well, for the matter of fact all i had to do was make this up and it worked.... i hope. a central motif in the play is trickery or deceit, whether for good or evil purposes. counterfeiting, or concealing one's true feelings, is part of this motif. everyone seems to lie; good characters as well as evil ones engage in deceit as they attempt to conceal their feelings: beatrice and benedick mask their feelings for one another with bitter insults; don john spies on claudio and hero; don pedro and his 'crew' deceive benedick and beatrice. who hides and what is hidden?
They create opaque facades to deceive and manipulate others to claim self-superiority. Hence, both Harron and Shakespeare warn of the capability within all of us for evil. The capability for destruction exists alongside the covert evilness within humanity where both possess the ability to mentally disrupt the human mind. This is highlighted through the archetypes of Iago and Patrick
The clever technique Shakespeare uses allows al the characters to perceive Iago as ‘honest’ and quite pure and heavenly like. When all the while he is nothing but a lying serpent more like the devil than any heavenly like creature. At the start of act 2 scene 3 we see that Iago attempts to force Cassio into lecherous thoughts towards Desdemona. He is tempting Cassio into saying something he shouldn’t or something he may sooner regret. The key part of this however is that Iago is tempting Cassio, very like the devil himself tries to tempt us.
Shakespeare and Marlowe use trickery and deception to present their characters with certain qualities. Prospero is presented as powerful and vengeful at the beginning by conjuring the tempest using magic to trick the characters on board. Throughout the play he becomes wiser and leans the values of forgiveness of those who have deceived him. Faustus is a character that is put in the position of power and doesn’t use it for valid purposes. He’s useless tricks display vanity and indicate his wastefulness to the audience.
Moreover, the different mediums enable the audience to explore the performative nature of identity and the individualistic nature of ambition and how the different contexts respond to and portray this. Ambition and identity in Richard the Third are overwhelmingly portrayed in a negative light, ultimately resulting in dire consequences; in an Elizabethan context individualism and ambition reflected a person striving to grasp what was not due to them - ultimately, opposing God’s will. Richard, in the play, is represented as both villain and protagonist. We are made aware of Richards duplicitous nature and his evil aspirations as early as Act 1 Scene 1 where he states “I am determinèd to prove a villain” a self referential (and metadramatic in nature) pun which brings about questions of determinism and free will, themes that are explored throughout the play; there is ambiguity around whether or not Richard actually has autonomy over his nefarious deeds, which he goes about plotting. In keeping with his Elizabethan context, Shakespeare can not be seen to oppose the chain of being, the hierarchical chain of the period where a king was at the top,
In conclusion, it is extremely transparent that Tom is a more corrupt character compared to Jay Gatsby. His dishonesty, jealousy and lack of moral values exemplify his corruptness. In comparison to Gatsby, we see many similar traits and actions between these two characters with vastly different consequences. Gatsby’s motivations are pure when seeking his true love while Tom’s motivations are malicious and intend to hurt others. Cited Work Fitzgerald, F. Scott, and Matthew J. Bruccoli.
Obama is fortunate because he has used energetic youth through his word skills, knowledge and relations. Machiavelli states that fortune varies in men, “[He] thinks… Fortune is the mistress of one half our actions, and yet leaves the control of the other half…” (119). Machiavelli believes fortune will not work unless the ruler has spirit of energetic youth. Through Obama’s presidency it’s evident that he has maintained some political strategies similar but not exact to Machiavelli’s ideas. For Obama to be a Machiavellian prince he does not only need power, but it depends on how it’s used through military matters.
You Can’t Mask Revenge Oftentimes, people go to great lengths to hide the most unsavory parts of themselves, and don’t reveal to others who they truly are. Sometimes, people who are actually evil and conniving can seem to be the kindest. However, as time goes on their villainous natures come to the forefront. In The Scarlet Letter by Nathaniel Hawthorne, The Crucible by Arthur Miller, and “The Cask of Amontillado” by Edgar Allen Poe, the antagonists are very talented at hiding their true identities. While Abigail, Chillingworth, and Montresor don innocent guises, their diabolical quests for revenge consume ultimately them.
This lets the audience gain an understanding of the motifs such as evil intentions, thoughts and counterparts in the human nature behind both corresponding literature. Earthly desires erupt from aspects of human nature as we gain the tendency to ponder on malignant thoughts. Shakespeare’s use of archetype in the play Othello examines this concept. He has manifested one of literature’s most complex archetypical villains, Iago, as a vehicle to convey the harsh and self-centred human nature that lies within us. Having not received the promotion, recurring motifs such as jealousy, greed and revenge overcloud Iago’s mind.
Emotional abuse includes all the forms of verbal abuse. Emotional abuse is systematic in a way that it brainwashes the victim into thinking they’re worthless. Emotional abuse erodes away self-confidence; a sense of self-worth and it’s often disguised as advice or guidance. Victims of extended emotional abuse often developed emotional scars that are harder to heal than physical ones. Emotional abuse is also used as a way to control one’s partner.