In another instance, it is used as defense against greater harm, as in Othello. And of course, let’s not forget the instances when deception takes the form of well-planned tactics in the hands of evil characters, as in Julius Caesar. In comparing any two plays, such as Hamlet and A Midsummer Night’s Dream for example, one can easily list many dualities– tragedy and comedy, an unhappy and happy ending and seriousness and mockery. But when it comes to similarities, the repeating patterns of deceit should be the first to come to one’s mind. A short essay cannot investigate all instances of this occurrence in all works of the author, but could provide the reader with the major categories.
There isn’t a shred of the Othello from Act one left by the tragic ending of the play as highlighted by Lodovico “thou Othello, that wert once so good.” The mere possibility of Desdemona’s unfaithfulness and the question of her fidelity are unbearable for ‘valiant’ Othello, he would rather “the general camp, Pioners and all, had tasted her sweet body” than to have doubts floating in his mind. These suspicions planted by Iago eventually corrupt his mind and blind his sense of reason that leads to his tragic downfall;
The character of Edmund in Shakespeare’s King Lear a complex antagonist whose quest for power, and the treatment he deserves from society fuels the subplot. Cunning, deceitful, and a villain, Edmund will do whatever it takes to achieve his objectives, even if it means betraying the people who love him most. Edmund plays a key role in setting the stage for the disaster waiting to unfold, which is the subplot. Initially, the audience sympathizes with Edmund’s character; society treats him poorly, and his own father publicly embarrasses him. In Act 1 Scene 1, when Kent asks Gloucester if Edmund is his Gloucester’s son, he replies “his breeding hath been at my charge” (1.1.9) yet Gloucester “blushed to acknowledge [Edmund]” (1.1.10).
Character Flaws Oedipus the King and Death of a Salesman two plays depicting the inability of the main characters to accept the reality of their situation, often times using excuses or delusions to protect themselves from danger. In Sophocles’ Oedipus the King, Oedipus finds himself blind to the truth of his life, and his family origin. Arthur Miller’s play, The Death of a Salesman, narrates the story of a tragic character so captivated in his false belief that reality and illusion merge, resulting in an internal struggle that leads to his downfall. Each play represents the internal battle of a man struggling to come to terms with his own, bitter reality and departing from his fantasy world. In selecting the frailty of illusion over the constancy of reality, the protagonists meet their inevitable disaster.
There is much evidence in the play that Hamlet deliberately feigned fits of madness in order to confuse and disconcert the king and his attendants. His avowed intention to act "strange or odd" and to "put an antic disposition on" 1 (I. v. 170, 172) is not the only indication. The latter phrase, which is of doubtful interpretation, should be taken in its context and in connection with his other remarks that bear on the same question. To his old friend, Guildenstem, he intimates that "his uncle-father and aunt-mother are deceived," and that he is only "mad north-north-west." (II.
The main representation of madness is within the character of the protagonist, King Lear. Through him, Shakespeare shows us true insanity and how it waxes and wanes due to outside influences such as love and rejection. At the commencement of the play, Shakespeare presents the seeds of madness through Lear’s vain demands for appreciation. Lear states that he was ready to express his “darker purpose” (I, i, ln36) when he begins to divide up his kingdom. From an outsider to the drama’s perspective, is obvious that the ‘darker purpose’ is related to Lear’s mad insecurities, which go
In all the tragedies, the hero has to suffer the tragic flaw. He is the only responsible of his downfall. In Shakespeare's play Othello, Othello brings all his misfortune on himself. His actions are led by his jealousy, his stubbornness and his gullibility. One of the main factor which push Othello to his death is his gullibility.
This act shows that Malvolio is a fool, but not only a fool and desperate fool, whose persona changes when it comes to the love of Lady Olivia. Malvolio is not the average Shakespearean comic fool who is played by an actor for laughs. Shakespeare’s creation of Malvolio is perhaps for more of a sinister agenda? A cruel mockery of a stereotypical uptight puritan with a joke taken too far, for example the letter in act 2 scene 5. A puritan is: somebody who lives by a strict moral or religious code, especially somebody who is suspicious of pleasure.
There is no doubt in « Othello » as to the role Shakespeare has given Iago, he is the villain, masterful at deceit he generates most evil in the play. The clever soldier, his incredible acting allows him to be two or three completely different people. During most of the Act the audience finds itself constantly trying to find a motive for Iago’s actions but finds none that can justify what he is about to do. What does seem to come back again and again is his view on women which he sees as sex rapacious and a danger to his machiavellian plans. Scene 1 offers us a good preview as to what Iago is going to do for the rest of the Act and ultimately the rest of the play.
In the second soliloquy, Iago continues with his sinister scheming as plots how Cassio’s flirtatious personality could be employed to get back at Othello. Iago deceives Othello, without any solid proof, to believe that Emilia is unfaithful. Othello becomes entangled in Iago’s deception to the extent that he does not listen to Desdemona when she denies the allegations (Shakespeare and Honigmann 42). Iago can be credited for his diabolical prowess that allows him to confuse the minds of other characters. To make matter worse, Iago embezzles funds belonging to his own friends without the smallest amount of guilt.