And so, Hester, I drew thee into my heart, into its innermost chamber, and sought to warm thee by the warmth in which thy presence made there!” (69). Chillingworth’s compassion and desire for love and good, over the cruel and evil atmosphere he later develops, reveals that he was not always wandering down the road of revenge, but was a man of virtue. His spiraling fall into malice and morally self destructive actions only occur after he sets himself down the road to find the other person who wronged him, the man who shares his wife’s sin, and take vengeance upon him. Roger continues his personal decline by betraying his human nature and turning to a more demonic nature. “The physician advanced directly in front of his patient, laid his hand upon his bosom, and thrust aside the vestment that, hitherto, had always covered it even from the professional eye.
It represents him as almost inhuman as he has more serpent-like qualities. What is also interesting about this, is that he admits to the fact he is ‘a ful vicious man’ yet ‘A moral tale yet [he] you telle kan’. There are alternative responses to his confession, on one hand it shows the awareness of his wickedness and yet in spite of his character can achieve goodness but on the other hand it could be showing pride in the fact he is as sinful as he states. He is shown to be proud of his contradictions which in turn create irony because he is a man that is proud of his deception. This pride is carried throughout the tale due to him being confident enough to preach false vows and sermons to the people of the towns he visits.
He’s remarkably cunning at how he gets where he wants to go. By being so good at being bad, we as readers find him enticing. Iago’s dream speech represents the epitome of Iago’s acrimonious villainy. At a point when Othello is willing to believe almost anything in reference to his wife’s alleged infidelity, Iago begins to lay it on thick. While having been careful to be proper in speech towards Othello thus far, this is the speech where he throws that credibility away.
In Christian theology, sin leads to death unless an individual accepts God’s free gift of forgiveness. In Dimmesdale’s case, unconfessed sin literally drives him to his demise. Dimmesdale, we realize, truly loves Hester enough to show himself on the scaffold. He shows his true love to her, without her knowing his doings. Dimmesdale is part of the group of ministers sitting in judgment over Hester when she emerges from prison.
Within the extremely popular play named ‘An Inspector Calls’ Priestly uses the play to expose the lies, deceit and overall hypocrisy of people during his time. Hypocrisy is usually demonstrated by virtue of pretending to have qualities or beliefs that you do not really have. In a literal sense, weakness is the state of lacking strength. However, Priestly portrays weakness as having personal defects or failings especially in lack of moral integrity. Again, Priestly shows wickedness somewhat detached from its literal meaning and instead shows wickedness in the characters departing from the rule of divine and moral law.
Moreover, leaving the reader to take note, visualize, and understand what is right from wrong. Upon reading the tale, the pardoner opens up with letting the audience know he himself is guilty of greed. Not knowing if he is confessing this because of drunkenness or not he is aware and possesses virtue for he understand the value of repentance. “And thus I preach against the very vice I make my living out of avarice,” (pg.168, 5-6) says the pardoner. Contradicting himself, by saying one thing and doing the complete opposite.
Hamlets second soliloquy In Hamlet's second soliloquy the tones of worthlessness and failure are prevalent and serve to emphasise the dissatisfaction he feels with his actions, or lack of action. He rambles continually and wallows in his own self-pity as he realises he has not fulfilled his promise to the Ghost to avenge his father's murder. Instead, he has thought more about his own death than that of his father's supposed murderer, Claudius, and is a piteous coward for taking no action towards this murder. At the beginning of his soliloquy Hamlet has witnessed a player acting a scene filled with emotion; the scene reminds Hamlet of his own lack of dedication to his cause. It is "monstrous" that the player "in a dream of passion" could put so much emotion into the piece that he even cried "all for nothing".
Dorian develops a fear of aging so he tries to live his life as if it was his last day on earth. He gets carried away and practically addicts to pleasure; his unconventional actions result in him feeling guilty and miserably. The attempts to fix his mistakes prove to make the situation even worse. It isn’t Dorian’s fault that he turns out the way he does –a pleasure seeking and self-conscious maniac, in turn showing the readers that his actions are practical. Basil, a painter, paints a portrait of Dorian which changes for the worse every time Dorian does something selfish.
In the late 1600s, individuals to be considered 'mad' were thought to have been possessed by the devil or some other evil spirit, and so were mocked and considered dangerous and unapproachable (as suggested by Sir Toby in Act 3 Scene 4 “defy the devil”). In some ways, they weren't even thought of as the same species to conventionally 'normal' people. For this reason, an Elizabethan audience may find the joke to be comfortably within boundaries and possess the acumen necessary to find humour within the text and jokes. Another reason a 17th Century audience could consider the joke to be within the boundaries of comedy is the possibility of Malvolio being an ill-considered puritan to them. A puritan is a religious person who's personally opinionated line between what is wrong and what is right is absolute and solid.
Although satire is usually meant to be funny, its greater purpose is often constructive social criticism, using wit as a weapon. From ancient times satirists have shared a common aim: to expose foolishness in all its guises—vanity, hypocrisy, pedantry, idolatry, bigotry, sentimentality—and to affect reform through such exposure, but as society grew, men came up with different ideologies and ways to perceive life. Most satire is directed at politicians, religious leaders, and others in the public sphere some of who managed to position themselves in a powerful condition, others were left behind in the race to power and commodities; this was the beginning of the separation of social and political classes. It often features characters that represent exaggerated versions of the person or persons being targeted. Satire is based on truth, but depends on irony, wit, and sarcasm to expose weakness and other flaws.