Shakespeare manipulates our response to Richard by implying in the text that he poisoned his wife Anne in order to gain a political marriage to his niece, Elizabeth of York. He is a master of dissembling and a man undeniably without charm, regardless his physical deformity. Finally, he possesses a sense of irony and a sardonic wit, which extensively explains his connection with audiences and readers. Shakespeare’s use of soliloquies enables us to see Richard’s duplicitous nature. He masterfully manipulates our response into having a grudging admiration for his skilful use of language.
In Shakespeare’s play, Much Ado About Nothing, deception is a key theme throughout. There are several main deceptions, beginning with Don John trying to deceive Claudio that the prince woos Hero for himself. When this conniving scheme fails, he embarks on a new master plan, which involves the shaming of Hero at the marriage between her and Claudio. Another key deception, arguably the most important storyline to the play, is the deception of Beatrice and Benedick, who despite their previous feelings about courtly love and romance, gradually begin to fall for each other, under the careful guidance of Don Pedro, Claudio, Hero, Ursula and Leonato. However, throughout the first few scenes, we as the audience are exposed to Beatrice and Benedick’s ‘merry war’ as they exchange witty and sarcastic banter.
In Shakespeare’s play, ‘Much Ado About Nothing’, he greatly contrasts the relationships developed between Benedick and Beatrice, and Claudio and Hero. One is developed through deception and works well while the other is developed through true love and descends into tragedy. There is evidently a contrast between the love of Claudio and Hero and Benedick and Beatrice, as there is in their characteristics and attributes. Claudio and Hero's relationship being simply conventional and apparent whereas Beatrice and Benedick's is based on their wit and deeper feelings. Claudio first presents his love at first sight for Hero in the quotation, ‘Can the world buy such a jewel?’ Claudio’s use of the word ‘jewel’ demonstrates that a jewel is something that is only attractive to the eye and demonstrates that he only cares about the looks of a woman.
Othello then sees and claims Iago to be ‘honest’ throughout the play and believing all the lies that is told to him. This shows that Othello was not responsible for the bulk of the tragedy but being very gullible and not thinking twice for his actions towards his surroundings and helping Iago’s plan for revenge. Quoted by Iago in Act 3 Scene 3, “Men should be what they seem”, gives the irony of illusion and reality. There is an extensive jealousy with Othello and thinking Desdemona is having an affair with Cassio using the napkin Othello gave to Desdemona as the symbol between them, building a chaotic wrath inside
Friar Lawrence makes fun of Romeo saying that young men only love what they see. They do not love with their hearts but with their eyes and thoughts. Their love is shallow and superficial. He questions whether Romeo shed a single tear for Rosaline before moving on. Friar Lawrence brings out Romeo’s fickle minded nature by showing how he falls in love with a new woman, Juliet, in a very short time frame.
Despite the fact most praise him as ‘Honest Iago’ it is only the audience to whom he reveals his true self. His master plan at the beginning of the play is to serve himself by serving Othello for power, wealth and respect. Iago is aware of his jealous nature and this includes his sexual jealousy, he believes that Othello has slept with his wife Emilia, ‘Partly lead to die at my revenge for that I do suspect the lusty moor hath leaped my seat’ he has reason to plot revenge ‘wife for wife’. This proves that he has a plan ‘dull not device by coldness and delay’ and he does not wish to fail this plan which shows that he has a motive and therefore partly
The play of Much Ado about Nothing, written by Shakespeare is based upon deliberate deceptions, some malevolent and others benign. The deceiving of Claudio and Don Pedro results in Hero’s disgrace, while the ruse of her death prepares the way for her redemption and reconciliation with Claudio. In a more lighthearted vein, Beatrice and Benedick are fooled into thinking that each loves the other, and they actually do fall in love as a result. Much Ado about Nothing shows that deceit is not inherently evil, but something that can be used as a means to good or bad ends. Shakespeare starts his play with love that Claudio speaks for Hero, the passion and affection is shown by Claudio throughout the play even though in Act 3, there was deception
The relationship between Proctor and Abigail is used as a heat metaphor, built on lust not love. ‘Sweated like a stallion,’ portrays the romance and passion between them. ‘Abigail, with a bitter anger: Oh, I marvel how such a strong man may let such a sickly wife be- Proctor, angered at himself as well: You'll speak nothing of Elizabeth!’ Miller shows us this to make us have the idea that Proctor is redeeming his sins, which makes us again gain admiration for him, as he stands up to Abigail about Elizabeth which shows true love and compassion for his wife, it also shows how he is strong willed by resisting Abigail’s on going demands. We can also learn to sympathise more with Proctor as it comes clear that it was a weakness from him and how he is only human to fall for a ‘startlingly beautiful’ 18 year old girl. Proctor feels he has to atone for his
So she has opened her eyes just after the trick and has fallen in love with a miserable human being, Bottom. Then, later, she woke up from this “dream” and we can ask ourselves in which way Oberon and Titania’s reconciliation can be seen as a submission to each other? I/ Oberon’s reconciliation with Titania II/ Titania’s submission to the powerful male figure III/ What does this reconciliation hide concerning Oberon? I/ Oberon’s reconciliation with Titania Oberon remains Master and King of the situation. He has attained what he wanted: the Indian Child.
He is also in love with Olivia but it can be said that he is mostly in love with the idea of love itself since he talks incessantly of love: “O spirit of love, how quick and fresh art thou” (I. i. 9) that he is unable to distinguish between appearance and reality. Also, by looking at the first two scenes of Act 1, it is clear that he wallows in his emotions, and is changeable and moody. He threatens to kill Viola-Cesario as Olivia says that ‘he’, Viola-Cesario, is her husband. However, he switches his love from Olivia to Viola without any hesitation as soon as he gets to know that Viola-Cesario is actually a woman.