Lastly, when Malvolio is deceived by Feste into thinking there is a man named Sir Topas in the dark room with him. Deception has one of the biggest roles in the play, to deceive, making characters start believing the altered reality they are surrounded
Aside from the dominant repetition of those themes throughout the comedy, there is another crucial motif in this play: ‘deception’ as a “two-sided coin”. (Lawson, 2009) Richard Henze outlines in his article, ‘Deception in Much Ado about Nothing’, that, “… deception in Much Ado is of two sorts – one leads to social peace and the other breeds conflict and distrust.” Deception itself is not candidly condemned by the play – but the negatives of this attribute by far exceed the ‘truth of deception’, and effectively portrays that deception, as a whole, is a caustic thing. A clear representation of destructive deception is shown through the characterisation of Don John, “the Bastard”, who believes that “any impediment [to others] would be medicinal” to him. (I,i,71) Don John is the ‘Satan’ to Claudio and Don Pedro’s Adam and Eve. Don Pedro knows that Don John is untrustworthy, the “villain” who was “… sick in displeasure,” for other’s misfortunes, and Eve – represented within the play by Claudio - knew that the snake was spitting lies; nevertheless, they believed him and were cuckolded.
Deception is the norm in Hamlet. For example Polonius, the King’s counselor, hires Reynaldo to spy on Laertes in an attempt to teach his son the importance of reputation and encourages him to use any means possible, including lying to achieve his goal, “Your bait of falsehood takes this carp of truth and thus do we of wisdom and of reach” (2.1.63-64). Claudius and Gertrude hire Rosencrantz and Guildenstern to spy on Hamlet in an attempt to discover what is ailing him, “So much as from occasion you may glean, whether aught, to us unknown, afflicts him thus. That, opened, lies within our remedy” (2.2.16-18). Shakespeare describes a world where lies masquerade as truth just as
Irony is the contrast between how things are and how things should be. This literary technique is used in The Pardoner's Tale to show how corrupt the Pardoner is. The Pardoner tells a story with the intention of teaching the company that greed is the root of all evil, yet he tries to swindle them and get contributions even after he admits they are fake. This is ironic because he should be practicing what he preaches, but he does the exact opposite. The irony surrounding the Pardoner becomes evident when his motives are explained in the beginning of the prologue.
is a play full of games, lies, and shock. Albee used many literary devices like irony, conflict, and symbolism to create and develop these two married struggling couples that have used lies to bury themselves in this sort of inhuman reality. These literary devices also developed the glorious theme that falsehoods, no matter how long kept, eventually burn and unveil the truth. The revelation of George and Martha’s imaginary son sends a climactic shock throughout the whole house at the end of the play, thus showing that the lies that they have been holding for so long to create their false reality could not help them escape the true reality that is life
Midterm Essay Stephen King said it best when he said: “The trust of the innocent is the liar’s most powerful tool.”. People use others’ innocence as a way to get them to believe what they believe. They use their viridity and naive innocence against them and thus strip them of their innocence until someone comes along and shows them the harsh reality of the world that they live in. In Fahrenheit 451 by Ray Bradbury, Cat on a Hot Tin Roof by Tennessee William, Antigone by Sophocles and Julius Caesar by William Shakespeare, the protagonists start off with innocence that eventually gets taken away as they gain more knowledge about their world and the situations they are in; or more information about how flawed they are as an individual or as a society. Guy
However, Twain exposes the Romantics’ naivety through Sandy’s child-like disillusion of the swineherds as ogres and their idiocy for writing tales themselves about knights and ogres as though they were fact. Through the adventures of Hank Morgan in sixth century England and by lambasting the nonsensical romantic writers, Mark Twain conveys the message to his readers to be critical of the world.
Stevenson’s clever illustration of the danger of knowledge reveals the troubling reality of awareness and reveals Jekyll’s brilliance to be the Achilles heel that leads to his demise. The relevance of the concept of ‘consuming knowledge’ plagues those who know, and proposes there is a degree of truth to the belief that ‘ignorance is bliss,’ because if Jekyll lacked the scientific prowess to create a concoction to tap into his repressed and animalistic nature, his path may alter. The complexity of Stevenson’s themes acknowledges both his literary genius and the philosophical dilemma of the grayness of the world in which we
Sophocles draws direct parallels between truth and light and deception and darkness for the purpose of expressing to his audience a moral idea. The clearest illustration of this in terms of singular incidences is the confrontation between Oedipus and Creon over the issue of Creon’s alleged plot with Tiresias. Oedipus aggressively asks Creon if “Your treachery, you think I’d never detect it creeping against me in the dark?” (lines 601-602). Sophocles relegates treason to darkness and illustrates to his audience his opinion on dishonesty with his word choices. Not only does he equate treachery to darkness, he paints dishonesty as a cowardly creature slinking around under the
Appearance versus reality is a common theme found among Shakespeare's plays, as seen in “Othello”. It becomes apparent that this deception can lead to the ultimate destruction of a character in Shakespeare's plays. Othello is manipulated by the jealous villain Iago as he encourages him to misinterpret what he sees, steering Othello away from the truth. Othello is susceptible to Iago's ploys due to the fact that he himself is so honest and straightforward, “For when my outward action doth demonstrate the