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Evils in the plays of Shakespeare
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Are you lonely? Do you have two servants who like alcohol? Are you wicked? Well, if you answered ‘yes’ to all of these questions you have most likely experienced an event that lead to your utter defeat and capture due to your awful, and wretched wicked character! If you answered ‘no’ to any of these questions, or have no correlation to William Shakespeare’s Much Ado About Nothing, you should be in good condition in a matter that your wickedness, much like the character Don John from Much Ado About Nothing, does not get you captured and trialed for sabotaging a young man’s wedding. Furthermore, in Much Ado About Nothing, Don John is a exponentially formidable which can be justified by the way he acts around other characters. Other characters
Foolishness is an inevitable part of everyday life. In Twelfth night, playwright William Shakespeare methodically uses foolishness to expose the ways in which individuals fall prey to pride, vanity, and self-deception. Although many characters in the play exhibits foolishness in their thoughts, words, and behaviour, Malvolio is undeniably the most foolish character. Malvolio's foolishness is clearly exemplified by his foolish thinking, he considers himself to be above his superiors and genuinely believes he has won the affection of the rich countess Olivia, despite him being her servant. Furthermore malvolio’s foolishness is evidenced by the fact that his is easily deceived by others, particularly Maria, Sir Toby, and Feste.
In the play ‘Much ado about nothing’, Don John is a puppet whose strings are pulled by various characters and the society in which he lives. Although he does monkey businesses like every character in the play, he is the one who gets harshly judged and punished for it. His villainy is not an innate trait but rather, he chooses it to distinguish him from others.
With its entangled double plots and eloquent use of words, Much Ado About Nothing is a story that has the ability to entertain the masses both young and old. Shakespeare’s use of figurative language along with situation creates such vivid imagery for which carries the drama from beginning to end. For example, when we look at Act 1 Scene 1 of the play ...
In William Shakespeare’s play ‘Much Ado about Nothing’, there are many instances of trickery and deception, which seem to surround the whole of the play.
for a high praise, too brown for a fair praise, and too little for a
Much Ado about Nothing don john displays a static character by his personality. In the beginning don john has plans to cause mischief. Don John says “I’m evil by nature” (1.2.85). This quote says it is in his personality his is evil by nature. Furthermore, Don John has a wicked sense of humor. When hero was accused Don John said, “Come, let us go. These things, come thus to light, Smother her spirits up” (4.1.1746). Don John wickedly tells hero this while knowing she was innocent in front of everyone. Thus, his personality never changes throughout the story displaying the characteristics of a static character.
Throughout, the play, Much Ado About Nothing, the characters within the play constantly degrade Don John to less than a human, because of his illegitimacy. These people treat him inferior to themselves, which in response makes Don John provoke chaos.
Throughout the play “Much Ado About Nothing” by William Shakespeare is about how trickery and deceit is used to persuade the minds of different characters of change the play outcome. These events eventually led to love and romance, which affected many characters. The first time trickery and deceit were encountered in this play was when Prince fooled Benedick and Beatrice into falling in love with each other. The second time deceit was used when Don John fooled Prince and Claudio into believing Hero was a whore. Lastly deceit was used when the friar came up with a plan to fool Claudio and the prince making them believe hero was dead.
To begin with, Don John from the beginning is the guy who says he is as corrupt as a sinner and he plots to raze Don Pedro's plan to woo Hero. He also uses Borachio to get what he wants. Don John after learning about Don Pedro's plan says, “If I can cross him any way, I bless myself every way. You are both sure, and will
Katherine Paterson says, “Real maturity, which most of us never achieve, is when you realize that you’re not the center of the universe.” Claudio, a character from Much Ado About Nothing, is a perfect example of this quote. Throughout most of the play Claudio is only concerned about how other people and events affect him. However, the obstacles and positions he is put in do not help the situation. The one of the main themes of this play is deception, which Claudio, as well as most of the other characters in the play, fall victim. In Much Ado About Nothing Claudio begins the play with a tendency to be very gullible and paranoid about everything, and he continues to show his immaturity by seeking revenge when he is upset; Claudio finally matures when he accepts that he was wrong and is willing to take the punishment that goes with his mistakes.
Many people are villainous in the way they behave. Their villainous acts may be attributed to their desire to destroy others and in turn elevate themselves to a higher financial or social level. However, the root cause of their villainy may be a response to the treatment they have endured at the hands of others. In short, they have been taught villainy, rather than it being an integral part of their personality. In such instances, revenge can be a key motivator in inspiring them to act in a villainous way. It is on such occasions, where villains have themselves been exposed to villainy, that the distinction between villain and victim becomes blurred. Victims are usually characterised in the way that they are persecuted for circumstances, which are beyond their control for example their appearance. In plays and novels, the victim is sometimes a character included to highlight the prejudices and pre-conceptions of the social climate in which the play or novel was written. In the ‘Merchant of Venice’ it can be argued that Shylocks character undergoes a metamorphosis from villain to victim. However, in this essay I hope to discuss whether in fact Shylock can be defined as either villain or victim and to form an opinion of what Shakespeare intended.
In Shakespeare's play Romeo and Juliet, Friar Laurence has a major role. Friar Laurence’s role as a member of the Order of St. Francis, a group of wise and generous priests, Romeo and Juliet trusted Friar Laurence completely, turning to him for advice. He was there throughout Romeo and Juliet's lives, he married them, came up with a plan to keep them together, and was a friend throughout their tragedies. However it was his rashness, short-sightedness, poorly thought out plans and desperate measures that led to Romeo and Juliet's ultimate tragedy. Today I am going to prove to you that Friar Laurence is the one ultimately responsible for the death of Romeo and Juliet. Nevertheless, to prove that Friar Laurence is ultimately responsible for their
In essence, due to Macbeth’s lack of conviction, his avoidance of emotional conflict or discomfort, his inability to accept the consequences of his actions, and the evidence provided, one can conclude that his fatal flaw is a distinct lack of independence. When one is deprived of independent thought and action, as Macbeth found he was, one is bound to be the victim of others’ whims. The witches’ prophesy sparked his imagination, as they knew it would, and left him helpless against his wife’s greed and ambition. Thus, valiant soldier Macbeth is reduced to nothing more than a traitor by his less-than independent nature and the much stronger, much darker wills of those around him.
can see that from the first Act Leonato seems to just be a kind man.
‘Othello’ begins with a meeting between Iago and Roderigo outside Brabantio’s house. We are taken into the plot through the two men’s animated discussion about the fact that Othello has eloped with Desdemona of whom has captured Roderigo’s heart. We learn of this affair as an act of stolen love or ‘witchcraft’ on Othello’s part. Othello is portrayed very badly in this scene and Iago’s wit makes him truly believable. The fact that Othello is written about as a ‘burglar’ or ‘foul thief’ suggests to the reader that he is not worthy of Desdemona. However, our assumptions are foiled when Othello is finally asked for his side of the story. ‘True I have married her. That is the top and bottom of my offence, no more . . . I won his daughter’. Perhaps it is his version of the story, the method by which he attained this ‘treasured gift’ that warms our hearts to the ‘black ram’. It is easy for one to sympathise with the beautiful tale of love. How she ‘loved me for the dangers I had passed, and I loved her.’ Othello won her through his impressive stories and adventures he encompassed when he was travelling.