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Character analysis of shakespeare's othello
Character analysis of shakespeare's othello
William Shakespeare analysis
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Shakespeare is known for his eloquent word choice and illusive images, and Titus Andronicus is no exception to that. Titus Andronicus being focused around blood, rape and murder, has to be conveyed in a very specific way to promote the concise narrative Shakespeare imagined. More specifically as shown in act 2 scene 1, Shakespeare makes sure the reader knows the background behind Tamora and Aarons complex relationship. In this monologue Aaron addresses Tamora and his love for her using images, cultural references, and poetic devices to further support his desires. Through specific descriptions and illusive images, Shakespeare sets forth scene 2 by alluding to the reader Aarons true intentions to take advantage of Tamora and her power to seek vengeance on Rome. …show more content…
Aaron begins by praising Tamora and her accomplishments as becoming empress. By describing her to be out of harm’s way and how she succeeded out as Goth, which is considered a minority in Rome at the time. He compares her being a Goth Queen to a Roman Empress, “As when the golden sun salutes the morn/And, having gilt the ocean with his beams/ Gallops the zodiac in his glistering coach…” (2.1.5-7). By stating this, Shakespeare is painting a very god like image with golden colors and the sun. Placing a Goth Queen, an enemy of the Romans, on a very powerful “golden” state. This is inferring to the way Tamora is appealing to Aaron, and how he is blinded by her power and superiority. Seeing her as an opportunity he should take on and use tot his own
... work is timeless. The permanence of this play is owed to a clever intermingling of opposing belief systems. Shakespeare took the ancient contrasting themes of revenge and Christianity, he tossed in hypocrisy, and he mixed them up with the judgmental fingers of Tamora and Aaron. Although the legalistic demands of the Andronicus family are met with a storm of indictments of hypocrisy by the non-religious Tamora and Aaron, there is one unifying factor. All can agree on the importance of the first born son.
Act 3 Scene 5 of William Shakespeare's Romeo and Juliet There are several strong cases for Act 3 scene 5 being the pivotal, most important and significant scene in the play. To begin with, it is the last time that Romeo and Juliet are together, alive and well, after this scene Romeo goes to Manchua, and returns only to be near Juliet to die. Until this scene the audience will be convinced that Juliet has a very strong relationship with Nurse, they are obviously a lot closer than Juliet and her mother are, and Juliet relies on Nurse for advice and support. During Art three scene five, the audience's perception of Nurse changes, and Juliet no longer looks to her for support.
One of the distinguishing factors in portraying Titus centers in its origin: "Titus Andronicus [...] must be considered as an experimental play" (Bowers 118). Being Shakespeare's first attempt at tragedy, it obviously has room for error. Yet, as some critics and scholars would say, I believe there is a similar element found in all of Shakespeare's works, no matter when they were written: "Shakespeare constantly reminds us that the character's predicament and humanity is very like our own" (Barton 184). No matter what the plot is, or where he chose to set the story, Shakespeare captures a fundamental element of humanity. Within Titus Andronicus, it is undoubtedly humanity's search for revenge: "Titus Andronicus is a play of social piety, outrage, suffering, and revenge" (Barber 133). The first three elements that Barber attributes to the work are consequential to the fourth; it is the revenge and spite of Titus, Tamora, and Aaron that fuel the other three elements.
The audience never witnesses Aaron's supposed teachings however, nor is it likely that if he were to continue living as before that he would commit the acts he pledges himself to as he is to be hanged (Act V Scene I Lines 125-144). Aaron talks of evil and trickery, while Tamora lives its epitome, marrying herself into the queen-ship of the conquering tribe. When presented with his child Aaron does care for it, and only agrees to speak upon the condition that it shall be saved. This insight into his character makes him seem almost a worthier person than Titus who murders his own sons. The villain shows more care for his kin than the hero does for his. This serves to make Aaron a more realistic villain by making him more human.
There are only two female characters in the entire play Titus Andronicus by William Shakespeare. These two women, Tamora and Lavinia, seem to be complete opposites. Tamora appears to give up her femininity in the name of revenge and power, while Lavinia’s femininity and value as a woman is taken from her. Tamora has power outside of men, but Lavinia only has power when men aid her. The play portrays Tamora as a sensual strong being, whereas Lavinia encompasses the more traditional virtuous, passive role that a woman would be expected to take. By creating this dichotomy between the two women, the play is able to explore female sexuality and power.
Act II scene i of William Shakespeare’s play Hamlet is a scene in which a lot is revealed. In this scene Polonius sends his servant, Reynaldo, to France to see Laertes and also to spy on him. As Reynaldo is on his way out, Ophelia comes into the scene and she is very distraught. She explains to Polonius that Hamlet had confronted her in a very unkempt state. Hamlet had grabbed her wrist and held her there for a few moments and then sighed. In this entire encounter Hamlet did not speak. Polonius is convinced that Hamlet is madly in love with Ophelia and that in addition to Polonius forcing Ophelia to distance herself from Hamlet is that is the reason for this encounter. The scene ends with Polonius going to see Claudius of his idea. This scene shows evidence of dramatic irony because Polonius is convinced that Hamlet is mad because he is in love with Ophelia but the audience knows that Hamlet is only pretending to be mad.
