His father responds by saying “are you so insolent you threaten me?” he answers “where’s the threat in challenging a bad decree”. It 's like saying whether the hurt in dying for something worthy? In this he says death isn 't so bad when it 's for a just reason. Playwrights often use stereotypes, stock characters, and mainly what others say about a character to explain what he or she is like but in this case we have a character that serves his purpose as secondary character but also has a significant impact on the viewpoints of other characters.
Proctor utilizes strong rhetorical appeals to highlight his emotions and his speaking style. Proctor values his reputation and name. Proctor was trying to end Abigail because she was falsely accusing other innocent people of witchcraft. The famous play, The Crucible by Arthur Miller explores Proctors speaking style
Hence, accentuating Shakespeare’s idea of the nature of evil and the consequences that may result from it- Macbeth being steered onto the ‘murderous’ path. These techniques enables the audience to think deeply about the idea of the art of deception, treachery and the ability for one to appear to be someone they are truly
The only crime is pride. " This quote means that making a mistake is inevitable, but owning up to your mistake is what matters most. Sophocles quote is significant because it reveals that arrogance can in effect cause more damage that the mistake you created. I promise that I'm the most stubborn, prideful, sore-loser in the existence of
I would suggest that Shakespeare, ever the masterful strategist, is using this title to draw attention to the chaos of the “much ado,” which is ultimately born from his characters ' liberal use of deceit. If the plot begins and ends with “nothing", then we must depend entirely upon the “much ado” created by deceit in the middle, to discover the meaning in this play. In my reading of Much Ado About Nothing, I identify three types of deception: deception of others for benevolent reasons, deception of others for malicious reasons, and self-deception. Of the three, I argue that the last is the most dangerous.
Aside from the dominant repetition of those themes throughout the comedy, there is another crucial motif in this play: ‘deception’ as a “two-sided coin”. (Lawson, 2009) Richard Henze outlines in his article, ‘Deception in Much Ado about Nothing’, that, “… deception in Much Ado is of two sorts – one leads to social peace and the other breeds conflict and distrust.” Deception itself is not candidly condemned by the play – but the negatives of this attribute by far exceed the ‘truth of deception’, and effectively portrays that deception, as a whole, is a caustic thing. A clear representation of destructive deception is shown through the characterisation of Don John, “the Bastard”, who believes that “any impediment [to others] would be medicinal” to him.
The protagonist of the play is ostracized from his own audience. The severity of the irony in this first assertion and in his sheer ignorance intensifies Iago’s betrayal and solidifies his position as an antagonist in this story. One way that Shakespeare uses his language to amplify the dramatic irony of the situation is by using the words “exceeding” and “all” in Othello’s assertion. These words exaggerate Othello’s confidence in Iago. It is almost as if in this first part of the soliloquy, Othello is still trying to convince himself that Iago’s suspicions could be an accurate reflection of reality.
Chris Wiley, in his essay, “Fooling Around: The Court Jesters of Shakespeare” divides the fools into three categories: ‘Clowns’, who turn farce into precise science, ‘Dunces’, who use their lack of intelligence as the medium of human and the princes of fooling, and ‘court jesters’ who turn fooling around into a respectable position. He calls the jester, a ‘restrained down” and an “educated dunces”. Critic Roger Ellis has observed that the fools were frequently given the reign to comment on society and their action changes the social view, Shakespearean fools demonstrate a subversive potential. Critic Roberta Mullini argued that such characters can be constructed as disrupting the traditional
(T) While talking with Gloucester and Lear, Edgar (Poor Tom) mentions that, contrary to what one might think, the devil is a gentleman. This concept of evil clothed in civility is crucial to the the play as it stresses the concept that, often, one must be careful to look beyond another’s outward appearance or intentions in order to derive their true motivations. After all, deception can hide a whole world of sin. This idea can be seen throughout the show, most namely when King Lear’s daughters profess their love for their father. While Regan and Goneril may seem the most appreciative from an outside glance, their true goals lie in gaining land and power, while the most humble of the three, Cordelia, ends up being the only sister to truly care
And afterward I got the idea that this surety could be a Madman who holds the key.... to all the frenzy, and he gets to be ordinary while everything else is anomalous. An aggregate inversion. An alternate essential thing we recognized in clarifications of the story was indignation...... we understood that ire truly implies purification, liberation and letting off steam.