In William Shakespeare’s play Romeo and Juliet, ACT 3, scene 1 is a crucial in creating the circumstances that lead to the tragedy of the play. Shakespeare incorporates tragedy into Romeo and Juliet with the use of plot, language devices and aesthetic features. With these devices Shakespeare integrates poetic dialogue, forbidden love and devastating tragedy into the script of the play. In ACT 3, scene 1, Tybalt kills Mercutio and is killed by Romeo who is then banished by the prince, these unfortunate events contribute to the tragedy of the play. The scene begins with Benvolio and Mercutio hanging out, mocking each other and insulting the Capulets.
Playwright, William Shakespeare, in his drama, Macbeth, warns about the dangers of how ambition can lead to devastation. His purpose is to demonstrate how greed can drive a person to abandon their morals, and he adopts an unhinged tone in order to affectively shock his audience to its severity. Throughout the play, Shakespeare uses apostrophe, symbolism, and foreshadowing to show that desire for power can lead one’s own destruction. Throughout the drama, Shakespeare uses apostrophe as a way to communicate a character’s emotions to the reader; he does this with Macbeth as well as Lady Macbeth, and while both instances portray how desire for power can lead to the loss of a person’s integrity, it is during Macbeth’s monologue that the reader is able to understand the internal conflict that takes place in a struggle for power.
In the play, Romeo and Juliet, William Shakespeare uses juxtaposition to indirectly characterize the main characters of the play. By doing this, Shakespeare adds depth to his characters as well as foreshadow the tragic events at the conclusion of the play. Shakespeare adds complexity to his characters when he uses juxtaposition to indirectly characterize Romeo, Juliet, and Friar Laurence. Through terms of contrast, Shakespeare adds complexity to Romeo showing how his romanticness hides his destructive actions. After Juliet was informed about the death of Tybalt, she describes Romeo as a “beautiful tyrant”( 3.2.75).
Shakespeare used a method of foreshadowing to loom the finale of the play. The Friar relates the herbs and plants in nature to man. He states that grace and rude will of man both exist, with the rude will being the stronger of the two. These are intertwined in the analogy of medicine and
The Captain’s monologue precisely states conditions of the battle and further goes into describing Macdonwald’s character to King Duncan. Shakespeare labels Macdonwald as a man of no integrity by using a metaphor, “Multiplying -villainies of nature - Do swarm upon him”, (1.2. 11-12). This literary device emphasizes the idea that all the evils found in nature are attracted to Macdonwald like flies to meat. (Mabillard, 2009) This expresses the imagery of maggots multiplying and flies swarming, which evokes a feeling of repugnance in the audience, as if Macdonwald is a mass of corruption.
The Tragedy of Macbeth, written by William Shakespeare, is a story which portrays the ambition and violence that accompany an individual’s thirst for power. One of the literary elements that Shakespeare uses in his play is reoccurring motifs. These motifs are an element, idea, event, or theme within a work of literature. Authors use Motifs to create a certain feeling within their book or story.
Throughout the history of Shakespearen literature, Shakespeare tends to develop the characters in to a way that complements the story. For an example, in Macbeth, he shows the digression of the main character by an internal conflict residing from a mental condition, if he did not explain every detail of his thought process then the story would be bland and not a literature masterpiece. Another key example is the story of Romeo and Juliet, even though it is a romantic piece, he still assigns different personality traits to each character. Which makes them a key asset to how the story concludes and the theme the reader is left to discover. One of the biggest colliding character interactions is Benvolio and Tybalt.
The two groups suffer from mutilations, murders, and other unspeakable acts at the hands of their opponents, all in the name of revenge. Shakespeare toys with the idea of what it means to be civilised, noble, and merciful. Then he shows how it easily these virtues can be abandoned. By the climax of the play, civilisation has ceased, destroyed in the name of
King Claudius corresponds to all the parts of the tripartite because he shows Id, Ego, and Superego. A quote that shows ID is when King Claudius says “Hamlet, this deed, for thine especial safety—Which we do tender as we dearly grieve/ For that which thou hast done—must send thee hence/With fiery quickness. Therefore prepare thyself./The bark is ready and the wind at help,/Th ' associates tend, and everything is bent/ For England.l” The quote shows ID because King Claudius is so desperate to kill Hamlet that he sends Hamlet to England to get out of the way and get killed.
The conventions of tragedy and comedy, such as the tragedy in Oedipus Rex and the comedy in The Taming of the Shrew, can shape the way the play is developed. Thorough analysis can reveal these dramas to be discussions of human experience. As Laurence Olivier once said: “The office of drama is to exercise, possibly exhaust, human emotions. The purpose of comedy is to tickle those emotions into an expression of light relief; of tragedy, to wound them and bring relief of tears. Disgust and terror are the other points of the compass.”
A mentor, or a person who attempts to suggest and or change someone’s thoughts and possible actions. In the novel, Othello by William Shakespeare, the known mentor of Othello is Iago, the primary villain of the book. Due to his intense persuasion and influence, the whole novel seems to be changed by his cutting personality. In the book, Othello, William Shakespeare successfully creates Iago, a rude, manipulative, harsh mentor of Othello, seemingly changing the plot line and outcomes of certain situations, in turn, relating to the novel as a whole by reaching a sense of a negative, and unfriendly tone.