Role Of Fools In Renaissance Drama

2. 255, 287). Hamlet gives himself away with these comments, because he is directly speaking out about Claudius’s crime and his mother’s unfaithfulness. These comments not only affirm Claudius’s previous suspicion of Hamlet’s motives, but cause Claudius to form a hoax of his own to get rid of Hamlet and his ‘madness’ for good. Claudius decides to send his nephew to England because he recognizes that Hamlet isn’t mentally crazy just revenge crazy.

Thus, by contrasting demonic imagery with Othello’s true nature, Shakespeare develops the theme of how impressions can be deceptive. This is further emphasized by Brabantio’s impressions of Othello. After Othello’s noble nature is first revealed to the audience, he politely addresses Brabantio, stating “Good signior, you shall more command with years/Than with your weapons” (I.ii.___). Brabantio responds insultingly, utilizing hellish imagery when addressing Othello, stating “Damn'd as thou art, thou hast enchanted her” (I.ii.___). In this scene, the demonic imagery Brabantio uses serves as a harsh contrast between his impression of Othello as “Damn’d” and Othello’s actual calm and noble nature.

In Othello, Shakespeare intentionally made emotion a major flaw because it causes the characters to be easily manipulated and may cause the character to lose rational. Shakespeare did this to show strong of an emotion jealously is. Because of jealousy Iago is able to manipulate every character he talks to, whether they were minor like Brabantio, the father of Desdemona, or a major character like Othello, the Moor, the General, and supposedly Hero. If it weren’t for the jealously then the ending of Othello wouldn’t be so tragic. Othello’s jealously overcame Othello’s love, which made him blind to the truth.

The audience knew the plan for Beatrice and Benedick, but their own confidence in their wit betrayed them. Also, their witty comments to each other make for highly entertaining moments. Claudio allows other people to fool him into believing untrue things, which leads to dramatic altercations with numerous characters. Dogberry’s unwittiness leads to a coincidence that saves the whole play and creates an ironic feeling that the least intelligent character discovered the evil plot. “The wit of Shakespeare’s play informs the words spoken by the characters, places the characters themselves as truly witty and intelligent, inappropriately facetious, or ingeniously witless, suggests the lines of action these characters will

So Iago tells Roderigo that he would help him to win the heart of Desdemona. Iago tricks Roderigo, which is apart of his plan to get Roderigo on board to help him. And Roderigo foolishness is what allows Iago to get embarrassed of him. After hearing Roderigo's plead for help he say's that " I hate the Moor and it is thought abroad that ' twixt my sheets has done my office./ I know if't be true,/ But I, for mere suspicion in that kind will do as if surety he holds me well". (1.3.424.55) Meaning that Iago knows that he's able to use Roderigo unwillingly and get him to do his dirty work for him.

These characters are Ophelia and Hamlet. The difference of their madness is that Ophelia was truly insane while Hamlet only was pretending to be mad. Hamlet was more depressed than mad since he is faking madness to get to his objective which is revenge but got delayed by his mental illness. For example, Hamlet states, “Out of my weakness and my melancholy, /As he is very potent with such spirits, /Abuses me to damn me. I'll have grounds / More relative than this.

Lud in the Mist shows many aspects of recovery as viewed in Tolkien’s “On Fairy Stories.” A basic example of this would be the appearance of fairy fruit and the note. These objects are not human elements, but similar to Tolkien’s “On Fairy Stories” he claims recovery is “seeing things as they are” is not something to see as a part of themselves. Nathaniel sees the note as a piece of himself. The note changed him as a person and brought on a gloom that lasted throughout the rest of his life. While Nat’s son, Ranulph, ate the fairy fruit and his experience did not alter his outlook on life, but it did alter how he acted temporarily.

In Hamlet “it is only the meek, the dispirited, the altogether spiritless who forgo ecstasy and madness”, as they are tied closely together, “ecstasy often [standing] for … madness … and madness ecstasy” (Eissler 452). Ecstasy is observed to take the place of madness when Hamlet’s accusations of the King are criticized as being “the very coinage of [his] brain: this bodiless creation ecstasy is very cunning in”, Hamlet’s ecstasy, his aggrandized rage contributing to his fanaticism, and his fanaticism to his rage (III.iv.138-140). Hamlet’s irrationality also acts as “a means of relieving his surcharged feelings”, a way to express his emotions without facing social ridicule, hidden behind the guise of lunacy (“Hamlet”). Ophelia

Which develops the theme about the corrupting power of jealousy. Iago believes that “the Moor is of a free and open nature” (Shakespeare 379). This means Iago has no reason to do what he is doing except to make a good man look bad, his jealousy is going to corrupt the image of a man who hasn’t done anything wrong. Iago is creating a plan that is going to bring a lot of sadness into Othello’s life and Othello “will as tenderly be led by the nose as asses are”(Shakespeare 381-382). Iago is going to lead Othello in a direction that will cost him his place in the hierarchy, and this will open up the position for Iago to take.

We know the weight that the success of this play carries because he calls anyone who merely adds a line for a cheap laugh “villainous and shows a most pitiful ambition in the fool that uses it” because it would take away from the focus of the “necessary question of the play.” It’s so important that the audience perceives that question that the play raises that Hamlet also says that he’d “have such a fellow whipped for o’erdoing Termagant.” Even though this isn’t a character in the play the point is that if the players go overboard with their acting then Hamlet would go so far as being incited to physical violence, foreshadowing the violence that is coming. Hamlet likens over acting to a storm, a “torrent, tempest, and (as I might say) a whirlwind of your passion” which would be disastrous and even destructive to his plan. Hamlet’s explanation of how he wants the play to be performed reveals a recurring theme in the conversation between the director and the players. This is the idea that the theatre is meant to reflect the nature of