Psychopaths have attributes of detachment, insincere speech, selfishness, and violence. In the tragedy, Othello, the playwright William Shakespeare constructs an antagonist with such traits. This evil character, Iago, is known for being one of the most sinister villains Shakespeare has even written. Through Iago’s psychopathic manipulations and detached persona, Shakespeare shows that psychopaths are not redeemable in the play. Iago’s manipulation of other characters leads to ultimately brings his downfall.
With respect to the central message it shows she cannot trust the reliable reputation of Othello. As it is looked into more, the audience did not expect Othello to become evil. He is dynamic with the expectations of learning from his mistakes and becoming a better person. The audience did not see show evil within him until the story progressed more towards the end. Shakespeare is trying to drive into the audience once again the characters and people in life with respect to the central message may not be as they appear.
This would imply that Mephastophilis has the overhand in this relationship, being able to do the magic that Faustus cannot. However, Faustus’s attitude makes it so that he constantly mocks and taunts Mephastophilis, making it seem as if Faustus is the dominant and overpowering entity in this relationship. Nevertheless, it is still Mephastophilis who has the overhand in the power relationship between him and Faustus. Doctor Faustus shows how being capable of using a given power can work out by opposing two characters, Mephastophilis and Faustus, and showcasing both ends of power usage; a power relationship in which one is capable of using his powers, and one is not. Throughout the play, we can see Faustus working incredible magic.
In the story of Othello by William Shakespeare, there are both many underlying and blatant prejudices, stereotypes, and manipulations. The main manipulator and antagonist, Iago, reveals many of these through manipulating the primary character Othello, his wife Desdemona, the Lieutenant Cassio, Desdemona’s father Brabantio, and other minor characters. While Iago himself is a shrewd conniver, he exploits other people’s selfish intents and views to further himself in status. When he manipulates them, he brings to light their more sinister aspects. Iago is a despicable but knowledgeable person, but when he reveals his knowledge of the people around him, he shows that not everyone, including himself, has the best intentions or has unblinded perspectives.
The main example of this is when he thinks Hero cheats on him and afterwards he shows that he is rather vindictive and impulsive given that his anger leads to the humiliation of Hero. This also shows that Claudio is quite immature. Count Claudio develops a little at the end of the play when he discovers that Hero actually was faithful whereupon he acts responsible and noble when he offers to help Leonato. Moreover, his love for Hero appears more genuine since he prays for her and seems sincerely grieving. On the other hand, he agrees to marry Antonio’s daughter who looks “exactly” like Hero, which indicates that he actually does not change throughout the story and remain immature and superficial.
With just what Marius says, that could be interpreted in a multitude of ways, and not necessarily as him being unkind to Valjean. The addition of the word coldly shows that Hugo is telling us Marius agrees because he does not want Valjean near them and implies that Marius is looking down upon Valjean. In the movie, we do not get the feeling of cold bitterness we receive from the book. Marius gives off an aura of understanding at Valjean’s predicament, and though he still agrees, he agrees out of his acknowledgement that this is what Valjean wants. Similarly to his encounters with Valjean, movie Marius better
Faustus turns to magic--even to black magic--and calls upon the minion of Lucifer requiring him, Mephistopheles, to fulfill his aspirations for power and unlimited knowledge. Mephistopheles agrees in an underhanded sort of way, knowing that what he grants is itself limited by the bounds of Lucifer’s authority over a both. Faustus, though quailing with fears--and seeing the warning "Homo fuge" ("Fly, man") written upon his arm as he readies to sign in blood the contract with the Devil--nonetheless sells his soul to the Devil for twenty-four short years of magical tricks, books of limited
Polonius is the king’s right hand man so it doesn’t take much to make him do and say questionable things not only to protect Claudius but to protect his family as well. Polonius is different from Hamlet though because Polonius has a hidden agenda as well he is doing what the king wants because he wants to be in his favor seeing as though there are some problems that Polonius cannot fix on his on own meaning he will need help from none other but the king. The king uses Polonius to acquire new information about Hamlet, though Polonius is doing because he thinks Claudius wants what's best for Ophelia and Polonius family the king is really using the information he obtains from Polonius for his own personal gain. “I hold my duty, as I hold my soul, Both to my God and to my gracious king” (2.2.44-5). This shows not only Polonius's dedication to the king but it also shows how Claudius has deceived him manipulating him into what he wants him to be so he can carry out Claudius’s plans.
Satan as a Hero Satan is often depicted as the ultimate antagonist, the undisputed enemy of mankind, however John Milton tells a different story in Paradise Lost where Satan is not exactly the hero but not the villain either. While the story is ostensibly about the original sin and the fall of man, Milton focuses mostly on Satan and his role in the story, making him the protagonist. Reversing the traditional perspective of good and evil, Milton’s Satan possesses many of the characteristics of a hero; superhuman skill, guile, and a divine origin, but is motivated by selfish intentions, lacks any moral compass, and is prone to hubris. Satan can thus be classified as the tragic antihero of Paradise Lost. In the opening lines of Paradise Lost
As a cause of Prospero's machination, many other machinations are formed. The Tempest, written by Shakespeare, questions the importance of power through commenting on the different effects it has on relationships and how it can cause or resolve conflicts. Prospero's lenience with his power allows his brother, Antonio, to usurp his dukedom. Prospero neglects his power to work on his magic. His brother then has room to steal the power from him.