One may believe that Henry is the epitome of kingly glory, a disgrace of royalty, or think that Shakespeare himself disliked Henry and attempted to express his moral distaste subtly to his audience. No matter in which camp one rests, Henry V holds relevance for the modern stage. Despite containing contradictions, Henry is also a symbol as he is one person. This unity of person brings about the victory in the battle of Agincourt. The theme of unity transcends any ambiguity found in Henry's character or motives.
Anthony G. Barthelemy Pub. Macmillan New York, NY 1994. (page 68-90) Shakespeare, W. (1997) Othello (c. 1602) E. A. J Honigmann (Ed.) Surrey: Thomas Nelson & Sons Ltd. Snyder, Susan. "Beyond the Comedy: Othello" Modern Critical Interpretations, Othello Ed.
The Norton Shakespeare. New York: Norton, 1997. 2555-63. Knights, L.C. "Macbeth."
By parroting it back, he is making it seem to Othello that he does not want to answer the question, that he doesn't want to tell Othello something. This is seen in the subtext that Iago wishes to create. This use of it also contributes to Iago's objective, to... ... middle of paper ... ...o uses the word almost laughingly behind Othello's back, telling him that he has been driven to honesty, when he know that Iago is only telling Othello half truths. Shakespeare uses the word effectively to create dramatic irony. Works Cited Barthelemy, Anthony G. "Introduction" Critical Essays on Shakespeare's Othello.
Shakespeare, the Critical Heritage. Ed, Brian Vickers. New York: Routledge & Kegan Paul, 1976. 129. Shakespeare, William.
Order and Superstition in the Tragedies of Shakespeare The concept of order was an extremely important one to William Shakespeare, and to Elizabethans in general. We in the existentialist atomic age have little trouble conceiving of an individual man or woman as the only beacon of light in a world gone irrevocably and irredeemably mad, but this would be inconceivable to Shakespeare and his audience. Shakespeare staunchly followed the common Elizabethan conception of the universe as deliberately and benevolently patterned and planned; when, for some reason, something happened to temporarily force things out of kilter, individual people might suffer, but the universe would soon right itself and life would go on. This belief in a divine plan also underwrote Shakespeare's usage of portents and omens in such plays as Julius Caesar and Macbeth; because he saw the world as something planned and coherent, it is possible to divine that plan through supernatural sources. But there is little point; to try to force one's will against fate, Shakespeare tells us, will inevitably end in tragedy.
Yet, there is no reason to feel this way because Macbeth is all evil, and in the end, the "good guy" is restored to power. Shakespeare put forth good effort in trying to make Macbeth a tragedy, but he came up too short. Works Cited: Shakespeare, William. “Macbeth.” The Complete Works of Shakespeare. Ed.