Benedick’s desire to know what Beatrice truly thinks of him is a sign of the love he feels for her, yet has chosen to not yet acknowledge it, even to himself. Benedick disguises himself so that he can freely talk to Beatrice and her opinions about himself—knowing that if he were to ask her as himself normally, he would not receive an accurate answer. Unbeknownst to him however, Beatrice realizes who he is and continues the witty war, relishing in insulting him once again, “He is the prince’s jester, a very dull fool”. Benedick’s response to this is quite important, because Shakespeare again uses
Q3 (122). It is evident that Sheba’s moral dilemma has started to take presence, as she tries to tame her inner urges to society’s inference of legality. Bathsheba’s affair makes her morally incompetent. The absence of her judgement leads her to perpetuate her affair with Connolly. This affair becomes unsettling because it perturbs the moral framework of those observing it.
Iago manipulates Othello by making him suspicious through inference, “Ha I like not that”. Iago mutters this in act 3 scene 3 when he sees Desdemona and Cassio talking. Iago hints that he knows something making sure Othello can hear yet making it subtle enough to pretend that he didn’t want him to know. Iago then pretends to be reluctant to tell Othello about Desdemona, “Utter my thoughts! Why, say they are vile and false?” He tells Othello just enough to intrigue him; he does this by asking leading questions, “Did Micheal Cassio when you wooed my lady, know of your love?” Iago exasperates Othello by revealing so little, “I did not think he had been acquainted with her”.
The prince’s fool! Ha...? Bendick feels very bad for the things that Betrice think about him and we can see that Benedick cares about what Beatrice thinks of
Through his conversation with the Bennets, Jane Austen portrays the way in which Mr Collins is pretentious and pompous. Elizabeth and Mr Bennet make clear to the reader the fact that he is conceited; yet he still maintains a sycophantic behaviour where Lady Catherine is concerned. Mr Collins is shown to be superficial and pretentious; it is done through his conversation with the Bennets and Mr Bennet and Elizabeth commenting on his behaviour. When asked by Mr Bennet whether his “pleasing attentions proceed from the impulse of the moment”, Mr Collins replies he “always wish to give them as unstudied an air as possible”. Mr Bennet purposefully asks such a question in order to satirise Mr Collins and due to this, it shows that Mr Collins prepares compliments and tries to not make it known that it is rehearsed, portraying his pretentious nature.
In Cassius Dio we see that "He(Antony) is either blind to reason or mad, for I can believe that he is bewitched by that accursed woman"(Scott-Kilvert,1987, in T.Fear,2008,p.27). This account is more biased saying that he has been "bewitched" by her, but it still gives the impression of someone who is besotted with Cleopatra. He goes on to say that Antony is willing to go to war with Rome over her"(Scott-Kilvert,1987, in T.Fear,2008,p.27), again demonstrating an impaired judgement on Antonys behalf. The second part of this essay will look at the differences between the two works. The first difference is in the style of the two pieces attempt to discredit Antony, the account
Whether Catherine's behaviour in these chapters can be viewed as anything but disgusting is highly subjective, as 'disgust' is perhaps too harsh. In my opinion the better fitted word would be disappointed, however Catherine's demanding behaviour towards Nelly is that of disrespectful and this in turn can be interpreted as a disgusting behaviour. In chapter 9 Catherine tells Nelly that she has "accepted" Edgar Linton as her future husband. Nelly is quite interrogative at the revelation and questions Catherine on her choice, only to get back dismissive and pompous answers. Catherine's behaviour here is quite appalling, she uses imperatives: "be quick, and tell me I am wrong", and has an overly assertive tone: "you're silly, Nelly".
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.
This fact reveals that Shakespeare obviously felt that the sub-plot's contribution to the play was very important. It has been mentioned earlier that the sub-plot of the play has a parallel theme to the main plot. The main plot of King Lear revolves around the betrayal of the king by two of his daughters despite the faithfulness of another daughter. The sub-plot revolves around the betrayal of Gloucester by his bastard son Edmund despite the virtue of his legitimate son Edgar. Hence the following parallels can be drawn: Lear-Gloucester, Edmund-Goneril/Regan, Edgar-Cordelia.
We learn a lot about the Duke and the way his words are told about him and about others gives the reader negative thoughts towards the Duke. As we read on, it seems as if the Duke is unreliable. He has become very bias and subjective. He called a servant an ‘officious fool’ when he was just doing his duty as a servant. His attitude makes the reader start to question himself/herself and, instead of having sympathy for the Duke, the reader is also pulled to a point where you don’t know whether you should believe him.