within Othello and The Duchess of Malfi; it allows the audience to see further into the characters personality and gain a deeper understanding of them as a character. Othello himself is the most palpable example of self- deception within the plays as from when the audience is first introduced to him in Act One Scene Two, he believes
Al Johri Ms. Hamilton English III Honors 14 September 2009 In Arthur Miller's classic play, the Crucible, Act II, Scene II was deliberately removed. This scene largely consisted of a heated conversation between the two protagonists of the play, Abigail Williams and John Proctor. At first, Abigail believes that Proctor has finally come to marry her; however, this misconception is cleared when Proctor releases his wrath upon her due to Abigail's baseless accusation of witchcraft upon his wife, Elizabeth. As the scene progresses, the reader sees how Abigail becomes so wrapped up in her lies and witchcraft, consequently diminishing her intelligence, and what little respect she had in the reader's eyes. The reason the scene was cut from the play lies in both the significance of the conversation and what it revealed about the John Proctor in terms of his affair and his character.
However, when he focuses on Hutchinson herself, his attitude becomes ambivalent. Hutchinson has transgressed the limits decrees for her sex and will soon be imprisoned by men, yet Hawthorne marvels at her confident sexuality and superior mind. He acknowledges the free flight of the imagination unfettered by gender, but he believes that women must pay for this gift of her peculiar “loveliness”. Hutchinson has controversial abilities, so Hawthorne holds an ambivalent attitude to her. Although he admires her, he forbids himself such emotions and censures what he fails to suppress and judges Hutchinson severely.
He wants to find out more about Hester Prynne secret lover, he feels like the minster would know that information. As of Chillingworth moves in the minster slow lee begins to die. Chillingworth plans the revenge on his wife. He disrespected his wife by not telling Hester it was him all along. Chillingworth found out the secret lover is Dimmesdeal.
(http://www.zelo.com/firstnames/) It's a bit ironic compared to the Alison in the story, considering she has been having an affair with a man that her husband is renting a room to. The name Alison being given to this character is a cover up of who she truly is; just as she is tricking her husband, she is also tricking readers into thinking she is an honest, noble person. Her name goes to better exemplify how everything about Alison is not what it appears to be. Alison’s relationships with others are very complex. Alison and her husband do not have the typical loving marriage; he is many years her senior and she is basically a trophy wife to him.
Daisy is seeing Gatsby behind her husbands, toms, back. However, Tom is having an affair with Myrtle, but her husband doesn’t find out that until the end of the novel. Wilson, Myrtles husband, when he found out he told Myrtle, “God knows what you’ve been doing, everything you’ve been doing. You may fool me, but you can’t fool god.”(pg.160) More immorality took place in the novel
He insults Polonius calling him a Whore-Monger. After this exchange Polonius remarks “Though this be madness, yet there is method in't” (II, II, 204). Meaning that Hamlet could be mad but that there seems to be intent behind his madness. When Rozencranz and Guildenstern visit Hamlet he receives them kindly until he learns they are spying for his mother. He then increases his feigned madness.
Wuthering Heights and Madame Bovary both gain much of their power as novels from the ways in which they use setting to frame the action, create atmosphere and convey meanings. Illustrate and compare the uses of setting in the two novels. (Note: you will need to use some carefully selected quotations from both texts to exemplify your points. Such passages are not included in the word-count.) 3.