His comment comes across as sarcastic as he is mindful, and perhaps jealous, of the fact that his lover’s father wishes her to marry another man - Demetrius. This therefore makes the play a dramatic comedy as although the sarcasm may be amusing; the multiple love obstacles the characters must overcome make it dramatic. Next, Lysander’s insults accentuate the genre of the play, ‘upon this spotted and inconstant
This is clear in the opening sentence when the narrator says “TRUE! --nervous --very, very dreadfully nervous I had been and am; but why will you say that I am mad?” The enhancement of his insanity is conveyed through the repetition of “nervous” and “very”, which evidently portray his unstable state of mind and thus the likeliness for him to commit such a brutal and sadistic murder. Furthermore, the language and syntax used by Edgar Allan Poe has the ability to lure the reader to believe that the narrator is anxious and uneasy; a character whose insanity shines through his speech. Unlike the narrator of “The Tell Tale Heart”, the narrator of “The Pit and the Pendulum” maintains the capacity to recount faithfully and rationally his surroundings while also describing his own emotional turmoil and the burden of emotional distress does not hinder his account of the
How does Miller make us admire Proctor more as the play progresses? Initially Proctor is shown as a self-loathing hypocrite, who has committed adultery with Abigail Williams. Miller presents Proctor with a flaw to make us not make our minds up about him fully. However as the play progresses he gains our admiration by confessing and redeeming his sins as he is motivated by truth and justice, and to challenge a corrupt authority. Although we see how destructive Proctor’s sin has been and how flawed he is as a result, we admire his determination to atone and sympathise with his dilemma.
Iago and Edmund both utilize trust and love as instruments of destruction while at the same time exacerbating inherent tensions within the relationships of their victims. Iago and Edmund exploit the love and trust of others in order to be able to manipulate their victims. Iago develops a strong bond with Cassio, using Cassio’s grief and hopelessness, by ensuring Cassio of his Iago’s love. “I protest, in the sincerity of love and honest kindness,” (Shakespeare 103), says Iago to Cassio in the aftermath of Othello’s public humiliation of Cassio. Cassio is convinced of Iago’s love for him – Iago acts genuinely concerned with his situation.
Finally, he also uses it to foreshadow approaching events, creating anticipation and tension in audiences. William Shakespeare’s primary use of pun is to add humour to scenes with bawdy jokes, thus providing audiences and readers comic relief and dissolving some of the tension of the previous and following scenes [T]. In the following quote, Shakespeare manages to both create the sexual imagery concerning virgins in readers’ minds and suggest that the best kind of wit is wit that is able to mould itself and accommodate many levels of meaning. Applying this to a larger subject, Shakespeare is suggesting that the best way to live life is to live on every level, base or intellectual. Our perception of life is essentially our personality, and our perspective is limited or broadened by our experiences, so in order to understand ourselves and others fully, we have to do all that we can and experience all type of emotion [M].
However, the most incredible of all these passages is found in Act 4, Scene 1, Lines 164-177, where Macbeth contemplates his inner thoughts to himself. Here, Macbeth speaks to time, providing the audience with a more in depth image of its importance. Also, Macbeth’s diction is short and fierce, further pushing the play’s theme of insanity slowly taking over Macbeth’s mind. Lastly, the passage faultlessly illustrates Macbeth’s fatal flaw of ambition slowly ruining his inner being. With these things taken into account, it will be effortless for one to show just how lovely this passage is
Guildenstern’s sympathetic needs are often confused with his sense of anger and wickedness. He appears to be on the good side of Hamlet, but only because he is plotting with former friend, Rosencrantz.
Bottom is a complete extraovert, bossy, energetic and quite annoying. 'Now, name the rest of the players', 'First, good Peter Quince, say what the play treats on, then read the names of the actors; and so grow to the point', 'You were best to call them generally, man by man, according to the strip' — he tells the director (Peter Quince) what to do. At first the reader might dislike Bottom because of his sefishness but as his behaviour makes him shown as an idiot the weaver becomes our favourite comical figure in
Largely a creature of words, Falstaff has earned the admiration of some Shakespearean scholars because of the self-creation he achieves through language: Falstaff is constantly creating a myth of Falstaff, and this myth defines his identity even when it is visibly revealed to be false. A master of punning and wordplay, Falstaff provides most of the comedy in the play (just as he does in 2 Henry IV, The Merry Wives of Windsor, and Henry V). He redeems himself largely through his real affection for Prince Harry, whom, despite everything, he seems to regard as a real friend. This affection makes Harry’s
However, Montresor takes this response as yet another insult to his person; subsequently, reassuring himself that the plan for revenge is reasonable. In order to accomplish his revenge, Montresor will use deception. He smiles at Fortunato even though his thoughts are evil, and he has plans of destruction. Montresor uses Luchresi in order to play with Fortunato’s head. The man, with the extensive knowledge of wine, will