Works Cited and Consulted: Eccles, Mark. "Richard III on Stage and Screen." Richard III. New York: Signet Classic, 1988. 265-78.
Her influence over her husband reveals his weaknesses and the weaknesses of men. Iago on the other hand is consumed with envy and seeks revenge over Othello. His consistent deceit and ease of manipulation allows us to see his amoral nature. Shakespeare allows the audience a connection to Iago, one finds themselves intrigued by his evil actions. Pointing to the evil we all have within us Shakespeare allows his audience to live through Iago.
The Scarlet Letter. 3rd ed. Eds. Seymour Gross, Sculley Bradley, Richard Croom Beatty, and E. Hudson Long. New York: Norton, 1988.
Mercutio as Catalyst in Shakespeare’s play, Romeo and Juliet In Shakespeare’s play, Romeo and Juliet, the quick-witted character Mercutio “is a notorious scene-stealer” (Utterback 105). Mercutio’s major function in the play is to be a catalyst for the plot. Mercutio’s purpose as a character is most significantly revealed in his relationship with Romeo, his baiting of Tybalt, and his death. More importantly, Mercutio functions as the catalyst for the pattern of disasters in the play that follows his own tragic death, making him, as described by critic Stephen Greenblatt “a spirit that seems to challenge the very possibility of romantic love or tragic destiny” (856). Mercutio’s role in the play is directly linked to his relationship with his “very friend,” Romeo (III.i.108).
The effect here both shows the depth of Othello and Desdemona’s love and the manipulative prowess of Iago to destroy utterly the love between them. Indeed, later in the play, the hatred Othello holds for Desdemona is made even more shocking because of the height of their love previously. In the film, the use of salience heightens the viewer’s impression of Iago as a manipulative, vengeful individual in the soliloquies. As Iago stands in the background, covering a full half of the screen as Cassio and Desdemo... ... middle of paper ... ...ower simply because of his own jealousy and for his own entertainment. The manipulative and vengeful character is made all the more terrible and magnetic by the final metaphoric line of the scene – that “Knavery's plain face is never seen till used.” Clearly, Iago fully embraces the evilness of his actions and revels in the pain he causes, and this line foreshadows the downfall of Othello, Desdemona and in certain interpretations himself.
The alleged hero of the play is wickedly twisted under the Avon Bard's representation of a vicious young prince who fancies his shameless act of murder to transcend mere revenge, moving towards the barbaric slaughter of an obviously distressed king. While Hamlet is conniving new heinous plots at the instruction of the audacious apparition, Claudius is crying out for "all [to] be well" among "angels" and for a heart as "soft as sinews of the new-born babe" (Ham. 3.3.69-72). The previously evil king thus jilts this notion - he is, at heart, seeking reconciliation and has a dream for a better Denmark. Despite his obvious selfish interests in the kingship, it cannot be overlooked that he maintains a sense of grief and woe for his actions, yet Hamlet sees nothing wrong in his lumbering lust for death.
One of Macbeth’s greatest tricks is his power of deception, which he shockingly uses to betray his friends, colleagues, and even his king. This is evident at nearly the start of the play as Macbeth speaks with Banquo, stating “So foul and fair a day I have not seen” (I. iii. 39). This deception is provided early in the play to provide a perspective on how murkily the lines are drawn between good and evil in Macbeth’s world. This deception is evident soon after when Banquo is concerned about the witches trying “to win us harm.
Villains, Sin, and Sex in Othello and King Lear Many of Shakespeare plays are littered with crude and graphic sexual references, jests, and insults. But there is one type of character present throughout Shakespeare's plays that twist the sexual imagery and repartee, and that is the villain. There is a deeply rooted combination between sex and evil. This essay will develop this idea in depth by focusing on Iago of Othello and Edmund of King Lear. Iago is probably viewed as one of Shakespeare's greatest villains.