Yu Dafu Sinking

Yu Dafu: ‘Sinking' Commentary Yu Dafu's ‘Sinking' was one of the most conspicuous pieces among the artistic standard of the May Fourth Movement, as it gives a fascinating depiction of the Chinese diaspora following the country's occupation by remote forces. The story delineates the life of a Chinese understudy who is seeking after therapeutic investigations in Japan, however winds up enamored by Western sentimental verse to incidentally escape from his crippled understanding as an individual regarded as substandard by the Japanese.The hero appears to extraordinarily battle with his considerations on patriotism, and this is apparent when he lays down with a Japanese lady and thusly feels inconsequential and embarrassed. Accordingly, this is representative of China neglecting to successfully oppose the impact of remote forces. It is additionally significant that Japan was a significant basic area for some researchers due to its moderately short good ways from their country, efficient education costs, and the way that there were a more noteworthy number of schools open to Chinese understudies contrasted with that of America or Europe.Furthermore, numerous Chinese considered Japan to be where the propelled Western innovation and theory had been effectively incorporated with its local culture. It could be said, this likewise serves to be a mystery, for while the Chinese may have admired Japan as a prime case of an Asian country that had effectively modernized by the Western norm, it is at the equivalent the reason for their national embarrassment. Yu Dafu likewise reviews to his crowd the striking differentiation of when China had once been the main case of a country and Japan had been its devotee.

Negotiation Strategy Article Analysis Research Paper

Exchange Strategy Article Analysis - Research Paper Example What the creators propose is that arrangement doesn't happen as a result of speedy dynamic when one gathering accepts that fast arrangements are the most gainful to the two gatherings. This speaks to a person with untimely judgment who accepts that basically detailing a quick arrangement can end a drawn out exchange with another gathering. The authors’ arrangement system proposes that widening potential choices for common arrangement offers the two gatherings a wide assortment of thoughts to talk about, further allowing the two gatherings to think about the drawn out advantages of every alternative. It appears that by making untimely judgment or strange arrangements can have a negative effect in the long haul since they were not developed for whatever else however to end the exchange meeting rapidly. For a moderator hoping to build up since quite a while ago run connections, this methodology shows up generally reasonable. Another master in exchange system recommends mixing both the positional haggling hypothesis with intrigue based bartering so as to completely accomplish effective arrangements. This methodology unmistakably represents, to the next gathering, what the negotiator’s explicit interests are and encourages the subsequent party to characterize theirs too. An individual holding what is alluded to as a principled exchange strategy at that point attempts to make additional incentive in bartering by making a bigger pool of potential alternatives and arrangements. When the bits of this bigger pie have been broke down and talked about, to recognize which choices would be generally reasonable for the two gatherings, the bits of this speculative pie are disseminated until the two gatherings feel they have won the arrangement (regardless of whether there truly was no victor by plan of common prize). Under this principled arrangement strategy, a mediator causes their restricting gathering to a ccept they have picked up advantage in the haggling

Tips For Writing a Sample Research Paper

<h1>Tips For Writing a Sample Research Paper</h1><p>Many understudies presently begin in graduate school with a goal to compose an 'example research paper.' However, how might you decide whether composing an example research paper is directly for you? I will give you a few hints for you to use to decide whether it's privilege for you.</p><p></p><p>First, on the off chance that you've never composed a paper, ensure that you have a total rundown of the subjects that you'd prefer to cover in your exploration. It doesn't make a difference if your theme is an exploration paper about the earth, outsiders, and space travel. The main thing that issues is that you have a total rundown to begin from. When you have this, you can limit the themes that you need to compose on.</p><p></p><p>Second, record what your understudy's needs are. It doesn't make a difference in the event that you compose everything all alone or you have some assistance. Actually, having another person who can add to your examination can truly make your undertaking much easier.</p><p></p><p>The most significant viewpoint to recall about composing an exploration paper is that it isn't really a period for you to get all innovative. In the event that you can deal with the assignment, incredible, yet it's significant that you hold it to a minimum.</p><p></p><p>Now that you have an itemized rundown of points and thoughts, it's an ideal opportunity to get the chance to work! It may sound senseless, however let me mention to you what you have to do. You have to compose a couple of drafts of the paper. This is significant in light of the fact that it allows you to get input from other people.</p><p></p><p>After you've composed a few drafts, do a short-rundown of themes that you feel that most intently mirror your understudy's feelings. After you've chosen these points, plun k down and compose an example research paper that shows why every one of them is significant. Do this until you get an extraordinary draft of your understudy's paper, and afterward you can change it as needed.</p><p></p><p>These two stages to composing an examination paper will give you an incredible establishment to begin with. In the event that you follow these means, you'll have the option to compose a decent, strong examination paper with least struggle!</p>

Up in Arms About How to Quote Someone in a Research Paper?

