Self Identity In Renaissance Plays

All throughout the beginning of the play, both Beatrice and Benedick use sarcasm and hide their true feelings for each other, which is the first example of tricky in their relationship. Both of them have vowed never to marry anyone; Benedick stating: "Because I will not do them the wrong to mistrust any, I will do myself the right to trust none; and the fine is, for the which I may go the finer, I will live a bachelor." (1.1.232–35), while Beatrice says, "No, uncle, I'll none. Adam's sons are my brethren, and truly I hold it a sin to match in my kindred." (2.1.59–60.) Their friends see that they are the perfect match for one another, and plan to trick them into confessing their love for each other. When Benedick is in the orchard, he overhears Don Pedro, Claudio, and Leonato talking about how Beatrice is in love with him but is afraid he will mock her if she tells him. Benedick believes them, saying, "This can be no trick." (2.3.217.) He then goes on to say, "I will be horribly in love with her." (2.3.230–31.) Later, Beatrice hears Hero and Ursula talking about how they can't tell her that Benedick loves her because she is a scornful person. After Hero and Ursula leave, Beatrice states:

Beatrice lives the jocular life of a bachelor man, but will not take on the "man's office" of killing Claudio. In the same way, Viola wishes to retain the freedom and anonymity that life as a man grants her, but balks when it comes to drawing swords. Both attempt rely on the subtler feminine tools at their disposal instead of steel, but in doing so confine themselves to the frailer role of woman. Beatrice maneuvers Benedick into promising to right Hero, and Viola attempts to talk her way out of a swordfight.

Identity is something each person uniquely has. As a person matures and experiences new parts of life, their identity also grows and develops along with them. However, a person’s identity is comprised of all of their experiences. The way someone views themselves may also be very different than the way others view them as well. In dramatic literature, the way a character’s identity is portrayed is essential to the events in the play. Four characters in three works of drama convey how vastly different each person’s identity can be from others as well as how their own sense of identity differs from others views about them. These characters include the Duke in My Last Duchess by Robert Browning, Big Eight in Rodeo by Jane Martin, and Benjamin Wong

Like Ruth, Beatrice was hurt by someone who she thought she could trust but was proven wrong. When talking to the Messenger in Act 1 she learns that Claudio “[has] caught the Benedick, [and that] it will cost [Claudio] a thousand pounds [to] be cured” (Shakespeare, 1.1.74-75). Although Beatrice is talking about what Claudio has gotten himself into it sounds as if she is talking from experience and that she too had been “caught” by Benedick and fallen in love with him only to be thrown to the side as he does with his partners and friends. Beatrice is very on edge when she is talking with Benedick when he comes into the scene at this point of the play, being very rude and snarky toward him with good reason. Later in the play Benedick does redeem himself and he and Beatrice end up falling in love, sadly there is no happy ending for Ruth and her father; Ruth does not make up with her father nor does she forgive him for what he did and he ends up shunning her from the family when she does find love with someone who cares for her.

In Shakespeare’s comedic play “Much Ado about Nothing” there are many unique characters but the character Beatrice sticks out for many reasons. Beatrice is not like the other characters in “Much Ado about Nothing.” She “rebels” against the idea of conformity and humility that was prevalent during that time period for women; therefore, she fit the archetype of

Foil characters are defined as characters that are used to contrast another character. This character in most cases is the protagonist. Moreover, foil characters tend to be based on the protagonist’s hubris, wherein contrasting the fatal flaw shows how it has ballooned out of control. Foil characters further themes by highlighting the characteristics of certain characters that will help enhance the theme. The role of foil characters in Shakespearean tragedies is to show what could have happened if the protagonist made a different choice. Likewise, this idea is prevalent within Romeo and Juliet. Furthermore, this play portrays two children from warring families who meet and fall in love, but eventually kill themselves as their love is not

She throws away her old self, stating "Contempt, farewell! and maiden pride, adieu!"(3.1.109). She also choses not to be so protective of her independence and declares love for Benedick, claiming "I will requite thee, Taming my wild heart to thy loving hand"(3.1.111-112). However, the true change in Beatrice does not show until the first church scene in which Claudio publicly humiliates Hero. Beatrice shows deep concern for her cousin Hero, the first time in the play where Beatrice shows concern for another. She is the first to claim Claudio is a liar and declare "on my soul, my cousin is belied!"(4.1.145). Beatrice then proves once again that she is a better person by demanding justice for Hero is met. Through Benedick, Beatrice plots to right the wrong and asks Benedick to "Kill Claudio"(4.1.290). It is in this scene as well that Beatrice, proving a complete turnaround in behavior, confesses to Benedick that "I love you with so much of my heart that none is left to protest "(4.1.287-288). This shows Beatrice transforming from someone who would scoff at marriage and love, declaring things like "I may sit in a corner and cry heigh-ho for a husband"(2.1.312-313), to someone who easily embraces love from the person she once mocked. But such a dramatic change is seen in her love as well.

