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.
He recalls when Othello passed him over promotion for the position of lieutenant. He sarcastically describes Othello as pompous, “Loving his own pride and purposes”, as he used military language to deliver the message that he has already chosen another man. “Horribly stuffed with epithets of war”. The rhetorical question Iago’s uses, “And what was he?” Prepares him to delve further into why he despises Othello. Iago believes that Othello has greatly misjudged choosing “Michael Cassio”, over him, as Cassio is a “Mere prattle without practice”.
The role of fate and free will is much more complex in Shakespeare’s King Lear. A quick perusal of the plot gives a story of good and evil characters exercising their own free wills. King Lear foolishly divides up his kingdom to his two deceitful, older daughters and ignores Cordelia, his honest, dutiful daughter. The older daughters have evil plans to overthrow their father. There is a similar subplot involving the Earl of Gloucester.
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.
In Act 1 Scene 7 Macbeth says, “I have no spur To prick the sides of my intent, but only Vaulting ambition which o’erleaps itself And falls on th’other” In this soliloquy, Macbeth admits that his only reason for committing murder is ambition. The ambition presented him with negative characteristics such as greed, intolerance, ruthlessness and an unhealthy drive for power. In addition, it blocked out his respect for others and his compassion. Earlier in his soliloquy, Macbeth also uses foreshadowing as he declares, “Bloody instructions which, being taught, return To plague th’inventor” Here, Macbeth explained his deeds will eventually come back to haunt him. Earlier in the soliloquy ,he uses dark imagery, in phrases such as “Deep damnation” a “Poisoned Chalice” and “Bloody Instructions”.
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. Our first view of Iago is of a hard deceitful man who says « Sblood » as opposed to Roderigo’s « Tush! », we see already his powers of deception as he explains how he is even worse off than Roderigo, his furious language: « A fellow almost damned in a fair wife » manages to convince the intellectual Roderigo who is presented along with Cassio in contrast to Iago. They are polite, educated, fairly wealthy and can not imagine that something as evil and motiveless as Iago exits. Iago has not only lost his promotion but also his hero in Othello.
FESTE-SIGNIFICANCE AND ROLE In the play “Twelfth Night”, by William Shakespeare, Feste the jester plays a significant role. The fool, who Olivia’s father “took much delight in”, acts as a choric commentator, rather than an actual participant in the plot. Feste’s strength comes from his sharp observations, an accomplished professional making insightful commentary and radiating charm form his witty response and humorous answers. On the other hand, the opposition of festivity energy and Puritanistic rigidity is shown in the hostility between Feste and Malvolio, which ends with Feste’s cruel taunt of Malvolio. Lastly, the numerous poetic songs sung are tinged with melancholic nature, reverberating with ageing, death and winter weather.
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.'
Sophocles’ use of irony helps the audience develop the characters of the play. Verbal irony shows the audience Oedipus’s many tragic flaws such as ignorance, pride, and his egotistical attitude. Situational irony showed us Oedipus’s ignorance of his birth parents and of himself. While dramatic irony showed us the actual truth of Oedipus’s wife/mother and of his fulfillment to the prophecy becoming his fate. In the beginning of the play, Thebes is under a horrible plague and so Oedipus sends Creon, his brother in law, to ask the oracle how to end the devastating plague.
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