Hamlet in his first soliloquy demonstrates his disgust that his mother has allied herself in love and in politics with her late husband’s brother, so soon after his death, “frailty, thy name is woman... to post with such dexterity to incestuous sheets”. Claudius is clearly established as the villain in Hamlet, murdering his own brother and then plotting to kill Hamlet. He lies and is deceitful toying with the notion that the appearance of things is not their reality. The audience is privy to the ‘reality’ of Claudius ‘deed’, and of his guilt, through an aside, climactically stating, “then is my deed to my most painted word. O heavy burden!”.
“(1.3.47-49) These three lines are extremely crucial to the play because it gives Macbeth his beginning thoughts toward receiving the throne. Shakespeare made the witches deceive Macbeth and Banquo who begin to believe they are invincible and have much to look forward to. This proves misogyny in Shakespeare because it ultimately put the witches to blame for all the horrible events in the play. Shakespeare also portrays his misogyny through Macbeth as he belittles the witches by saying, “How now, you secret, black and midnight hags.” (4.1.47) In Shakespeare’s era, chivalry and respect toward women was big. By having a character in his play say this to three so called women, seems
Upon Malvolio’s entrance in Act II Scene V, Sir Toby states “here’s an overweening rogue!” (Act 2, scene 5, line 27) after plotting with Fabian and Maria to punish Malvolio, referring to him as a “little villain” (Act 2, scene 5, line 12). Upon his entrance in the scene, Malvolio states his ambitions for nobility, “To be Count Malvolio!’ (Act 2, scene 5, line 32) to the group. The disdain the other characters have for Malvolio throughout the play is only met with vanity, hubris and patronizing comments on Malvolio’s part, doing very little to conjure any remorse for the character following his downfall later in the play. Malvolio opposes the fun and festivities of the “Twelfth Night” and chastises the characters in the play several times for their celebrations. Malvolio questions their actions in the form of patronizing dialogue by asking “My masters,
Beatrice is the one that starts this one. “I wonder that you will still be talking Signior Benedick nobody marks you.” This shows us that Beatrice wants to talk to him but she does it insulting him. Benedick responds really quickly “What my dear Lady Disdain! Are you yet living?” Here Benedick is saying that Beatrice feels that she is inferior to everyone and she can say anything because she is inferior. In Act II where there is a party in Leonatos house Beatrice talks to a masked man and tell awful things about Benedick to him.
Whom I now keep in service” (Act 1.2 lines 283-286). If first impressions are everlasting, then our first impression of Caliban is Shakespeare’s way to impose a feeling of disdain on his audience toward Caliban. Caliban is also the son of a witch called Sycorax. During Shakespeare’s era, bloodline is a big determination of social status which would further coax his audience into believing that Calibans slavery is within social boundaries. “Thou poisonous slave, got by the devil himself,” (Act 1.2 line 319) this line is a direct stab at Caliban and his witch of a mother.
Starting with Professional jealousy. This is a type of jealousy that is shown towards the beginning of the play when Shakespeare writes how Iago is jealous of the character of Michael Cassio in his soliloquy “In personal suit to make me his lieutenant … One Michael Cassio a Florentine. A fellow most damned in a fair wife that never set a squadron in the field.” Shakespeare let Iago have this line so he could show a fury of being beaten to a position a person would have thought was theirs by a man with no experience but was learned. However, it seems as though all professional jealousy seems to revolve around the character of Michael Cassio, but once again it comes from the character of Iago. Shakespeare uses Iago as the character that is gifted with the art of persuasion and deception as Shakespeare has allowed him to deceive the gullible character of Roderigo.
It is rumoured that Othello has slept with Emilia “he’s done my office”. The offence not being the emotional betrayal that modern society would take from an affair but rather the seizure of his property. By using the term “office” and also saying in another part of the play “leapt into my seat” he commodifies Emilia just as Othello and Brabantio do to Emilia. Also, Emilia by obtaining the handkerchief is useful to Iago but in the grand scheme of things is secondary to his grand schemes. Evidenced by the contempt he shows for her throughout the
Iago feels that the best way to do so is by manipulating Othello telling him that his wife is cheating on him with Cassio, who Iago coincidently hates as well. Iago reveals, “That thinks men honest that but seem to be so, and will as tenderly be led by the nose as asses are. I have ‘t. it is sengender’d. Hell and night must bring this monstrous birth to the worlds light” (Shakespeare 1.
is laid upon your hate That heaven finds means to kills yours joys with love” (V, iii, 291-293) “For there never was a story of more woe, then this of Juliet and her Romeo” (V, iii, 309-310) Tragedy- Reinforced by the death of Mercutio as it is seen by Levin as quite an ironic end, as he has been the satirist- “represents the play moving from Romantic comedy to Romantic tragedy.” Comparing Comedy & Tragedy- Tragedy tends to isolate where comedy bring together, to reveal the uniqueness of individuals rather than what they have in common with others. Examples have been shown with the progression of Juliet whom begun in tragic settings as an only child mother “But one, poor one, one poor, and loving child” (IV, v. 46) whilst Romeo friar reflects on then as “two in one” (II.iv.37) yet again when taking the potion “my dismal scene I needs must act alone.” (IV.iii. 19) reflected in the setting of each of them dying
Look here it is.”(III.iii.) Iago’s manipulative ways have earned him what he needs to succeed in the demise of his counterparts. By being loyal to her husband, Emilia has caused a great deal of harm to the woman she cares so deeply for. Another conversation of Desdemona is brought up between the Ancient and his general and this time Iago explains to Othello that he had seen Cassio with his ladies handkerchief. Othello later questions Desdemona about the handkerchief and she cannot answer where it is.