and quit my sight...Which thou dost glare with!”, a quote that displays Macbeth running in an endless stream of self-doubt and conflict over the death of Banquo. Many believe this scene to be one that of the king’s last sense of morality, the feeling of pain and hallucination of fearing the loss of power that murdering a friend seems justifiable. The lack of honor Macbeth held for his subjects continued on, his interests never aligning with the responsibilities of the crown, but who to be rid of in order to maintain it. Not even in the last few moments of his life did Macbeth hold honor toward Scotland or the respect that is entailed by his majesty. “Then yield thee, coward,” Macduff began in the final fight scene.
Similarly in The Duchess of Malfi, when the Duchess’ attempt to deceive her brothers and conceal her marriage leads to her death. However self-deception is also a recurrent theme in both of the plays, in Othello, it can be argued that Othello’s self- deception proves just as destructive as Iago’s, as by deceiving himself of his true nature and labelling himself as “one not easily jealous,” he continually supresses his feelings of inner turmoil until he breaks under the influence of Iago. F R Leavis agreed with this stating, “The mind that undoes [Othello] is not Iago’s but his own.” The role of deception would be nowhere near as essential to the play without the influence of Iago; described by AC Bradley as the “artist of evil” his ruthless manipulation of the other characters in the play ensures not only the destruction of Othello, but his own. Self- deception plays a crucial role within Othello and The Duchess of Malfi; it allows the audience to see further into the characters personality and gain a deeper understanding of them as a character. Othello himself is the most palpable example of self- deception within the plays as from when the audience is first introduced to him in Act One Scene Two, he believes
The disposition that Nicholas brought to the role of Tsar (he was incredibly close to his family) led to huge flaws in his leadership skills. He would rather spend time with family than deal with any government matters, often leaving his ministers in control to make decisions. Nicholas was inexperienced and easily influenced, and lacked the authority to lead effectively, especially given the unstable social and economic nature of the time, such as the Lena Goldfields incident of 1912, and the bread riots in the cities, mainly Petrograd in 1917. Possibly the worst mistake that the Tsar made was appointing himself Commander in Chief of the Russian military in 1915, as he became personally responsible for any defeat in World War One. Since Russia performed poorly against nations like Germany, the people of Russia felt let down, and all sense of pride was lost.
In his view, the end to political instability justifies the means no matter how shady they may be. He states, “Many have imagined republics and principalities that have never been seen or known to exist in reality. For there is such a difference between the way men live and the way they ought to live.... because anyone who determines to act in all circumstances the part of a good man must come to ruin among so many who are not good.” (Machiavelli p.186) Many of the virtues advocated for in The Prince are apparent in Claudius’ character from William Shakespeare’s play, Hamlet. Hamlet tells of the various activities that take place during a questionable shift of royal power in Denmark. It is the acquisition and maintenance of this power that shows just how Machiavellian Claudius’ character is in the play.
How Does Strinberg’s Play Question Social Values? In August Strinberg’s play ‘Miss Julie’ many social values are being discarded due to their nature and the character’s environment and heredity. First a definition should be established. Social value - A value system is a set of consistent ethic values (more specifically the personal and cultural values) and measures used for the purpose of ethical or ideological integrity. A well-defined value system is a moral code.
In this time many modernist authors and artists sourced to change and challenge society’s expectations and their inflexible, harsh conventions that not only restricted free thinking but repressed the ideas of change in their beliefs. The idea of gender roles and the role of women in a patriarchal society are challenged and questioned in Hedda Gabler as Ibsen confronts the audience with the isolation and plight of women that was created out of extreme patriarchy during the Victorian period. The destructive consequences of society’s barriers and women turning away and escaping from established gender roles is also presented in Kate Chopin’s The Awakening with the two spheres of men and women being challenged with their desires. The rapidly changing world, socially and technologically, brought many people to a dilemma on choosing to stay in their traditional superficial world, or to welcome the new. The superficiality of life is constantly contrasted with the differing social structures within society in Katherine Mansfield’s The Garden Party and Virginia Woolf’s Mrs Dalloway with her continuing fear of aging and the new that constantly rocks her world.
Creon is sorry for what he was done, he repents, but it is already too late. He only finds true justice when everything he cared for was gone. Creon’s tragic flaw was that he was resolute; he did not want Polynieces to be buried. He received multiple warnings that this would lead to his downfall. He was put into the position of King.
He always feels guilty because of his violent birth, in which his mother died. This reality makes him always feel miserable about his past. On the other hand, he acts like an arrogant "Pashtun" in most of his behaviour with Hassan, and puts himself in a higher rank of ethnic groups, in comparison to "Hazzaras", whom have no voice in society. After all, these issues make huge contrasting decisions for Amir, however the reader should judge him regardless to these ways of thinking, because of Amir's particular situation. How would you describe the relationship between: Baba and Ali: Baba’s father was a judge who had adopted the orpahan Ali (Hassan's father) and raised the boy along with his own son (Baba).
It is clear that at the beginning of this excellent comedy Oliver and Orlando are not the best of friends, in spite of their sibling relationship. Note the way that in Act I scene 1 they fight, and Orlando, having his brother trapped in some kind of wrestling hold, tells us that his brother has committed the following crimes against him: My father charged you in his will to give me good education. You have trained me like a peasant, obscuring and hiding from me all gentleman-like qualities. The spirit of my father grows strong in me, and I will no longer endure it! Clearly the hatred that they feel for one another is expressed through their behaviour and the words they use for each other, such as when Oliver insultingly calls his brother a "boy" and he tells the Duke that he hates Orlando just as much as he does, knowing that this will be bad for his brother.
In my final paper, I plan to prove that the root of Hamlet’s problems is the patriarchal society he lives in. I believe that Hamlet’s hesitation is a result of his reluctance to participate in the patriarchal order. He is torn by his need to honor his father and take his rightful place in that society and his disdain for that very system. I will use the Characters of Ophelia and Gertrude, not as evidence of Shakespeare’s misogyny, but as deliberate devices that illustrate the consequences of patriarchy. Should he comply with the patriarchal order, he must either oppose his mother and take the throne, or dishonor his father by accepting his uncle as his mother’s husband.