They are also similar because they are talking about a woman, but are different in how they approach this. In addition their wanted outcome is different. Both these men see women as objects, the Duke as an object he can control and look at, and the speaker as a sex object. "My Last Duchess is about a Duke, who is hoping to marry the Count's daughter, and is with his envoy talking about his ex-wife. "To His Coy Mistress, is about a man, who wants to sleep with a young woman, but is scared that he does not have a lot of time left.
If we remember that he is speaking to a relative stranger, this is quite inappropriate conversation. He basically accuses his late wife of being unfaithful but Browning has encouraged us to dislike the Duke so much already that it is easy to think he was at fault or is paranoid about what could have been her
Throughout the play we see that this commitment ends up being detrimental. The irony of the king’s compliment becomes more and more apparent as the reader begins to see the irrationality in Hotspur's concept of honor. The moments Hotspur shares with Lady Percy demonstrate his intense obsession with honor. His fixation on his chivalric duties make him unable to think of anything other than “… basilisks, of cannon, culverin, / Of prisoners' ransom, and of soldiers slain, / And all the currents of a heady fight” (2.3.53-55). Lady Percy sees that Hotspur's preoccupation prevents him from sleeping, and she begs him to tell her what weighs so heavily on his mind.
This builds up the two characters relationship, showing how close they are to each other. A huge personality contrast from Othello and Desdemona is then showed in 2.1.299 where Iago is introduced. He is shown as two faced right from the first meeting, due to as soon as Othello leaves, Iago talks of him behind his back, plotting against him referring to him as “The Moor”. He talks in a jealous manner he is angered and distraught by Cassio’s promotion over him and he his starting to suspect that Othello and his wife, Amelia, have had an affair. This is when his plan is first formed from lies and misinterpreted events.
As the play unfolds, it can be seen that Othello is in fact “enfettered to Desdemona’s love.” Othello, as a rational soldier, became a blind lover. He was so overcome by his love for Desdemona, that all rational thinking was abolished. Othello, as soldier who was inexperienced in love, could not control all the emotions flooding through him. His decisiveness as a soldier lead him to seek “ocular proof” of his wife’s infidelity and when Iago presents him such proof, his decision to peruse a bloody course is made swiftly. As the conclusion of the play draws near, Othello tells his men “speak of one who loved not wisely, but too well.” Moments before stabbing himself, Othello finally understood the error in his ways – the fact that he love blinded him from his true intentions.
He moans on about how he feel he cannot cope and that he should just commit suicide to get rid of the pain he is feeling. . In the first line of the soliloquy he uses repetition ‘too too’ to show that he is desperate to commit suicide, because he feels betrayed by his own mother and is grieving over the loss of his father, all of what is going on turns him to a frantic state of mind ‘God ,God’. The feeling of self-pity is still apparent but Hamlet starts to feel helpless and powerless, especially as he knows his uncle is now king, and therefore Claudius has much power over him. At the ending of the soliloquy he feels a sense of helplessness ‘for I must hold my tongue’ and again starts to pity himself.
Hamlet reveals his disgust towards her marriage to his uncle, describing it as morally offensive, “incestuous” and he admonishes his mother’s weaknesses, saying “frailty thy name is woman”. • It is strongly suggested that Gertrude is an adulteress, weak and easily persuaded by physical love and Hamlet feels disappointment, anger and betrayal towards her. In turn, she seems to regret her actions at pivotal points in the play. She realises that it is HER behaviour that has altered her son’s perception of the world and she expresses this aloud to Claudius. She realises this, especially in the ”Closet scene”, when Hamlet “speaks daggers” to her regarding her relationship with Claudius.
The verbal irony in Othello can sometimes be humorous depending on the level of irony. Iago’s hatred sprung from jealousy in which Othello was married to the lady who he loves. Iago stated to Rodrego that he hates the moor ‘and it is thought abroad, that twixt my sheets’ implying that Othello has slept with his wife Emilia which is arguable. Iago tells Othello that he is a faithful servant. The ironic aspect of this statement is that Iago is definitely not a faithful servant to Othello, he is trying to destroy his life.
After Don Pedro is introduced it becomes apparent that Belvile ‘has no fortune to offer, banished his country, despised at home, and pitied abroad’ It is obvious that Don Pedro shares much as the same misogynistic views as his father; ‘The girls mad. It is a confinement to be carried into the country, to an ancient villa belonging to the family of the Vincentios.’ However he is slightly more manipulated by Florinda ‘I will not have a man so dear to me
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.