Malvolio’s last words “I’ll be revenged on the whole pack of you” are an explicit and discordant threat to the many marriages; breaking the boundaries of the comic genre to create a moment of unresolved discord. To conclude I believe that madness is an aspect of disorder which governs the play and by the end order and sanity are restored as the siblings reunite and multiple marriages occur showing that Twelfth Night is still a comedy regardless of the cruelty placed on Malvolio. In the play “Twelfth Night”, the Shakespeare expresses his views on the unbending, kill joy attitudes with the thorough embarrassing experience of the ‘gulling’ of Malvolio. Shakespeare uses the entire subplot to suggest that the ‘mad' tendencies of Puritanism and seriousness have no real place in this world filled with entertainment and jovial festivities.
The drastic difference between what is considered a flatterer and what is not, in both plays, is the repercussion of their influence. Although flattery is a negative influence, both playwrights emphasize its capability as a sin or a vice. “Friendship demands absolute sincerity and... ... middle of paper ... ...ies, leaving a series of foolish kings left clueless in the middle. Thus, flattery and rebellion become the same vice due to the fact that they both take advantage of the weaknesses of a single person, the King. Works Cited Atsma, Aaron J. Phaethon.
On the flip side, a reader may choose to merely believe that the play portrays the sad miserable lives of a few, and the fact that the play classifies as a comedy necessitates change. View two invalidates itself however, because Chekhov intended for the poem to be a comedy. From there the reader can assess how Chekhov treats his characters and their desires through the sardonic superior view Chekhov portrays. Chekhov intended for all of the characters to have miserable lives. Chekhov “treats even his most awful characters with affection but is ruthless when the moment comes to consign them to their miserable fates," (Allen).
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.
Shakespeare reasons that genuine romance depends on sacrifice and emotion, not wealth. The problem with justice is equally striking. In the play, justice is easily exploited as an instrument for revenge due to its exacting nature. The use of compassion and humanity, however, allows the law to be administered both fairly and justly. A reflection of the social tensions of his time, William Shakespeare’s The Merchant of Venice explores how romance becomes more genuine without the influence of money, and how justice proceeds more effectively through the ideals of mercy and reconciliation, not vengeance.
He is tormented by hate, jealousy and lust, he creates the self-deception about his own magnitude, his fantasies are lascivious and immature, and yet he is observed with the mixed feelings of repulsion and admiration. Why is this so? In Othello, as opposed to many other great Shakespeare’s plays, there is no clear indication of a supernatural guiding force directing the course of action. ‘The Fate’ doesn’t seem to be the ally of the positive characters – what’s more, the circumstances are certainly convenient for Iago and his plans. The favorable drop of a handkerchief, the situations in which one word would be enough to destroy the entire ‘construction’ he built; all this was resolved into his advantage.
Look Pure!” (Lawrence). Labeling Hester as “pure” is ironic because she is a sinful adulteress who lost her innocence and clearly does not represent morality. This verbal irony is effective because Lawrence’s sarcastic descriptions of Hester as a corrupt character further indicates his distasteful opinion towards her. These two examples of verbal irony reflected in Lawrence’s essay brings a sarcastic and mocking tone, which also helps highlight his main purpose of criticizing Hester for her immortal
Othello cares more about himself than Desdemona and the love he does have is ultimately self-centered. If a hand is raised against their loved one. Do they really love that person? That is a question we must ask about Othello and his abuse on Desdemona. Calling her names, and hitting her shows how little he values her as a person.
During World War II, there were special camps for the Jewish where “prisoners were regularly beaten and starved, and several were murdered” (Tucker). The Nazis considered the Jewish inferior so they treated them poorly. This is similar to the treatment the plague victims receive from the military government in Legend. Those diagnosed with the plague are required to stay in their homes along with their family members, and when soldiers see a plague victim walking down the street, they shoot her simply because of the infection (Lu 5). Plague victims in the Republic parallel the treatment the Jews in Germany, genetically inferior.
A dramatic comedy villain should resemble someone of a horrid disposition whose main goal in life is to ruin others. Horace Walpole once said ‘This world is a comedy to those that think, a tragedy to those that feel’ . Don John as the most passive villain in Much Ado seems to settle directly upon this line. The man of few words emerges as the most disagreeable and wicked character in the play. Yet Shakespeare assigns Don John the redeeming quality of his honesty and ensures that he receives a lot of sympathy from the audience through Don John’s description of himself announcing his ultimate punishment by a hypocritical society which rejects him from the very moment of birth.