In both of these plays, the playwrights have manipulated the concept of belonging and explored the belonging of humans to create strong characters in their texts. Belonging is found in every text whether it be comedy or tragedy alike, they are all based around belonging, so within the works of these two authors, interest is drawn by the responders through their takes on belonging. Every move made by a character, every word spoken and every decision they make is all the work of the authors themselves. Context is a major feature that is involved with the way these authors have written about belonging, as when the times change, so does the value of certain aspects of society. One idea that coincides with belonging is that of reputation and reputation is held of great importance during both the 1600s and the 60s, the contexts in which Othello was written and the Salem Witch Trials took place, but also includes the year when The Crucible was written.
Iago states: “Thus do I ever make fool my purse” ( I.iii.374). Evidently, Iago takes advantage of Roderigo’s devotion by conning him in his money. Similarly, Iago uses Roderigo once more by convincing him to kill Cassio. Although, Roderigo is reluctant at first, he relents once Iago insists that this will win him Desdemona. Roderigo states: “I have no great devotion to the deed and yet he hath given my satisfying reasons.
His very existence is for the destruction of the truly innocent. In religious terms the devil is the ruler of the underworld and can see into everyone’s thoughts and manipulate them into temptation. A Shakespearean audience would be fully aware of this due to the fact that they were considerably religious during the period the play was written and performed in. We see that Iago has devilish qualities about his character in the way he manipulates other into essentially doing his dirty work for him. The clever technique Shakespeare uses allows al the characters to perceive Iago as ‘honest’ and quite pure and heavenly like.
For the purpose of this paper, attention will be focused on the Antigonid, Ptolemaic, and Seleucid kingdoms and how these powerful institutions employed these particular methods to legitimise their personal monarchies. The use of propaganda to form alliances by the successor kings, as a political strategy, is most certainly visible in the century following Alexander’s death in 323 BC . It could be argued that Antigonus I, through his proclamation of Greek freedom in 315 BC , was engaging in propaganda as a means of securing legitimacy and power for his monarchy. We know from Diodorus ; Antigonus marked Cassander as an enemy of the Greeks and Macedonians and accused him of attempting to enthrone himself in Macedon. He then proclaimed freedom of the Greeks.
He masterfully manipulates our response into having a grudging admiration for his skilful use of language. Richard disguises himself throughout the play from a devoted brother to a pious convert. He has a constant burning desire for personal power and satisfies his aims, regardless of who he murders. “And therefore, since I cannot prove a lover, To entertain these fair well-spoken days, I am determined to prove a villain, And hate the idle pleasures of these days.” (I.1.28-31) When he finally becomes King of England,
Cardinal Richelieu also helped Louis XIV gain control of France by ceasing the rebellion of the Huguenots and stripping them of all of their political and military power. He promised Louis XIV that he would “…ruin the Huguenot party…” and rises up Louis XIV good name. (Cardinal Richelieu, 1624). According to Louis XIV in his “Memoires for the Instruction of the Dauphin, “Important as it is to be ruled only by a single person, it is just as important for the one who performs this function to be placed so far above the others…” (Louis XIV, n.d.). Louis XIV believed in his absolutist views as King and wanted to instill them in his son.
Deception is another topic addressed by the Pardoner: he comes right out and says that he is a con artist, and that he is out to take people's money. In his tale, deception by the rioters leads to the death of all three. These are good points, but there is another deception the Pardoner plays, and gets caught: his sermon is a direct chastisement of the Host, who is not pleased by this. As a whole, Chaucer effectively uses this character of The Pardoner to point out some of the more foolish and deceptive aspects of other characters in the Tales as well. In the beginning, the Narrator describes The Pardoner in some quite undesirable terms.
Nunu son was with the system because he was the head of all the slaves and was the one who had to punish the slaves if they got in trouble. Towards the end of the movie they plan a way to get out and Nunu’s son was not involved because he was a head slave and followed God. When they first started to pan out the attack and plan to get out shola did not want to help out but soon she did because she was getting abused by her master and at night she was raped. Shola’s love shango knew that Nunu’s son was going to be a problem and would get in there way so he made up a poison that would make him sick and hallucinate. In the end that turned out to be a problem when they were exacuting there attack, before they could attack and leave he started to attack his mother and killed her at the river.
In relation to the same example, Douglass mentions observing the temperament of his master: “I do not know that her master ever whipped her, but I have an eye-witness to the cruelty of Mrs. Hamilton” (Douglass 50). Douglass later describes the “cruel lashings” with which the slaves receive if they do not work quickly enough (Douglass 50). By showing such vivid imagery and stating the inhumanity he has seen his masters act with, Douglass makes
Shakespeare has written his character Iago as the perfect stereotypical sociopath. In fact, the play Othello could be used as a case study in a psychology class. When one reads down the list of sociopathic traits Iago has them all; he is a sociopath to the nth degree. Some including Othello, would argue that Iago is the devil incarnate. Othello, himself states “that thou be’st a devil, I cannot kill thee.” He then stabs Iago but only wounds him, showing that he thinks that Iago is the devil.