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. Othello exhibits a part of humans that is able to be tempted and deceived. While a good man at the start, Shakespeare uses this as a template to bring out the green-eyed monster of jealousy in Othello, as an attempt to highlight that quality in each of us. The dream speech in Act 3 Scene 3 Line 466 is where we see Iago makes this happen. As Iago ends Act 1 with his soliloquy, we become sure that dishonesty is one of his most revered qualities.
Petruchio, a wealthy and unmarried gentlemen from Verona, wishes a wife. Katherina is incredibly ill tempered and somewhat childish, however her large dowry is an irresistible temptation to Petruchio and he marries her against her vicious protests; however, due to her unfavourable temperament, he soon finds everything about her displeasing(?) and begins to ‘tame the shrew’. This taming is unconventionally achieved by (and so adequately described as) "kill[ing] a wife with kindness" (4, 1, 174). “I pray you, husband, be not so disquiet.
Priestley had witnessed the horrific events of both wars and realized the people in upper classes were still snobby and pessimistic when it came to changing their views in the class system. In creating Sheila's character, Priestley was hoping the audience would take on board his powerful message. Priestley uses a range of interesting techniques in order to present Sheila's change, the most obvious methods he uses is language techniques to convey certain messages. At the beginning of the play, Sheila is presented as a stereotypical middle class young woman - immature and spoilt. Priestley brings this out through Sheila's character through her childish language such as "I'm sorry Daddy and "go on Mummy".
In the sixteenth century people’s thoughts of sexism were a lot different then peoples today. Shakespeare wrote this play as a comedy. Shakespeare entertained his audience with drama, emotion, comedy, and betrayal. One of the ways he wrote comedies was using crude humor. Which includes sexual humor.
Shakespeare uses the dramatic device of the Machiavel to portray Iago who manipulates Othello in order to prompt jealousy within him. Iago reveals his plot to make the Moor jealous by marring Desdemona’s virtue in the eyes of Othello. As Iago’s plot unveils, Othello begins to descend into a kind of madness and seems to be in two states of mind about Desdemona’s fidelity and is tormented by the information Iago has manipulated. Othello highlights his change in attitudes towards Desdemona explaining that “Her name that was as fresh as Dian’s visage is now begrimed and black as mine own face.” This darkness/light imagery highlights how Othello feel separated to Desdemona by his ‘black’ face. This rapid change in language, portraying Desdemona as his ‘sweet’ Desdemona at the start of the play then later going on to call her an ‘excellent wretch’.
She has so much money that she does whatever she wants at anytime no matter how much it may cost. Upon meeting Gatsby, she fell in love with him but she could not marry a poor man because rich people did not marry poor people. She never forgets about Gatsby and moves on to meet Tom, marring him for his wealth not for personality. When meeting Gatsby again, she sees his wealth and his undying love for her. Gatsby, trying his best to attain her love, fails as fate becomes a problem as Wilson murders Gatsby.
In today’s society, we sometimes face deceptive characters that cause major problems due to their deceptive traits. This idea is especially true in the Shakespearean tragedy, Othello. With the theme of deception that is shown throughout the course of W. Shakespeare’s play, Othello, the main antagonist character, Iago, has clearly demonstrated it through his malicious and demonic actions to fulfill his need for jealousy and greed. In this essay, this will be shown through a detailed analysis of three various actions specifically caused by Iago’s deception: Othello’s dismissal of Cassio, the slapping of Desdemona by Othello in front of Lodovico, and lastly, the tragic ending, the killing of Desdemona by Othello during her sleep. In the first few scenes of the play, the readers experience first-hand some of Iago’s capabilities, in particular, his deceptive traits.
The play certainly has racist characters. Iago makes a number of racist statements, and Brabantio responds to them. But it's important that both of these are antagonists, not protagonists. Iago is the chief villain of the play. Brabantio is thesenex iratus of the first act, the angry father-figure who must be overcome so that the lovers can be together.
The extract I will be focusing on deals with the first insinuations of an affair between Cassio and Desdemona. Othello’s jealously and sense of inferiority in the process is key to his acceptance and belief of the idea. Iago plays on multiple factors already present in Othello to ensure that the Moor is sufficiently riled into accusing Desdemona. His insecurities stem from his intimate inexperience, his outsider status, his race and his lack of sophistication. Iago cunningly focuses on the inferiority Othello feels in Venetian society to undermine his confidence and seduce him into believing that his loyalty is true and Desdemona’s is false.
In the late 1600s, individuals to be considered 'mad' were thought to have been possessed by the devil or some other evil spirit, and so were mocked and considered dangerous and unapproachable (as suggested by Sir Toby in Act 3 Scene 4 “defy the devil”). In some ways, they weren't even thought of as the same species to conventionally 'normal' people. For this reason, an Elizabethan audience may find the joke to be comfortably within boundaries and possess the acumen necessary to find humour within the text and jokes. Another reason a 17th Century audience could consider the joke to be within the boundaries of comedy is the possibility of Malvolio being an ill-considered puritan to them. A puritan is a religious person who's personally opinionated line between what is wrong and what is right is absolute and solid.