At this point, it is questioning to the audience of the continuation of his plot. The job is complete in terms of getting Cassio relieved, but he continues to strategize. “For whiles this honest fool/ Plies Desdemona to repair his fortune, / And she for him pleads strongly to the Moor, / I’ll pour this pestilence in his ear” (2.3.341-4). Iago has set the trap for Cassio to ask Desdemona to possibly try to change Othello’s mind which will lead to Othello believing that they are having an affair. From this point on, the ultimate plan has begun and the pace speeds up.
Iago claims to have Roderigo’s best interests at heart ensuring him that he has the power to help him win over Desdemona. Ultimately Roderigo pays the price for doing Iago’s dirty work ending with his plan to expose Iago as the devil himself leading to him losing his chance at love, his wealth and his life by the hands of the one he trusted the most (Iago). As well as manipulating Roderigo, he does this also with Emilia his wife. Emilia is trapped in her marriage to Iago, he is seen to mock her and disrespect her on many occasions, in addition to this, his attitude towards women throughout the piece is shown to be degrading, as seen with Desdemona, when he sexually brands her a “White ewe”. (1.1.97).
In Act V, Scene 2 Othello’s moral change has already begun and he is to show its lethal consequences. The intention of strangling Desdemona is his idea of the solution, which would bring justice for the betrayal Desdemona “did”. “To eliminate evil, Othello commits evil.” The protagonist chooses to strangle Desdemona in her bed, using his imagination to conjure up that she has dishonored that bed. He is so consumed by jealousy that he never gives her the chance to proof her innocence. By the end of the play Othello realizes that Desdemona is innocent, so is Cassio, but the one to blame is Iago, who has the reputation of being “full of love and honesty” in almost everyone’s eyes.
Iago’s manipulations expose many of Othello’s character flaws and leads to his suicide. Still, despite Iago’s influence, Othello’s downfall, and ultimately his death, is caused by his own impulsiveness. This point is evident when he elopes with
As a result, Brutus starts to believes that it is his job to murder Caesar, as he says in Act 2, Scene 1: “It must be by his death: and for my part, I know no personal cause to spurn at him, but for the general” (2.1.14-16). This example explicitly shows that Brutus’s nobility makes him an easy target for others to manipulate. Furthermore, Brutus’s nobility makes him naive. In Act 3, Scene 2, Brutus departs, fully trusting Mark Antony on his words to make a speech that does not blame the conspirators. This, however, is a huge mistake because Antony seeks this chance to successfully turn the crowd against the conspirators.
He utterly disgusted with these accusations that he enters starts to point the finger at everybody but himself. ”Did you plot all of this, or could it be Creon?”2.5 Oedipus blindly ignores the truth and points the finger at everybody else, despite the evidence that are stacked against him. He believes Creon, who is like a brother to him, has conspired to take his crown. Instead of listening to the message he attacked the messenger and become a victim of his own downfall. Oedipus eventually comes to term that he is the reason for the curse of his beloved city.
Calpurnia is clairvoyant, yet Decius was ignoble, as he claims that the nightmares are nothing to worry about despite the fact that he knows for a fact that Caesar will be dying. This is lying. Decius wanted more so to obliterate Caesar. As Decius is saying in the play, he will be laughing and affronting others for not liking Caesar. Decius
His entire persona is that of a deceitful nature. The plan that Hamlet hatched in order avenge his father was to appear mad, trick people into thinking he had lost in mind since he believes it would assist him with his investigation of Claudius. Hamlet is not in denial of this, he describes, “I am myself indifferent honest, but yet I could accuse me of such things that were better my mother had not borne me: I am very proud, revengeful, ambitious, with more offenses at my beck than I have thoughts to put them in, imagination to give them shape, or time to act them in.” (3.1.122-126) So though it is ironic that Hamlet is so enraged about the dishonesty and disingenuity of those around him, he admittedly takes part in the illusions which repulse him so. From his own calculation, no one is worth believing or trusting, even people shown to be moral or ethical, concluding it is all just a front or mask of sorts. In Ophelia’s case is is a
As well as the death of Tybalt, the death of Mercutio who was the unofficial comedian in Romeo’s group of friends and a well liked character, the audience realise that all the light heartedness dies along with him. The play has lost all it’s contentment and everything spirals downwards from there. There are several ways that Act 3, Scene 1 is made dramatic but one of the most significant ways was the fact that the fight between Mercutio and Tybalt seems inevitable despite the countless warning from Benvolio and Romeo. Romeo’s desperate attempts to stop Tybalt and Mercutio, “Gentlemen, for shame, forbear
Another fact worth focusing upon is Hamlet’s desire to surprise his uncle’s guilt by putting a scene into play as well as his inability to detach himself from his real feelings and act as an entirely different character. Quintilian, in his “Institutes of Oratory” raises the following questions : “I make a complaint that a man has been murdered; shall I not bring before my eyes everything that is likely to have happened when the murder occurred? Shall not the assassin suddenly sally forth? Shall not the other tremble, cry out, supplicate or flee? Shall I not behold the one striking, the other falling?