His father responds by saying “are you so insolent you threaten me?” he answers “where’s the threat in challenging a bad decree”. It 's like saying whether the hurt in dying for something worthy? In this he says death isn 't so bad when it 's for a just reason. Playwrights often use stereotypes, stock characters, and mainly what others say about a character to explain what he or she is like but in this case we have a character that serves his purpose as secondary character but also has a significant impact on the viewpoints of other characters. In conclusion the Sophocles uses the character of Haemon as “pseudo-protagonist” with very complex moral values and inner conflicts regarding his loyalty to his family or the woman that he loves this was shown through the authors use of language
Throughout the play, Feste the Fool is looked at as a character who receives very little respect, yet is rather smart and witty. On the other hand, Toby is respected for being a noble even though he is much less competent than Feste, and is essentially a drunk. Through this relationship, Shakespeare is relaying the idea that not all people are determined by their class, and rather a person's character is what earns them respect. When referencing Toby, Olivia acknowledges that, “he’s in the third degree of drink: he’s drowned,” (1.5.133). While Toby is clearly just a drunken idiot, he is looked upon highly by his peers for his social status, and must be respected by those beneath him, such as Malvolio.
But, if Twain told the story from the perspective of a character whom Huck portrays negatively, the reader could realize that his or her motives are similar to those of Huck. The protagonist lies about his identity for similar reasons as the King and the Duke: self-preservation. When the two men first reveal their “rightful” truths, Huck knows they are lying about their identities from the books he has read. Throughout this episode, Huck and Jim learn that the King and the Duke’s reasoning for lying is to acquire enough money and respect for their survival. When they performed their “Shakespearean Revival”, the Duke instructed his
It is almost as if in this first part of the soliloquy, Othello is still trying to convince himself that Iago’s suspicions could be an accurate reflection of reality. This perhaps lack of confidence, however, does not persist throughout the rest of the soliloquy. Another prominent feature of this passage is that it is utterly inundated with bestial imagery. The first image comes in lines 162 to 165, where Othello states, “If I do prove her haggard, / Though that her jesses were my dear heartstrings, / I’d whistle her off and let her down the wind/ To prey at fortune.” Here, Desdemona is the falcon and Othello is the falconer. The falcon-falconer image
Through the character of Iago, Shakespeare is able to manufacture a false reputation of honesty and trustworthiness towards Othello, conveying that villainy often arises from jealousy and revenge. In Othello, seeing is believing, and nobody is as successful at toying with the “Appearance versus Reality” theme played out over the course of the novel as Iago. As the chain of command in Othello’s Venetian army began to erode after a fight between Montano and Cassio, Iago pounced on the opportunity to wield power with his boss. After Cassio had been removed from power as Othello’s assistant, Iago served as a voice on Othello’s shoulder, filling Othello’s thoughts with worry as to the intentions of Cassio. Othello, in a fragile and unstable position with a depleted sense of trust said to Iago, “Villain, be sure thou prove my love a whore,
Which develops the theme about the corrupting power of jealousy. Iago believes that “the Moor is of a free and open nature” (Shakespeare 379). This means Iago has no reason to do what he is doing except to make a good man look bad, his jealousy is going to corrupt the image of a man who hasn’t done anything wrong. Iago is creating a plan that is going to bring a lot of sadness into Othello’s life and Othello “will as tenderly be led by the nose as asses are”(Shakespeare 381-382). Iago is going to lead Othello in a direction that will cost him his place in the hierarchy, and this will open up the position for Iago to take.
One central motif in the play, The Crucible, is the importance of a good name. The meaning of a good name, however, is conveyed in a diverse variance through each character within the play. John Proctor, Judge Danforth, Reverend Parris, Elizabeth Proctor, Rebecca Nurse, and Reverend hale, each seeking a different name. Reverend Parris seeks a good name for the purpose of pride and reputation. Reverend Parris is very greedy and repeatedly demonstrates selfish behavior throughout the play.
From time to time, the Narrator ends up jumping to conclusions too quickly. As Gisele Bundchen says, “I feel like when people judge me they 're not judging me, because they don 't know who I am.” As the Narrator jumps to conclusions, this affects not only him, but the other people around him, like Robert, which he misunderstood. In addition to this, he has low standards for blind people. For example, when Richard first came in and the Narrator saw him, he thought, “This blind man, feature this, he was wearing a full beard! A beard on a blind man!
Using the characters’ relationships against them, the play reveals the power of deception and misinformation to destroy trust and loyalty. Othello was published in the early sixteenth century. Commedia dell’arte, a popular comedy in Italian theatres, persuaded Shakespeare’s motives when writing Othello. Shakespeare writes this play with a “disturbing, tragic ending, not the traditional romantic tragedy that has puzzled commentators” (Whalen). The deceitful motives of the characters in Othello derived from popular comedy of early Italians in the sixteenth century.
That being said, it is ignorant to say that his fatal flaw is the sole reason for his downfall, as there were many contributing factors such as his jealousy and insecurity that factored into it. Nevertheless, his gullibility is ultimately the root cause as it enabled for these factors to come into effect. His fatal flaw is first pointed out by Iago, who comments that “The Moor is of a free and open nature/ That thinks men honest that but seem to be so” (1.3, 392-393). As the play progresses, Iago capitalizes on this weakness to plant seeds of doubt in his mind of Desdemona. Iago points out that “[Desdemona] did deceive her father, marrying you” (3.3,204), and thus brings to Othello’s attention that Desdemona is capable of lying.
Finally, the personal take of Nabokov on the subject of tyranny has allowed him to produce a masterpiece such as Lolita in which the protagonist is a deranged man manipulating his audience into thinking that being a despot is not something to be ashamed of, but rather to embrace while it lasts. The novelist uses Humbert to demonstrate how powerfully persuasive tyrants can be while subtly leading his readership into not being seduced by the man (Schiller). Controversy was nonetheless bound to happen, but despite its repercussions, the gains are many as they allowed for an audience that is socially aware and critical of its interpretation of readings. All in all, Azar Nafisi was not wrong when he said that “the biggest crime in Nabokov 's 'Lolita
On page 16, show that his words come out sincere, but weak vs. explaining it. Visually show on page 27 what “retains the shock that first whacked him” means. On page 33, it’s not clear what is meant by Jimmy is “visibly hit with a realization in an exaggerated way...” How will the viewing audience understand this? On page 67, avoid explaining feelings, “What Felicity says…” In summary, one can envision a really fun film about a man who tries to figure out what happened to him, but it’s unclear in this presentation if the true intention is a broad or dark comedy or a more dramatic presentation. The third act turns very dark and this may not appeal to all audiences.