[Enter Macduff] Macduff: | (Looking around, shouting) Show me your face, unfaithful tyrant! Do not be a coward and hide around the corner in the dark. I’ll get you by hook or by crook. Oh God, grant me fortune to vanquish this traitor, for my beloved wife, my son, and the nation! | Macduff opens the door to look for Macbeth.
‘Men were deceivers ever.’ To what extent can it be argued that Shakespeare’s presentation of men’s attitudes to women in ‘Much Ado about Nothing’ allows for comedy? In Much Ado about Nothing, it can be equally argued that men’s attitudes towards women are actually used for comedy purposes, and it can be argued that their attitudes aren’t. For this argument, the relationship between Beatrice and Benedick at the start of the play can be seen as comical to the audience, as they both claim to dislike each other and take pleasure in making rude remarks to one another. On the other hand, the relationship between Hero and Claudio could be seen as quite dark to the audience, as there are accusations and trust issues between the two. The quote ‘men were deceivers ever’ comes from Act 2 Scene 3 of the play, from the song that Balthasar sings.
In Iago’s soliloquy, Shakespeare masterfully uses language so to encourage the audience to both respect and resent him simultaneously. Although Iago is malevolent and deceitful, his ability to fool others around him leads to a level of respect and admiration in an audience. The language Shakespeare employs in Iago is practical and direct, contrasting to Othello’s heroic and epic speech patterns. This is especially shown through Iago’s use of base and simplistic imagery presented when describing Roderigo as “poor trash of Venice”, causing Iago to appear more relatable than Othello. Through Shakespeare’s use of animal imagery when Iago articulates that he will make Othello “egregiously an ass”, the audience is forced to begrudgingly admire Iago for his astuteness and his ability to warp a situation to his own advantage.
That..." The sentence here should read "if we offend, it is our good will that...” Therefore Shakespeare uses the mechanicals to create comedy. Nick Bottom is a weaver and one of the Athenian craftsmen who puts on the play, Pyramus and Thisbe. During play rehearsal, Bottom's head is transformed (by Puck) into that of an "ass" (donkey), making him the butt of the play. Bottom unwittingly makes an idiot of himself, expressing confidence about the wrong things, and ever willing to explain to others as if they were the ones out of the loop. Bottom's idiocy is almost endearingly innocent.
How does Shakespeares use of disguise and misinterpretation of human nature link to comedy? In Much Ado about Nothing; Shakespeare uses disguise and misinterpretation through comedy to present human nature in different aspects. Shakespeare’s use of misinterpretations shapes the play and makes it pleasurable for the audience as well as entertaining. There is perplexity between lovers, the encounter of sexes, and the restoration of love and marriage. Shakespeare uses incessant word play, and constant mockery between key characters to portray the comedic effect.
More than these, I think Lear is motivated by his idea that he is a good man. One thing that supports is when Kent says “I’ll tell thee thou dost evil,” (Act I, Scene I, Line 175) and Shakespeare writes the king as reacting in a frenzy, going so far as to say “This moment is thy death,” (Act I, Scene I, Line 190). By portraying the king in this way, Shakespeare causes us to judge him as unstable and mental. While his actions thus far have been rash, him reacting in this way, and him banishing his daughter saying, “Here I disclaim all my paternal care, Propinquity and property of blood,” (Act I, Scene I, Lines 117-118). From these thing, it is made clear that Lear is not only rash and insecure but also thoughtless and stupid.
Enter SHYLOCK DUKE Make room, and let him stand before our face. Shylock, the world thinks, and I think so too, That thou but lead'st this fashion of thy malice To the last hour of act; and then 'tis thought Thou'lt show thy mercy and remorse more strange Than is thy strange apparent cruelty; And where thou now exact'st the penalty, Which is a pound of this poor merchant's flesh, Thou wilt not only loose the forfeiture, But, touch'd with human gentleness and love, Forgive a moiety of the principal; Glancing an eye of pity on his losses, That have of late so huddled on his back, Enow to press a royal merchant down And pluck commiseration of his state From brassy bosoms and rough hearts of flint, From stubborn Turks and Tartars, never train'd To offices of tender courtesy. We all expect a gentle answer, Jew. SHYLOCK I have possess'd your grace of what I purpose; And by our holy Sabbath have I sworn To have the due and forfeit of my bond: If you deny it, let the danger light Upon your charter and your city's freedom. You'll ask me, why I rather choose to have A weight of carrion flesh than to
After Macbeth kills the king, a bell rings and he says, “I go and it is done: the bell invites me. / Hear it not, Duncan, for it is a knell / That summons thee to heaven, or to hell” (2.1.62-64). Macbeth and Lady Macbeth also frame the guards for the dirty deed he has done. Malcolm and Donalbaine are so scared for their lives that they decide to stay with separate relatives. Separating where no one knows where they are will better insure their safety.
Kent asks the gentleman “to make” his “speed to Dover” and make “just report of how unnatural and bemadding sorrow the king hath cause to plain”. There, he will find Cordelia, who will recognize him by the ring Kent has given him. With the fool close behind, trying in vain to calm him, Lear wanders about deliriously on a “night” which “pities neither wise man nor fool”. As Lear urges the storm to destroy the human race and his “ two pernicious daughters”, Kent finds him. Kent eventually convinces Lear to seek shelter in “a hovel”.
What dares the slave Come hither, cover’d with an antic face, To fleer and scorn at our solemnity? Now, by the stock and honour of my kin. To strike him dead, I hold it not a sin.”(Page 81-83, lines 51-56, 1.5)1 Romeo went to the Grand Masquerade that was hosted by Juliet’s father named lord Capulet. Unfortunately, Juliet’s cousin named Tybalt saw the Montague Romeo and wanted to hit him but fortunately Lord Capulet told the violent Tybalt not to, because it will bring a very bad name against him. Especially since Lord Capulet is well respected in the community he did not want to lose the respect that those people have on him.