Lastly, marginalization makes Othello the dominated individual, which contributes to his demise. Othello says to Iago that: Ay, let her rot and perish … Oh, the world hath not a sweeter creature, she might lie by an emperor’s side and command him tasks. (Shakespeare 4.1.172-176) Iago’s marginalization causes Othello to repeatedly doubt himself and this results in his own personality completely faltering. While Othello used to be a dominant individual, believing the rumors from Iago causes his honor and confidence to fall apart. This transforms Othello into a dominated minority who lives under the manipulation of Iago.
When Roderigo and an unknown man, Iago, transports the news of Desdemona’s affair with the Moor, Brabantio’s reaction suggests a feeling of betrayal, and the seemingly quaint relationship suddenly shows its flaws. Before even telling Brabantio of the news, Iago speaks with Roderigo that they will “poison [Brabantio’s] delight” (I.1.69), which in turn gives light to flaws of the relationship between Brabantio and his daughter, “yet throw such chances of vexation on’t as it may lose some colour” (I.1.73-74), for instance a lack of needed communication. To add insult to injury Iago phrases the betrayal in a rather detestable manner: “an old black ram is tupping your white ewe” (I.1.89-90) that radiates strong sexual imagery which enhances the disgust of not just the relationship but the betrayal. The feeling of betrayal is perfectly stated by Roderigo, “[Desdemona] hath made a gross revolt, tying her duty, beauty, wit and fortunes in an extravagant and
His knowledge of the future still did not enable him to understand the full extent of his punishment. Furthermore, though he claims himself the enemy of those who submit to Zeus, he also argues that sympathizing with Zeus’s enemy—in this case himself—is “a load of toil and foolishness” (14). He believes that it is, and presumably was, unintelligent to align oneself in opposition to the king of the gods. Finally, although he lauds the benefit he gave specifically to the originally “Senseless” humans (16), he later seems unhappy that he chose humans, saying they are useless to him. In the middle of delineating all the good, admirable things he did for them, he laments that humans have “no invention / To rid me of this shame”
Moment with Page Number ONE Quotation to Support Moment Literary Device Significance/Connection to Universal Theme (2-3 sentences) 1) Iago refuses to lay the blame on Cassio for the fight between Montano and Cassio. Page 35. “IAGO: Touch me not so near; / I had rather have this tongue cut from my mouth / Than it should do offence to Michael Cassio” (Shakespeare 2.3). Dramatic Irony The dramatic irony in what Iago says lies in how he appears versus the reality of his nature. The audience knows the reality of Iago; we know that he hates Cassio; in fact, he is trying to ruin his life.
In a situationally ironic act, Kreon orders Antigone to be entombed alive and for Polyneices to be left dead in the open. His inhumane command is a sign of his hubris, as Kreon begins to believe that human law is more important than divine justice. Here, Kreon goes against the social expectations of a king, as the Ancient Greek society believed that Zeus despised superiority and conceit. Sophocles further uses dramatic irony when Antigone refuses for Ismene to be martyred for what she did not originally believe in; this surprises the audience of the play, as Antigone is seen to value family ties above all. Eventually, both Antigone and Kreon are either killed or disgraced due to their respective obsessions with family ties and absolute power.
Since Polyphemus refuses to give Odysseus hospitality, there is no chance of civility and this will not help Odysseus, only hurt him. To prove Polyphemus’ incivility even more, he asks where Odysseus boat is so he can destroy it. Another example of negative hospitality is the suitors blatant disrespect for Penelope’s good hospitality.
Using the exploration of the theme of hatred, Shakespeare reveals Orsino 's conflicted emotions through symbolism. Throughout this point in the play, he is presented to feel a sense of betrayal because he is embarressed by Olivia 's lack of internest in him. Previously being characterised as self rightous and obsessed, this embarresment is magnified. A tone of frustration is crafted through Orsino 's pitiful complaint claiming his soul "breathed out" faithfull offerings Olivia did not accept. The use of personification here exaggerates Orsino 's devotion to Olivia which she apparently doesn 't appreciate.
Not only does he refuse to admit when his actions cause something bad to happen, but his unwillingness the help the greater good rather than only himself is the deciding factor in why he is ultimately the main character to blame. After Romeo is banished from fair Verona, the Friar portrays the outcome like it can solely be linked back to Romeo when he tells, “Romeo, come out. Come out, you frightened man./ Trouble likes you, and you’re married to disaster.”(3.3 1-4) The Friar refuses to accept that the banishment of Romeo can eventually be linked back to him. The way that the Friar speaks to Romeo perfectly portrays his cowardice, as he refuses to own up to his own actions. However, the Friar also puts forth another type of cowardice, that he typically withholds, which is his fear of getting blamed, even at the sacrifice of others.
Through the repetition, it is clear that he is determined about his viewpoint and expresses self-destructive behaviors that inhibit Oedipus and as a result, he starts recapping the events repeatedly in his mind. The word “misery” negatively connotes his performance and thus indicating that Oedipus is degrading himself as he believes he is not worthy of happiness, love and is exceedingly embarrassed about himself and the influence he brought upon his people. Therefore, he states that nobody should ever look at his“misery.” Oedipus is eager to distort his perception of himself from a pride man with a successful future transforming it into complete
And at its climax, the chorus, representing his Theban people, disavowed King Oedipus and his contributions to Thebes saying it would have been better without him. These acts combined drive the humiliated Oedipus towards self-punishment, exile, and to his piteous, shameful fate. Sophocles in Oedipus the King puts the idea of truth and knowledge in the spotlight of Greek and modern audiences. Although Oedipus himself meets a collectively negative end, the power of truth is revealed through his misery. Some things are best left to the Gods rather than in the minds of men, it would have been to Oedipus’ ignorant bliss.