True Motives in Deceitful People Envy and deceit are catalysts for revenge. William Shakespeare idolized Geoffrey Chaucer and allowed him to influence his plays and poems. All of his works were written in a poetic language. In the tragedy, Othello, Shakespeare uses characterization and external conflict to create Iago’s deceptive, vengeful, and envious motives. Using the characters’ relationships against them, the play reveals the power of deception and misinformation to destroy trust and loyalty.
This is because in the new government system, the Germans taught that the Jews were not people. Therefore, Jews did not deserve to be treated as such. This logic made no sense to Corrie and her family, in their heads the Jews were still people, and harming them was still a sin. Fully aware of the consequences, the Ten Booms determined that keeping the Jews safe was the honorable and honest thing to do. Therefore, the Ten Booms began to hide the Jews and live out a dishonest life.
Imagery is one of the most provocative and pervasive forms of literary techniques available and is often used to develop themes and characters. As such, it is no surprise that it is prevalent throughout Shakespeare's plays and regularly employed to develop overarching themes. In his tragic play Othello, Shakespeare uses demonic imagery as a point of contrast between a character’s true nature and the impressions held by others in order to develop the theme of how people’s impressions of others can be deceptive. Shakespeare does this three separate times: first in the false impression of Othello as demonic, then in Othello’s false impression of Desdemona as demonic, and once again in contrasting the honest impression and devilish nature of Iago.
In both plays The Taming of the Shrew and Much Ado About Nothing we experience deception as a major concept. In the first comedy deception in commonly used throughout the play. Disguise by changing clothes and behavior of characters creates confusions and twists the story line. All this deceptions in the play have specific motives and contribute to construct the dramatic irony, which is brilliantly incorporated in the comedic play. Since the beginning we see one of the main characters Lucentio using deception in order to be able to contact Bianca.
Conflict is one of the many ways Shakespeare used to spice up the play of Romeo and Juliet. Not to mention that conflict is a recurring theme within the play as it intertwines with several other themes to importantly show the relationship of conflict to tragedy. He explores conflict to bring the significance of tragedy within the play, this can be observed that the idea of conflict has been dispersed throughout the play. This can be seen as when conflicts build up and unveil itself in a chain till the death of Romeo and Juliet, this intensifies what Shakespeare depicts the conflict as a means of proving the worth of conflict in the play. Since the play of Romeo and Juliet was set In Verona, during the Renaissance period, it was the rebirth
This shows how Nwoye’s relationship with Okonkwo is going to go downhill because of Nwoye. Nwoye converts to Christianity for multiple reasons, one of them being that he finds it as a motive to get back at Okonkwo for the crime of killing Ikemefuna, and because he wants a different way of life. He also wants to convert so he can learn reading and writing and gain a basic education, which of course Okonkwo is not pleased with, he wonders why and how he was able to father a weak and feminine son. “‘How then could he have begotten a son like Nwoye, degenerate and effeminate?’” (Achebe 153). This shows how Okonkwo is embarrassed and ashamed to have Nwoye as a son.
The first to whom we are introduced is Jessica, daughter to Shylock. Jessica wishes to have little to do with her father, wishing to run away and elope with Lorenzo, converting to Christianity if the need be. Jessica is portrayed as being stuck in a home life she resents and wishes to escape. When escape comes for Jessica, however, she steals from her father as she makes her exit, stealing not only money but a ring of great sentimental value to Shylock. Jessica's overall portrayal, however, is a sympathetic one through and through - we are meant to feel bad for her having to live as Shylock's daughter, and support her attempts at escape and conversion.
The first act of Othello is a microcosm of sorts for the entire play. In the first act, the reader sees Iago infect two characters with his evil methods, which are reflections of Iagos’ maneuvers in the subsequent Acts of the play, those Acts which progress according to Iago’s actions. In Shakespeare’s Othello, the characters’ strong and symbolic diction is an essential element in the progression of the events of the play. In considering the character of Iago with respect to his diction, the reader recognizes literary patterns which allow for a more profound insight into the text. Although these patterns should be viewed in light of the aggregate of the work, it is in Act 2 that the greatest amount of Iago’s metaphorical speech of disease and infection is found, wherein begins to craft his fatal web.
“Fair is foul, foul is fair...”(1,1,11) this well-known line in Shakespeare 's Macbeth challenges appearances versus reality and it remains a theme throughout the play. Shakespeare is notorious for using the theme appearances versus reality as seen in many of his plays such as Julius Caesar, Macbeth, Hamlet, and Romeo and Juliet. Shakespeare uses the faults of the human perception to discover the Truth for this he is regarded as one of the most influential playwrights of all time. He exploits appearance and reality to advance the plot, but it also comments on greater issues. In Macbeth and Hamlet, it focuses on the characters that are deceived by appearance and the errors in these judgments.
The way that Nora responds to Torvald and his many rules show again Nora’s childish nature. This is evident in how Torvald controls Nora and does not want her to eat macaroons. After realizing that Nora had in fact had some, he questions her to which she responds “No; what makes you think that?” (Ibsen 1361). Nora hides the truth from Torvald as if he is her father and is unable to stand up to him because she fears what may happen to her even though they should be equals. Although it may be frowned upon for the wife to make such decisions in this period, Nora knows that this is no way to live, and instead of making that known she buries the idea.