Pointing to the evil we all have within us Shakespeare allows his audience to live through Iago. Lady Macbeth and Iago both have the advantage of knowing their counterparts very well, thus, are able to scheme and manipulate by using their weaknesses against them. Lady Macbeth ambition surpasses that of her husband and once she has heard about the witches prophesy she feels that he will be Ki... ... middle of paper ... ...ion because he does not give Othello the answers he seeks. Othello already poisoned with hate and anger kills Iago to avenge the deaths of Desdemona and Emilia. In both Macbeth and Othello, Shakespeare uses his characters to exploit their counterparts to gain what they desire.
Throughout Shakespeare’s greatest works there is the ever present use of guilt and madness to add depth to characters, further drama and plot and sometimes to even lengthen the work itself. From Hamlet’s constant struggle to murder his incestuous uncle to Macbeth’s sudden ability to see ghostly blood-covered daggers, it is clear to see that Shakespeare has a method to his madness. Shakespeare uses guilt as a sort of net for the humanity of his characters. Throughout Macbeth and Hamlet shakes’ characters do some deplorable things and the easiest way to help the audience stay in favor of a major character is to have them feel bad about said acts. This converts into the “madness” that is ever-present alongside its buddy guilt.
Othello’s Iago We find in William Shakespeare’s tragic play Othello an example of personified evil. He is the general’s ancient, Iago, and he wreaks havoc and destruction on all those under his influence. Louis B. Wright and Virginia A. LaMar in “The Engaging Qualities of Othello” comment on how the character of Iago is the wholly expected type of villain for an Elizabethan audience: Iago at once captures the attention of the spectator. He is the personification of the villain that Elizabethans had come to expect from Italian short stories and from Machiavellian commentary. Villains of this type, as well as those of domestic origin, had long been popular on the stage.
It is evident in both plays by William Shakespeare that ambition and pride seem to be the “main” roles in the self destruction of Macbeth and Shylock. In Shakespeare’s tragedies, he conveys his most renowned sense of dignity and power found in man. “It typically presents the fall of a man who may be basically or originally good but is always corruptible through the temptations of the world and his own pride or ambition”(Felperin 158). Through the entire play we begin to see the transformation unravel. Their desire to be on top of the world begins to destroy them from the inside out.
Shakespeare made sure to point out that ambition is also dangerous in its ability to terrorize in its aftermath. By Act V, Lady Macbeth’s ambition has fleeted; horror ... ... middle of paper ... ... good characteristic to withhold. He wanted the future to learn from Macbeth, and from his other works, such as Julius Caesar, where ambition was used by the main antagonists and characters to achieve invincibility. If Shakespeare’s argument of ambition being evil is valid and its ability to ruin even the most virtuous and honorable men and women, then Malcolm, Macduff, Fleance and all other characters are capable of repeating mistakes that Macbeth made, if the play had continued on. Humanity in today’s world is also capable of replicating the atrocities in Macbeth.
In his play Othello, William Shakespeare depicts themes of flattery, deceit, mistrust, and manipulation. Iago, the main antagonist, exudes and exemplifies all these traits simply out of spite for Othello because Othello gave a promotion to Cassio instead of Iago. This festering jealousy will continue to breed and grow inside of Iago and will eventually dictate his actions that cause him to exude traits of deceitfulness and dishonesty. Iago will make any attempt to preserve his so called “honesty” in order to manipulate anyone he chooses. By the end of Othello, Iago clearly shows no remorse and proves himself to be fully depraved.
Inner Evil Revealed in Film and BBC Productions of Shakespeare’s Richard III All the passions of the irascible rise from the passions of the concupiscible appetite and terminate in them. For instance, anger rises from sadness, and, having wrought vengeance, terminates in joy. -- St. Thomas Aquinas In Richard III, Shakespeare creates evil personified. The wicked protagonist conspires against kin, plots political takeovers, woos widows, sets assassins against children, and relishes each nefarious act. We watch Richard's bravado with wicked glee and delight in each boasting comment sent our direction.
Shakespeare is brilliant in his transformation of the handsome, fairly two-dimensional rogue in Cinthio's original to the evil egotist who preys on human emotions, a character so deep he could undergo psychological analysis. Indeed is can, and has been said, "Iago is the spirit of negation set against the spirit of creation," Geoffrey Wilson Knight. He shows immense wit throughout the play but uses this gift and his graft of words for pure evil and to bring about human suffering, something he sadistically enjoys. This idea of intelligent and scheming subordinates would have worried the Jacobean audience who relied strongly on the class structure. S.T.
Shakespeare’s plays, among other classic works of literature, tend to be forged with the tension of human emotion. The archetypical parallel of love and hatred polarizes characters and emphasizes the stark details of the plot. More specifically, the compelling force of revenge is behind most of the motives of Shakespeare’s tragedy Hamlet. The play opens with the return of Hamlet’s father, a surprising encounter, which ended in his son learning that his father’s death was the result of foul play. By emphasizing this scene as the beginning of the story to be told, Shakespeare clearly implies that the plot itself will be based around the theme of revenge.
Geoffrey Sax's interpretation of William Shakespeare's wicked villain Iago is extraordinary. While reading the play, I envisioned Iago precisely as Christopher Eccleston portrayed him--diabolical and amoral--the pathetic antagonist of Othello, bursting with frustration and dominance throughout the text and film. Iago, or Ben Jago--the characters name in the film--is the backbone of both works, moving the plot along with his deceit and mendacity, progressively leading the audience to the tragic climax. Sax displays Ben Jago's asides by breaking down the forth wall. His madness, in the course of the play and film, is presented in different ways, yet the film demonstrates it better.