An Understanding Evil Several of William Shakespeare’s plays focus on the presence of a characters public appearance in the eyes of spectatorship and observation, and the problems that result from misunderstandings. Although it is dark at times, Much Ado About Nothing is a comedy that exemplifies this theme. As spectatorship is an action characters engage in, it becomes a challenge to keep up with the motives and truthful appearances of identities throughout the play. Due to Claudio’s ability to be easily manipulated, his motives behind rejecting Hero are masked by Don John’s evil attempt to destroy him and his marriage. In Much Ado About Nothing, Claudio is viewed as a victim of spectatorship and Don John as the perpetrator.
In Act II, Scene V Sir Toby a... ... middle of paper ... ... by playing with his mind, hopes and dreams. In my personal opinion, it was a good idea that William Shakespeare placed Malvolio, who was both a puritan and very proud, as the central comical character as he was easy to make mock and the audience would have loved to hate him. The play due to its many comical devices is quite humorous and the appearance and attitude of the main character, Malvolio, and the contrast toward Sir Toby and Sir Andrew made it more amusing for the audience in Shakespearean times to laugh. In comparison to Shakespearean times, today we are very different and William Shakespeare wouldn't receive the same amount of laughter now, as he would have done in his own life. All of William Shakespeare's comical devices would have made his selected audience laugh which was the effect he was looking for.
Also, Feste acting as a “corrupter of words” can be quite confusing and maddening, as Malvolio experiences in the play. Madness can be easily appreciated in Twelfth Night thanks to the situation Malvolio is put in. Apart from making Olivia think “he’s much distract” and that he suffers a “very midsummer madness” the servants also try to make him think he is mad and possessed by saying “how hollow the fiend speaks within him” and how a “hyperbolical fiend” vexes him making him talk “nothing but of ladies”. Malvolio gets imprisoned as if he was a real madman of the time making him believe he might be mad. The servants reach a point when they act so much as if Malvolio is mad that they think they “shall ... ... middle of paper ... ... Sebastian enters and everyone sees “one face, one voice, one habit, and two persons- a natural perspective, that is and is not!” Feste also creates much confusion when he acts as a “corrupter of words” specially when he pretends to be a priest – Sir Topas – and confuses Malvolio almost to the point of madness when he talks about “windows transparent as barricadoes” and clerestories “as lustrous as ebony” which of course makes no sense at all.
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.
The audience, for our part, seems to lap up his words and enjoy with some sort of sadistic pleasure his extremely talented actions. Iago is one of Shakespeare's most complex villains. 'We cannot all be masters, nor all masters Cannot be truly followedâ€¦ Heaven is my judge' Maybe the question we should be asking is not why the audience may enjoy Iago, but why Iago makes the effort to make us enjoy his actions. He craves to control other people's lives and then see their downfall. He sees himself as the director of a play and every play must have an audience.
This usually happens, when for example, a character reacts in an inappropriate or foolish way or when a character lacks self-awareness and acts on false assumptions. The play “Much Ado about Nothing” conveys the utilization of dramatic irony found throughout Shakespeare’s writing. This enables the audience to know facts about the character’s ignorance, thereby creating suspense, comedy, and more entertainment as the plot intensifies throughout the play. The most notable use of dramatic irony in the play is the misleading of Benedick and Beatrice, Hero’s infidelity and her death. The first sign of dramatic irony occurs during the masked ball when both Benedick and Claudio each believe they have tricked each other into believing they were someone else.
The machinations of Claudio and Don Pedro initially bring Beatrice and Benedick together, despite their initial dislike for each other. A previous relationship is the probable root of both character’s intolerance and ‘postures of hostility’ towards marriage and the opposite sex. Throughout the play Beatrice and Benedick engage in a ‘war of wit’, whereby they both exercise their impressive, quick, humour, as a mechanism of defence against one another. This immediately depicts there is going to be an element of comedy in the play, and both characters are a source of entertainment. Their use of chorus, rhyme, wit and sarcasm are well used theatrical techniques employed by Shakespeare.
Take away the lady”.Other characters can not talk to Olivia in the same way as Feste, as she is someone looked up to and respected. This could be due to the Twelfth night celebrations being able to speak his mind-being the fool. Feste is actually a clever and witty character and he shows and presents this through his use of language, quick wit, word play and punning. In scene 5 Feste begins with a pun “he that is well hanged in this world needs to fear no colours” The Elizabethans enjoyed such punning jokes in which the word was pronounced giving two meanings. Maria and Feste are like a comedy duo participating in quick fire exchanges, scoring points off each other and in act 1 scene 5 he hints at her relationship with sir Toby Belch.
Shakespeare’s Twelfth Night has central love triangle between Cesario/Viola, Orsino, and Olivia; the excesses and complications within the triangle causes disorder for the characters and audience, and increases hilarity. Shakespeare further confounds the plot by toying with gender-switching, plague imagery, and even homosexuality. The progression of all of these plot devices which are contrary to society’s rules makes Twelfth Night an ideal comedic work because it plays into society’s discomfort at not being in control of its own destiny. Pain is hilarious. We love to find joy in the misfortune of others.
Elizabethan audiences were very superstitious and even though the audience knows Romeo and Juliet are going to die the audience would have been captivated by the way fate worked against the pair of lovers throughout the rest of the play. This is a very powerful scene and it is essential in engaging the audience in the play as a whole. Romeo and Juliet's use of the sonnet is an integral part of the scene. Its use of religious imagery and rhyming couplets is empowering over the audience. It centres the attention on Romeo and Juliet and isolates them from the hustle and bustle of the party.