Situations only get worse for Antonio throughout the rest of the play, but finally in Act 5 we get a little glimpse of the true justice for Antonio. In Act 5 Antonio travels with his best friend Bassanio back to Belmont to meet Portia. Upon arriving Bassanio introduces Anotnio to Portia by saying “This is the man, This is Anotnio, to whomI am so infinitely bound” (Shakespeare 191). This gives Anotnio great pleasure to hear that Bassonio is so much indebted to him still, but Portia indicates that he too should be bound to Bassanio for what he did for him. Antonio replies “No more than I am well acquitted of “(Shakespeare 191).
Often seen as the link between director and (living or dead) playwright, dramaturges can also directly help actors, depending upon the culture of the producing theatre. Their job is seen as clarifying the world of the play for the actors, in terms of references in the script—"What does this mean? "—as well as the actors' understanding of the time
In the play, Hamlet shows great hostility toward his uncle Claudius because his mother's remarriage to him. Hamlet sees his mother's remarriage as disgusting and sees murdering Claudius as a way of freeing his mother of an incestuous marriage as well as avenging his father. Hamlet and his mother's relationship is also shown as more sexual than the traditional mother son relationship because of Hamlet's language and private interaction with his mother, as well as his rivalry toward Claudius for his mother's attentions. This suggests that Shakespeare saw the behavioral characteristics of the oedipal complex in humanity that Freud did and chose to display them through the relationship of Hamlet and his mother. Hamlet's inner monologues reveal much about what he is feeling and also aid in understanding the nature of the oedipal complex within the character.
The Duke name drops the painter's name "Fra Pandolf" to see if it impresses the listener. The Duke even admits deliberately mentioning the name - "I said / Fra Pandolf by design". Wanting to impress the person to whom he is speaking becomes a regular feature in the poem and is obviously another negative characteristic of the Duke. The Duke also reveals his misgivings about his late wife's character: ...Sir, 'twas notHer husband's presence only, called that spotOf joy into the Duchess' cheek... she liked whate'erShe looked on, and her looks went everywhere. If we remember that he is speaking to a relative stranger, this is quite inappropriate conversation.
The King has his daughters compete for their inheritance by judging which one of his daughters can prove to him how much they love him. Now the initial act of betrayal starts with King Lear turning his back on his daughter Cordelia for refusing to have to prove her affection for her father. He immediately disowns her drops his duty as a father. Despite what he did to her, she never stops loving him throughout the play. She is cast into exile while her sisters are appointed power over the land and they begin to rule.
To a great extent, modern audiences would find the portrayal objectification of women very much ominous, especially in the case of Hero. Shakespeare’s depiction of the interactions between Claudio, her future husband and Leonato, her father prior to Hero’s public shaming conveys this. In act two scene one Leonato says to Claudio ‘take of me my daughter, and with her my fortunes’ (2/1/280). Here the two men are discussing the giving of Hero as if she were an object to be traded and that his adult daughter is in no position to decide who she marries. Shakespeare presents the stranglehold that men have over women and furthers the notion that men view women as items to be controlled in Messina culture.
Borachio makes most of the plans to of deception and to stop the marriage. He says, go you to the Prince your brother, spare not to tell him, that he hath wronged his honour in marrying the renowned Claudio, whose estimation do you mightily hold up, to a contaminated stale, such as one Hero. They then go onto plan to bring Claudio to see Hero with Borachio, but they will have disguised Margaret as Hero. This is one main part of deception. The second of the two main plans of deception is Claudio, Leonato and Don Pedro are talking, in hearing distance of Benedick, of Beatrice.
Tybalt coveted to extrude Romeo out from the reception except Lord Capulet tolerated Romeo because of his umpteen lauds. During the courtship party Tybalt recognized Romeo, “by his voice, [and that he was] a Montague [... their] foe; A villain, that [was] hither come in spite [...] content thee, gentle coz, [leave] him alone. ‘A bears him like a portly gentleman [...] he shall be endured” (I.5.59-84). Romeo would never have been able to meet Juliet if Lord Capulet had let Tybalt eject him from their gathering. Lord Capulet essentially endorsed Juliet’s relationship with Romeo without even knowing it.
Now at the beginning of the play, Iago is distraught and is feeling hard done by because he has been put aside from promotion and instead is replaced by Othello’s lieutenant in favour, Michael Cassio. We are first see Othello in Act One, Scene two when there is great intimacy between Iago and Othello. He shares with Iago about Roderigo’s treachery to the news of his marriage to Desdemona. As a very strong and powerfully good actor Iago is, he convinces Othello that he would kill Roderigo for is injustice wrong doings “Though in the trade of war I slain men”. It is not just Othello who doesn’t see through Iago’s poker face but practically all the characters underestimate Iago’s powers of deception.
From the start of the play, Iago expresses his jealousy of both Cassio and Othello. He is jealous of Cassio for securing the job of lieutenant Iago feels he deserved, and jealous of Othello not only from the promotion of Cassio, but also from his belief that Othello has slept with Emilia. This insecurity and jealousy he feels leads him to commit acts of revenge. As he becomes fixed on the idea of revenge, Iago speaks in a soliloquy he will not be satisfied "Till I am even with him, wife for wife, or failing so, yet that I put the Moor At least into a jealousy so strong that judgment cannot cure". Roderigo’s jealousy also starts from the very beginning of the play.