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Shakespeare+psychology
The causes and effects of telling lies
The causes and effects of telling lies
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Recommended: Shakespeare+psychology
The 12th Night of Lying Proved She couldn’t be the Man and Get a Man
Being able to influence another person’s behavior in a way that benefits one’s self is emotional manipulation (Grieve and Panebianco, 2013) which was something Viola in William Shakespeare’s Twelfth Night is familiar in, as was her counterpart in the 2006 film adaption She’s the Man directed by Andy Fickman, whether she meant to be or not. In the beginning it becomes obvious that Viola did not care about anyone else in either the play or the movie, her only priority was to benefit herself and it didn’t matter who she had to lie to (Marelich, Landquist, Painter, & Mechanic, 2008) as long as she was getting what she wanted. As a man she discovered that she wanted something that
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Viola would have answered four for strongly agree to the following statement that was used to measure psychopathy in its relation to manipulation: “I don’t plan anything very far in advance” (Grieve and Panebianco). This becomes painfully clear when Olivia fell in love with Viola’s male counterpart in both the play and the movie. Viola’s focus was on the short term survive the shipwreck (I, i), get back to playing soccer (Fickman, 2006), what happened after or during these goals being met wasn’t even thought about. It’s clear that Viola maximized her rewards and minimized the costs (Etcheverry, Le and Hoffman, 2013) by lying about her identity. She also let Olivia fall for someone who doesn’t exist and continually confirmed the existence of said fake person. At one point Olivia asks Cesario if he is an actor, Viola answers: “No, my profound heart; and yet—by the fangs of malia I swear—I am not that I play” (I, v, 174-177). This not only says that Cesario is telling the truth, but swears that he is not an Actor, which by definition, she is. It also confirms that Cesario is what he looks like, even though he isn’t, thus confirming to Olivia that this attractive person is, in fact, a man. lf-serving people tend to fake who they are to get into a relationship (Marelich et, 2008), not avoid one. Viola’s appearance isn’t the only thing to cause …show more content…
All Viola has to do to get what she wants is to tell the truth. Once Viola tells the truth she is able to have a romantic
When we first hear about Macbeth from the sergeant’s report, we are led to believe that he is very much a person who does only what he believes is right. Furthermore, when he first appears in the play, his fellow nobleman, Banquo, accompanies him. Given this, we would think that he does what is right, and makes all his own decisions. However this belief is proven wrong. Although Macbeth starts off as a loyal subject of Duncan, he is ambitious and this is a weakness, which allows him to be manipulated by a few factors in the play.
In Twelfth Night, by William Shakespeare, gender identity and alternative sexualities are highlighted through the depiction of different characters and personalities. In the play, Viola disguises herself as a man thereby raising a merry-go-around of relationships that are actually based on a lie rather than actual fact. Viola attracts the attention of Olivia since she thinks that Viola is a man but even more fascinating is the fact that Orsino is attracted to Viola although he thinks that she is a man. In another twist Viola is attracted to Orsino and has fell in love with him although their love cannot exist since Orsino thinks that Viola is a man.
In The Taming of the Shrew, the concept of love is a means of emotional manipulation, and manipulation is nothing more than a means of control between men and women. William Shakespeare critiques the patriarchal social structure by ironically employing the manipulative stance Petruchio takes towards winning Katherine as his wife by charming her with words and manipulating her psychologically, and then taming her after their marriage through legal, physical, financial, and psychological control and manipulation. Though Petruchio may think he yields power over his wife, Katherine uses obedience as a tool of manipulation and has the control of the household, as can be seen by her ironic speech at the end of the play, where she claims women must serve their men. Shakespeare uses the irony of a man using manipulation as a tool for control to magnify the significance of the power women yield through manipulation, thus proving that men and women engage in a power-shifting struggle.
Viola and Beatrice both take on men's roles, Viola that of a manservant and Beatrice that of the perpetual bachelor and the clown: "I was born to speak all mirth and no matter," she says to Don Pedro [II.i.343-4]. They appear to be actors and manipulators, much more so than their female predecessors, who are mostly reactive and manipulated, such as Hermia, Helena, Titania, and Gertrude. None of these women seemed in charge of her own destiny, but tricked by the schemes of men and later scorned or humiliated as a result of male machinations. Viola and Beatrice, although they both seem fiercely independent and comfortable in a man's world, reveal themselves to have only the trappings of manhood, and not its full capacity for action. They are undone by unrequited love, made desperately unhappy by their inability to woo the man of their choosing. In the end, it is only coincidence and the plotting of other characters that bring the true nature of their affections into the open and thus force the plays to their respective matrimonial conclusions.
When the Count urges her, Viola agrees to try persuading Olivia of his love for her, but it is evident that she has feelings for Orsino herself when she says: "I'll do my best to woo your lady: [Aside] yet, a barful strife! Whoe'er I woo, myself would be his wife." This shows her devotion to him as she wants him to be happy, even if it is not with her. Viola's love is selfless and her feelings for Orsino are so strong that she will not leave when Olivia's servants tell her to. She is more determined than Orsino's previous messengers: "Make me a willow cabin at your gate and call upon my soul within the house, write loyal cantons of contemned love and sing them loud even in the dead of night...."
