Samuel Beckett brilliantly crafted the ending of his play to illustrate the human life as being meaningless and absurd. Vladimir and Estragon spent the entire duration of the play believing that a man named Godot was sure to come meet with them; however, they were only disappointed at the end of the play when the boy brought them the news that Godot would have to post-pone his arrangement. VLADIMIR: You have a message from Godot BOY: Yes Sir. VLADIMIR: He won’t come this evening. BOY: No Sir.
Caesar: He is a dreamer; let us leave him: pass.” (Act 1, Scene 2) The quote shows how Caesar is not willing to consider the shrewd advice of the Soothsayer. As a result of Caesar not listening a first time, the Soothsayer had to come back later in the story in order to remind Caesar of his warning about the ides of March. This time when he is warned in February, Caesar does not think much of it. He just puts it off and thinks to himself, “What do I need to worry about? Nothing bad ever happens to me, because I’m Caesar”.
Since they lack any formal office or shop, and they predict forthcomings without fee, one can see quite easily why citizens would distrust their predictions. Superstition, in general elements such as the Feast of Lupercal, as well as on a personal level such as with the sooth-sayers, is an important factor in determining the events and the outcome of Julius Caesar, a significant force throughout the entire course of the play. As the play develops we see a few of signs of Caesar's tragic end. Aside from the sooth-sayer's warning, we also see another sign during Caesar's visit with the Augerers, the latter day "psychics". They find "No heart in the beast", which they interpret as advice to Caesar that he should remain at home.
The Nature of Loyalty In the play King Lear, Shakespeare presents the reader with many negative views of society, and of human nature. One of the few bright spots in the play is Kent, a very loyal and honest man. Through Kent and his actions, Shakespeare shows the reader the nature of true loyalty. Kent's nature is evident from the very first time he talks to Lear. Lear has begun to detail his disappointment in Cordelia, and announce that he will not be providing her with a dowry.
Perhaps more than any other of Shakespeare's works, Julius Caesar is a play that hinges upon rhetoric through Marc Antony—both as the art of persuasion and an deceit used to conceal goal. More alarming, however, is Antony's cynical epilogue to the funeral speech as the crowd departs: "Now let it work: mischief, thou art afoot/Take thou what course thou wilt!" (Act III).There is mischief in the area, so let it take whatever course it wants to. Antony still didn’t lay out his cards, but made his first move in the right direction. As Antony represented, Shakespeare succeeded in writing a spectacular political speech, inserted in a play.
Run to your Bacchic revels. I want none of your senile folly rubbing off on me!'(21). This response alone reveals a great deal about his disposition. He will not let any 'old fools' tell him what to do. However, it is ironic that Pentheus' rejection of the advice of these 'old fools' proves to be his first step towards his fatal end.
Evidence of this is when the Soothsayer speaks to him; Caesar shows slight insecurity, as he wants to see his face. Notably, Caesar says "He is a dreamer, let us leave him. Pass." I would have Caesar seeming rather insecure when saying this, as I would want the audience to realise he does have slight superstitions. We also continue to learn how important and significant Caesar is to the citizens, as well as how high and mighty he actually considers himself.
Both Caesar and Brutus have a tragic flaw. In the beginning of the play a soothsayer is telling Caesar to beware the ides of march Caesar Responds “He is a dreamer; Brutus leave him. Pass” (shakespeare page??? line????) When Caesar tells the soothsayer this it shows that he does not believe that he could be harmed.
All individuals, including those in positions of influence, are complex and have numerous sides to their personalities. In Julius Caesar, Shakespeare presents Caesar as an individual with a multi-faceted personality, but positions his audience to accept his failings and support his position as a rightful and stable ruler. One perspective of Caesar as a manipulative figure is conveyed through Casca as he recounts the scene where Caesar refuses the crown in front of the mob; Casca sneers, “He would fain have had it… he was very loathe to lay his fingers off it”, immediately characterizing Caesar as a manipulative figure. Additionally, Cassius elucidates Caesar as a “man with such a feeble temper” and a “sick girl”. However the validity of these perspectives on Caesar is undermined by the envious and disparaging tones with which they are delivered.
In all of Shakespeare's play there is a clear Protagonist, whether they are naive or mature, a comic relief character who breaks the tragedy slightly; and finally an Antagonist. However all but one follows this code. In Romeo and Juliet there is no clear Antagonist considering their where enemies from both sides. The only possible solution for this unusual circumstance, it can only be concluded that the antagonist must have been under disguise and worked through deceit. He may not have from the beginning set out for such evil ways but the events played out that he was forced to make rash decisions.