Benedick then says “I will be horribly in love with her”, the use of the word ‘horribly’ continues the banter persona of Benedick. It could also be disputed that he uses the word ‘horrible’ to sugar coat any uncertainty he may have about the situation, and to cover the truth which is
Romeo has a lot of conflict, which he approaches with different, changing attitudes, which we know as contrast. For example at the beginning of the play when we first meet Romeo in Act 1 Scene 1 we learn about his very self centered, immature character as Shakespeare portrays him as. Romeo is revealed as a depressed and melancholy person. This is because of his love-sickness for Rosaline. More importantly, she does not love him back, which fuels his depressing mood.
His language is full of anger and hatred and the audience would quickly catch on to Iago’s bitter character. The tone is unpleasant and Shakespeare portrays this with his choice of lexis, such as “Tush”, an abrubt, onomatopoeically harsh word, and “curses despise me if I don’t”, things that would lead the audience to question the morals of the character. The subject of discourse in the first lines of the play are all about hate, “Thou didst hold him in thy hate.” And the audience start to understand what Iago is made of. Lexis such as “Moorship” show how low Iago stoops, as he picks on anything he can in his criticism, including Othello’s race. From line 7 through to line 8, Iago has a long rant about Othello, as he felt he had been done an injustice when he was not chosen as lieutenant.
Hamlet and Claudius contradict one another in a variety of ways making them enemies throughout the play. Prince Hamlet is perceived as the protagonist in the play for many reasons, one of them being because he displays an elegant intensity in everything he does, making him very amiable to the audience. When Hamlet is truly indecisive, brutal, revengeful, and hateful. When Hamlet speaks to others, his words are thought out to be hurtful to whomever he is speaking to. “You should not have believ'd me, for virtue cannot so inoculate our old stock but we shall relish of it.
On the other hand, Shakespeare hints that this is a façade. Beatrice mocks Benedick’s military chauvinism, calling him ‘Signor Montanto’-Montanto being a fencing term for an ‘upward thrust.’ The fighting reference coupled with the sexual innuendo implies that Benedick is shallow and grotesque. However, it is a fictional and ridiculous name, thus implying that his misogyny is also fictitious. Benedick himself seems to admit that it is false when he asks Claudio: ‘would you have me speak after my custom, as being a professed tyrant of their sex?’ The word ‘custom’
“I am in blood / Stepp’d in so far, that, should I wade no more, / Returning were as tedious as go o’er.” (3.4.136-138) In this quote, Macbeth is telling himself that because he has stepped into evil so deeply, it will be hard to go back to morallity because he will never be able to rid of this guilt brought onto him. He begins to feel so remorseful, that he starts hallucinating and realizing that he has done such treacherous deeds. Even though he can still see how his actions are terrible, as the play develops, he begins to inch deeper and deeper into his own destruction of innocence. Macbeth had always felt threatened by Macduff because Macduff knew what a traitor he really was. Therefore, he had wanted to plot to end Macduff’s life as to not pose a threat on his reign any longer.
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.
I heard many things in hell.” Through his denial of the hold lunacy has on him, the Narrator establishes the very nature of his madness. His contradictions’ such as denial of being afflicted by the disease, then the very next thought is to defend the nature of the illness by praising it for moulding his senses is evidence towards his increasing madness and the inevitable doom of the Narrator. The Mad Man’s seemingly unprovoked rage towards the Old Man is blamed upon his dead, hazy eye. The Narrator in a fit of Madness trying to explain his actions, claims his motivation; “One of his eyes resembled that of a vulture – a pale blue eye, with a film over it. Whenever it fell upon me, my blood ran cold: and so by degrees – very gradually – I made up my mind to take the life of the old man, and thus rid myself of the eye forever.” The Narrator again proves his madness through his apparent lack of solid intent coupled with his explanation of the rage within him.
187-8.) This pretense of madness Shakespeare borrowed from the earlier versions of the story. The fact that he has made it appear like real madness to many critics today only goes to show the wideness of his knowledge and the greatness of his dramatic skill. In the play the only persons who regard Hamlet as really mad are the king and his henchmen, and even these are troubled with many doubts. Polonius is the first to declare him mad, and he thinks it is because Ophelia has repelled his love.
Othello is usually regarded as the greatest tragedies among Shakespeare’s tragedies (Shakespeare and Honigmann 1). Iago has a unique place in the drama as a dramatic character placed on a pedestal of human incarnation of evil. The first glance at Iago’s character speaks of pure evil, but as he progresses into play the villain comes out as as amoral rather than immoral. Iago exhibits villainy tactics deeply embedded in his characterization. Iago’s soliloquies award the audience with a distinct perspective into the episodes of the plot (Shakespeare and Honigmann 31).