Viola is a very pragmatic, shrewd woman. She does not deceive her self in the way Orsino does. After the Captain tells her that her brother may be alive, she rewards him with gold, and then goes on to question the Captain about the land she is in. She realises that she must do something to survive, and instead of morning about the death of her brother, she takes practical steps.
The character of Viola (played by Gwyneth Paltrow) is first seen at The Curtain Theatre where she is captivated by the performance of Shakespeare’s "The Two Gentlemen of Verona," while the rest of the audience seems bored. She is currently being urged to marry Lord Wessex, but wants to marry for love. She wants to have real love, "love as there has never been in a play." She is inspired, however by the theatre and especially by the works of Shakespeare.
“The Insincerity of Women” an essay by Garber, was the first article by a female to have negative feelings towards the women in Twelfth Night. Garber feels that Olivia ‘did not gain any liberation through her experience with Cesario’ (356) because she essentially reverted to societal norms by marrying Cesario/Sebastian. However, I disagree with this, although Olivia does eventually marry, it is not a sign of submissiveness, rather a sign of independent authority in that she chooses whom she marries, someone of her own choice rather than of ‘eligible’ status. Furthermore, it is Olivia who proposes marriage, which was a very unorthodox act in the Elizabethan era. Her resolve to marry Cesario/Sebastian highlights what the feminists of this period
The Tragedy of King Lear, The Miller’s Tale and Sons & Lovers present the superficiality of love through manipulation. Through love triangles, the one who is the object of desire exploits the affection they receive, for personal gain. In Shakespeare’s King Lear, Edmond uses the lustful obsession Goneril and Regan have towards him in order to acquire a political advantage over Lear. In Act 5, Scene 1, Edmond states “To both of these sisters have I sworn my love…both? One? Or neither? Neither can be enjoyed if both stay alive.” He admits to using the sisters’ royal status to his own advantage through the superficial façade of idealised romance. As a result, after gaining what he’s needed, he completely disregards their emotions and what they’ve
to get involved in a scuffle, for which Viola is unjustly blamed. Finally Sebastian and Viola are reunited, but only after they have already caused a large amount of chaos and confused everyone. It is only then that everyone begins to discover the extent of Viola's trickery. More disorder is created when Olivia, who Orsino is hopelessly in love with. with, falls for Cesario, who is secretly in love with Orsino.
Viola as Cesario faced the most challenges in the play. It almost seems that fate never leaves her alone, as her difficulties start as soon as we are introduced to her, washed up upon the shores of illyria having barely survived a shipwreck. Alone in a foreign land with her only kin, her twin brother Sebastian believed to be dead, she is left to fend for herself for, or so it seemed, the remainder of her days.
...wants to return to her proper position. Her disguise ;nevertheless, prevents her to do so. As the duke's servant, Viola has the freedom to speak about love , but as Viola she couldn't expose this love to him
Twelfth Night consists of a large number of love triangles, however many characters are too indulged in love that they are blind to the untrue, and the weakness of their relationship, they are deceived by themselves and many people around them ( ex. Malvolio is tricked by Sir Andrew, Feste ,Sir Toby and Maria),but there are certain incidents where the love is true and two characters feel very strongly about one another. In the play, Viola and Orsino have the most significant relationship. The way they interact with each other causes the complexity on which the play is all about, their relationship turns from strangers to friends then lovers .In the First Act Viola is not honest with Orsino because she disguises herself as a male servant named Cesario in order to get closer to the duke. Orsino. Orsino quickly trusts Cesario and sends him to Olivia to declare Orsinos Love for her, the girl he most dearly loves. This quick bond is the fast example of their relationship. At the beginning of the play, Viola thinks her brother (Sebastian) is dead (after they’re deadly boat crash, where they get separated) when actually he is alive and thinks she is dead, Viola always seems to have a part missing from her which shows her bond with Sebastian is strong, and a part of her but in a brotherly/sisterly way rather than a proper relationship like viola and orsino, At the end of the play they meet and both fall in love , Viola with Orsino and Sebastian with Olivia.
Viola/Ceasario's disguise hides most of her past: the shipwreck, her lost brother, and the fact that she is a woman. Her identity now as a man, is to move on in life and get a job. Her love for Orsino is hidden with her original identity, as though she works for him as his servant. She is a very strong character in the play. "I prithee (and I’ll pay thee bounteously)/ Conceal me what I am, and be my aid/ For such disguise as haply shall become/ The form of my intent. I’ll serve this duke." (1.2.52-55). After the shipwreck and the loss of her brother, Viola decides to move on using a disguise as her shield. Viola’s secret love for Orsino is different than the way Olivia loves Ceasario. Olivia is in lo...
Throughout Twelfth Night, disguise and mistaken identity works as a catalyst for confusion and disorder which consistently contributes towards the dramatic comic genre of the play. Many characters in Twelfth Night assume disguises, beginning with Viola, who disguises herself as a man in order to serve Orsino, the Duke. By dressing his protagonist in male garments, Shakespeare creates ongoing sexual confusion with characters, which include Olivia, Viola and Orsino, who create a ‘love triangle’ between them. Implicitly, there is homoerotic subtext here: Olivia is in love with a woman, despite believing her to be a man, and Orsino often comments on Cesario’s beauty, which implies that he is attracted to Viola even before her male disguise is removed. However, even subsequent to the revealing of Viola’s true identity, Orsino’s declares his love to Viola implying that he enjoys lengthening the pretence of Vio...