<h1>Up in Arms About How to Quote Someone in a Research Paper? </h1> <h2> The War Against How to Quote Someone in a Research Paper</h2> <p>Correct all mistakes which you can spot and improve the general evaluation of the paper as well as could be expected. Just the work you've perused should appear in the reference list at the end of the work. Over the length of your scholastic profession, there'll be events when you need to cite the expressions of others in your composition. Remember that changing segments of your work in the act of composing and looking into is ordinary. </p> <h2> The Hidden Gem of How to Quote Someone in a Research Paper </h2> <p>In the end, on the off chance that you make an end for your exploration paper recollecting the previously mentioned focuses then you are definitely going to discover your perusers to get the focal points and gain so much from your examination. It's conceivable to likewise show how the finishes of your examination can play out a job for your perusers. You can describe about that, yet not contend and acquire research to gracefully appropriate proof to show your point. In the wake of perusing the postulation, there should be no uncertainty unequivocally what the exploration will be about. </p> <p>Whenever one person's exchange proceeds for longer than 1 section, it is basic to utilize quotes to start the discourse toward the start of each passage. Something else, possibly you've quite recently given a rundown as opposed to making a contention. The main point to comprehend about citing and designing is the point at which it is essential in a paper. Clarify quickly the key focuses you plan to cover in your paper and why perusers should be keen on your point. </p> <p>Know how your exposition will be assessed. Summarizing is each time an author utilizes her or his own words to pass on another person's thought in a paper. What's more, it informs t he essayist as to whether further research ought to be run regarding the matter. Research journalists every now and again wonder whether the absolute first individual can be used in scholastic and logical composition. </p> <p>After you've just chosen what point you will expound on, the accompanying thing you should focus on is the range of your paper or what you will be remembering for your conversation. In the event that an understudy might want to figure out how to make a postulation for an exploration paper, it's essential to get a general image of the entire procedure. While framing a postulation explanation for explore paper, he ought to have the whole work on hands to give a rundown of the fundamental thoughts in the significant proclamation. </p> <p>If you wish to acquire an idea from a creator, however needn't bother with her or his particular words, you should endeavor summarizing as opposed to citing. In case you're summarizing, you don't need to include citations. Much the same as any all-encompassing (indented) citation, don't utilize quotes in the event that you would prefer not to demonstrate a citation in your citation. Try not to utilize circles at the dispatch of a st atement. </p> <p>It's occasionally required to cite or cause reference to a work you to have not really perused yet just experienced in the activity of another. There are some who are acclimated with utilize another sort of composing style and organization, accordingly they probably won't think about it in detail. Along these lines, you must adjust the wording a piece. In case you're utilizing the exact wording, use quotes. </p> <p>Ensure to be refreshed with the best possible term utilization particularly when you're composing an exploration paper. Presently, APA style is broadly used. APA style was at first evolved in the schedule year 1929. </p> <p>An amazing framework is effectively the most noteworthy advance recorded as a hard copy a superb paper. As an extra tip, before accommodation, you should consistently peruse the most recent issues of a diary to get a superior sentiment of the editors' favored composing styles and shows. Not at all like in APA style, you don't have to gracefully the year the statement was written in the real body of your exposition, however you should do as such in an intensive references page at the base of your article. Instructions to create a perfect law paper. </p> <h2>The One Thing to Do for How to Quote Someone in a Research Paper </h2> <p>As you presumably definitely know, the hardest part is just to begin the paper. You have to recall that the entire statement should be indented inch from the left edge. </p> <p>Regardless of the character of your exploration, in case you're composing a paper a blueprint can push you to arrange your considerations, however also work as the layout for your entire paper. Title You should set the title of your paper in the website page. While illustrating your examination paper, you ought to have all your looked into materials within reach to guarantee that all sub-subjects aren't neglected. </p> <h2> How to Quote Someone in a Research Paper Explained </h2> <p>A examine paper comprises of an investigation that ordinarily begins with the development of an exploration paper layout. In the event that you've come up short on thoughts you can ask your partners on what they're doing the extent that where they're getting information as a bit of their exploration. Recognize an issue or a conversation that you have to investigate on. So as to begin laying out the examination paper, decide why you're looking into the subject. </p> <p>Research is a basic segment of any school program. Why not drop in today and let our team of specialists help you with your exploration papers. Research papers are fundamental for an understudy who might want to seek after higher level of study. Connections specialists from everywhere throughout the world. </p>

Cheap Research Paper Writing Service - Avoid Expensive Services!

