However, Mercutio's rash, emotionally driven response is a poor response, not only because fighting on the streets breaks the Prince’s newly decreed law, but also because it leads to his own death. His death sparks vengeance in Romeo which gets him exiled for killing tybalt, and inspiring the Capulets to wed their Daughter,
After realizing the severity his plan to succeed the throne, Macbeth reveals his hesitancy towards killing King Duncan, and it is at that moment that he calls out to a “dagger of the mind” which symbolizes his guilt and temptation to carry out the evil deed (2. 1. 39). Inevitably, Macbeth’s desire for power outweighed his moral integrity, and he carries out the murder of King Duncan, beginning the slow spiral of his own demise mentally and physically. Shakespeare uses this apostrophe as a way to highlight the importance of the idea of murder and how easily its concept can be corrupted by greed.
“Iago belongs to a select group of villains in Shakespeare who, while plausibly motivated in human terms, also take delight in evil for its own sake” (Bevington, 2014, p 607). Understanding his sense of self might reveal another tragedy regarding how egos across the human condition demonstrate unique frailness. “Critics often debate Iago's motives. What drives him to act as he does? Some people believe Iago is simply, but purely, evil, doing immoral things merely to be bad” (Hacht, 2007, p, 657).
Thinking of the deeds he has done, he reasons that “For them the gracious duncan have I murder'd” (35). His statement is selfish because slaughter is suddenly unjustifiable once it affects others positively, rather than just himself. His role as a king has skewed his perception so much that his friends are his enemies and his murders become aimless. Macbeth’s elation from power is rendered by his worries of losing it, revealing his true self in the process. His concerns stem from jealousy and thoughts of his wrong deeds being exposed, which in turn motivate him to act against his closest friend.
The vile witches manage to cultivate the subconscious desire to be king in Macbeth. Then, when Macbeth seeks the witches, they further equivocate, orchestrating his downfall by misleading him. The author also depicts Malcolm using equivocation to deceive MacDuff into revealing his true personality, helping him develop a valuable alliance to defeat Macbeth. From these instances of deception in Macbeth, Shakespeare shows equivocation as a weapon. Equivocation is a weapon that grants significant power over a situation to its caster by enabling them to reveal the true intentions of the victim and manipulate their action with the results depending on the intent of the equivocator.
Both texts have the same plot line where Iago or Ben Jago is set out to destroy Othello in vengeance for not getting the title/position that he thought that he deserved. He makes up the same lie where Desdemona is accused of cheating on Othello with Cassio/Michael Cass. In the play, Iago is very persistent when it comes to making Othello suffer by manipulating him and others throughout the whole novel without any empathy. Whereas in the novel Ben Jago does manipulate others but halfway through the film he does realize that maybe things have advanced past what he ever expected them to be. In the play itself, Iago does not know when to stop manipulating people and he also does not realize when things get pushed past it limits.
Mate’s clinginess is revealed when she romanticizes about men and obsesses over them. As she creates a perfect man in her head she says, “I keep hoping that someone special will come into my life soon. Someone who can ravish my heart with the flames of love” (Alvarez 126). Mate creates these fantasizes in her mind because part of her still believes love exists and she wants to experience it. When looking through a Psychoanalytic lens, Mate has an unconscious, indecisive behavior towards men which stems from her being heartbroken as a child because of her father cheating on
He is manipulative and tells Othello to “observe her [Desdemona] well with Cassio” (Shakespeare, 3.3:197). Iago feeds Othello with countless lies and makes him miserable with something that is not factual. He is determined to get revenge and he does not realize Iago stands insincere. Furthermore, Iago is selfish when he tells Othello, “I am yours for ever” (3.3:479). He betrays Othello yet still let’s him depend on him for his own
A final example of Oedipus’s short temper is when he argues with Creon about being the killer of Laius. The argument heats up and Oedipus loses his temper and threatens to banish or kill Creon. Creon goes to Jocasta and states, “Sister, Oedipus your husband, thinks he has the right to do terrible wrongs-he has but to choose between two terrors: banishing or killing me” (Sophocles 448). Again, Oedipus must defeat those who seem to be against him even though they are not his enemy. It is his anger that causes Oedipus to lash out and act
These two villains slander Othello to the point of eradicating any pity the audience could have developed towards Othello. The Venetians also have a hidden fascination for Othello and his foreign qualities but, they mask feelings with negative slurs. The audience also affected by the portrayal of Othello, and are persuaded to feel pity for him because of his circumstances; being betrayed by his ensign and being looked down upon because of his Moorish descent. Shakespeare also uses racism as a creative apparatus to generate a metaphor between Desdemona and Othello. The exploitation of Othello’s race leads to the manipulation Roderigo, Cassio, Brabantio, the Venetians, and the audience to see Othello as inferior although, the only difference between him and the Venetians is his lineage.