Polonius, Hamlet, Rosencrantz and Guildenstern are all used as a comic relief to increase the ultimate tragic nature of the play. Polonius is a comic relief because of his self-absorbed, dull personality. Polonius is over-eager and tries to give unwanted advice, during the play he is tactless and often rude. For instance, Polonius is a comic relief during his conversation with Gertrude and Claudius regarding Hamlet’s madness. Polonius rambling through his conversation contrasts with Gertrude’s seriousness of wanting to find out the reason to Hamlet’s madness.
All these insulting remarks show that Polon... ... middle of paper ... ... Hamlet's humor is rude and insulting to people around him; it's very cynical and leads to his downfall. Hamlet proves his cynical humor when he fools Polonius, makes fun of the courtiers and insults Claudius, Gertrude and Ophelia. Hamlet insults Polonius with his words and always finds out what the courtiers were up to. All these experiences show that humor can be joyful but on the other hand it could prove to be very fatal. Works Cited and Consulted: Bloom, Harold.
Shakespeare has a way of creating his characters so the audience can relate to them in a way. In his villains we see the negative characteristics that are in ourselves and others around us; things that often define the “natural man” such as greed or jealousy. With the entire terrible and treacherous thing that Shakespeare makes his villains do, he always manages to make them human in a way. As if he is meaning to display that no matter how twisted a person can be, they are still a person. In Shakespeare’s plays Othello, Hamlet, and A Midsummer Night’s Dream, the villains share the characteristics of greed, clever and conniving ways, and recklessness; however, they all bring their own features to the table.
Iago, as the height of evil and villainy, has the typical immorality and cunning about him. Due to Iago's innate sense of deception, he has two major personalities, one of appearance and the other of reality. But Shakespeare instead of making his villain transparent, Iago is given depth and spirit. The deceitful nature of Iago is conveyed to the audience by his treachery of the other characters, especially Othello. Iago appears to be extremely plausible, building a fabricated trust with those who surround him.
This is an attempt to bridge the gap between the audience and the characters. He talks about his plans and hints at his motives (he claims to Roderigo that Othello has slept with Emilia, his wife) but, most interestingly of all, he constantly tries to justify his evil actions. 'And what's he then that says I play the villain, When this advice is free I give and honest?' He brings into question the audience's core morality. The audience, for our part, seems to lap up his words and enjoy with some sort of sadistic pleasure his extremely talented actions.
Iago brings about the downfall of several characters, breaks Brabantio's heart with words, poisons Othello's delight, turns Desdemona's virtue to pitch and still feels not the slightest trace of remorse, instead all he feels is pleasure at others pain. Shakespeare's managed to turn Cinthio's "scorned lover" character into an evil, twisted and unfeeling sadist. He is hugely disturbing towards Jacobean audiences of the time for the crooked manipulation and the faults of the human character he personifies. We can all identify certain aspects of his character in varying degrees in out own personalities, hopefully this can lead us to change our ways when we see how wretched this character is, he has an insatiable appetite for suffering and no matter how much he causes, he is still unhappy.
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,
Iago is a very complex character seeing that many of his actions are unreasonable as he often attacks others maliciously. Iago shows the characteristics that make up a good person, such as amiable, sensitive, bright, kind, and sympathetic. This evil character, along with other evil characters that Shakespeare has included in his work, are many times purely evil for no reason. This type of character would basically be considered a psychopath due to his insensible acts. The only possible reason for Iago’s hatred of Othello could be the fact that he has suspicions that Emilia is sleeping with Othello.
Manipulation is a characteristic that can ruin the lives of many, treacherously and maliciously. Several characters in Othello and Macbeth manipulate others throughout the plays to try and satisfy their own needs and desires. The irony in the two plays is that Othello, has a villain who logically should never succeed in his evil because he is surrounded by so much good. However, Iago does succeed in destroying the lives of nearly everyone in the play, and for the weakest of justifications. In Macbeth, on the other hand, the title character seems to win his evil game, but in the end the good beats him, and he pays with his life.
This links to the other main theme of the play, that of entertainment and comic characters. This is illustrated through Sir Toby Belch; who is quite clever and enjoys playing tricks on people such as Sir Andrew Aguecheek and Malvolio who are less intelligent and more unaware of their humorous characteristics. The scene in which Sir Toby and Maria trick Malvolio into thinking that Olivia is in love with him is a good example of a humorous and entertaining scene. "Observe him, for the love of mockery, for I know this letter will make a complete idiot of him" Malvolio, although he is a servant, often looks down on Sir Toby as if he is better than him. "Is there no respect of place, persons, nor time in you?"