This seems that it is the gender that affects the conflict and as traditions followed then, it was the men that ran society and made the decisions for women. Romeo and Juliet also takes place in a masculine world in which notions of honour, pride and status are all major to everyone and these factors can escalate to violence. The violence in the play’s social environment is a dramatic tool that Shakespeare creates to make the lover’s romance seem even more precious, valuable and fragile: their relationship is scene by society as an insignificant feeling of love in a significant world of hate. The fights between Mecutio and Tybalt and then Romeo and Tybalt are surreal. Passion outweighs reason at every point and Shakespeare wants to highlight the young love in this masculine society as well as show it is the men that cause conflict and a world of hate.
Iago’s mendaciousness scorched Othello’s sanity beyond repair. Iago’s villainous behavior and Othello’s radical demeanor both stand for part of every man in contrasting ways. Each if those qualities is regrettably embedded within each of us. The qualities he thrives on throughout Othello, by William Shakespeare, are the ones we’re most ashamed of. In his soliloquy in Act 2 Scene 2 Line 380 he’s especially brutal towards Desdemona in his plans showing no shame what so ever.
Shakespeare is a master at providing an audience with keen insight into the human psyche through the actions and words of his heroes, and even more so, his villains. Contained in Shakespearian plays are characters that are considered archetypes for much of today’s basis of judging a person malicious or malevolent. Two of the most infamous villains in all of Shakespearian literature are Iago in Othello and Claudius in Hamlet. Both Claudius and Iago are driven by immoral ambitions, such as jealousy. Unlike many of the "evil villains" in literature, Iago and Claudius are far more complex than may be seen at first.
Shakespeare is very effective in presenting the central theme of conflict in the tragedy of Macbeth. He uses: a variety of dramatic techniques such as the construction of hostile atmosphere; he used a plethora of literary techniques such as monosyllabic words and juxtapositions as well as structural devices such as stage directions to emphasise the conflict, both internal and external in the play. The very first scene of the play is instrumental in setting the tone and mood for the play. Shakespeare employs the violence of nature (thunder and lightning) and the entry of the bizarrely supernatural to create morbidly macabre undertones and overtones. This stark contrast created by the entry of the three witches embodies the concept of there being a cataclysmic conflict between the sinister prophecy of the witches and how this clashes with the Divine Order.
Spying and Secrecy in “Hamlet” English G10 Carla Trigoso Spying and Secrecy in “Hamlet” English G10 Carla Trigoso Spying and Secrecy in Shakespeare’s Hamlet “Hamlet”, one of the greatest plays written by William Shakespeare, has instances of spying throughout the whole play. When someone spies on somebody else it is because he or she is being distrustful and curious. This conveys to the play a sense of suspicion and it is also the justification of the actions of several characters. After all, spying is not only something smart to do but also dangerous. When the spying between different characters is so frequently seen it becomes part of the attraction and mood of the play.
Through his use of verbal language techniques and devices, Shakespeare develops loving as an unwanted, painful, disease throughout his play Twelfth Night that ultimately can turn men into monsters. He both conveys this warning to the audience and makes the play interesting and attention grabbing for them by skilfully using metaphors, comparison, emotional language, rhyme and allusion. Twelfth Night is a timeless piece of literature thanks to the intricate verbal techniques that Shakespeare weaves with a purpose into the play. In Twelfth Night, Shakespeare portrays love as a “hunger” to show that we are pained by it when we cannot satisfy it, drawing similarities between the ache of loving someone to “hunger pains”. He also uses a metaphor to convey his opinion that the need for love is as great as the need for food.
While Shakespeare does use Iago’s soliloquy to encourage the audience to admire him, the soliloquy also highlights his incredible aptitude for malice. The continued metaphor of Iago’s jealousy being an ailment to him, “doth, like a poisonous mineral, gnaw my inwards” and expressed further on where he vows to give Othello “a jealousy so strong/that judgment cannot cure”, brings a sense of paranoia and mania to him. This paranoid side to Iago is further emphasized when he alleges Othello of having “leaped into my [his] seat”, his
I know I can definitely empathise with him. Ah yes, so did I. That element of the tragedy is also displayed in the film as John Othello expresses that the person he trusts the most is Ben Jago. There is a dramatic irony in that scene as the audience knows that Othello can’t trust Jago and this is represented through the use of dramatic music. Andrew Davies purposely used that technique to mirror Shakespeare’s thematic technique to create similar effect.
Shakespeare's Presentation of Othello as Responsible for his Own Downfall Shakespeare’s Othello consists of the themes betrayal, love and dishonesty. At the centre of this play is the tragic downfall of Othello at the hands of his so called friend Iago. In this essay I will be discussing the reasons for and against Othello being responsible for his downfall through looking at critical interpretations of his character and actions. In some ways you could say that Othello was highly responsible for his own downfall as he was easily manipulated by Iago showing him to be gullible and naïve. Iago manipulates Othello by making him suspicious through inference, “Ha I like not that”.
He had a feel for the complexity of human tragedy and Macbeth was not an exception. Shakespeare used his subtle talents to create a world with round characters with tragic flaws and most of all, excessive tragedy. A round character is defined as “a character whose personality is many-faceted and whose behavior is dynamic and often unpredictable” (Clugston 2010). This means that the main characters in this play, Macbeth for example, have many layers to it. These layers are often defined as strengths and weaknesses, range of emotions, and/or likes or dislikes.