<h1>Cheap Research Paper Writing Service - Avoid Expensive Services!</h1><p>There are numerous reasons why you should utilize an examination paper composing administration modest. For instance, you might act naturally utilized or telecommuting, out and about as a specialist, or utilized by a littler organization, maybe one with just a couple of workers. Every one of these circumstances calls for unexpected necessities in comparison to the others.</p><p></p><p>But, consider the possibility that you're a business who needs an exploration paper composing administration. On the off chance that you work in the physical sciences, where you frequently utilize refined programming that empowers you to examine and decipher your information, at that point maybe the cost of employing an analyst is not feasible. If so, a composing administration is likely the most ideal approach to go.</p><p></p><p>A composing administration is som ebody who has practical experience in logical composition. They can furnish you with enough data that you can without much of a stretch present your discoveries at an exploration class or departmental gathering, maybe related to another researcher. They will likewise do the greater part of the legwork for you, including gathering the crude information investigation to make the tables and diagrams that will make your discoveries clear.</p><p></p><p>But, in case you're independently employed and needing an examination paper composing administration, at that point you may have the option to set aside cash by taking out the requirement for outside administrations inside and out. You'll have to get some assistance so as to have your work assembled and afterward introduced for anybody to peruse. The essayist for recruit will do the truly difficult work and you can deal with the specialized stuff.</p><p></p><p>In request to get the most ideal outcomes when utilizing an exploration paper composing administration modest, it's imperative to take the effort to discover somebody with heaps of experience. In a perfect world, somebody who's been in the field for some time and has a lot of information about the sort of exploration you're doing. This will give you the most clearness and precision possible.</p><p></p><p>For model, you may utilize an examination paper composing administration modest to review your theoretical for a meeting you're hanging on the most recent advancements in the field of antimicrobial revelation. This should be possible generally rapidly in light of the fact that all the information is as of now close by. In any case, on the off chance that you've to investigate another compound for your profession way, or direct a comparative sort of examination, you'll likely need to go through weeks or months on your information assortment, understanding, and presentation.</p><p> ;</p><p>Then you'll have to get an analyst or two for extra an ideal opportunity to finish the work. For a certain something, your information assortment will require additional time than somebody in the field who is just gathering tests. In addition, your examination paper composing administration will likewise require time to explore the protein, accumulate tests, make the investigation, and set up your discoveries for publication.</p><p></p><p>So, in case you're independently employed and are trying to enlist an exploration paper composing administration modest, search for somebody who has a great deal of involvement in the particular field you're expounding on. It's similarly as significant that they are exceptionally able. What's more, on the off chance that they don't have it, discover somebody who does.</p>

How to Find Good Arguementative Essay Topics

<h1>How to Find Good Arguementative Essay Topics</h1><p>There are a few unique sorts of good pugnacious paper points that you can submit to get your contentions out into the world. You have to locate the best subject to address whatever the point might be. Some paper themes will work better for understudies in secondary school, school, or even an alumni program.</p><p></p><p>One approach to get a thought of what point is directly for you is to discover which neighborhood school has a perusing bunch that meets all the time. Thusly, you can discover what sorts of points they search for. This can assist you with selecting the best article theme for the reasons for contentious writing.</p><p></p><p>If you experience difficulty finding a nearby school, you can check online to perceive what points are accessible for use as paper subjects. By utilizing web crawlers, you can discover what themes are famous with various gatheri ngs. By taking a gander at the manner in which these points are recorded, you can get a thought of what sort of paper themes they might be looking for.