...f his honor. When Titus allows Aaron to cut off his hand, he is letting Aaron take away his honor. By the end of the play, Titus has nothing to show of the honor he once killed for.
Shakespeare, William. "Titus Andronicus" The Norton Shakespeare. Ed. Stanley Wells & |Gary Taylor. New York/London, W.W. Norton Company,1997. 371-434
...haracters to compliment Shakespeare’s work. With the opening she captures the aspect of war without using the original opening. Instead she uses a child and modernizes it. In ACT III SCENE I. Rome. A Street, she examines every word and portrays the art of revenge, loss and justice. She digs into the bible and relates them to Titus and his morals and actions. Taymor made many interesting choices when directing Titus, many staying true to the book, and character analysis bringing Titus Andronicus to a visual art.
The main character in the play is Titus Andronicus while the antagonists are Tamora, Aaron and Saturninus. Titus is a roman hero because he has aided in defeating the Goths. On the other hand, he has lost his own sons through conflicts. In the play, he has a strong urge of revenge. Saturninus, late emperor of Rome’s son, does not obey the authority. Bassiunus is Lavinnia’s lover. Tamora is the Goth’s queen with a strong urge to revenge because her son, Alarbus, was executed. Aaron is a moor who has been given evil personification. Marcus, Titus’s brother, always defends the rights of the people. Titus’s sons include: Lucius, Quintus, Martius and Murtius. Publius is Marcus Andronicus son. Sons of Tamora are Alarbus, Larbus, Demetrious and Chiron. Lavinnia is a vey innocent girl who suffers from unpleasant offenses.
In the play, both Tamora and Titus Andronicus hold power when they are able deceive each other. For most part of the play, Tamora uses her vulnerability as a woman to uphold his power in the empire. She appears to subordinates herself to the emperor Saturnitus as she agrees to marry the emperor. However, she only agrees to the marriage in order to become the empress of Rome and to hold the greatest power that one could ever have in Rome to avenge her son’s death. In addition, she plays the part of a generous woman to deceive her enemies and Saturnitus and make them believe that she is capable to forgive Titus Andronicus. However, she plans on executing her revenge upon Titus Andronicus by making him suffer the loss of his family. “Nay, nay sweet emperor, we must all be friends. The tribune and his nephews kneel for grace. I will not be denied.” (Mowat and Westine 43). In this passage, the empress hides her true motivates: to make Titus suffer behind words such as “sweet emperor” and “friends”. She also appears to need the emperor’s permission to forgive their enemy. Yet, the empress clearly tells the emperor “I will not be denied” (Mowar and Westine 43), which demonstrates that emperor obeys her and she is the one in power. To convince her sons to rape Titus’ daughter, Lavinia, she also uses words such as “I poured
Titus Andronicus is a play marked by acts of horrific violence and littered with death and the destruction of others. Each violent act, however, serves to explain and sometimes encourage the motives of the play's memorable characters and impart a very tightly knotted plot. The structure of the play employs well-defined heroes and villains. Revenge is their key motivating factor. All of these elements combine to form a cohesive plot and contribute to the overall success of the story.
of the Capulet’s orchard. This is a brave thing to do, for, if he had
Diction is the author's choice of words, taking into account correctness, clearness, and effectiveness. Shakespeare's works focus on human problems and resolving them. The use of Shakespeare’s diction throughout Othello is very unique because he is very clear in the emotions and the plans of characters. He lays out what a character's plan is before he acts it out. He also has a tendency to retell the recent events. These subtle hints allow the reader to foreshadow and develop a feel for each character. The intimations of what’s to come is prominently seen through Iago’s soliloquies. He often speaks openly of his plan for revenge that only the reader will know. This in turn creates dramatic irony. The effect of this type of diction is that the reader has a clearer and comprehensive understanding of what exactly is going on. He uses imagery several times in the describing of various people as animals or in terms of comparing things. Most of the imagery pertains to Othello and his various travels or especially his jealousy. This use of imagery and diction is effective because in addition to having merely an idea of what is going on the reader can have a mental picture as well. These strong bouts of imagery are beneficial to the work as a whole because they give strong pictures in which the general action of the work can be amplified, which is something Shakespeare strives for. The women in the story: Desdemona and Emilia, play an important role in the theme of the story. It is possible to establish a clear relation behind Shakespeare’s diction towards each of these women and the theme of ignorance behind a man’s view of the women in his life, and misconceptions of what love truly is.
Act 3 Scene 2 of William Shakespeare's Julius Caesar. Act 3 Scene 2 is most definitely a pivotal episode in the play. In this essay, I will be explaining why that is the case. In the previous Scene, Act 3 Scene 1, Caesar refuses to read the Soothsayer's warning. He mocks the soothsayer by saying, "the ides of March is coming.