By using the intense phrases like ‘I lose more blood’ this could also convey that love is something he knows he may be hurt by. Similarly Beatrice states that no man is good enough for her and then also declares her intentions of remaining bachelor. However Beatrice’s confident chatter can be just a cover of her inner insecurities. She may talk as if she definitely will not marry when really she is afraid of this as her age is rapidly increasing; this is a feeling of desperation. Overall, the similarity between their views and feelings sparks a kind of sweet compatibility between them. This shines through their obstinate attitudes reflecting the idea that a love relationship has the potential to evolve. However, this is also makes the end (where they are indeed in love) more surprising therefore presenting their relationship as quite volatile.

However, upon hearing of Beatrice’s love for him he is suddenly perplexed and it does not take him long to decide that he will give that affection back in return.  How easily persuaded Benedick is.  This may come from the way Claudio, Don Pedro, and Leonato (Benedick’s associates) depict Beatrice as the most wonderful woman in Messina.  They talk of Beatrice as if she were the most magnificent woman so that Benedick will do exactly what he does indeed do.  When Benedick hears of this he must be thinking of what he has said before about his desire for the perfect woman.  In his speech he says that “the lady is fair . . . / . . . And virtuous. . . / . . . And wise[,]” which is exactly what Benedick demands in the woman that he will choose to be his wife.  However, Benedick only believes these things about Beatrice because of what Claudio, Don Pedro, and Leonato have said about her.  They only said them to convince Benedick that Beatrice was deserving of him and that she loved him with all her heart.  They told Benedick just what he wanted to hear.  It is a scheme made of lies, but it works because Benedick is persuaded and begins to agree with what they have said.  By doing this he is already influencing himself to follow the opposite path from the one that he has adhered to for years.  Here he is already starting to fool himself into believing Beatrice is the one for him

In the case of social identities being formed in Shakespeare's plays I feel as though he's

About-Face Can people really change who they are? Or are they forever drawn back to their past? Throughout William Shakespeare’s Twelfth Night, multiple characters attempt to change themselves to achieve their goals. A woman, Viola, dresses as a man, Cesario, and falls for the local authority, Duke Orsino. A lowly servant attempts to climb the rungs of society through his outlandish attempts to woo his master.

During the shift from the middle ages into the Renaissance period new conceptions of the individual and the human mind quickly came to light. Although art in the Middle Ages was centered predominantly on religion and faith, the incoming art of the Renaissance underwent a drastic change. A vast amount of these changes mainly focused on individualism, secularism, and humanism. Following the collapse of the feudal system, thoughts of individualism quickly rose when people realized that they didn’t have to adhere to a specific group.Throughout the beginning of the Renaissance, religious figures and the Catholic Church began to lose authority which conducted in new ideas of secularism. Comparably, humanistic art and notions became preeminent when individuals focused on glorifying the human body, learning more about it and inclined more towards realistic art.

Shakespeare has been called a “two-eyed playwright” (CITATION), and seems ultimately aware of his characters motivations and desires. However, when looking at the intrinsic identity of the characters within his work, it is possible to note that some go through more drastic or challenging changes of identity than others. This calls up the question: how fixed is personal identity in Shakespeare’s work? (CITATION YOuTuBE) claims that personal identity is either the way a character presents themselves, or the way a society perceives that character. When analyzing specific characters in King Lear, Othello, and Hamlet it is possible to see that while the flexibility of identity is dependent on the character and their circumstances, some character’s identies primarily the title characters of each of these plays, have identities which are far more flexible than others in their story.

In Grier English classes, we have discussed about the change of identity in many different books, for example, Metamorphosis by Franz Kafka. Sometimes, the mental activities experienced by the characters that are facing great transformations resonate with our life. Within all of these books we read and suffered through with countless tests and projects, I find a very important lesson in Jane Eyre by Charlotte Bronte.

William Shakespeare, in his well-known comedy Twelfth Night, creates a plot that revolves around mistaken identity and deception. Mistaken identity, along with disguises, rules the play and affects the lives of several of the characters. Shakespeare's techniques involve mistaken identity to bring humor, mystery, and complication to the play. Many characters in Twelfth Night assume disguises, beginning with Viola who is disguised as a eunuch, Maria who writes a letter to Malvolio as Olivia, and then the mix-up between Sebastian and Viola are revealed.