Character Comparison in William Shakespeare Plays - Essay Example

Character Comparison in William Shakespeare Play Shakespeare characters stood for or projected given thematic concerns intended by the playwright. The characterization of these characters predispose them to three categories namely the protagonist, the antagonist, and the neutral characters. The protagonist and the antagonist characters often end up in cosmic conflict in which one party is agitating for a given issue which does not palatable to the other. While this tend to take shape in most instances in the play, the neutral characters helps the reader to understand the contention between the protagonist and the antagonist as well the voice of reasoning that either party should take (Sadowski 23). Shakespearean characters in Othello, Hamlet, or Twelve Night seem to protest or agitate for a given social status. The result of their social agitations as well as person traits, they tend to split into the above-mentioned categories. While the protagonists and the antagonist tend to flex their muscles, the neutral characters tend to project the least expected version of the issue in question. In Othello, Roderigo and Lago seems to project contrasting characteristics. Roderigo has a true love for Desdemona, but he does not know how to express his feelings. As a result, he uses Lago as his go between in order to reach Desdemona. In the play, Roderigo is foolish because he easily fall prey to Lago who exploit his wealth instead of helping to express his love for Desdemona. Unlike Roderigo, Lago is a canning character full of sinister intentions. For example, although Othello did not promote Lago to the post of lieutenant, it was not a reason enough for him to desire the demise of Othello (Sadowski 97). Thus, Lago is evil minded and ready to do anything evil in order to achieve his personal interest. His attitude against Roderigo and Othello helps the reader to identify his evil traits as well the hidden intentions of Rederigo and Othello. In the play, Lago is eloquent speaker that has high convincing power. This trait tend to contrast the traits of Roderigo who he neither an eloquent speaker nor a schema. Moreover, the nasty characteristics of Lago make him convince Rederigo about the mediation role towards Desdemona. Lastly, cover his evil trait; he plots the death Rederigo in order to escape accounting for the all that he has looted in the name mediation. Through Lago’s evil plots, the reader is able to acknowledge the effect of love for power and wealth. In the literal sense, the reader sees Lago plot the death of rich Rederigo after failing to honor his words. In another instance, Lago conceives a plot intended to wipe Othello from the captainship. Arguably, in both cases, Lago quest for power and wealth could explain his evil and cunning attitude. Shakespearean characters in “Twelfth Night” Viola and Olivia seem to project varied character attributes. Viola, the protagonist in the play, is a powerful woman who project strong will as well as specific view concerning social affairs. On the hand, Olivia is a helping character, whose personal attributes are direct opposite of the protagonist. In the play, Olivia is unable to make a choice between Orsino and Sir Andrew Aguecheek. The two men openly present their love proposal for her to consider, but she is unable to decide on what man to love or court. “Say that upon the alter of her beauty You sacrifice your tears, your sighs, your heart Write till your ink be dry, and with your tear Moist it again…..” 3.2.72-5 Instead, she feigns an excuse that she will not marry in the next seven years. Although she has a reason to delay the courting and her marriage, seven years is a long period for a person to reverse for mourning. On the other hand, Viola displays her strong will or bravery by disguising herself as man after the shipwreck. She made her way into the world alone without necessarily looking for assistance. Viola’s eloquence and ability to influence other characters is evident when Duke Apollonius (Orsino) sends Viola to woo Lady Olivia. In their conversation, Olivia falls “in into great liking with the man as the aster was with herself” (351-2). Largely, the person described in this phrase is Silla (Viola). Arguably, Olivia easily changes his opinion about the man she should marry. This tends to show that Olivia is gullible and can easily accept the opinion of various men. Although Viola develops interest in Orsino, her state in disguise does not allow her to accept the will of her heart. In the play, Olivia and Viola experienced some physical or emotional suffering. For example, Viola suffered a shipwreck but did not feel discouraged; instead, she disguised herself in male attire as Silla and proceeded with her life (Sadowski 232). In contrast, when Olivia emotionally suffers following the death of her brother, she spent the rest of her life wallowing in misery. In the play, she uses the mourning as excuse for keeping Sir Andrew and Orsino in waiting. Arguably, the weaknesses of Olivia help the reader to identify the cosmic conflict, which resulted from the Viola role to woo Olivia into marrying Orsino. To a given extent, Viola and Olivia show some personal weaknesses that are human. Nevertheless, Olivia gullibility seems to illustrate the dangers of weak will. In a given instance, she projects her misery to the men seeking her hand in marriage and in another situation she display interest in a new manner. Through her, the reader is able to identify varied values of human beings. These values tend to define the choices that people make before settling down in marriage. For instance, Olivia does not seem to be ready to marry Sir Andrew or Orsino, but when Viola comes to woo her for Orsino she develops some attraction for Viola. Olivia tells Viola that she has spoken enough for her master. She should start speaking for herself. In Hamlet, Horatio is a faithful friend that Hamlet can confide in. Throughout the play, he offers his faithful support to Hamlet an aspect that makes him the kind of loyal friend that one would admire. For example, Hamlet seems to accept and admire the world the way it is whereas his confident Hamlet seems to be driven by impulse to question certain truths (Sadowski 123). Although one may confuse her calmness for foolishness, Horatio intellect is evident when Marcellus and Bernardo seek Horatio opinion about the ghost. Moreover, even though he had been a close friend of Hamlet, he does not just follow every activity that Hamlet does. This attribute seems to illustrate his intelligence. Given the nature of political situations surrounding his life, he makes calculative moves, which defines his ability to act. Largely, his cautiousness enabled him to escape the political ruin that befell his friend Hamlet. In the play, Horatio does not leave ambition or deceit to determine his loyalty to his friend Hamlet. Unlike other characters Shakespearean characters like Lago in Othello whose loyalty to Roderigo bordered on deceit, Horatio thought of suicide after the death of Hamlet as a way of expressing his trustworthiness. In Hamlet, Claudius does not play the part of antagonist, but also villain that illustrates the theme of revenge. In the play, Claudius is egocentric, ready to manipulate situations defining his life in order to achieve his own egos. Claudius quest for power is driven by deceit (Sadowski 67). He is unapologetic for his actions; instead, he has temerity to say that he would commit the same ill in future. Although to some extent, Claudius and Hamlet seem to exhibit similar traits such belief that end justifies the means as well as readiness to sacrifice humanness for the sake of their own goals Hamlet is remorseful. Unlike Claudius, Horatio seems to be the character that Shakespeare wants the reader to mirror. He is humane, trustable, loyal, and faithful and driven human but not deceit. In conclusion, the Shakespearean characters seems to illustrate antagonistic and protagonist as well as neutral qualities. The cosmic conflict in the plays is evident through the values of views exhibited by protagonists and the antagonist. However, the neural characters tend to project the voice of reasoning and the choice that reader should immolate. The Othello’s Lago, and Hamlets Claudius are not only egocentric, but also manipulative. Horatio is faithful and proves to be a friend that one would admire. Work Cited Sadowski, Piotr. Dynamism of Character in Shakespeare's Mature Tragedies. New York: University of Delaware Press, 2003. Print. Read More