Explore how Shakespeare dramatises Richard III attitudes towards women. Shakespeare’s Richard, Duke of Gloucester is multifarious personality, with his ambition to gain the crown of England driving his actions throughout the play. Richard is a viciously self-interested man, seemingly uncaring about the pain that his plotting causes others. Richard III follows Richards rise to power and the trail of betrayal, mistrust and destruction he leaves in his wake. A key theme throughout is the struggle for power between Richard and the women of the play.
William Shakespeare’s impeccable use of the dynamics to shape power play in ‘Othello’ is displayed through Iago’s jealousy, and the themes of manipulation and prejudice. Jealousy, referred to as the “green eyed monster,” by Iago, is present throughout this text and is a key aspect for the contribution to Iago’s devious plans succeeded by his power over others. As expressed in the play, Iago is jealous of Michael Cassio for being offered the promoted position of lieutenant, "One Michael Cassio, a Florentine, a fellow almost damned in a fair wife; that never set a squadron in the field, nor the devision of a battle knows more than a spinster… But he, sir, had the election: and I, of whom his eyes had seen the proof at Rhodes, at Cyprus and on other grounds Christian and heathen, must be lee'd and calmed by debitor and creditor: this counter-caster, he, in good time, must his lieutenant be,” here Iago is explaining that he deserved the position of lieutenant as he is far better than Michael Cassio in the battle field. This, as well as his hatred for Othello, is some of the main reasons that drive Iago to follow through his evil plotting. Shakespeare applies power play to heighten a person’s influence and control over others; the theme of manipulation is expressed in astonishing ways through Iago’s power in Othello.
The character of Edmund in Shakespeare’s King Lear a complex antagonist whose quest for power, and the treatment he deserves from society fuels the subplot. Cunning, deceitful, and a villain, Edmund will do whatever it takes to achieve his objectives, even if it means betraying the people who love him most. Edmund plays a key role in setting the stage for the disaster waiting to unfold, which is the subplot. Initially, the audience sympathizes with Edmund’s character; society treats him poorly, and his own father publicly embarrasses him. In Act 1 Scene 1, when Kent asks Gloucester if Edmund is his Gloucester’s son, he replies “his breeding hath been at my charge” (1.1.9) yet Gloucester “blushed to acknowledge [Edmund]” (1.1.10).
Shakespeare quite obviously plays with the conventions of Petrarchan characters and their views of desire throughout the play but most significantly towards the beginning. Romeo is introduced as a character that seems to be blinded by love, his desire for Rosaline is over powering, shallow and foolish – “He that is strucken blind cannot forget / The precious treasure of his eyesight lost” (1.1.225-226). Shakespeare has created Romeo to resemble the typical ‘Petrarchan lover’ speakers that are found in Petrarch’s sonnets, we hear Romeo obsessing over Rosaline whom like ‘Laura’ from Petrarch’s sonnets is unattainable to Romeo, as she is choosing to remain celibate - "She hath forsworn to love, and in that vow / Do I live dead that live to tell it now” (1.1.216-217) Shakespeare has purposefully created Romeo and Rosaline with these similarities to Petrarchan conventions in mind as he is able to successfully critique the discourse of desire through the growth of Romeo in the play and the introduction of Juliet. Shakespeare also relies on the fact that his audience are aware of ‘what’s in store’ for Romeo, allowing him to create a clichéd and conventional character - “The theatre audience knows that
Shakespeare further cultivates Macbeths quickly changing character through soliloquy and dramatic irony. His success in doing so is disclosed as the once ‘noble’ Macbeth goes against all odds to convey his idea of fulfilling the witches’ prophecies: to kill King Duncan. Macbeth also notifies us that to even anticipate slaughtering the sacred King is an act of treachery and betrayal nonetheless he delivers himself as quite motivated and determined to do so. The “horrid image”, “doth unfix” his hair and make his “seated heart knock”; his lust for ultimate power poisons his loyalty and decays at his integrity. As the play moves on, the audience observe the hasty crumbling of his devotion to God and the King.
If, of the two conspirators, Claudius is the master villain, Laertes by his own suggestion of the use of poison, proves himself no mean adept in the ways of infamy. By forcing upon our notice the deep contrast between Hamlet and Laertes, the Poet in the present scene seems intent upon a further glorification of his hero. If the one is characterized by a love of truth, sincerity, virtue, justice, and of all that is honorable; the latter in contempt of them all, enters ignobly into an alliance with falsehood, treachery, and crime. The whole scene is a strong sketch in black and white, in which the evil traits of Laertes, serve to illuminate all the more the nobility of Hamlet's nature. The curtain rises on the two conspirators in secret conference.
Madness is a vital plot element in William Shakespeare’s Hamlet. Both young Hamlet and his love Ophelia appear mad throughout the play’s duration, but only Ophelia has a genuine affliction of insanity. Although stricken with grief by his father’s death and the clamorous events that follow, Hamlet does not become truly mad because he is still able to distinguish right form wrong and maneuver logically in his plan to avenge his murdered father. Shakespeare surreptitiously places revelations of Hamlet’s sanity throughout the play. Though his planned maneuver to murder his uncle Claudius, the contrast between his feigned madness and Ophelia’s true madness, and his ability change behavior around different characters that possess his trust, Hamlet’s true, rational condition emerges from beneath his veil of insanity.
Felix Cole English 10 H Monica Espinasse Barbed Words Shakespeare’s tragedy Hamlet evokes a world where a nation can be seen as a diseased body and language can be used as a lethal weapon. Madness, defined in the dictionary as, “engaging in actions that are senseless or foolish”, is an issue that multiple characters deal with throughout the play. Many would say that Hamlet’s actions are very irrational, but everything he says and does eventually helps him achieve his desires. Despite how things seem Hamlet is an intelligent character who ultimately is in his right mind. The death of one’s father and a ghostly visitation thereafter are events that would challenge the sanity of anyone.
Using Desdemona, an innocent with whom he has no quarrel to 'enmesh'em all,' Iago weaves a web of deception that ensnares the essentially innocent Othello, Cassio, Roderigo and Emilia, each guilty only of hurting Iago's pride. He succeeds in destroying a marriage and two noble characters as well as his wife, (Emilia), and Roderigo. Iago's true delight in his own cunning however, can be witnessed in his Act 2 Scene 1 soliloquy. Here he revels in the power he wields, that which can to turn Desdemona's 'virtue into pitch.' Also amoral is Iago's mercenary use of Roderigo to 'line his coat.'
He has been referred to by critics as ‘Shakespeare’s wickedest character.’ Every time Iago is mentioned by other characters, it is his honesty which is talked about, ‘O, that's an honest fellow’, ‘You advise me well... goodnight honest Iago.’ Iago manages to convince everyone that he is a noble and honest man, which he uses this power to his advantage. Iago plans to use this image of him being an honest man to gain revenge upon Othello for choosing ‘a great arithmetician, one Michael Cassio, a Florentine,’ over Iago for the position of lieutenant. Iago believes that Cassio was