This is used as a device to introduce the idea t of ‘knowledge for knowledge’s sake’, which is one of Stoppard’s key themes. It also demonstrates the contrast between Romanticism and Classicism, as each of the characters is representative of one of these ideals. From the beginning of Act 1 Scene 2 and within this extract, it is made obvious to the audience that as a character, one of Bernard’s major purposes is to create comedy through his unabashedly terrible personality. His deceitful nature is introduced when he asks Chloe to lie to Hannah about his name, due to the fact that he wrote a derogatory review of her book yet still wishes to use her intelligence. As an audience, we are already aware of this before Hannah makes the discovery, which increases our sense of disgust at his deceitfulness.
Thus, the action in a comedy consists of a string of incidents that reveal the fool in situation after situation where he shows variations from what is considered normal behavior. Much of the fun of comedy consists of the reaction of the other characters to the behavior of the principal character. Often comedy ends in the marriage of the principal characters, the writer’s cue to us that order will be created and sustained now that the characters have wed. Wordplay: Oxymorons: The word oxymoron comes from the Greek meaning "pointedly foolish." Examples: Quince refers to the play of Pyramus and Thisbe as "the most lamentable comedy." (I.ii.
This act shows that Malvolio is a fool, but not only a fool and desperate fool, whose persona changes when it comes to the love of Lady Olivia. Malvolio is not the average Shakespearean comic fool who is played by an actor for laughs. Shakespeare’s creation of Malvolio is perhaps for more of a sinister agenda? A cruel mockery of a stereotypical uptight puritan with a joke taken too far, for example the letter in act 2 scene 5. A puritan is: somebody who lives by a strict moral or religious code, especially somebody who is suspicious of pleasure.
The way the two gentlemen behaved was referred to as Bunburysim which according to Algy it was how it should be called since one of his acts of “Bunburysim” concerned an imaginary friend of Algy’s that always managed to get sick whenever Algy was needed for something. Unfortunately they cannot get rid of their false identities since both women claimed that they could only love someone by the name of Ernest. Things start to go wrong when all of them end up together in the country and their deceptions are discovered, threatening to spoil their romantic pursuits. What makes this play entertaining is a mixture of different techniques that Wilde decided to use. The characters’ behaviour and personality, the theme of deception and pretence, which would be interpreted by the double identities that Algernon calls ¨Bunburying.¨ The dramatic irony is also a very important part in the play, as well as the plot structure and the
There is much evidence in the play that Hamlet deliberately feigned fits of madness in order to confuse and disconcert the king and his attendants. His avowed intention to act "strange or odd" and to "put an antic disposition on" 1 (I. v. 170, 172) is not the only indication. The latter phrase, which is of doubtful interpretation, should be taken in its context and in connection with his other remarks that bear on the same question. To his old friend, Guildenstem, he intimates that "his uncle-father and aunt-mother are deceived," and that he is only "mad north-north-west." (II.
He possesses an exterior glitter which is really sinister and which misleads everyone in the play. Iago’s jealousy and deception is brought about by Othello giving Cassio a promotion over himself and the play starts with Iago complaining to Roderigo, about ‘The Moor.’ Jealousy is a major theme in Othello and this is illustrated though characterisation and the use of imagery. From the beginning of Othello, it is established that Iago is driven by jealousy himself and uses it as his tool to bring about the downfall of Othello. Responders are immediately alerted to his scheming nature when he states “I follow him to serve my turn upon him.” The characterisation of Othello from the calm and reasoned military leader to the blind, enraged ‘blacker devil’ that responders witness in the end emphasises the potent poison that is jealousy. There isn’t a shred of the Othello from Act one left by the tragic ending of the play as highlighted by Lodovico “thou Othello, that wert once so good.” The mere possibility of Desdemona’s unfaithfulness and the question of her fidelity are unbearable for ‘valiant’ Othello, he would rather “the general camp, Pioners and all, had tasted her sweet body” than to have doubts floating in his mind.
There is no doubt in « Othello » as to the role Shakespeare has given Iago, he is the villain, masterful at deceit he generates most evil in the play. The clever soldier, his incredible acting allows him to be two or three completely different people. During most of the Act the audience finds itself constantly trying to find a motive for Iago’s actions but finds none that can justify what he is about to do. What does seem to come back again and again is his view on women which he sees as sex rapacious and a danger to his machiavellian plans. Scene 1 offers us a good preview as to what Iago is going to do for the rest of the Act and ultimately the rest of the play.
Trincelo and Stefano seem most obviously to be buffoonery , and to have the sole purpose of providing comic relief following the intensity of act ii scene I. indeed We meet Tricelo as he attempts to seek shelter from a brewing storm which may be interpreted as pathetic fallacy reflective of the growing dramatic tensions of the play . However for large marjority of a jacabein audience these two charcters are not only comedic but the most relatable. Trincelo sees Caliban and is both repulsed as well as curios of him unsure weather he is “ a man or a fish” . For modern critics who debate the role of Caliban tricelos reaction provides light into how Caliban may have been prevised at the time. This is becoue Tincelo and steffano are to put it simply ordinary people with ordinary views yet within extrodinary circumstances .
“Which of you shall we say doth love us most” Act 1, Scene 1, Line 52. Through this, both King Lear’s and Gloucester’s rage and rashness can be seen, resulting in them both loosing sight of what is important. Despite this, their weak characteristics have a small influence on their tragedy and suffering. After King Lear bestows all his possessions to his daughters, rather than being grateful, Goneril and Regan’s lust for power causes them to turn on their father. In Act 2, Scene 4, Goneril and Regan diminish his retinue, disregard his authority and Goneril instructs her servants to treat King Lear with the utmost disrespect.
Pia Brinkschulte February 20, 2012 ELA 30S Mr. Grynol Othello In Shakespeare’s Othello, the main antagonists Iago, starts off from being simply jealous, to turning revengeful and obsessive, making perversive decisions for his need of power and control. Critic A.C. Bradley suggests that this longing to satisfy power is Iago’s main motivation and driving force for his acts and behaviour throughout the play. The chief reason for Iago’s vindictiveness is that Othello chose Cassio over Iago to make him his Lieutenant. Iago feels rejected and despised, he is very bitter towards Othello who downgraded his service and experience in favour of the arithmetic skills that Cassio has. Because Iago’s career path is blocked by a mere lack of paper qualification he first begins to start developing feelings of revenge on Cassio who stole his job.