</p><p></p><p>Once you have discovered a neighborhood school, it's critical to discover which of the perusing bunches is going to meet the subject that you need to expound on. This will give you a thought of what sort of understudies they are, and how much conversation they get. By getting a thought of the measure of conversation that goes on in the gathering, you would then be able to choose the best points that fit the general subject of your essay.</p><p></p><p>Once you have limited two or three themes, you would then be able to go to composing your paper. Remember that great pugnacious paper subjects expect you to establish a decent first connection, and you should do this by having the option to make your contention and give supporting data. When you get a thought of how the peruser s will peruse your exposition, you would then be able to keep on composing as though you were conversing with an audience who was not so much paying attention.</p><p></p><p>One approach to achieve this is to remember solid argumentation for your paper. The more help you can accommodate your contention, the almost certain the peruser will get persuaded by your contentions. These solid contentions and supporting proof will be an incredible method to show the peruser why you are the better choice.</p><p></p><p>By remembering solid contentions and supporting proof for your article, you will have the option to capitalize on the pugnacious paper themes that you pick. By ensuring that your contention is upheld up by solid contentions and supporting proof, you can improve your odds of winning the paper composing challenge. With the a wide range of sorts of good pugnacious exposition subjects that are accessible, recall that you ought to compos e the best contention that you can to win the contest.</p>

Responsibility for Tragedy in Othello and Macbeth - Literature Essay Samples

The tragedy in both Othello and Macbeth is found not so much in the scattering of bodies covering the stage at the end of each play, but instead in the degeneration of the plays respective protagonists. Men championed by Shakespeare at the beginning of the plays as valiant (I.iii.48, Othello) and noble (I.ii.67, Macbeth) emerge by the end as the blacker devil (V.ii.130, Othello) and a tyrant (V.viii.27, Macbeth). Shakespeare tracks the deterioration of these characters by presenting us with a number of different causes for the actions that eventually bring about the protagonists downfalls. Although both Othello and Macbeth have innate negative qualities that indubitably contribute to the erosion of their stability and moral character, these traits do not appear to be fully expressed before a number of malignant forces act upon the characters. These traits appear in the forms of other characters, and are the consequence of fatal misunderstandings and coincidences that arise out of dec eptive appearances. However, Shakespeare was in control of his texts at all times, and to suggest that the vicissitudes in these plays are mere coincidences denies this control. Indeed, the playwright indicates that all actions the characters and the disastrous confusion are controlled by a sort of malevolent divine force. This force appears to designate the outcome of events before they happen and then allows the characters to reach this destination principally through their own chosen actions, but also with some supernatural assistance. There are therefore a number of levels of responsibility in these plays while the protagonist may have inherently dangerous instincts that allow him to behave in a certain manner, a trigger in the form of other earthly influences is needed to spur him to such extreme measures. In addition, the implication is that Fate sets into motion and watches over each plays entire plot, stepping in where necessary to mushroom mere destruction into full-blow n tragedy.Shakespeare indicates a number of aspects of the protagonists personalities that, when exploited, contribute to their demise. In both plays, the playwright examines distorted notions of manhood and shows how these notions have acted as a destructive force on the characters. In Macbeth, Shakespeare links together the themes of masculinity and cruelty from the very first Act, where Lady Macbeth suggests that her womanhood impedes her from violence, spurning her feminine qualities and calling upon spirits to unsex her (I.v.40-1). She calls for these murthring ministers (48) to Come to my womans breasts, / And take my milk for gall (47-8), filling an image that is traditionally associated with the nurturing of infants with bitterness, and in doing so revealing that her own desire for evil has totally consumed her. This intense passage incites an almost inhuman passion in Lady Macbeth, and yet