William Shakespeare’s impeccable use of the dynamics to shape power play in ‘Othello’ is displayed through Iago’s jealousy, and the themes of manipulation and prejudice. Jealousy, referred to as the “green eyed monster,” by Iago, is present throughout this text and is a key aspect for the contribution to Iago’s devious plans succeeded by his power over others. As expressed in the play, Iago is jealous of Michael Cassio for being offered the promoted position of lieutenant, "One Michael Cassio, a Florentine, a fellow almost damned in a fair wife; that never set a squadron in the field, nor the devision of a battle knows more than a spinster… But he, sir, had the election: and I, of whom his eyes had seen the proof at Rhodes, at Cyprus and on other grounds Christian and heathen, must be lee'd and calmed by debitor and creditor: this counter-caster, he, in good time, must his lieutenant be,” here Iago is explaining that he deserved the position of lieutenant as he is far better than Michael Cassio in the battle field. This, as well as his hatred for Othello, is some of the main reasons that drive Iago to follow through his evil plotting. Shakespeare applies power play to heighten a person’s influence and control over others; the theme of manipulation is expressed in astonishing ways through Iago’s power in Othello.
When he criticized his daughter wrongly, he learns later on in the story about how senseless he was to judge his daughter blindly for the reason that he couldn't see her true identity. He rejects Cordelia in the beginning and then learns from this mistake after she dies, realizing her worth after she is killed. Lear hated Cordelia because he was hurt by her words, but at the end, he thinks her death is the worst possible thing that could have ever occurred. In the play King Lear by William Shakespeare, Lear learns from making some serious mistakes in how to become a insightful human being, which propels him to have a greater understanding of others. His suffering makes him understand what man really feels
Perhaps, Ophelia’s most prominent trait is her propensity to be totally utterly manipulated by other characters in the play. Most obviously by her father, Polonius, as he treats her on equal rank with his own finances "Think yourself a baby/ That you have ta'en these tenders for true pay/ Which are not sterling. Tender yourself more dearly...or you'll tender me a fool" (Shakespeare, 1.3. 105-107). Ophelia exists at his beck and call, even ending her relationship with hamlet at his whim.
The blindest of all was obviously King Lear and because of Lear’s high position in society, you would think he would be able to determine the good from the bad but unfortunately, his lack of sight prevented him to do so. Lear’s first act of blindness came at the beginning of the play. First, he was easily fooled by his two oldest daughter’s lies. Then he was unable to see the reality of Cordelia’s true love for him and as a result, banished her from his kingdom. Lear’s blindness also caused him to banish one of his loyal followers, Kent.
Goneril and Regan pledge their love for their father, while Cordelia refuses to speak and when probed finally states that she cannot “heave her heart into her mouth,” (Act I p.7 96-97) that she loves him exactly as much as a daughter should love her father, and that her sisters wouldn’t have husbands if they loved their father as much as they claim. An enraged Lear disowns Cordelia and splits her share of the kingdom between the remaining two sisters. This is a prime example of the beginning of destruction across familial, personal and social aspects. Lear pits his daughters against one another in a selfish endeavour to boost his own pride, but in doing this he also destroys a very crucial aspect within the monarchy by removing the one daughter who has not saught out to destroy him and the foundation he had built for his kingdom. In disowning Cordelia this breaks the natural order of things because in doing so he has severed the natural bond that a father and daughter share, as well he has personally destructed himself with this decision because he has given up on his favoured daughter.
This statement displays for (1) he doesn’t care about his daughter; (2) and openly displays his emotions towards his daughter. Both of these acts display cruelty, and present that he can get his daughter killed. Egeus also displays cruelty when he does not give thought to his daughter’s desires. She loves Lysander and tries to explain that he is no less a worthy gentleman than Demetrius. However, without any thought, his decision remains unchanged.
Gwendolen wants to marry a man called Ernest, not caring whether he possesses the qualities that comprise earnestness. This is evident as Gwendolen quickly forgives Jack’s deception and Lady Bracknell quickly forgets her earlier disapproval of Jack’s suitability for Gwendolen. Jack, the central character, is initially neither ‘Ernest’ nor ‘earnest’. Through forces at times beyond his control, he becomes both: a symbol of Victorian hypocrisy. Both Jack and Algernon lead a double life, known as ‘Bunburying’, the practice of creating an elaborate deception so as to misbehave whilst maintaining expected social standards of duty and responsibility, essentially, pretending to be earnest.
Shakespeare manipulates our response to Richard by implying in the text that he poisoned his wife Anne in order to gain a political marriage to his niece, Elizabeth of York. He is a master of dissembling and a man undeniably without charm, regardless his physical deformity. Finally, he possesses a sense of irony and a sardonic wit, which extensively explains his connection with audiences and readers. Shakespeare’s use of soliloquies enables us to see Richard’s duplicitous nature. He masterfully manipulates our response into having a grudging admiration for his skilful use of language.
Her lack of identity and foundation negatively influences Hamlet such that he is also found lacking of the same. While it may not be completely necessary, since he is older, there still needs to be a little tie between a sturdy, knowledgeable, intelligent mother and his own life. When the queen acts as stubbornly as she does, and sees no wrong in the virtually adulterous acts which she has committed, it leads Hamlet to realize what he grew up with, a heartless witch. In the "Explanation of Hamlet's Madness" as published in the American Journal of Psychology, Ernest Jones examines Hamlet's reactions and emotions concerning his mother. He explains that while the actual event of his mother's second marriage isn't necessarily the direct cause of Hamlet's madness, "it must be because the news has awakened into activity some slumbering memory, which is so painful that it may not become conscious" (Jones 93).
’cannot be so partial, Goneril, / To the great love I bear you (I, iv, 309-310). Albany is unable to behold Gonerils evil intentions because of his deep devotion and love for her. Goneril is cruel and deceitful and merely flatters her father with lies, yet, Albany is visionless and does not observe her wretched personality. Albany is also unaware Goneril is cheating on him with Edmund, as well as, plotting to kill him. It is not until Albany receives a note from Edgar, outlining Goneril’s evil intentions, that he regains his sight.