It is through the comparison of the Othello’s language at the start of the scene and his language as the story progresses that Othello’s loss of control and depravity of his mind is reflected. At the start of the scene, Othello presents himself as confident: in his love with Desdemona and within himself. He is loving and devoted towards his new wife stating that he “will deny thee nothing”; although as the scene progresses, it is clear that Othello is losing control of his mind as he is overcome by jealousy and rage. The man behind this calculating act is Iago. Shakespeare uses the dramatic device of the Machiavel to portray Iago who manipulates Othello in order to prompt jealousy within him.
The Fools songs, riddles and jokes are a source of comic relief, used to break up the intensity of scenes. The Fool appears to have a deceptively simple part in the play when in actual fact his role is of key significance. The Fool and Lear have a fascinating relationship throughout the play. Lear seems to depend on his Fool increasingly to be his voice of reason or his conscience, because he reminds Lear of all his mistakes and manipulates his feelings into realising them. This is a great irony as the King who is supposed to be wise is in-fact a fool, yet the Fool himself is full of
As Othello’s love for Iago grew stronger, his love for Desdemona began to fade. In Othello’s case, he was blinded by love. In Act V, Scene ii of the play, Othello has believed all of Iago’s lies, placing full trust in him and ready to end Desdemona’s life. He says to her: “Then you must speak Of one who loved not wisely, but too well Of one not easily jealous but, being wrought, Perplexed in the extreme; of whose hand, Like the base Indian, threw a pearl away. Richer than all his tribe.” Othello believes that Desdemona too much and was blind to her “unfaithfulness”.
Othello says to her “It gives me wonder great as my content to see you here before me. O my soul’s joy!” (2.1.199-200). These beautiful and loving words are soon changed to hostility and rage with the thought of Desdemona’s betrayal. Both Desdemona and Hero are accused of being unfaithful through presented “ocular proof”, they are both disgraced by the leading male role, and they are young and inexperienced in the ways of love and both women are extremely forgiving after they have been mistreated by their suitors. Much Ado about Nothing was written by William Shakespeare as a comedy, but it could have very well been turned into a tragedy comparable to Othello.
The hero must have a reversal of fortune brought by the hero’s tragic flaw although the downfall will not be a complete loss. Near the end of the play the hero will gain some sort of self-knowledge or have a sense of realisation in which the audience will somewhat feel satisfied. In order to have a tragedy, as Aristotle said, feeling Catharsis (feeling sympathy and making a link with the character) is also very important as this helps us cleanse our emotions through the ending. An example to demonstrate what Aristotle’s definition of a ‘tragic hero’ is Othello. In the beginning of the Othello, we feel an immediate connection with him as we distinguish that he is an honourable man and also very noble.
One of Gerald’s early lines is: “I drink to you – and hope I can make you as happy as you deserve to be.” Gerald’s tone here is warm and affectionate; it seems that he wants the very best for Sheila. It is unthinkable, at this stage, that he would ever do anything to hurt or betray her. Similarly, Sheila jokes about going shopping for “[Gerald’s] benefit”. Sheila is naïve, quite immature for her age, and impressionable. She desperately wants to please her husband-to-be.
Romeo and Juliet’s love, like the love of the youth, is acted upon very quickly and impulsively. They are impatient and do not stop and think about the consequences of their actions. Their immature and inexperienced management of their love passion for each other ultimately results in their death. Think about Romeo in the very beginning of the play, when he talks about Rosaline. He describes her looks as he says: "O, she is rich in beauty, only poor".
At first she is very angry because she feels herself betrayed, but at least Gwendolen forgives Jack and they stay togheter until their life end. Critical Statement: In my opinion, "The Importance of Being Earnest" is one of the most wittiest and well written plays I have read so far for two reasons. First, it's the brilliance and style of Wilde's writing that facinated me. The plot, even if you don't think about it were deeply , is funny and intelligently composed; leading to a rather unexpected ending the characters are differentiated- and what I particullary liked about this point was that this applies to every person in the play, not only two or three, which is often the case in some plays or books. But the real highlights are the dialoogues, which are
Maria is a clever and daring waiting-gentlewoman of Olivia. These three characters help to create comedy. For example, in Act I scene III, When Sir Toby introduce Maria to Sir Andrew, Sir Andrew makes a fool of himself by repeatedly getting her name wrong. After flattered by Sir Toby, Sir Andrew ended the scene by showing off his
The final scene set in serene Belmont, opens with Lorenzo and Jessica’s playful banter. Their references reflect the harmonious nature of love (Troilus climbs a wall longing for Cressida, Dido summons her lover, and Medea gathers enchanted herbs for Aeson). But, while their shared repetitions of “In such a night” reflect balance and unity they also hint at tragedy and loss. The audience would have understood the dark side of their allusions (Cressida betrays Troilus, Aenas deserts Dido, and Medea leaves Aeson). Thus, although Shakespeare has left room for his audience to come to their own conclusions, the love and harmony exhibited in the final scene does remain in stark contrast to the racial hatred displayed in the trial scene.