it is the effect on Macbeth of this supposed relationship between masculinity and vio lence that propels the rest of the plot. Lady Macbeths appeal to the spirits resounds distinctly with her fear that Macbeth will not have the strength of will to murder Duncan, utilising the same symbolism of femininity: Yet I do fear thy nature, / It is too full o th milk of human kindness (16-7). Later, she goads her husband by implicating his manhood in his failure to kill the King When you durst do it, then you were a man (I.vii.49) -and her sexual taunting compounds her admonishment as she likens Macbeths inability to complete the act of murder to an inability to perform the sexual act (35 ff.) In the face of such passionate castigation, Macbeths weak argument If we should fail? (59) only flounders in his inability to resist his wifes sexually-charged manipulation, and from this point onwards it is evident that Macbeth is slowly overcome by evil (in the following scene he has the guilt-inspired hallucination and murders Duncan). It is, however, interesting to note that the wom ans strength of will and evil essence eclipses that of the man; even though Lady Macbeth is trying to reject the traditional connotations of femininity, this only makes her appear all the more evil. Nevertheless, it is possible to see that this conceptual association between manhood and violence, does partly energise Macbeths actions: in Act III, scene i, he uses the same rhetorical tactics to persuade the murderers, Now if you have a station in the file, / Not I th worst rank of manhood, sayt (101-2).In Othello, Shakespeare presents similar notions of masculinitys ability to fuel jealousy, indicating that Othello expresses his manhood through military prowess, but that this tendency is incompatible with love. His address in Act I, scene iii about his military heroism is so descriptive and elaborate that it is clear that Othello enjoys telling stories of his valour and success in war. However, in Act II, the Turks are drowned News, lads! our wars are done (20) and with this eradi cation of the military opposition, the play quickly loses its political focus and becomes a domestic drama. It is evident that Othello himself is unable to function outside of a military capacity, and while he once survived by proving his manhood in public, it appears more difficult for him to do so in a private setting. The positive aspects of his personality, those that he previously used as a captain, are exploited and perverted by Iago, who channels them towards jealousy and revenge. For example, Othellos decisiveness is reduced to a tendency to quickly jump to conclusions with only circumstantial evidence. He rashly declares Shes gone (III.iii.267) before Iago has even produced the proof of the handkerchief, and thus we see how to be once in doubt / Is [once] to be resolvd (180); while judicious as a soldier, Othello is foolish as a lover. In addition, his clear focus on a task morphs into a narrowness of opinion that prompts him to dismiss Emilias worthy evidence in Act IV, sc ene ii; he rejects the evidence as dishonest because it does not align with his pre-conceived views. Furthermore, Othellos recognition of his justified high status and reputation is transformed into an unhealthy self-obsession and paranoia, leading to the developments in Act III, scene iv, which transpire even without even the assistance of Iago. While he sets the turmoil in motion by planting the handkerchief, the stichomythic screaming match of lines 75-98 is prompted by Othellos obsessive fixation on the gift he gave Desdemona. His forced triple repetition of The handkerchief! indicates once again that Othello still regards Desdemona as a military problem to be solved in the army to lose an important object may well be regarded are sedition and not as his new wife. His confusion between his rÃÆ'Â ´le as a military man and as a husband is also evident in Act III, scene iii, when he forms his rage and grief about Desdemonas supposed infidelity into an extended military metaphor . His farewell declarations to The spirit-stirring drum, th ear-piercing fife, / The royal banner are to both his military life and to Desdemona, and the passion of the military vocabulary combines with the anaphora to emphasise his confusion between his dual roles of soldier and lover.However, Othello is clearly different from Leontes in The Winters Tale; his jealousy is so deeply ingrained and ravaging that it needs no-one elses suggestion to prompt an unprovoked, violent reaction. In comparing the causes of action in Othello and Macbeth, it is perhaps fair to assert that Iago and Macbeth are the most similar, as they are the characters who are most obsessed with power. Macbeths vaulting ambition (I.vii.27) immediately