Don John A Villain

To establish the sinister intentions of Richard the actor, Shakespeare makes reference to his moral and physical impediments that leave him cursing “I that am not shaped for sportive tricks…I that am curtailed…”. Through the subtle use of anaphora and repetition of ‘I that am’, which is fleshed out by a definitive tone, the audience is made aware of how Richard is led ostensibly “to prove a villain” and thus, adopt a disguise. Moreover, Richard’s theatricality is stressed as he embarks as a ‘master’ of his own fate, for he perceives himself as “subtle, false, and treacherous”. His sinister intentions are exemplified by the use of tricolon, evocative word choice and short sentence patterning that create a sharp staccato effect. These intentions allow Shakespeare to subtly resonate Richard with the Vice from the medieval morality plays as well as the Renaissance Machiavelli who actively sought power, caused mischief, practised deceit and cynically gloats over his success. Moreover, Richard’s acting allows him to confide in his audience as he is paradoxically honest about his dishonesty, whilst also encouraging his audience not to detest him, but rather, take delight in his cleverness as the ‘director’ of the play. Thus, the opening soliloquy of Richard III offers an insight into how Richard manipulates the

When thinking about the well known comedy Much Ado About Nothing, by William Shakespeare the audience is quick to focus on the wit and comedy that the play has to offer, rather than the understated villain who easily disappears in the background. While reading the play, one can posit that Don John is not the typical villain who acts with a specific motive in mind, rather, he is acting out of an obligation he feels to serve as an antagonist considering his position as a bastard. This is demonstrated in his dialogue, which reveals his inner turmoil on being chained to the villainous role and his willingness to act on any malicious opportunity that presents itself to him. This is significant in that, it provides another layer to our villain and causes the audience to think beyond the first layer that is easily presented, and into the true inner motives of the character.

Throughout all of human existence, the desire for power has overruled everything. We are constantly trying to be better than the ones around us, and are jealous of those who are on top. In many situations, it seems that no matter how hard we try, we can never get to that point of control that we so badly strive for. In Shakespeare’s tragically deceptive play, “Othello”, the symbolism and conflict throughout the play continually demonstrates Iago’s struggle to gain power. Through Iago’s miserable fail to obtain the power he so badly aspires, Shakespeare proves that the human race can never be happy with what they have, and that they are always trying to be better than everyone

In William Shakespeare’s play “Romeo and Juliet”, Shakespeare presents characters in difficult situations in Romeo and Juliet through various language techniques and structure. Romeo and Juliet were star-crossed lovers. Both Romeo and Juliet were from feuding families that would not approve of their marriage. In the play they are presented with many difficult circumstances. The play was set in the Elizabethan era; there was a significant change in religion, family and politics. Attitudes and key scenes highlight the theme of love in difficult circumstances and prepare the audience for Romeo and Juliet’s suicides at the end of the play. In this essay I will be exploring the ways Shakespeare presents characters in difficult situations.

He was given a house to live in, yet never had a true home. He was taken under the family name yet would never be treated as a part of it. Even Don Pedro sook a more “fitting” companion to spend time with. Freely gifted to his brother, Don would never receive the same money, status or respect. Now I’m sure you can come to see where the bitterness and spurn arose from, things he had no control over defined his life, fitting him with more than enough motivation to spoil the happiness of the residents of Messina. Yet being a shakespearean comedy, focused on displaying the comic and follies of misunderstandings, it can fairly said he lacks the depth and development of some of Shakespeare's darker villains from tragedies, rendering him an underdeveloped and arguably uninteresting antagonist. Melancholy and sullen by nature, he ironically believes that his brooding makes him appear strong, but it actually shows him to be a coward. Don John is too caught up in self-pity to do anything that could better his life, so he simply lives to destroy the lives of

In America there was no secret that owning slaves was a big deal, it was forced labor. The rate at which they worked brought in money which allowed the owners to buy more land and slaves, therefore gaining wealth and power. I believe this picture is a famous one because it shows the price at which the power was paid for, by treating humans like property.

Shakespeare sprinkles subtle lines alluding to Hamlet’s apparent cowardice and failure as a classical revenger. In addition to this, Shakespeare may intentionally delay Hamlet’s revenge and remove emphasis from his passion to break the trend of morally blind, obsessive, psychopathic avengers as traditionally depicted in plays such as “The Spanish Tragedy”.

Produced by Wolfgang Amadeus Mozart in 1787, Don Giovanni is regarded as one the best operas ever made. The piece is based on the legend of Don Juan, an illusory libertine and seducer of women (Kerns, 2010). At first, Mozart’s opera seems more like a story of the romantic adventures of a dissolute nobleman and his disgrace. However, there is much more to Don Giovanni than just a series of events and serious laughs, just as the protagonist is much more than a notorious, single-minded, and unprincipled seducer. Closer examination of the piece reveals its core themes of social classes and divisions as depicted by Leporello’s complaints about his servitude to his employer in the first scene (Mozart, Fisher, & Ponte, 2007). The play also touches on vital human traits and principles, including loyalty, faithfulness, and sincerity. More importantly, Don Giovanni centers on the ambiguity intrinsic to human relations, the intricate connection between life and death, and the interminable tension between love and the risk of its extermination.

