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).
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.
He even admitted his evilness to himself stating to Dimmesdale, "I have already told you what I am a fiend!" (Hawthorne 158). The ever growing corruption and evil inside of Chillingworth collided with the good that Dimmesdale, Hester, and Pearl were bringing into the world. Hawthorne hints the innate nature of the good and evil of both sides towards the end of the novel, by describing that Chillingworth is viewed badly by the town but Dimmesdale and Hester are viewed as good people. It is in this way that Roger Chillingworth's specific use in the novel is to portray the conflict good versus evil.
They refer to this minority as diseased or sick. The second group is the hysterical haters. The “hater” envies those who are able to act out on desires that he himself has to repress. The third group is narcissistic hate where unawareness of a group leads to contempt for them. Although Sullivan feels that this definition is not the final definition of hate, but it serves to better define the word and helps understand the true meaning behind the word.
Creon becomes too vain that he assumes Haemon “is hopelessly on the woman’s [Antigone’s] side” (224). Creon’s ignorant qualities evolve him to make imprecise choices. Creon is the “real tragic hero” in the play Antigone because of his insensible defects and his destiny which evolves
Immoral acts result in destruction when tempted with ambition and inability to act on the righteous conscience. Some of the many consequences include guilt and regret. In Shakespeare’s tragedy Macbeth, and Mister Pip, written by Lloyd Jones, the characters are hungry for power and their own profit, which only results in mixed emotions of guilt and revenge and eventually, their downfall. Both writers use the theme of ambition and consequences of immoral acts as a conflict and advancement in plot, as their characters carry out impulsive behaviour thinking of only their own profit. As shown by Lloyd Jones and William Shakespeare in their respective novels, too much ambition for power and not being able follow one’s conscience leads to immoral acts that result in nothing but regret and guilt.
In Othello, Iago is a man of evil and Don John from Much Ado About Nothing, by Shakespeare is of the same mind set. Iago and Don John are both villains trying to achieve a sense of honor to feed their reputation, even if the stakes are losing everything and becoming a mockery. Both of them are very unstable, driving them to seek a stable reputation. Iago and Don John both see the world like reputation is everything. Shakespeare shows this through both Iago and Don John’s instability, by having both of them throw everything out on a limb just to boost their reputation.
Because the story is mainly seen through Antigone’s eyes, it is easy to forget that it is Kreon who loses everything he values most. Sophocles wrote Antigone as a tragedy but made his villain, Kreon, the truly tragic character. All true tragic heroes must possess a hamartia, or fatal flaw. In Kreon’s case, this flaw can be discovered in his stubbornness and unwillingness to except another’s opinion. In other words, his tragic flaw would also be his hubris, or pride.
Today, name of Rosencrantz and Guildenstern are closely associated with betrayal of friendships as these two former friends of Hamlet is doing everything in favor of Hamlet’s top enemy, Claudius to destroy Hamlet’s influence. Ther is no doubt that Shakespeare inserts these two characters to be comic relief but the appearance of these two character in the play also symbolizes his mix emotion of ridicule and sympathy. The appearance of Rosencrantz and Guildenstern is not doubt to be comic relief just as the courtier Ostric is. Unlike Ostric who panders to whoever that are powerful enough for him to benefit from praising them even though he might contradicts himself, Rosencrantz and Guildenstern are less of this clownish style on the surface in term of their acts, language and tone. Notice that these two friends of Hamlet in University of Wittenberg never make any assertions or statements during the course of the play.
Evoking erroneous empathy, Iago questions whether he “in any just terms (is) affined to love the moor”. So, ambitious and envious Iago determines to “hate the moor” and to “follow him to serve my term upon him”. He is not one for “love and duty”, demonstrating instead his duality in order to achieve his “peculiar end”. Throughout the play, Iago manages to live up to his declaration, “I am not what I am”, covering his evil intentions in a façade of righteousness, loyalty