comes to bear when the Weird Sisters deliver their prophecy, and Shakespeare tracks Macbeths descent into tragedy from that point onwards. Banquo says that his friend is rapt (I.iii.142) and that his trance-like state is evident in his speech: My thought, whose mur ther is but fantastical,Shakes so my single state of man that functionIs smotherd in surmise, and nothing isBut what is not. (I.iii.139-142)It seems that these horrible imaginings (138) are already beginning to consume his person, and with the steadily increasing death count that follows due to Macbeths determination to permit nobody to stand in between him and the crown; it is easy to see how his ambition leads to his tragedy. However, Macbeths obsessive desire to be king is unlike Iagos desire for power and his subsequent malicious actions. Of course, Iago does have a number of minor grievances against Othello and Cassio he desires revenge for Othellos decision to make Cassio his lieutenant over him, and, since Cassio was probably promoted on the basis of class, Iago resents those characters who mock him as a lower-class ensign:Let it not gall your patience, good Iago,That I extend my manners; tis my breedingThat gives me this bold show of courtesy. (Cassio, II.i.97-9)However, ev en the money with which Roderigo is bribing him and his suspicions that Othello has slept with Emilia (II.i.95) are by no means the primary motivators behind Iagos malevolence and hunger for power. Iagos degenerate world-view of men as debauched animals leads him to believe that anything that contradicts with this concept must be conquered and suppressed. This is evident in his frequent use of vulgar, animalistic vocabulary:Were they as prime as goats, as hot as monkeys,As salt as wolves in pride, and fools as grossAs ignorance made drunk. (III.iii.403-5)This gross description is demonstrative Iagos inability to perceive the beauty of man or of love, and subsequent incapability of tolerating anything that seems to rise above depravity. His opinion that love is merely a lust of the blood and a permission of the will and further instruction to Roderigo to Come, be a man! (I.iii.334-5) unite his cynicism with a rather twisted view of manhood that forbids him to fall in love. He hath a daily beauty in his life / That makes my ugly Iago says of Cassio (V.i.19-20), emphasising again his cynicism and hatred of beauty, out of which his plan to destroy Othello rises. Another of Iagos animalistic, bestial images, his description of Othello and Desdemona as the beast with two backs (I.i.115), reveals another of Iagos perverse obsessions: he not only totally despises love, but seems fixated on sex, and desires power even over Othellos private sex life. Showing an unhealthy attention to sexual detail in his closely observed speech (for example in terms like bride and groom / Devesting them for bed) (II.iii.180-1), Iago also constantly interrupts Othellos conjugal efforts. There is also a suggestion of a homosexual attraction to Othello: more than once, Iago tells Othello that he loves him (e.g. III.iii.116), and it seems possible that such an attraction might prompt a resentment of Desdemona, and a desire to have power even over their happiness.Like Iagos manipulation, M acbeths violence also transcends his ambition. While Lady Macbeth becomes less potent in her ambition and ability to influence him, as soon as he commits Duncans murder, Macbeth is stained with an evil that goes beyond anything that he possessed beforehand. His torment that he could not say Amen, / When they did say God bless us' (II.ii.26-7) symbolises his subsequent damnation, which sets in and becomes a habit. In Act iii, scene ii, he indicates his impossible position I am in blood / Steppd in so far that, should I wade no more, / Returning were as tedious as go oer (III.iv.135-7). This is later supported by his redundant and merciless murder of Macduffs wife and child, the effect being Macbeths eventual failure to find any meaning in life. When the message arrives that his wife has died, he responds with nothing but numb indifference: She should have died hereafter (V.v.17). This strangely muted response quickly transforms into utterly nihilistic despair. In To-morrow, and to-m orrow, and to-morrow, / Creeps in this petty pace from day to day (19), Macbeths forceful triple repetition emphasises his hopelessness. However, It is a tale / Told by an idiot, full of sound and fury, / Signifying nothing (26-8) not only indicates Macbeths view of the meaningless of life, but also reveals his desire to somehow justify the crimes he knows were so heinously unnecessary. Deception is a prolonged cause of action in both plays. Duncans fateful error in thinking Theres no art / To find a minds construction in the face (I.iv.11-2) is made all the more ironic by the frequent references to false impressions. Lady Macbeth chastises Macbeth for doing exactly this: Your face, my thane, is as a book, where men / May read strange matters (I.v.61-2). Her order to look like th innocent flower, / But be the serpent under it (64-5) draws on the image of Satan, the deceiver, in Genesis, highlighting to the audience the way deception will be a contributing factor in the trajectory o f terror. The frequent allusions to darkness metaphorically covering truth contribute to this idea. Macbeth says Stars, hide your fires, / Let not light see my black and deep desires (I.iv.50-1), which is soon reiterated by Lady Macbeth. Come, thick night, / And pall thee in the dunnest smoke of hell (I.v.50-1) does not simply enhance the sinister atmosphere of mystery, but is particularly interesting because Lady Macbeth goes on to announce, keen knife see not the wound it makes (52). From this, we infer that she wishes to even shelter herself from the truth of her deeds. Macbeth says The eye wink at the hand; yet that be / Which the eye fears, when it is done, to see (53-4): this seems to be an allusion to Pauls first letter to the Corinthians, in which he calls for unity in the early Church, an institution characterised by the fact that every member (every part of the body) is open to each of the others: And the eye cannot say unto the hand, I have no neede of thee. Twisting the words of Saint Paul, Macbeths words are also significant in that the hand is the performer of action, the executer of the murder, whilst the eye shows Macbeths desire to himself be deceived about the reality of his actions. Just as Macbeths denial of reality spurs him on towards his impending doom, so does deception in Othello consign the protagonists ruin. Iagos duplicity is shrouded from all of the other characters, and the multiple ironic references (such as honest Iago (II.iii.335), You advise me well (II.iii.325) and I never knew a Florentine more kind and honest (III.i.40)) emphasise his adroit dishonesty. However, the less obvious but arguably more interesting illusion that traps Othello is that of the place itself. Cyprus, although still under Venetian law, was situated outside of Venice itself, and was thus a territory outside of the immediate control of the state. In the first act of Othello, the cast is sent to Cyprus on a matter of state, but it is possible to argue t hat by sending the main cast away to the island, Shakespeare is parodying the pastoral ideal. This concept is frequently found in his comedies when a company is placed in a (usually) forest scene devoid of social norms. There, they must undergo some sort of education in order to return to the urban sphere by the end of the play. However, in Othello, when the Turkish threat is quelled the island begins to lose its Venetian connections and political significance, and with celebratory revelries and drunken brawls it soon becomes clear that the island initially resembling, for example, Illyria, is far from benign. The plot of Othello also parodies some of Shakespeares comedies, as it is full of misinterpretation. However, while in the comedies the deception and confusion fade away by the end of play (which usually concludes in marriage), in this case the play finishes with the deaths of Othello and Desdemona, their marriage having barely been consummated. Cyprus is therefore a trap: it seems to be a place of new beginnings, separated from the trouble with Brabantio, but in fact it is not completely disconnected from Venice. When Lodovico arrives and highlights the change that has taken place in Othello, we are reminded of this. Othello seems to act as if Cyprus is the pastoral setting devoid of social rules that we see so often in Shakespeares comedies, but the characters in Othello soon begin to re-emanate and imprison anyone crossing them; the faÃÆ'Â §ade is deceptive. However, it is arguably the presence of some divine force, such as Fate, that predetermines at least the outcome of events in these plays. This is quite obvious in Macbeth, and slightly less so in Othello. This classical idea of the principle, power, or agency by which, according to certain philosophical and popular systems of belief, all events, or some events in particular, are unalterably predetermined from eternity is clearly evident in Macbeth, and the question of the true identity of t he witches haunts the play throughout. Shakespeare suggests that they the may be sinister, independent figures, harnessing supernatural forces for their cruel desires, or perhaps agents of fate itself. They bear a striking resemblance to the Ancient Greek and Norse Fates, and the etymological origin of weÃÆ'Â ¯rd is the Anglo-Saxon wyrd, meaning fate. Certainly, the