The narrator in “The Cask of Amontillado” intentions are clear, he is angry and vows to seek revenge against the person who has done him wrong. In this short story, Poe writes, “I must not only punish, but punish with impunity. A wrong is unredressed when retribution overtakes its redresser. It is equally unredressed when the avenger fails to make himself felt as such to him who has done the wrong” (168). The narrator, Montresor, evokes emotions of anger and is upset that Fortunato has embarrassed him.
In the tragic story of Othello, William Shakespeare the author suggests that when illusions become entangled in the lives of individuals, they often vulnerably become influenced, which conclusively lead to the destruction of oneself and their relationships. Iago uses this to his advantage and now puts into action of
Although, Parkers choices in people to play the roles of his characters is on point the way some characters are portrayed in the production is off. In Shakespeare 's original othello, the character of othello seems to be more on the insecure side. Othello is filled with jealousy over Desdemona and goes a little insane after the handkerchief incident. In the original I believe that Othello was made out to be this insecure man with no back bone, this is seen in the scene where he is talking about loosing Desdemona. Othello goes on a rant saying “She’s gone.
Throughout King Lear, Shakespeare utilizes irony(dramatic irony and irony of names) and anthropomorphism to enhance the tragic flaws within King Lear and Gloucester as well as to amplify Edmund, Goneril and Regan’s diabolical plans and personalities. The Fool’s name is ironic because although he’s supposed to be an unwise man who entertains the King, he is the one to actually speak sense to King Lear, yet him being labeled a “fool” allows King Lear to overlook the Fool’s knowledge and continue to make foolish mistakes that lead to his downfall. Dramatic irony is continuously displayed by informing the audience of Edmund, Goneril, and Regan’s evil schemes while leaving the rest of the characters ignorant allowing for the audience to see the
Based off of the text, Richard III is a corrupt (or even evil) and manipulative type of character. One can consider him corrupt due to the fact that he is "determinèd to prove a villain". Since he decides to be a villain if he cannot get a lover (or in general, love), one is led to believe that once he is a villain, he will be loved and respected by others. Yet those actions will most likely be out of fear and hatred. Without a doubt, Richard III as much manipulative as he is the Duke of Gloucester.
Author T.F Hodge once said, “Manipulation, fueled with good intent, can be a blessing. But when used wickedly, it is the beginning of a magician’s karmic calamity” (goodreads.com). Through this quote, Hodge claims that controlling a situation, with the purest intentions (for another), leads to positive outcomes overall however; when conducted for personal gain, the results are disastrous. In other words, the purpose of a person’s manipulation depends on the self-confliction between good and evil, affecting everyone in the end. William Shakespeare’s Macbeth, is the epitome of this phenomenon because there is an imperative battle between selfishness and selflessness, creating a pivotal point for characters.
(INSERT TITLE HERE) William Shakespeare’s seventeenth-century tragedy, “The Tragedy of Macbeth,” explicates the seemingly innocuous function of self-preservation and the way it dictates a gallant war-hero’s response towards both internal and external demands- Macbeth utilizes his primitive impulse of self-preservation as a way to respond to the demons he is confronted by; his inappropriate utilization of self-preservation prompts the untimely collapse of Macbeth’s physical, psychological and philosophical ruination. Subsequently, Macbeth’s noble disposition transposes into one that is ignoble; he follows the path of deceit, blood and enmity with those who placed their trust upon him. Additionally, Macbeth finds himself unable to respond to external and internal demands with pragmatic alternatives, but instead succumbs to this primordial impulse in an attempt to defy the demands he faces from both himself and society. Macbeth exacerbates the magnitude of the demands incumbent upon him by repeatedly adding coal to a burning
However, Hamlet’s goes through a journey of different feelings towards this motivation. Hamlet is initially ardent to kill Claudius, driven by his anger and hate towards him. For example, Hamlet describes his hate for Claudius when he exclaims, “O villain, villain, smiling, damnèd villain!... At least I’m sure it may be so in Denmark (1.5.107–110). His description of Claudius as the villain shows that Hamlet seeks to commit justice for the corruption that Claudius has brought about.
As human beings, there are occasions where we choose between right or wrong. Certainly, It can materialize into effect on how other people judge you based on their glimpse of moral senses. In the play Macbeth, William Shakespeare displayed a dark and erroneous side of humankind. The three preeminent characters accordingly demonstrate identical attributes of greediness. For instance, Banquo who appears to be noble fails to resist his desires, and in relation to Lady Macbeth, she overrules herself with greed to a fate of anguish, and thus, Macbeth becomes engulfed with greed that leads to horrendous deeds.
Beyond this literal interpretation, Heller goes out of his way to ensure that the word “Death” is capitalized and stands out as a command. While Yossarian’s enthusiasm towards this dark word taints his jovial view of the situation, the emphasis on such a word juxtaposed next to the word “game” creates an ominous yet comedic tone. Heller creates a parallel between Yossarian and war. He sounds ridiculous; war sounds ridiculous. War exists merely as a series of “invented games” played by people of power to “break the monotony” of existence.
Thus, in William Shakespeare’s classic play Macbeth, the author suggests that an individual’s identity is often an illusion voiced by crippling desire and the influence of others. As creators of turmoil by nature, the witches catalyze changes in Macbeth that enable his transformation from a righteous military general into a committed megalomaniac. Furthermore, they inspire the awakening of Macbeth’s ambition and fool him by providing a false sense of security. This exploitation is expected from the dark and sinister creatures as they firmly believe that “Fair is foul, and foul is fair.” (Shakespeare, trans. 2012, 1.1.12).