However, the most incredible of all these passages is found in Act 4, Scene 1, Lines 164-177, where Macbeth contemplates his inner thoughts to himself. Here, Macbeth speaks to time, providing the audience with a more in depth image of its importance. Also, Macbeth’s diction is short and fierce, further pushing the play’s theme of insanity slowly taking over Macbeth’s mind. Lastly, the passage faultlessly illustrates Macbeth’s fatal flaw of ambition slowly ruining his inner being. With these things taken into account, it will be effortless for one to show just how lovely this passage is
The clever technique Shakespeare uses allows al the characters to perceive Iago as ‘honest’ and quite pure and heavenly like. When all the while he is nothing but a lying serpent more like the devil than any heavenly like creature. At the start of act 2 scene 3 we see that Iago attempts to force Cassio into lecherous thoughts towards Desdemona. He is tempting Cassio into saying something he shouldn’t or something he may sooner regret. The key part of this however is that Iago is tempting Cassio, very like the devil himself tries to tempt us.
Furthermore, in Act 5 Scene 6 she says ‘O my greatest sin lay in my blood./Now my blood pays for't.' The word ‘blood’ has a double meaning, for passion as well as red blood cells, showing that her body desires a better sexual partner than what she has with Camillo, emphasising the controlling nature of passion within her. For a church-going Jacobean audience at the time the play was written, Vittoria is allowing her sexual appetites to override her sense of morality,
BMadness is a state of mind that is often explored in William Shakespeare’s dramas in order to evoke a reaction—often of sympathy or pity—from the audience. While this madness often ends in an undesirable manner, none is more tragic and appealing than Hamlet’s Ophelia. While her lines are set in Shakespeare’s original script, her actions must be directed to achieve the appropriate response from the audience; in the 1996 version of Hamlet, directed by Kenneth Branagh, Ophelia’s deranged state of mind is portrayed in such a way that entices the audience and brings them to tears. The slightly modern nineteenth century setting acts as a common ground between Shakespeare’s Elizabethan era and today’s modern world. Branagh’s decision to leave the script exactly as Shakespeare wrote it highlights to complexity of the story and adds to the appeal.
Shakespeare manipulates our response to Richard by implying in the text that he poisoned his wife Anne in order to gain a political marriage to his niece, Elizabeth of York. He is a master of dissembling and a man undeniably without charm, regardless his physical deformity. Finally, he possesses a sense of irony and a sardonic wit, which extensively explains his connection with audiences and readers. Shakespeare’s use of soliloquies enables us to see Richard’s duplicitous nature. He masterfully manipulates our response into having a grudging admiration for his skilful use of language.
He uses and controls others to diminish the psychological wellbeing of Othello. All of the characters in the book trust him including Othello, which makes him more deceitful. In the beginning of the play Iago say’s “I follow him to serve my turn upon him”. This just reinforces the fact that Iago is fraudulent and untrustworthy. Iago also say’s “My lord, you know I love you” which juxtaposes his previous quote “I hate the moor”.
However, Shakespeare presents Benedick’s change in a more positive and light-hearted manner, whilst Macbeth’s change revolves around negativity and wrong-doing as the approach to each individual genre is different, where comedies are humorous and happy, whilst tragedies are gloomy and grief-stricken. INTRO: The opening scene of the play, ‘Much Ado About Nothing’, is significant as Shakespeare introduces the genre of the play as a romantic comedy through the comic names given to Benedick and Beatrice by each other. Beatrice nicknames Benedick as “Signor Mountanto”, which uses sexual innuendo expressing their love hate relationship, created by the definition of the word ‘montanto’ (technical term for an upward thrust in fencing). This insulting, but hilarious comment would have only been understood by the Shakespearean audience. Opposing this, Benedick personifies disdain in the form of Beatrice, by calling her “Lady Disdain”, suggesting that she is in fact, the epitome of disdain or contempt.
In this essay, I am going to explain how Shakespeare manages to sympathize with these protagonists. During the play of Romeo and Juliet, Shakespeare manages to effectively describe the tragedy of their relationship. He achieves this by creating sympathy for the two protagonists, Romeo and Juliet, which consequently affects the audience of the play. At the beginning of the play the audience is told that it will all end in disaster. This is emphasised with the fact that the two young lovers foreshadow their own death.
You are also shown straight away that the play is going to be a tragedy. This is an affective way to start Romeo and Juliet because you are tolled straight away what the play is about; the fact that Shakespeare started the prologue as a sonnet is to a very effective technique as a sonnet is formally know as being a love poem starting with a problem and then ending with the solution. Shakespeare begins with two bawdy characters (Samson and Gregory) conversing and making crude sexual comments. This is the most basic portrayal of love as lust. This is good stage craft as there is contrast with more romantic movements.
William Shakespeare through one of his most well known plays portrays a tragic downfall of a king through his ambition and human weakness. Shakespeare develops the play Macbeth by showing the changes in the protagonist and the effects others have on him. Shakspeare's use of detail helps to show the changes in Macbeth through a gradual process. Before actually completing his horrendous act of killing the much loved King Duncan, Macbeth suffers mental conflict "having no spurs to prick the side of my intent" between the "vaulting ambition which leaps over itself and falls on the other" and the "deep damnation of his (Duncan's) taking off." At this point in time, scene 7 of the first act, Macbeth exposes sensitivity