Othello treated Desdemona so harshly after he obtains 'information' from Iago that she is cheating on him, and we still have sympathy for him? In the events that take place within the play, one may still feel sympathy for Othello as jealousy gets the best of us, effecting how we think and causes us to do stupid things that we would not do under different circumstances. Throughout the course of the play, Othello is seen as a great and courageous general when, even at the point of his demise, retains some of his previous image. In act one, we begin to see the general consensus of how Othello is seen by the citizens within the play through various stories told by the people of Venice. When Desdemona's father accuses Othello of stealing his daughter through dark magic, Desdemona steps in to ease their minds proclaiming: "I saw Othello’s visage in his mind, / And to his... ... middle of paper ... ...t effected by Iago's trickery.
In Act 1 scene 1, Orsino depicts love dolefully as an “appetite” that he wants to satisfy and cannot. Another example of the characters not “liking” love is in Act 2 scene 2 when Viola says “My state is desperate for my master’s love.” This quote relates to the violence in Act 5 scene 1 when Orsino threatens to kill Cesario because he thin... ... middle of paper ... ...and they will go together. Clubs cannot part them.” Act 5 scene 2 • “This bud of love by summer’s ripening breath may prove a beauteous flower when next we meet.” Romeo and Juliet Act 2 scene 1 • “She loved me for the dangers I had passed, and I loved her that she did pity them.” Othello Act 1 scene 3 • Give me my Romeo; and, when he shall die, take him and cut him out in little stars, and he will make the face of heaven so fine that all the world will be in love with night and pay no worship to the garish sun. ~Romeo and Juliet • What’s in a name? That which we call a rose by any other word would smell as sweet.
Another factor in determining the way Saunders’ message is conveyed is the ridiculous unpredictableness of the plot. While the reader understands the message it makes it seem less scary or serious when the moral of the story is coated with humor. The use of outlandish story elements show the use of science fiction in his stories, but each story serves an intricate subject and this fundamentally shows Saunders’ rhetorical meaning. In Saunders’ short stories, Jon and My Flamboyant Grandson, the protagonists are well-developed characters that are easily relatable. The way Saunders separates the relation between reader and character is by placing them in the possible future.
Richard M. Eastman provides that explanation in his book Style, which illuminates the basic structure and function of irony and other stylistic elements found in literary works. In Eastman’s words, the “rudimentary pattern of irony” is “an assertion pointing in one direction together with some signal to the reader that the real sense lies in another” (Eastm... ... middle of paper ... ...pairs our rationality, and, ultimately, in our course of vulnerable irrationality, it swoops in to transform and destroy us. In Shakespeare’s comedy, all does turn out right in the end, but that is because A Midsummer Night’s Dream is a work of fiction. In the real world, love has the potential to be very dangerous – but only if we let it realize that potential. Shakespeare ultimately impels us not to let love control us; we must instead control it by continuing to assert our values and our individuality in the face of its pernicious destruction.
It is evident that the piece that pride, betrayal, and fate are the prime thematic topics, but Shakespeare blurs the line between the allusion of a life full of fortune, and the reality of the burdens that come with life. Inevitably, “Shakespeare took great liberties with this source, adapting various historical events to increase the dramatic effect of his tragedy” (Hact). Elizabethan plays were very sophisticated, for the majority of those who wrote them were scholarly, and had an education. The plays consisted of humor, tragedy, and had a certain sophistication about them. In the Tragedy of
As the audience witnesses Puck’s love potion mix up, they know that the lovers are in for chaos, because now Demetrius and Lysander both love Helena, and Hermia is left alone. The dramatic irony foreshadows the upcoming humor. The... ... middle of paper ... ...rization distances him in speech, manner, and appearance from Titania, proving the irrationality of love and fate. More daunting to the audience than irrationality however, is that fate does not discriminate between the beautiful and the grotesque. Oberon’s desire for vengeance motivates him to intervene in both his world and the mortal’s.
These two seemingly noble characteristics, the desire to help his people and the desire to know the truth, end up working against Oedipus, and results in the tragedy of the play. The role of fate in this beginning scene is clearly seen through the prophecy, but at this point in the plot, it is unclear ... ... middle of paper ... ...ons of the gods in conjunction with man’s acts of will can result in a life that is newly aligned on a desirable path of truth and respect both for and from the divine. Works Cited Kallich, Martin. “Oedipus: From Man to Archetype.” Comparative Literature Studies 3.1 (1966): 33-35. Rpt.
But that he loves the gentle Desdemona, he would to have given up a life of unsettled war and his “unhoused free condition / … For the sea’s worth” (1.2.26-27). (58) The first appearance of the protagonist is in Act 1 Scene2, where Iago is pathologically lying about Brabantio and himself and the ancient’s relations with the general and about everything in general. Othello responds very coolly and confidently to the pressing issue of Brabantio’s mob coming after him: “Let him do his spite. / My services which I have done the signiory / Shall out-tongue his complaints.” However, Cassio’s party approaches first, with a demand for the general’s “haste-post-haste appearance” before the Venetian council due to the Turkish attempt on Cyp... ... middle of paper ... ... rises to the occasion and refutes the lies of her husband – at the price of her life. Her martyr-like example inspires Othello to sacrifice his life next to the corpse of Desdemona; for he “Like the base Judean, threw a pearl away / Richer than all his tribe [.
William Shakespeare’s play The Tempest tells a story involving unjust acts, and Caliban trying to take over Prospero’s power of authority, Prospero’s mission to was to build righteousness and honesty by returning himself to rule. The idea of justice and injustice that the play works toward seems extremely independent meanwhile the impression of the play shows the view of one character who controls the purpose and fate of others. In Shakespeare’s play The Tempest the language in it can be challenging and a problem for some to understand, but that is a problem that can easily be solved. I had slight trouble understanding what Shakespeare anticipated by his word choice in the play. As I began to read The Tempest I had difficulty understanding the words not only because they were unfamiliar but because some of the words are no longer used in the twenty-first century.
Within all the text in the “Dionysus” section the universal theme I found is that the characters were punished by fate for no apparent reason. In one pivotal moment in each story, the innocent character loses free will and henceforth is steered by merciless fate. In the myth of Diana and Actaeon, Actaeon has committed no crime but is punished as if he had. His seeing Diana bathing was the work of fate. As a matter of fact, Hughes reinforces this belief in the first paragraph of the story when he states, “Destiny, not guilt, was enough for Actaeon.