Iago uses manipulation in a different way here. His method of manipulation is comfort and reassurance which makes Iago an even more dangerous character. Iago uses his tone to manipulate and calm Desdemona of her worries. Iago looks at her and tells her to be happy and that Othello is not serious about what he is saying and that he is just being funny (IIII.ii.194). Desdemona then relaxes and is content for sometime.
After Romeo asks Friar Lawrence to marry himself and Juliet, Romeo is highly ecstatic, translating to the mood of Mercutio. Contently, Mercutio teases “Why, is not this better now than groaning for love? ...for this drivelling love is like a great natural that runs lolling up and down to hide his bauble…” (2.4.80-84). Shakespeare uses a simile to compare Romeo looking for love to a fool trying to hide his jester stick, proving that the static character of Romeo is enamoured again. This is dramatically ironic, as Mercutio does not know the truth behind Romeo’s estactiness.
With regard to the play's plot, Bianca functions to call Cassio's credibility into question. Though Cassio is relatively respectful to Bianca, he doesn't take her seriously. Cassio laughs about how much the woman loves him, how desperate she is, and how easily beguiled she has been by his false intentions of marriage. Iago has also referred to her as a prostitute, "A house wife that by selling her desires, Buys herself bread and clothes"(IV.i.97). Shakespeare further elaborates their dismissive speech over Bianca to arouse Othello’s suspicion into conviction that Desdemona is having a love affair.
As the two sisters fight over who loves their father more, they demonstrate to the audience that they are selfish and manipulative. They take advantage of their father’s old age and use their words to get gain for themselves. They do the exact opposite of what daughters are supposed to do during those times. “The representation of patriarchal misogyny is most obvious in the treatment of Goneril and Regan...Goneril’s and Regan’s treatment of their father...is seen...as a fundamental violation of human nature” (Bruce). God was most powerful, followed by men, who were followed by women.
In William Shakespeare’s play, Much Ado About Nothing, he spins a tale of misunderstandings leading to terrible consequences, but truth prevails in the end. He sets the scene in the mansion of the Messinan Governor Leonato. Don Pedro has just won a huge battle and has decided to pass through Messina. As he arrives, accompanied by Claudio and Benedick, Claudio quickly falls in love with Leonato’s daughter Hero, and Beatrice engages Benedick in a battle of wit and insults. As the play unfolds, the audience learns that Don Pedro’s brother, Don John the Bastard, will try to destroy Don Pedro’s plans no matter the cost or consequence.
As for Chaucer’s Canterbury Tales, the miller’s tale and the wife of bath’s tale have interesting roles for women. The miller, in a drunken stupor, tells a tale of a love affair between a married woman and a younger man. The married woman, Alison, marries an older fellow and is then presented with the opportunity to cheat on him with a young scholar. Alison agrees and plays an awful trick on her husband so she and her new lover may be alone. The wife of bath is an incredible character in and of herself.
However, this not the only example of fear in a character’s heart in the book or play. Roderigo also feels that same very fear Othello does, as he is talking with Iago after the Duke and senators leave the room, he states, “It is silliness to live when to live is torment” (Othello I,iii, 303). Roderigo is heart broken at having witness to Brabantio- Desdemona’s father- giving his blessing to Othello and Desdemona’s marriage, for he was so in love with Desdemona, it simply makes him want to die to not have her, in fear that he has lost her forever to the Moor general. Roderigo is so in love with the Venetian woman, that he would do whatever he could- even die to have her, no cost whether money or his own life- could get in his way. These two- envy and fear- power jealous up
As Claudio seen what was happening, he was furious and emotional. Don John comforts Claudio and the next day at the wedding, Claudio creates a big scene of leaving Hero. Don john comes around and says ‘come, let us go. These things, come thus to light, smother her spirits up’. Thus leaving Hero upset and Claudio not knowing he was lied
Finally, he loses his kingdom as Teiresias' prophecy is fulfilled: "blindness for sight and beggary for riches his exchange" (503-504). Othello's pride is also turned to shame as he listens to the villainous Iago and murders his innocent wife. In doing this, he also loses those things most precious to him. First, he loses his true love as Desdemona forgives him from her deathbed by trying to hide his guilt. When asked "Who has done this deed?"
Hamlet has come to see his mother, Queen Gertrude, and ends up stabbing Lord Polonius, which ultimately leads to his death. Lord Polonius’ final words include “O, I am slain!” Even though this provides a slight amount of comic relief to the reader, it has a reverse effect on Ophelia’s mental state. Her father’s death seems to be the potent punch in this fight because she officially goes mad after this final event. This is apparent in Scene IV Act I, when Laertes has come back to visit his sister and check on her well being. He is disappointed to see that Ophelia is displaying irrational behavior when she begins to sing “They bore him barefac’d on the bier; Hey non nonny, nonny, hey nonny; And on his grave rains many a tear.” She is so mentally ill that she must be locked in a padded room during the day.