Iago’s mendaciousness scorched Othello’s sanity beyond repair. Iago’s villainous behavior and Othello’s radical demeanor both stand for part of every man in contrasting ways. Each if those qualities is regrettably embedded within each of us. The qualities he thrives on throughout Othello, by William Shakespeare, are the ones we’re most ashamed of. In his soliloquy in Act 2 Scene 2 Line 380 he’s especially brutal towards Desdemona in his plans showing no shame what so ever.
In one scene, after an argument with his wife, then partner, Tony yells at them from his bath, “Who put this thing together? ME! That’s who?” Who do I trust? ME!” As Tony continues to shout, the camera zooms out to a bird’s eye view of the scene, and Tony’s figure contrasts with the large room – it is in this scene that he begins to alienate those around him. The fatal flaw is often the most important convention in any tragic hero story; Tony’s flaw is his complex and volatile personality.
‘Men were deceivers ever.’ To what extent can it be argued that Shakespeare’s presentation of men’s attitudes to women in ‘Much Ado about Nothing’ allows for comedy? In Much Ado about Nothing, it can be equally argued that men’s attitudes towards women are actually used for comedy purposes, and it can be argued that their attitudes aren’t. For this argument, the relationship between Beatrice and Benedick at the start of the play can be seen as comical to the audience, as they both claim to dislike each other and take pleasure in making rude remarks to one another. On the other hand, the relationship between Hero and Claudio could be seen as quite dark to the audience, as there are accusations and trust issues between the two. The quote ‘men were deceivers ever’ comes from Act 2 Scene 3 of the play, from the song that Balthasar sings.
Allusion | Literal Meaning | How it Develops Theme | Sources | I would have such a fellow whipped for o’erdoing Termagant (3,2,14) | I would whip a man for making a tyrant sounding too much like a tyrant. | Demostrates Hamlet’s insanity because Hamlet once was described as a kind and gentle person, but now Hamlet says he will whip the players if they overact this scene at all. Hamlet is becoming out of control and abusive. The word, Termagant, refers to, “an imaginary god held in Christendom to be worshipped by Muslimsand described as very violent”. (Billy and Connor 81-82) | - Billy and Connor, Allusions, Tangient LLC, Web.
Shakespeare does well in characterizing Sebastian and Antonio as not only traitorous younger brothers, but now as prideful, arrogant, and condescending. Sebastian is basically telling the boatswain to go to hell, with harsh diction that evokes images of a blotchy diseased man who is too insignificant and revolting to even be considered human. The first two adjectives Sebastian uses to characterize the boatswain, “brawling” and “blasphemous” seemingly roll off of Sebastian’s tongue by use of alliteration. The final two words in Sebastian’s raged rant get their own line, as they stand alone to deliver the ending dagger. Antonio’s quote shows that he isn’t shy in expressing his authority over a mere
Gellburg’s response to Slyvia’s outburst is not evidently displayed through speech, but through the use of Miller’s stage directions: ‘He is stock still; horrified, fearful’. The words ‘horrified’ and ‘fearful’ suggest that the news of such events came as a shock to him and undoubtedly indicate that he is affected by such news and is also stricken by Sylvia’s powerful, unexpected revelation of her feelings. Miller conveys the message that that Gellburg finally comes to understand his ignorant attitude as one that has led to his self-denial and self-hatred. It later becomes clear in the play that Gellburg is suppressing an important part of who he is, and in scene eleven, he confesses to a bottled-up desire of ‘going and sitting in the Schul with the old men and pulling the tallis over my head’. Sylvia, in her frustration with Gellburg, says ‘Don’t sleep with me again’ in a rather commanding manner.
Gas! Quick, boys! !” this achieves the sense of haste the writer was trying to achieve by using short sentences and exclamation marks to grab the attention of the reader, also this contrasts with the first verse describing the sense of exhaustion to the one of extreme panic and anger. “Owen’s fear of the ‘haunting flares’ creates the impression that war is a nightmarish and horrific experience. The simile that compares the soldiers with coughing ‘hags’ emphasises this and the corrupt, unhealthy connotations
Iago believes that Othello has greatly misjudged choosing “Michael Cassio”, over him, as Cassio is a “Mere prattle without practice”. Throughout this extract Iago dominates through sheer volume of words it only begins as a typical conversational pattern, then Iago dominates the text with his lengthy speeches. Shakespeare uses metaphors to make a contribution to the dramatic impact of this verse. For example, Iago uses the metaphor of a ship “blee’d and clam’d”. A ship is “bleed and calm’d” when the wind is taken out of it’s sails, and this reflects how Iago feels at being passed over promotion by Othello.
The narrator wanted to know if he was mad, or not. Phrases such as "I heard all things in the heaven and in earth" (62), tells the reader that the narrator indeed is mad, yet the narrator thinks himself not. In the following statement, "If still you think me mad, you will think so no longer when I describe the wise precautions I took for the concealment of the body" (64). This sequentially helps the reader form their opinion that this man is mad .Poe brilliantly manipulates first person point of view to his advantage in this story. It brings out many emotions in the readers mind.
More than these, I think Lear is motivated by his idea that he is a good man. One thing that supports is when Kent says “I’ll tell thee thou dost evil,” (Act I, Scene I, Line 175) and Shakespeare writes the king as reacting in a frenzy, going so far as to say “This moment is thy death,” (Act I, Scene I, Line 190). By portraying the king in this way, Shakespeare causes us to judge him as unstable and mental. While his actions thus far have been rash, him reacting in this way, and him banishing his daughter saying, “Here I disclaim all my paternal care, Propinquity and property of blood,” (Act I, Scene I, Lines 117-118). From these thing, it is made clear that Lear is not only rash and insecure but also thoughtless and stupid.