Desdemona is Othello’s wife who he is madly in love with and Iago preys upon Othello’s jealous personality and trusting nature to convince Othello of his wife’s infidelity resulting in the ultimate downfall of Othello – death. Othello’s downfall is caused by his own weakness due to his trusting nature and willingness to believe anything he is told. Early in the play, it becomes evident that Othello is blind to Iago’s evil when Iago says “I am not what I am” (I.i,65). This statement foreshadows Othello’s downfall as it is his trust in Iago, which causes it. Othello believes Iago’s lies and always listens to his advice throughout the play.
“To be or not to be, that is the question; whether’ tis nobler in the mind to suffer...” (Shakespeare Act 3, Scene 1). This quotation proves Hamlet becomes inferior to others and the environment through his madness, causing him to express himself explicitly towards others. Hamlet’s madness not only causes his loved ones lives but it allows his “end” to come because he accepts every challenge from his opponent. Hamlet’s madness not only affects him but Ophelia, who is mentally torn apart by Hamlet. Ophelia was once flawless, but since her encounter with Hamlet she has fallen into the same madness and wants to kill herself.
Dramatic irony occurs when the reader knows something that one of the characters does not. Such is the case in “The Cask of Amontillado” as the story begins with Montresor stating “The thousand injuries of Fortunato I had borne as I best could; but when he ventured upon insult, I vowed revenge”(510). This statement sets up dramatic irony throughout the story as the reader knows Montresor has sworn revenge on Forunato, while Fortunato believes they are still friends. This irony is evident through the whole story as Montresor pretends to be friends luring Fortunato to his cellar where he would eventually trap and kill him. The irony enhances the brutality of the murder as the reader knows throughout Montresor is planning some revenge while Fortunato believes he is going to sample his friends wine.
Claudius, Hamlet's uncle is the most serious offender of lying and deceit. Although he has committed the most heinous acts, Claudius is the only characters who develops a guilty conscious as a result of dis devious actions. As each of the main characters develops on social, moral and psychological levels, lying and deception is an ever present theme and an integral part of the plot. From his very first scene in the play, Prince Hamlet establishes himself as someone who is morally opposed to deception. When Hamlet's uncle and mother urge him to “cast [his] nighted color off,” (Shakespeare 1.2.68) and stop acting and appearing so depressed, he replies that his “inky cloak.../ [and] river in the eye.../ are actions that a man might play” (Shakespeare 1.2.78-84).
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.
He also tells the murderers that Banquo is blameworthy for their tragic, unhappy lives. After angering the murderers, Macbeth switches to a more sarcastic tone and manipulates the murderers so they will feel like they need to prove themselves men, worthy of Macbeth’s presence. By asking questions, Macbeth leaves a gap between him and the murderers and waits for them to fill it. He asks “Are you so gospeled/ To pray for this good man and for his issue/ Whose heavy hand hath bowed you to the grave/ And beggared yours forever? (3.1.98-101).
How does Shakespeare present the theme of jealousy in Othello? Firstly, jealousy is the main theme in the play. It basically takes over the character's lives causing them to do stupid things. For example, at the beginning of the play, Roderigo is already jealous of Othello as Othello has Desdemona and he does not. Another example of jealousy is at the end of the play where Othello thinks that Desdemona has been unfaithful towards him with Casio.
The manipulation and sins of Iago are the driving force behind the play, without which events could not escalate to such an extent. Iago’s primary objective throughout the play is to ruin Othello, which he achieves through his deceitful nature and manipulation. Iago plays is portrayed through the use of dramatic irony as ‘honest Iago’ but is truly the ‘villain’ and uses this deception of his true nature to ensure that he is trusted by all. Although Iago always has ulterior motives within the play, when he breaks through the fourth wall in asides or soliloquies he more often than speaks truthfully – fabricating his plans where the audience can see. ‘Devils will their blackest sins put on … suggest at first with heavenly shows as I do now’ is one such instance where Iago further fortifies his deceptive nature: he will appear the angel while acting the devil.
Of all of Cassius’s traits, there are three that are the most seen; he is jealous, a liar, and a manipulator. To begin, Cassius is a very greedy man and shows his jealousy constantly throughout the play. One example of this is when he was talking to Brutus while Caesar was being offered the crown. He says “Why, man, he doth bestride the narrow world like a Colossus, and we petty men walk under his huge legs, and peep about. To find ourselves dishonorable graves.” Referring that Caesar was better than them and that Cassius wanted to be Caesar.
The answer I believe is no. Yes Macbeth is sinned against but he commits many more sins than what was committed against him. During the play he kills many innocent people, usually because he is covering up a sin that he has committed. Such as at the beginning of the play just before