This derives from the play as a recount of historical events with a known outcome and a medium for propaganda in support of the monarchy, an avid determinist. Nevertheless, the aforementioned tension is prevalent throughout and epitomised by the paradoxical pun ‘I am determined to prove a villain’. Uttered with a tone of poise and self-assuredness, the term ‘determined’ implies a conscious statement of purpose and a preordained villainy. Thus Richard is aligned with the stock character of the Vice, an instrument of predestination, and the innovative Machiavel, an advocator of humanism. Despite this, the ultimate decline of Richard is consequential of the reign of determinism. The directly antithetic correctio ‘I am a villain. Yet I lie, I am not’ yields an implicit self-doubt and acknowledgment of an inability to fulfil his humanist purpose. Providentialism thus displays precedence over self-determination. This is in direct contrast to Pacino’s docudrama, composed for a secular modern American audience disengaged with traditional notions of determinism. A greatly diminished and altered portrayal of Margaret, the primary instrument of determinism in the play, is expressive of this. Pacino devalues her curses by reducing her to a ‘sort of ghost of the past’. A frenzied montage of informative discourse and the activity of the play complete with

There is no denying that Shakespeare is a definitive playwright. He has presented us with classic works that have set the precedent for drama and the theatre. Among Shakespeare’s more notable plays are his tragedies. In the tragedy his protagonists are often given flaws in their character and hence, are suitably named tragic heroes. The downfall of these protagonists is often a result of their own character flaws and unfortunately, they suffer a doomed and unhappy ending. While the tragic hero is flawed they must also be honorable and worthy of the audience’s understanding and sympathy. On a quest for righteousness the tragic hero often goes through immense suffering which is why the audience can feel bad for him. For the most

One of the strengths of good theater is its ability to mirror the problems and conditions shaping its time. In The Merchant of Venice, William Shakespeare reflects two important aspects of Elizabethan society: the corrupting influence of prosperity and the increasingly vengeful nature of Venetian justice. To address the former issue, Shakespeare downplays the importance of wealth by associating its involvement in romance with superficial and insubstantial advantages. He characterizes prosperity as a deceiving agent, citing its ability to introduce shallowness into a relationship. Shakespeare reasons that genuine romance depends on sacrifice and emotion, not wealth. The problem with justice is equally striking. In the play, justice is

Well written plays are commonly identified by their effectiveness in relating to the audience. William Shakespeare’s Hamlet is a highly effective entertainment piece of the Elizabethan era. Through the character of Hamlet, Shakespeare is able to reflect many of the essential elements of life in Elizabethan England in this play. For example, in Hamlet's soliloquy in Act 4 Scene 4, he speaks of Prince Fortinbras and his army, providing insight regarding the value of life on both ends of the social hierarchy during the time period. Furthermore, Hamlet’s descriptions also portray the significant influence of religion in Elizabethan society. Lastly, Hamlet’s soliloquy largely focuses on the importance of honour; which is a very fundamental part of society in the Elizabethan era. Through this soliloquy Shakespeare targets the Elizabethan crowd by including relevant features of life that the audience can easily connect with such as social hierarchy, influence of religion and the importance of honour.

King Lear and Hamlet, by William Shakespeare, are two plays that reveal similar thematic elements, yet possess fundamentally different plot structures. Driven by the suffering and rage of two complementary characters, both plays suggest injustice through ‘good’, but ultimately flawed characters. This shared overarching theme is, however, conveyed differently within each of the works, as one employs two mainly disparate plot threads, while the other relies more heavily on the interaction between the two central plots. Yet the ultimate purpose of this dualism remains the same within both King Lear and Hamlet, in that Shakespeare’s use of the double plot illuminates the tragic elements within both plays, emphasizing core injustices through

As we all know Shakespeare is one of the greatest writers of all time, so it comes as no surprise that his literary work is still studied and debated over even four hundred years after his death. There is a lot to talk about when we mention a play of Shakespeare’s, but I have chosen to write about a particular theme, which I found fascinating in one of his most popular tragedies Hamlet, the theme of heroes and villains.

Hamlet is one of Shakespeare’s most well-known tragedies. At first glance, it holds all of the common occurrences in a revenge tragedy which include plotting, ghosts, and madness, but its complexity as a story far transcends its functionality as a revenge tragedy. Revenge tragedies are often closely tied to the real or feigned madness in the play. Hamlet is such a complex revenge tragedy because there truly is a question about the sanity of the main character Prince Hamlet. Interestingly enough, this deepens the psychology of his character and affects the way that the revenge tragedy takes place. An evaluation of Hamlet’s actions and words over the course of the play can be determined to see that his ‘outsider’ outlook on society,