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Shakespeare fool critical essays - …
The picturesque contrasts of character in this play are almost as remarkable as the depth of the passion. The Moor Othello, the gentle Desdemona, the villain Iago, the good-natured Cassio, the fool Roderigo, present a range and variety of character as striking and palpable as that produced by the opposition of costume in a picture. Their distinguishing qualities stand out to the mind's eye, so that even when we are not thinking of their actions or sentiments, the idea of their persons is still as present to us as ever. These characters and the images they stamp upon the mind are the farthest asunder possible, the distance between them is immense: yet the compass of knowledge and invention which the poet has shewn in embodying these extreme creations of his genius is only greater than the truth and felicity with which he has identified each character with itself, or blended their different qualities together in the same story. What a contrast the character of Othello forms to that of Iago! At the same time, the force of conception with which these two figures are opposed to each other is rendered still more intense by the complete consistency with which the traits of each character are brought out in a state of the highest finishing. The making one black and the other white, the one unprincipled, the other unfortunate in the extreme, would have answered the common purposes of effect, and satisfied the ambition of an ordinary painter of character. Shakespear has laboured the finer shades of difference in both with as much care and skill as if he had had to depend on the execution alone for the success of his design. On the other hand, Desdemona and Æmilia are not meant to be opposed with anything like strong contrast to each other. Both are, to outward appearance, characters of common life, not more distinguished than women usually are, by difference of rank and situation. The difference of their thoughts and sentiments is however laid open, their minds are separated from each other by signs as plain and as little to be mistaken as the complexions of their husbands.
King Lear is the only one of Shakespeare’s major tragedies to feature both a main plot and a subplot. Lear’s story and Gloucester’s story are in fact the same tale, told in two different ways. Both stories share an identical moral: that we do not always judge our children according to their merits, but rather by the show they put on -- and when we misjudge those closest to us in this way, disaster is the inevitable result.
This site serves to help college students around the world struggling to interpret this most complex play by providing examples of essays and papers that critically analyze virtually every literary aspect imaginable! Students are encouraged to purchase our downloadable tutorials and to cite them as sources in their own work. Click the "" button to browse through our inventory or use the "" button to request a NEW essay if our existing files fall short of dealing with your particular topical focus.
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Shakespeare fool critical essays
Throughout the play Polonius tends to act foolish thinking that
he knows the reason for Hamlet’s madness, while the audience knows that he is wrong.
Shakespeare created Polonius as a controversial character and only he will ever know why
Polonius was created so foolish.
The character of Iago is one of the supererogations of Shakespear's genius. Some persons, more nice than wise, have thought this whole character unnatural, because his villainy is without a sufficient motive. Shakespear, who was as good a philosopher as he was a poet, thought otherwise. He knew that the love of power, which is another name for the love of mischief, is natural to man. He would know this as well or better than if it had been demonstrated to him by a logical diagram, merely from seeing children paddle in the dirt or kill flies for sport. Iago in fact belongs to a class of character, common to Shakespear and at the same time peculiar to him; whose heads are as acute and active as their hearts are hard and callous. Iago is to be sure an extreme instance of the kind; that is to say, of diseased intellectual activity, with the most perfect indifference to moral good or evil, or rather with a decided preference of the latter, because it falls more readily in with his favourite propensity, gives greater zest to his thoughts and scope to his actions. He is quite or nearly as indifferent to his own fate as to that of others; he runs all risks fo a trifling and doubtful advantage; and is himself the dupe and victim of his ruling passion-an in-satiable craving after action of the most difficult and dangerous kind. "Our ancient" is a philosopher, who fancies that a lie that kills has more point in it than an alliteration or an antithesis; who thinks a fatal experiment on the peace of a family a better thing than watching the palpitations in the heart of a flea in a microscope; who plots the ruin of his friends as an exercise for his ingenuity, and stabs men in the dark to prevent ennui. His gaiety, such as it is, arises from the success of his treachery; his ease from the torture he has inflicted on others. He is an amateur of tragedy in real life; and instead of employing his invention on imaginary characters, or long-forgotten incidents, he takes the bolder and more desperate course of getting up his plot at home, casts the principal parts among his nearest friends and connections, and rehearses it in down-right earnest, with steady nerves and unabated resolution. We will just give an illustration or two.
One of his most characteristic speeches is that immediately after the marriage of Othello.
free essay on Critical Analysis of King Lear by Shakespeare
This essay has been submitted by a King Lear: Critical Essays - Kenneth Muir - Google BooksKing Lear: Critical Essays Professor and Honorary Senior Fellow Kenneth Muir No preview available - 2016Critical essays on King Lear, William Shakespeare Critical essays on King Lear, William Scofield Peter Brook play's plot political poor fool Poor naked wretches production Quarto essays on King Lear, William Lear, Tolstoy and the Fool - WikipediaLear, Tolstoy and the Fool It was inspired by a critical essay on Shakespeare by Leo Tolstoy and the Fool; Tolstoy on Shakespeare public domain audiobook at Critical Comment on Hamlet - IJSSE · PDF fileCritical Comment on Hamlet 694 were searched for verbal traces of Hamlet, Shakespeare's most Hamlet himself, there is no fool in the play until we get to the KING LEAR .ORG - QUICK ACCESS TO THE MOST IMPORTANT KING LEAR CRITICAL STUDIES & CRITICISM.
This essay has been submitted by a Critical essays on King Lear, William Shakespeare Critical essays on King Lear, William Scofield Peter Brook play's plot political poor fool Poor naked wretches production Quarto essays on King Lear, William Hamlet: Major Themes | Critical Essays | CliffsNotesGet free homework help on William Shakespeare's Hamlet: play summary, scene summary and analysis and original text, quotes, essays, character analysis, and King Lear : critical essays.
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