Her maids add a little to Cleopatra’s characteristics. Also she had a messenger go to Antony saying she was dead, which she was not.Cleopatra’s character is so exotic and proud to be able to manipulate men but Desdemona is a complete opposite. Betrayal is the other ultimate theme of both of these tragedies. In Othello, he betrays Desdemona by believing the evil Iago and not communicating with his wife. He instead assumes Iago’s statements are of truth.
Emilia’s obedience to her husband forsakes her and Desdemona. Othello becomes increasingly jealous and persuaded, by Iago, who has planned this to happen and end Othello’s life. In conclusion, Othello demonstrates that power means nothing without control over ones fatal flaws.
We sympathize for Aegeus in his ignorance. Medea now has confidence in her plan, so she reveals it to the women of Corinth. She is going to send her children to Jason’s bride with a poisoned dress that will make her die in agony. We are still compelled to sympathize with Medea at this point because she has justified her reasons for seeking revenge. However, the princess is oblivious to Medea’s plot; she will accept the gift for its beauty then meet an unexpected, agonized death.
The first few scenes of the play immediately unfold in tragedy with Leontes' unwarranted suspicions of Hermione's infidelity with his long-time friend Polixenes. His initial suspicions stem from the trivial observation that "at [his] request [Polixenes] would not (visit their kingdom longer)," yet with Hermione's, he would (1.2, 87). This iota of jealously erupts into a full fledged and frantic explanation for why his friend would give into his wife's pleading, and not his own. Leontes' decides that the reason must be that "[his] wife is slippery" (1.2, 273). In a flagrant abuse of power, Leontes deals with his own jealousies by indicting his wife and publically slandering her.
It is quite clear that Shakespeare's intention was to show Othello's physical dominance over his peers. Unfortunately, his wit, in contrast, leaves much to be desired. This leads to Aristotle's next observation: the main character in every great tragedy has a fatal flaw that will inevitably lead to his/her downfall. As previously mentioned, Othello was too easily duped by the trickery of his untrustworthy sidekick, Iago. Naivete blinded him from the deception of his inferior until, of course, it was far too late.
Only absolute political necessity can draw him from Egypt, and even then he recognises that ‘i’th’East my pleasure lies’. His marriage to Octavia angers Cleopatra greatly, but it was enacted only to placate Caesar and is soon rendered useless as he returns promptly to Egypt. Furthermore, his heroic image [he was said by Plutarch to have been like Hercules] is damaged by his preferences, Caesar mocks him as ‘womanly’ while even Antony himself cries at Cleopatra’s servant ‘O, thy vile lady! She has robbed me of my sword!’ In a sense, it appears that Antony has been unmanned by his com... ... middle of paper ... ...d me my robes, put on my crown’ – shows her determination to make a memorable final tableau. On the other hand, and more likely given the divine undertones and implications in the language, she seeks Antony in a life beyond death, realising that life and politics – those ‘baser elements’ – are trivial compared to everlasting love.
She would tell him to “’Come back soon’” (340) and leave as she pleased. It affects Lancelot’s ability to maintain his integrity, because Guenever is confusing him, by giving him mixed signals. She makes him think about going against Christianity and the idea of chivalry, two things that he lives by. “You have won him, and you have broken him. What will you do with him next?” said Elaine (396).
Furthermore, Iago uses Desdemona’s pass against her to convince Othello of her unfaithfulness, “She did deceive her father, marrying you; / And when she seemed to shake and fear your looks, / She loved them the most” (3.3. 220-223), Iago deceives that Desdemona, having already go behind her father’s back, there is a very high chance that she will be unfaithful to Othello. Little by little, Iago wears down Othello’s wall piece by piece and the jealousy and doubt begin to grow wild in Othello. Additionally, Iago clouds Othello’s mind to the point where Othello trust no one but Iago. Iago wraps Othello in nothing but lies, continuing to use Othello’s lack of confidence in himself and Othello’s growing doubt and jealousy until he is turned
Firstly, his egotism causes untold damage at the beginning of the play. This is evident to the audience when instead of simply dividing his land evenly amongst his three daughters, he asks for the three of them to profess their love to him first. Cordelia’s surprising reply of “Nothing” enrages Lear. His reaction seems completely irrational and by banishing Corderlia, Lear loses his only daughter who truly loves him. Coinciding with this was another imprudent decision to banish Kent, who only seeks to serve his King as best he can.