The indication that “Hamlet does it not … his madness” is what forces him to behave as he does, that “Hamlet is of the faction that is wrong’d”; “his madness is poor Hamlet’s enemy” lends to the idea that lunacy is all-consuming and that the ill cannot be condemned for acts committed while mentally unstable: their mania is the true culprit (V.ii.232-238). Hamlet is driven to decimation by his madness, which forces
Despite his stereotypical comic-foreigner reputation, he is an obvious panoptic figure who engages in long and intricate theatrical performances to force out the truth and bring out the culprit by imposing a confession onto somebody, as present in his popular reunion scenes, in the absence of spontaneous admission of guilt. He often refers to his ruthless power of vision or insight, that is denied to others - “Me, I know everything. Remember that.” Thus, Foucault’s panopticon model of surveillance can definitely find a suitable literary example in the figure of the detective. The mechanism of power which requires the subject to confess to a higher authority, that is the detective can be categorized under what Foucault describes as “pastoral power” and one could argue that the detective represents a pastoral power that needs to rely on insight rather than simply a panoptic power that is based entirely on sight.
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.
Ionesco put his focus on the tragedy of language. In fact he bothers the audience with the disintegration of language, which is one of his main targets of this play. All over The Bald Soprano can be analyzed as a parody where the author mocks about the universal bourgeoisie which, to reveal a dehumanized mankind which became spiritually seen empty. Therefore Ionesco used the language as an important implement to highlight this dehumanization. In concrete the language of the Smiths and Martins is indeed old fashioned and dry adding slogans and a lot of simple expressions.
When a play is referred to by many as one of the greatest tragedies of all time it 's safe to assume it’s writer had a good method for tearing their characters lives apart. In Shakespeare 's Macbeth, the playwright uses the main character’s ideas about predetermined fate to plummet him into insanity. Macbeth’s fate was not determined by outside powerful forces but by his own actions and decisions, and ultimately the tragic nature of his fate was caused by his assumption that his fate was sealed. Macbeth initially has no reason to believe in any certain path his life would take. Because of this Macbeth acts unselfishly and makes an effective hero.
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.
The presence of greed utilized by Chaucer in the Pardoner’s tale presents satire as his character is meant to be honorable, yet, behind the scenes is actually the most unethical one. The first example the audience is shown of this fraud is as the pardoner explains his motives, when he states, “Of avarice and of swich cursednesse/ Is al my prechyng, for to make hem free/ To yeven hir pens; and namely, unto me!/ For myn entente is nat but for to wynne,/ And no thyng for correccioun of synne” (114 – 118).
Which personifies his plan as a birth that will take place as result of his villainous acts. Iago’s plan was created solely because of his jealousy about Cassio and Othello’s positions as a higher power than Iago. By using manipulation he will take the both of them down and get the position that he believes he
Firstly, Friar Lawrence is not a voice of reason in the play as he is a hypocritical person. For instance, the phrase “Two such opposèd kings encamp them still,//In man as well as herbs—grace and rude will.//And where the worser is predominant,//Full soon the canker death eats up that plant.” implies that Friar Lawrence believes that when unruly human desire is more prevailing in a person than divine virtue, the person would be destroyed by their own actions. The phrase “rude will” could refer to a person’s selfish individual desires while “grace” could refer to god’s will or fate. This implies that when a person disregards fate and instead goes after his own selfish desires, he will destroy himself.
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.
Laden with innuendos, ironies, and intricate wordplay, Shakespeare’s plays are rarely what they initially appear to be. Rather, it takes several readings to be able to barely scratch the surface of all the possible interpretations. Moreover, not everything is black or white, but possible variations of gray. This topsy-turvy approach is encapsulated in the overall outline of Shakespearean comedy, which are typically set during a period of festivities, such as the festivals A Midsummer Night’s Dream and Twelfth Night are appropriately named after. An average festival is usually comprised of chaos through the reversal of the traditional order and rejection of social norm.