Emilia knows that Othello believes that Desdemona has cheated on him with Cassio, but the interesting factor is that Emilia knows that is not true as she arguably knows Desdemona the most out of all the characters. Desdemona's isolation prior to her death is “ attributable to the onlookers' nonintervention” (Vanita 343). Emilia was aware of the abuse that Othello put upon Desdemona even though she knew the accusations against her were false “For if she be not honest, chaste and true,/ There’s no man happy; the purest of their wives/ Is foul slander” (Shakespeare 4.2.18-20) but still leaves Desdemona in isolation with Othello, even though she was aware of what he believed. When Othello confronts Desdemona with the claims of cheating Othello commands Emilia to “Leave Procreants alone and shut the door;/ Cough or cry “hem”
Superiority regarding gender has historically produced controversy. Within the renaissance the role and purpose of women were subject to discussio. It was up to debate as to whether women natural were abound to treacru and sinful motives. Within Othello women are either seen as whores or those of good women. “Italian women were very less living women… There are many lewd living women… sinful use of their wicked bodies” Othello initially thought this of Desdemona of which was proved wrong when he fell in love with her.
Both tales have positions on honor, which reflect a moral inversion seen within the Decameron. In the tale of Caterina and Ricciardo, the story ends happily due to the fact Riccardo was caught and given a choice by Caterina’s father to either marry his daughter or be killed for romping around with her. While in the tale of Tancredi and Ghismonda, the story ends in tragedy due to a false honor. This honor devised was hidden underneath a layer of jealousy, and debatably, an insinuated desire for Ghismonda by Tancredi himself. Ghismonda also died in Guiscardo’s honor.
(Shakespeare 2.2.144) The quote shown helps it to be seen that Romeo and Juliet going after each other is causing them to make not good decisions. You can see the constant atrocious decision-making, from the past two to the next. Romeo and Juliet continue to make lousy decisions such as them officially getting married. Friar Lawrence speaks to Romeo and Juliet about being “incorporate two in one” before he leaves them “shall not stay alone.” (Shakespeare 2.6.35) From the brief passage from the story, you can see how many bad decisions are being made and how they are adding up, leading towards the tragic end. As can see from reading, the
Explain how themes of betrayal and jealousy affect the development of Othello over the course of Act 3. The portrayal of the character, Othello, is changes greatly throughout Act 3 due not only the antagonist but to Othello’s growing incurable jealousy on Desdemona’s ‘affair’. Iago’s behaviour and pretence of being forever loyal to Othello has an immense effect on the development of Othello’s character during Act 3. The quote “Patience, I say; your mind perhaps may change” demonstrates that Iago is using reverse psychology on Othello. Without saying the exact words, Iago is encouraging Othello to follow his plan through.
Shakespeare’s The Taming of the Shrew is often attacked for its misogynistic oppression of women and domestically abusive undertones, especially for the ‘taming’ of the titular shrew, Katherina. However, in an at least humanist, if not feminist, point of view, I argue that there are two different but overlapping sets of relationship dynamics between our main couple. Their relationship is constantly dual-layered. The first is the pair’s “madly mated” (3.3.242) personalities which allows them to form a partnership that proves to be a union of equals by Act 5. While the other, shaped and influenced by the social expectations of the ‘public,’ is the dynamic that relies on both of their imaginations to play the roles that they are presumably assigned
This difference can be attributed to Shakespeare’s desire to create strong female characters as seen in many of the playwright’s other works such as Viola from ‘Twelfth Night’ and Portia from ‘The Merchant of Venice’. The turning point of their relationship is the execution scene of the Macduffs. Lady Macbeth’s decent into madness allows her to flee a life that she thought she wanted but ultimately does not suit her
Lear believes that his daughter does not care for him and so takes away her inheritance, while Claudio believes that his betrothed has been unfaithful and so shames her on their wedding day. The final similarity is Shakespeare’s use of ‘funny characters,’ those whose value seems to be nothing more than to provide the audience, usually the groundlings, with same base form of amusement. Lear has his jester, and the maid Margaret plays the part in Much Ado. However, often these characters will be given deeply philosophical lines and essential parts in the furthering of the plot, which go unseen by the average, non-academic viewer. “While we might think little of the buffoonery of a Nick Bottom or the witticisms of a Feste, Shakespeare, his contemporaries in the early modern professional theatre and especially his audiences, valued clowning highly – and scrutinised it carefully in its