Even though Desdemona is completely innocent of infidelity, Iago keeps planting evidence to create doubt in Othello’s mind. Since Othello believes that all men are as noble and honest as him, he believes everything Iago is telling him. Although Othello still loves Desdemona, he warns that when his love runs out, all hell will break loose. Several lines later, Othello comes to the conclusion stating, “I am abused, and my relief/ Must be to loath her.” (3.3.267-268) This scene is explaining that he has made his decision, and his love for Desdemona has run out. Othello is so hurt and in a fit of rage, and passion he’s not thinking clearly or logically.
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.
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.
Similarly, after Cassio hears Iago’s advice to seek out Othello and beg for forgiveness, he bids a “good night [to] honest Iago” (Shakespeare, 2.3.313), who is none other than the man that diminishes his reputation and causes him to lose his title. Cassio not only does not see who causes him this strife but thanks him for it and bids him a good night. Additionally, Iago is able to completely change Lodovico 's opinion of Othello in four short words. Lodovico witnesses Othello hit Desdemona, and all Iago needs to say is that “[Othello] is much chang’d” (Shakespeare, 4.1.266). With these few words, Lodovico is completely swayed, and immediately believes Iago’s assertion that Othello is
Hamlet and Ophelia “This was sometime a paradox, but now the time gives it proof. I did love you once… I loved you not” (3.1.114,119). Confusion clouds the audience’s judgement reading this quote from Hamlet. His paradox insinuates that he is insane and truly did not love her. Contrary to belief though, this quote was a way to set his “mousetrap” and force her to be in the background of his grand scheme.
He lacks a fatherly tone and instead opts for a scholarly approach in dealing with the situation. His use of puns instills a mocking and disrespectful tone. Polonius, while offering beneficial advice from time to time, is quite ostentatious and often blows up his advice with such sophisticated dialog that it obfuscates the true meaning. He may truly care for his daughter and unselfishly want her reputation to remain clean; however; his diction and tone serve to prove
We know the weight that the success of this play carries because he calls anyone who merely adds a line for a cheap laugh “villainous and shows a most pitiful ambition in the fool that uses it” because it would take away from the focus of the “necessary question of the play.” It’s so important that the audience perceives that question that the play raises that Hamlet also says that he’d “have such a fellow whipped for o’erdoing Termagant.” Even though this isn’t a character in the play the point is that if the players go overboard with their acting then Hamlet would go so far as being incited to physical violence, foreshadowing the violence that is coming. Hamlet likens over acting to a storm, a “torrent, tempest, and (as I might say) a whirlwind of your passion” which would be disastrous and even destructive to his plan. Hamlet’s explanation of how he wants the play to be performed reveals a recurring theme in the conversation between the director and the players. This is the idea that the theatre is meant to reflect the nature of
In Much Ado About Nothing, wit was the down fall to many of the characters, but it was also used to provide the audience with comedic relief. Beatrice‘s and Benedick’s pride in their cleverness, Claudio’s assumptions and gullibleness, and Dogberry’s lack or wit and intelligence lead to the misunderstandings and Discoveries throughout the play (Dennis 224). Dennis is saying that each character had a fatal flaw that Shakespeare highlighted by having something terrible or having something ironic happen to them. This shows how he used the elements and levels of wit to captivate the audience by leaving the characters blind to what was really going on. The audience knew the plan for Beatrice and Benedick, but their own confidence in their wit betrayed them.
Claudius cannot hide his guilt, but he does well at hiding what he’s feeling guilty about. Along with guilt, his deceitfulness can be found throughout the play as well. Claudius hides the truth from everyone and uses this to his own advantage. His deceitful methods enable him to become king which ends up hurting him in the end. Lastly, selfishness, Claudius’ most recognizable characteristic, controls his decision making.