He is jealous of Othello, show in, “I confess it is my shame to be so fond/but it is not in my virtue to amend it” (1.3:316-317). Roderigo is desperate for Desdemona and Iago takes advantage of this and makes him do thing such as kill Cassio. Roderigo does all of Iago’s dirty work and makes his plan successful. Also, Roderigo is unintelligent and realizes too late that his “money is almost spent” (2.3:364-368). Iago makes several false promises to Roderigo and he does not expose Iago because he is desperate for love.
The tragic tone of Creon’s exclamation shows the regret that he feels for his destructive actions, and the use of the phrase ‘thoughtless thoughts’ indicates that he has realized that he has been exhibiting extreme foolishness. The fact that Creon’s stupidity led to the ‘slaying and dying’ of his loved ones, this is positive in that it ensures that the change will be lasting, and his mistakes will not be repeated. Consequences and losses help ensure that people will remedy their flawed qualities, and that the sacrifices of the people involved in rebellion are not in
Brutus said, “I know my hour hath come” (Shakespeare V.v.20). This proves that Brutus is naive and weak. He lost his strength and courage because he realized that things got even more worse than better. Moreover, Brutus was so blinded by his reputation and honor that he ended up wanting to commit suicide; more in fact, a tragic
“The truest characters of ignorance are vanity and pride and arrogance” (Samuel Butler). In the play Antigone, written by Sophocles, Creon is the tragic hero due to his dramatic actions. By the end of the play, Creon’s error in judgement causes his downfall. His ignorance begins to fade away as he recognizes his mistakes, but is too late. His decisions led him down a path in which there was no return, sealing his fate.
Genghis Khan once said “an action committed in anger is an action doomed to failure”, thus ultimately leaving those with malicious intentions to wallow in their collapsed dreams. These wise words of advice apply to many circumstances in Othello, by William Shakespeare, where one man’s desperate thirst for revenge causes him to manipulate those around him. Iago’s heinous motives drive him to fulfill the needs of his unruly God complex. In Othello, Shakespeare characterizes Iago as astute through the use of hyperbole and metaphors. We can learn from Iago that having an air of superiority results in a distorted view of reality and can eventually lead to bitterness and hate.
The tortures of hell are too mild a vengeance for thy crimes” (93). He is fully aware he the root of all problems, yet he believes the Creature to be censurable and denying to give it a chance of salvation when he breaks his promise and destroys the female creature he was working on; his actions result in his father and Elizabeth’s deaths. This also makes the
Arise, black vengeance, from the hollow hell! (III.iii.458-462). After Othello’s second meeting with Iago he is fully convinced that Desdemona must die, falling for Iago’s trap he loses all sense of rationale. Othello’s jealousy gets the best of him and it only gets worse when he abandons the love he has for Desdemona and begins to prepare for her killing. He is fully responsible for trusting Iago, instead of questioning Iago and going to Desdemona for clarification; he believes Iago without any sufficient evidence.
•Edmond Dantès: Protagonist. Edmond’s unequivocal happiness is cut short when his enemies, who are blinded by their jealousy and self-bitterness, plot against him. Edmond’s gullibility and willingness to incoherently trust everyone around him precipitates his downfall. His destruction of character and desire for vengeance leads him to overstep moral boundaries. With the transformation of Edmond into the Count of Monte Cristo, he experiences a metaphorical death, the death of his virtuous self.
The specialty of investigation all alone rejects the basic simple clarifications yet rather bargains in the mind boggling actualities. In spite of the fact that Iago is the regular disturbance and accordingly the conspicuous awful person, his fate is to make the disaster that this play later moves toward becoming. A protracted thought notwithstanding a receptive outlook will demonstrate the reality of the situation. Othello is the real miscreant. Despite the fact that he at first does not have any vindictive considerations and thoughts, he in the long run becomes a murderer due to emotionally untrustworthy and jealousy.
dentified as the philosopher, thinker, and troubled adolescent, Hamlet’s dynamic character poses a challenging question as to whether he is defined by his heroic or villainous qualities. The embodiment of evil is commonly perceived through Claudius’s character and Shakespeare attempts to emphasize his corrupt manner throughout the dialogue in the play, mainly appearing in Hamlet’s many soliloquies and exchanges concerning his disgust for Claudius. However, the scale of evil in Hamlet is relative, and when comparing the two characters, it can be argued that Hamlet’s callous pursuits outweigh the characteristics that define Claudius as the true villain of the play. When comparing Hamlet’s actions to Claudius’s, Hamlet commits a greater act of evil due to the nature of his killings, his subsequent responses to murder, and the lives in which he takes indirectly. Ultimately, Hamlet’s powerful desire for revenge and his lack of sympathy towards the death of his victims demonstrates how he slowly embraces the evil he once sought to destroy.
Macbeth’s hamartia is his excessive ambition to become King, which leads to paranoia, and then leads to his death. The Fatal Flaw in Shakespearian tragedies is what classifies the play under that genre. Whilst there is death and sadness in his other plays, to be sorted with his Tragedies the plays must end in the main character’s death brought upon them due to their own faults. Critical Opinion of