Author Archives: jbajraktari

Posts: 4 (archived below)
Comments: 1

Two Characters–Similar in Situation but Different in Decisions

Posted on May 6, 2013 by jbajraktari

The subplot plays a significant role in dramas, particularly Elizabethan and Jacobean dramas.  The subplot reinforces the theme/main idea of the play by presenting characters that are in situations parallel to those of the main characters, yet have contrasting personalities.  For example, Isabella and Beatrice are both young women with prospective men in their lives.  Three men are vying for Isabella’s attention and affection (Francisco, Antonia, and Lollio) and three men are also interested in Beatrice (Alonso, Alsemero, and De Flores).  Isabella’s placed in a situation that limits her freedom and makes her an object of her husband’s authority, while Beatrice also initially lacks the freedom to choose whom she wants to marry.

These characters dramatically differ, however, in that Isabella remains virtuous and chaste, and does not succumb to the pursuits of the men attempting to win her over.  In fact, she ironically beats them at their own game and wittily exposes their true intentions. Beatrice, on the other hand, takes a very different approach and loses her innocence in every way possible.  The consequence of her actions is a serious one–death.  Although she temporarily gets what she wants, the ends certainly do not justify the means.

Isabella and Beatrice are foils of each other, and the inclusion of Isabella in the plot of the play makes the audience see even more clearly how the selfish, immoral acts of a woman lead to a snowball effect of destruction.

Posted in Power struggles, Psychological detail, The Changeling | 1 Comment

Insight into a Parasite

Posted on April 10, 2013 by jbajraktari

The soliloquy delivered by Mosca in Act III scene 1 is a significant scene of the play because it is a direct insight into a character who the audience previously doesn’t know much about besides that he uses his cleverness and manipulation to benefit his master.  Mosca is an example of the “parasite” stock character, and even refers to himself as a parasite throughout this soliloquy.  In the soliloquy, Mosca reveals his increasing independence from Volpone by saying, “I fear I shall begin to grow in love/ With my dear self and my most prosperous parts…”  Mosca is growing increasingly narcissistic and he praises himself, calling himself the truest of parasites because he of his innate ability to deceive and swiftly adapt to situations.  Mosca views the role of being a parasite as a superior role in society, saying “…Almost/ All the wise world is little else in nature/ But parasites or subparasites.”  While he is nearly completely dependent on Volpone for his survival, ironically Volpone is also dependent on Mosca, who heavily aids him in his schemes.  Mosca knows that Volpone is dependent on him in carrying out his hoax, therefore he is becoming more confident in his parasitism and develops a more inflated self-worth.

Posted in Volpone | 1 Comment

Dr. Faustus: A Victim of Temptation or Sinner by Choice?

Posted on March 4, 2013 by jbajraktari

In Christopher Marlowe’s play Doctor Faustus, a question that arises throughout the course of the play is whether or not Faustus damns himself or if he is a victim of the temptations of the devil.  Faustus is attracted to the forces of dark magic due to his insatiable desire for knowledge and his dissatisfaction with the limitations of human knowledge.  In the beginning of the play, Faustus reflects on various fields of scholarship and ultimately determines that none of them offer him what he truly desires.  He rejects Divinity, reading from the Bible, “the reward of sin is death.”  Faustus views religion as promising him only death, and fails to see that the Bible says that God will forgive our sins if we confess.  This proves to be a belief that will affect Faustus throughout the play.

Faustus comes to the conclusion that magic is the only way to satisfy his needs.  Faustus’ quest for knowledge and sinful pride and greed is what leads him to give up God for the devil.    However, it is by Faustus’ complete own will that he chooses this fate.  Faustus’ ability to choose his own fate is highlighted by the appearances of the good and evil angels.  We see Faustus struggle internally with making the decision of either selling his soul for what he covets most or repenting.  Faustus chooses to reject God in order to satisfy his need to have more power than human beings would normally be allowed, and to attempt to learn the absolute truth about the universe.  We quickly see Faustus’ mistake and realize that no one can be more powerful and knowledgeable than God when Faustus asks Mephistopheles who created the world and Mephistopheles replies that the answer is “against our kingdom,” suggesting that  only God is capable of the absolute knowledge that humans or evil can never be capable of.

Posted in Doctor Faustus | 1 Comment

Revenge in The Spanish Tragedy: An Eye for an Eye

Posted on February 11, 2013 by jbajraktari

The Spanish Tragedy is clearly a revenge play, with Revenge even being a character in the play.  A question that has long been debated concerning the play and outside of the context of the play is whether Hiernonimo is morally just in seeking revenge.  One can argue that Hiernomino really had no choice in seeking revenge for his son’s death, since the court would not offer him any help, granted his class status (another theme of the play).

We see Hieronimo’s inner conflict in deciding if he should choose “this way or that way” in Act III, scene xii, when Hiernomino grapples with the options of either taking his own life, or taking the way of revenge and justice for his son’s death.  We see the negative connotations that are ascribed to taking the matter of revenge in one’s own hands in Hieronimo’s soliloquy, where he describes the path of revenge as a path through hell.  Horatio cannot simply take these matters to the king since there are several obstacles in his way, such as his social class and diplomacy.  Lorenzo is nephew of the king of Spain and Balthazar is a prince of Portugal who is a key figure in the negotiation between the two nations, so the possibility of Hieronimo finding justice by the way of the king seems unlikely.

In Act III, scene xiii, again we see Hieronimo struggling with the matter of vengeance.  He exclaims, “Vindicta mihi!” or “vengeance is mine,” and considers leaving the matter of revenge to God.  However, he comes to the conclusion that it is his destiny to find his revenge against his son’s murderers.

Hieronimo is a Knight-Marshal, hence carrying out justice is a part of his job.  Although committing murder is an un-Christian thing to do, it seems to be Hieronimo’s only choice  in a society where you cannot depend on the Crown for justice.

Posted in Revenge, The Spanish Tragedy, Uncategorized | 1 Comment