New York: Routledge, 2005. Print.) Malvolio fulfills the role as the disgraceful, inferior person within Shakespeare’s “Twelfth Night”. The characters in ‘Twelfth Night’ despise Malvolio. Upon Malvolio’s entrance in Act II Scene V, Sir Toby states “here’s an overweening rogue!” (Act 2, scene 5, line 27) after plotting with Fabian and Maria to punish Malvolio, referring to him as a “little villain” (Act 2, scene 5, line 12).
His fingers become covered with a yellow stain and people think that he is hygienically unclean. He forces Toby to do the paper round but exploits him and does not give him his money which angers Toby (221); he has to pawn his rifles. He is referred to as a “sissy” because he initially he does not want to fight Arthur. He abuses him because he discards the almost-empty mustard bottle (171) and when Dwight strikes him despite his finger injury, Rosemary finally knows she must remove Toby from the household.
Claudius, who is “won to his shameful lust”, marries his brother’s wife. This act was forbidden by the church and was most likely considered sinful by the audience and by Shakespeare himself as it implies adultery. We see that Hamlet’s comparison of Claudius to a “satyr” to be quite accurate due to Claudius’ lecherous character since he commits sin to feed his shameful lust. Claudius commits these acts with one thought in mind: to reach his own goals. This
Second, this shows that Tybalt was malicious when it came to the Montagues and he felt hate whenever he saw anyone of them. To sum it all up, Tybalt's unfriendly and resentful approach to the Montagues were one of the many reasons he bid farewell early in the story. Tybalt's turbulence was another one of the main reasons of his early termination in Romeo and Juliet. As an example, in the first act, Tybalt threatened Benvolio and said, "Turn thee, Benvolio. Look upon thy death."
His anger caught his emotions during his clash with Lenina. 3. In the incidents of John rejecting Bernard’s dinner, Helmholtz disagrees about love and family. John and Lenina reflect love; both characters try to clear their position. For Bernard, his opposition comes from anger, jealousy, and vengeance, “Helmholtz and the savage took to one another”, “Bernard felt… a pang of jealously” (182).
Another time mistreatment is shown is when Shylock says to Antonio “You call me misbeliever, cut-throat dog, and spit upon my Jewish gaberdine” (1.3.110-111). Antonio calls Shylock rude names and even spits on Shylock’s Jewish gaberdine, which is a very disrespecting and rude act. Shylock has done nothing to harm Antonio, but because Shylock is a Jew and Antonio is Christian, Antonio continues to treat Shylock this way. When Antonio says “I am as like to call thee so again, to spit on thee again, to spurn thee too” (1.3.-128-129), he impolitely refers to Shylock as ‘thee’ instead of ‘you’ which is proving his racism towards Shylock. Although Shylock is standing right near Antonio, Antonio continues to talk about Shylock as though he isn’t there and as if he’s worthless.
(Billy and Connor 81-82) | - Billy and Connor, Allusions, Tangient LLC, Web. 16 July 2013 | It out herods Herod (3, 2,14) | It would be worse than when King Herod ranted. | It develops the theme of insanity in Hamlet because Hamlet is threatening the players with severe punishment for performing the play in a way that Hamlet did not intend. Hamlet was saying the punishment would, “out (…) Herod, in that it alludes to King Herod and the awful things that he proved himself capable of while he was King” (Hannah Henson 10-11). | - Henson, Hannah, Act 3 Symbols and Allusions-Tori, Blogger, 8 November 2012, Web.
For instance, a quote from him states, “What, drawn, and talk of peace? I hate the word as I hate hell, all Montagues, and thee.” This quote is from when Tybalt is talking to Benvolio while he is trying to stop the fight from occurring in the first scene. Because it says that Tybalt hates peace, he must like to fight. I also assume that the reason that the Montagues hate the Capulets is a very old problem that never affected Tybalt himself so he really has no reason to hate Benvolio. This shows that he hates people that he may not know well enough.
Loneliness puts The Monster in a mentally unstable position. He believes that he is a monster for the reason being he was created by one. In comparison, Othello’s betrayal is demonstrated throughout the play, but especially through Iago when he confesses to the audience his plan to manipulate and destroy Othello’s love life with Desdemona. Although Othello trusts Iago with anything, Iago hates the “Moor” and is willing to do anything to destroy him. Iago feels that the best way to do so is by manipulating Othello telling him that his wife is cheating on him with Cassio, who Iago coincidently hates as well.
Hamlet assumes that Claudius is repenting for killing King Hamlet, as he is in a praying position. Shakespeare reveals that Hamlet does not kill Claudius in this scene because he wants to send Claudius to hell. Hamlet’s inaction at the end of this scene suggests little moral integrity, as the intent behind his inaction is certainly dark and cruel and overshadows his ‘noble’ characteristics until this point in the play. This makes the audience’s pathos towards his indecisive, tormented character decrease and increase towards the antagonist, Claudius, since he is portrayed to be very regretful, vulnerable in his soliloquy. Shakespeare carefully stages and dictates the entrance and exit of Hamlet in this scene to optimise the dramatic irony of the situation.