Resilient against having his soul damned to hell, Hamlet second guesses himself and his decision loses “the name of action” (Act III. Scene i. Line 88.). Hamlet considers every possible consequence and scenario thus he over thinks his conflict. Hamlet infers, “conscience does make cowards of us all” suggesting that these potential consequences disallows Hamlet from taking action.
Early on in the play (Act 2 Scene 3) the audience enjoys the jovial atmosphere alongside the characters until Malvolio abruptly ruins the mood. “Have you no wit, manners, nor honesty, but to gabble like tinkers at this time of night?” Malvolio seems to relish scolding Sir Toby and the others as he includes the simile “gabble like tinkers” which proves he has taken the time to select the right words to insult them with. The audience dislikes him for disrupting the fun of the scene whilst it provides a specific motive for the conspirators to plot his deception. Shakespeare uses one detail about Malvolio to instantly turn the audience against him: Malvolio is a puritan. At the time the play was written, puritans were not popular with the general public because of their miserable rules against most forms of entertaintment.
This makes the situation even more ironic when the audience learns that Oedipus has been ignorant of the true reasons for his placement as king. While terms of sight and blindness are regularly employed throughout the play, their meanings during the earliest parts of the work are subtle. These terms carry the essences of “knowledge” and “ignorance” in their respective uses, which become heavily pronounced when they are brought to the attention of the audience at the entrance of the character Tiresias. Teiresias embodies the same traits from the opposite side of the scale in comparison to Oedipus. While Oedipus has physically normal sight and is revealed to actually be ignorant of the truth regarding his fate, Tiresias is a literally sightless oracle who possesses the greatest insight of any character within the play.
Is Benedick the comic hero of the play? How far do you agree with this statement? Suggesting if Benedick is the comic hero of Much Ado About Nothing is difficult to pin point a precise hero as each character possess a different comical trait. For the reason that each character during the play being a character to laugh at or with for respite after tragic events, for instance Dogberry’s use of malapropism mocks authority and makes fun of those who are in it. Devices that are used by Benedick and Beatrice are Bawdy language, word play and puns, which are very different compared to Dogberry’s According to Aristotle the idea of comedy comes from speculation concerning men dancing, signing and cavorting around the image of a phallus.
Antonio enters the stage “like an idiot” and from that point retains his “mad guise” until finally he abandons the illusion of madness, telling Isabella to “cast no eye upon this change”. The verb “eye” links with the theme of deception explored throughout this tragic play, with De Flores explaining “I can see his brother’s wounds fresh bleeding in his eyes”. Here, it can be claimed that the “eye” represents ones inner soul and inner crimes and passions. This idea is principal to the tragic element of the play, as a majority of the characters “true” selves hide behind veneers of truth, questionably symbolised through the consistent switching between the two plots, creating an idea of a reality and an illusion, seen in the “fools and madmen”
This does not allow Romeo to focus/see Juliet which may and probably will cause Romeo's depression which may contribute to Romeo's suicide. "Nay gentle Romeo, we must have you dance.-Mercutio" "Not I, believe me.-Romeo" Here Good vs. Evil is demonstrated because Mercutio, even though he is a Montegue like Romeo, is pressuring Romeo to do something that may not have been good at the time. This backs up my statement that throught the play, Mercutio and Tybalt are trying to get in Romeos head. "Thou, wretched boy, that didst consort him here, shalt with him hence.-Tybalt" This is the scene where Mercutio and Tybalt get in a fight and when Romeo is trying to stop them, the hate for each other(Good vs.
This is demonstrated in the play many times and is the reason why Iago is considered the villain in Othello. Iago’s selfish and manipulative ways make him the villain of the play Othello. Iago is full of devience and none of the characters realize it until the end of the play. This quote is one of Iago’s speeches: “Were I the Moor I would not be Iago. In following him I follow but myself; Heaven is my judge, not I for love and duty, But seeming so for my peculiar end.
In the beginning of the play a conversation is heard between Roderigo and Iago. Roderigo is frustrated because he has been giving money to Iago in hopes that Desdemona will love him, however, he learns of Desdemona’s marriage with Othello. At the start of the play, Iago convinces Roderigo to break up Othello’s marriage by stirring Desdemona’s family against the Moor. At the end of Act one, Iago has his first soliloquy and says “Thus do I ever make my fool my purse/ for I mine own gained knowledge should profane / If I would time expend with such a snipe/ But for my sport and profit” (I, iii, 372-375). He reveals his plan of cheating Roderigo out of his money and giving him unfilled promises.
The decisions one makes can influence the course of one's journey through life, all stemming from a single moment in time. In William Shakespeare's tragic play, King Lear, the title character is a flawed man whose inability to see the truth in front of him leads to his downfall. King Lear's journey through the play takes him on a path from denial to rage to isolation, leaving him, in the end, a broken fragment of the king he once was. His denial stems from his not being able to see his daughters' true colors. This denial leads to his rage, when he perceives that Regan and Cornwall are being thoughtless of his authority.
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). Upon his entrance in the scene, Malvolio states his ambitions for nobility, “To be Count Malvolio!’ (Act 2, scene 5, line 32) to the group. The disdain the other characters have for Malvolio throughout the play is only met with vanity, hubris and patronizing comments on Malvolio’s part, doing very little to conjure any remorse for the character following his downfall later in the play. Malvolio opposes the fun and festivities of the “Twelfth Night” and chastises the characters in the play several times for their celebrations. Malvolio questions their actions in the form of patronizing dialogue by asking “My masters,