Shakespeare IDs - IDENTIFICATIONS 1 Antipholus of Syracuse...

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IDENTIFICATIONS 1. Antipholus of Syracuse is convinced that he has stepped onto some mystical place filled with witches. All of the people in the town know his name and he apparently has a wife who is extremely upset with him. Yet, Antipholus is quite smitten with her sister! This is not proper for a husband to love his wife’s sister, and so Antipholus feels it is time to leave this strange city and be off hence. This is an interesting device that Shakespeare employs as Antipholus is speaking in a soliloquy to the audience. A soliloquy allows the character to reveal their thoughts to the audience and introduce ideas that would not necessarily present themselves through dialogue. The audience is privy to the absurdity of the predicament the twins are in, as one twin is mistaken for his brother. Antipholus lets the audience know of his departure and he considers the beauty of Luciana, but he must “stop mine ears against the mermaid’s song” (III.ii.156). He has already sent Dromio to procure a ship so he can depart Ephesus immediately. This is an example of dramatic irony, as the audience knows information that the character does not. Antipholus is caught in a comedy of errors, Shakespeare punning on the word error. To error is to wander around making mistakes. The audience is aware of the twin’s circumstances as they are switched, but Antipholus does not, so he deems Ephesus as a cursed place full of witches and tempting mermaids. This sort of collusion with the audience is also apparent in Richard III when Richard informs the audience of his devious aspirations to take the throne. The audience learns of his deceptive attitude when he is alone, but when another person comes onto the stage, he acts in a completely different way—in a pleasing and cordial manner. 3. Aaron’s role in Act II of Titus Andronicus is to fulfill Tamora’s revenge schemes. He is the personification of evil, similar to Jack Falstaff’s character in Henry IV . Falstaff is involved in a life of crime and debauchery. He inhabits a subversive world, which likens to hell in a basement/tavern below the noble deeds of King Henry. (include specific comparison to Satan?) In the lines preceding Aaron’s shameless confession of evil to Tamora, Tamora invokes the imagery of an extremely romantic scene.
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