This speech is his internal philosophical debate on the advantages and disadvantages of existence. While this soliloquy may seem like madness on the surface, it actually works to dispel the notion that Hamlet is truly mad. It makes clear the fact that Hamlet still has his senses and his madness is simply an antic. In this act, the king also becomes suspicious of Hamlet’s madness and is never quite convinced of it. His instructions to his henchmen from earlier in the play, “Get from him why he puts on this confusion” (2.1.2), imply that he perceives it as a pretense.
Shakespeare’s tragedy, “Othello,” contemplates ignorance as an open mind as well as the fault in passion and trust. The apparent villain in the play Iago is adapt at weaving falsehoods and shrouds of doubt on even the most wise and understanding. Rebelling against a master is certain to bring only battle and refutation, but in Iago’s case, rebelling is as safe as whispering a lullaby. He exploits his master’s, Othello’s, virtuous characteristics and twists them creating fatal flaws which in many ways lead to Othello’s anguish and death. Iago decided that murdering Othello was not an adequate revenge.
While Hamlet scrutinizes and evaluates the consequences of his actions, Laertes acts without forethought, saying, "Let come what comes only I'll be revenged / Most thoroughly for my father" (IV.v.138). However, his hastiness allows him to fall victim to Claudius' manipulative nature and he becomes a puppet in Claudius' plot to dispose of Hamlet. This accentuates one of Hamlets strengths, one that he reveals when he states, "Call me what instrument you will you cannot play upon me." (III.ii.380) he is not easily influenced by the people around him. Laertes further highlights Hamlet's strengths when he states that he would "cut [Hamlet's] throat i' the church" (IV.vii.126).
Shakespeare uses this scene to demonstrate to the audience that Macbeth’s conscious act of knowing that his desires are immoral and still acting upon them proves him quite the villain. This symbolism brings the audience to savor the play’s hidden meanings and also allows for leeway in the interpretation of the plot. Macbeth’s inability to balance the forces of good and evil cause him to reach an insecure state of mind, causing him to make many malicious decisions. “But let the fame of things disjoint, both the worlds suffer,
However, Iago's achievement also hinges on his ability to exploit the character's innate weaknesses. Iago perceives the protagonists 'seeds' of self-destruction and merely fertilisers them with base bestial language and non-'ocular' proof. This ability to find and exploit weakness has made him such an accomplished villain. Although there is contention surrounding Iago's significance in the downfall of Othello, one thing remains true: Iago is one of Shakespeare's most complex, intriguing and malignant characters. Without Iago there would be no tragedy.
It also presents us with the Morality play idea, by using the Good and Evil angels to present Faustus’ inner struggle of good versus evil, which he cannot overcome. Finally, Marlowe has also used the section to convey the traits of the Elizabethan tragic hero – in Faustus’ constant search for achievement, inability to recognise implications and failed plans. Ultimately, I feel the section is significant as it powerfully highlights these characteristics to portray the dangers of Faustus’ exploits, while evoking feelings of fear and tension with the audience towards the tragic climax at the end of the play.
And Claudius is right that such “madness in great ones must not unwatched go” (III.i.end). For the madman, precisely because he does not accept society’s compromises and because he explores its conventions for meanings they cannot bear, exposes the flaws which “normal” society keeps hidden (70). Phyllis Abrahms and Alan Brody in “Hamlet and the Elizabethan Revenge Tragedy Formula” consider the madness of the hero to be completely feigned and not real: Hamlet is a masterpiece not because it conforms to a set of conventions but because it takes those conventions and transmutes them into the pure gold of vital, relevant meaning. Hamlet’s feigned madness, for instance, becomes the touchstone for an illumination of the mysterious nature of sanity itself (44-45). Hamlet’s first words in the play say that Claudius is "A little more than kin and less ... ... middle of paper ... ...y Martin).
A bad friend, back stabber, a liar and a schemer is what Iago is. All these character traits are used to bring out the malicious nature of Iago, and to create a vivid picture of people in society that may pose as friends but in real sense hate the fact that one is happy or prosperous. At a glance, Iago appears to be normal and not that evil at all, but with a deeper delve into the plot the reader is confronted with shocking character traits that Iago depicts. When he says that he is not who he is, he explains better to the reader to expect totally opposite traits from him. (Shakespeare, and Alexander, Act 1, scene 1, line 64).
In Much Ado About Nothing, Claudio is viewed as a victim of spectatorship and Don John as the perpetrator. Although Don John engages very minimally throughout the play, he portrays the misunderstood evil that drives the drama “about nothing.” Shakespeare’s writing underlies a broader point to be made on the precarious nature of engaging in spectatorship: it can easily go wrong. The nature of a character’s intentions can easily be lost as they guess what is going on, drawing to false conclusions. As shown throughout the play, this uncertain nature of spectatorship is what leads to the importance of the characters decisions. We see this first hand as Don John and his scheming nature attempts to trick Claudio into believing Hero is unfaithful through a plotted “investigation” the night before their wedding.
Let not light see my black and deep desires" and further convinces that he is ill-intentioned. Another definite example of Macbeth's inner struggle to deal with his ill-intentions that he must ... ... middle of paper ... ...hether or not they were influenced by other characters, were his decisions and the way he perceived and interpreted the prophecies was his error. Thus, Macbeth's downfall was not solely the evil advice and influence of other characters but the impact of his decisions and his perceptions of the witches' prophecies. Macbeth is a tragic figure whose downfall is caused by a combination of his ill-intentions, the influence of other characters and his consequential decisions and interpretations. Therefore, one cannot say that Macbeth's downfall was caused solely by the evil advice and influence of other characters and that this reason for his downfall is only a small part of his eventual downfall.