A KoF can be the good guy or the bad guy, depending on how you view religion and the story of Abraham and Isaac for this purpose. A true KoF will be the individual or group of individuals who will defy the common worldly law of ethics in order to fulfill a religious duty. This duty may incorporate many different immoralities and negative actions. However, the immoral acts will be justified by the religion or religious figure that gives divine approval for it. This presents an issue with the moral and rational reasoning behind the deeds.
While Shakespeare does use Iago’s soliloquy to encourage the audience to admire him, the soliloquy also highlights his incredible aptitude for malice. The continued metaphor of Iago’s jealousy being an ailment to him, “doth, like a poisonous mineral, gnaw my inwards” and expressed further on where he vows to give Othello “a jealousy so strong/that judgment cannot cure”, brings a sense of paranoia and mania to him. This paranoid side to Iago is further emphasized when he alleges Othello of having “leaped into my [his] seat”, his
The veil that was supposed to make Mr. Hooper an idea turns him into a symbol of evil causing him to further treasure sin. Because of his own arrogance, the veil corrupts him and projects him as a source of evil. While unsure of what specific lesson Hawthorne was trying to teach in writing his parable, many ideas can be gained from this story. The most important that sticks out is that one is enlightened to the fact that we all are guilty of sins and should be able to admit to them. We are taught that one consequence of guilt, hypocrisy and arrogance is displacement from
Iago, who is known as the Machiavellian villain perpetuates the tragedy by bringing forward a hamartia or a fatal flaw from Othello. As soon as the play begins, Shakespeare used dramatic irony to illustrate Othello’s view of Iago as an honest and trustworthy man through his repeated description of “honest Iago” and “a man of exceeding honesty” to the audience. Of course that is not the case, the audience views Iago to be “Janus-faced” and deceptive through his constant declaration of “I am not what I am” and how he “hates the moor”. This juxtaposition is created so that the audience can empathise with Othello. I know I can definitely empathise with him.
Iago is often classified as the embodiment of pure evil to the farthest extent capable of being reached by human. Both Claudius and Iago plot against, torture, and cause the downfall of other characters in their respective stories to create and upkeep a boastful reputation. Both characters know that what they are doing is considerably wrong, but only Claudius feels any remorse for his crimes. They both recognize in soliloquy what they are doing and even discuss with themselves further planning. Iago manipulates all the crucial components of his plot with ease, while Claudius on the other hand is discontent and unhappy with the events taking place.
The revelation is in itself a dramatic effect as the audience becomes more intrigued and excited on how Hamlet has managed to get them killed. The language used by Hamlet when explaining how he had managed to get them killed depict his anger towards treachery ‘Tis dangerous when the baser nature comes/between the pass and fell incensed points/of mighty opposites’ (5.2.61-63). This could also depict the notion of Hamlet’s attitude towards the lower rank; it is most likely that Hamlet and Claudius that belong to the upper rank regard Guildenstern and Rosencrantz as inferior breeding. On the other hand ‘mighty opposites’ could also suggest Hamlet referring to the two forces of evil and good. Moreover the dramatic effect that Shakespeare outlines when Hamlet narrates to Horatio his plan to save himself that he has realised that ‘There's a divinity that shapes our ends, /Rough-hew them how we
The basic ideal was still the one taught in the bible, but now instead of focusing directly on Jesus Christ like in Miracle plays, these highlighted the inner conflicts of individuals. They were called so because they were directed at teaching people the right morals. The medieval morality play, according to Greenblatt , was a “blend of high-mindedness and exuberant theatrical energy [and] pleased an impressively broad range of spectators, from the unlettered to the most sophisticated”. The basic idea behind any morality play was that the protagonist had strong moral beliefs, strayed into evil and temptation and then learnt of repentance and was saved. It is the ‘choice’ of the protagonist that leads him to the wrong path and brings him back.
Shakespeare's Presentation of Othello as Responsible for his Own Downfall Shakespeare’s Othello consists of the themes betrayal, love and dishonesty. At the centre of this play is the tragic downfall of Othello at the hands of his so called friend Iago. In this essay I will be discussing the reasons for and against Othello being responsible for his downfall through looking at critical interpretations of his character and actions. In some ways you could say that Othello was highly responsible for his own downfall as he was easily manipulated by Iago showing him to be gullible and naïve. Iago manipulates Othello by making him suspicious through inference, “Ha I like not that”.
Through his use of verbal language techniques and devices, Shakespeare develops loving as an unwanted, painful, disease throughout his play Twelfth Night that ultimately can turn men into monsters. He both conveys this warning to the audience and makes the play interesting and attention grabbing for them by skilfully using metaphors, comparison, emotional language, rhyme and allusion. Twelfth Night is a timeless piece of literature thanks to the intricate verbal techniques that Shakespeare weaves with a purpose into the play. In Twelfth Night, Shakespeare portrays love as a “hunger” to show that we are pained by it when we cannot satisfy it, drawing similarities between the ache of loving someone to “hunger pains”. He also uses a metaphor to convey his opinion that the need for love is as great as the need for food.
Thus conscience does make cowards of us all; And thus the native hue of resolution Is sicklied o’er with the pale cast of thought; And enterprises of great pith and moment, With this regard, their currents turn awry, And lose the name of action. ( pg , line 58) This clip would be an Oscar moment because this speech connects many of the play’s main themes, including the idea of suicide and death, the difficulty of knowing the truth in a ghosts unclear universe, it connects between thought and action. In addition to its crucial content, this speech is important for what it reveals about Hamlet’s mind. His passionate nature is complemented by a harsh logical reason, which works to find a solution to his madness. He