witches inscrutability, beyond the bounds of human comprehension, not only adds an atmosphere of dark mystery to the play, but more importantly indicates a sort of divine justice or order that is being exerted over Macbeth and his world. Macduff was unaware of the witches prophecies, but his part was fulfilled nonetheless; indeed, it seems almost as though the prophecies were actually designed to wreak so much havoc on Macbeth that he himself would cause them to become self-fulfilling. Macbeths rash complacence due to his belief in his invincibility is what fulfills the witches malevolent scheme it is his foolishness that contributes to his downfall. In contrast, in Othello, the indications of a divine presence are far less obvious. The irony of Othellos cry just before he kills Desdemona of you chaste stars, / It is that cause (V.ii.2-3) is highlighted by the final scenes bedroom setting, since Othello and Desdemona spent a great deal of the play attempting to leave the stage to consummate their marriage. However, despite references to fate, it does not quite seem as though the individual events in Othello were set down in stone from the beginning of the play. Instead, the playwrights implication is that while the conclusion may or may not have been predetermined, the characters are acting primarily under their own control, or are being controlled by others. There are, however, a number of biblical references in Othello that hint at the inevitability of a tragic outcome. At the beginning of the play, Othello is implicitly compared to Christ when the officers come with burning torches to collec t him, just as was done to Christ (described in John 18:3). Furthermore, Othello echoes Christ when he quietly stalls the fight, telling them to Keep up your bright swords (I.ii.59). Later, Shakespeare directly references the time when Jesus asks Simon Peter three times if he loves him in order to atone for the three times he denied him. Peter answers, Yea Lord, thou knowest that I love thee. Othello asks Iago If thou dost love me, / Show me thy thought, to which Iago answers, My lord, you know I love you (III.iii.115-7). By alluding to the moment when Christ was arrested, and later referencing the period following the Resurrection, Shakespeare compares the two figures in an ironic fashion. The Old Testament prophets foretelling of Christs coming and of his sacrifice draws the audiences attention to the destiny that Othello will share; but while Christ came to bring redemption and salvation, Othellos suicide thrusts him poignantly and ironically into the darkest tragedy. However, a paradigm shift occurs when Desdemona begins to emerge as the Christ-like character: her unflagging love for Othello (despite his abuse of her) clearly mirrors Christs love for the Church:My love doth so approve him,That even his stubbornness, he checks, his frownshave grace and favour [in them] (IV.iii.19-20)This comparison to Christ, coupled with Desdemonas request that if she dies, Emilia might use her wedding sheets as her shroud, both foreshadow her impending death. By the end of the play, Othello has been compared to the devil, as well as to Judas, the betrayer of Christ: in the First Folio he pronounces himself Judean. It is as though his fate has finally been realised when he uses the vocabulary of Revelation in his pleading for eternal damnation:Whip me, ye devils,From the possession of this heavenly sight!Bow me about in winds! roast me in sulphur!Wash me in steep-down gulfs of liquid fire! (V.ii.277-81)Spiritual allusion in Othello is more than just clever intertextuality of character comparisons. It tracks the divine state of Othello and Desdemona in particular, with implications of a spiritual force that is being exerted over them. The audience is certainly reminded of Faust, who was tempted by Mephistophiles but secured his own fate, and cried out hysterically as the devils dragged him down to hell. Ultimately, there are a number of causal factors behind the tragedies of Othello and Macbeth, and thus a number of different levels of culpability. Characters simultaneously act out of their own free will, under the control of others (Iago and Lady Macbeth), and under the control of divine forces, or Fate. Shakespeare indicates in the absence of any one of these factors, the conclusions to each tale might have been far different. What seems obvious to the audience is obscured from the characters, and so tragedy creeps up on both Othello and Macbeth so gradually and deviously that it consumes them even before they are aware of its presence. Shakespeare indicates a number of aspects of the protagonists personalities that, when exploited, contribute to their demise. In both plays, the playwright examines distorted notions of manhood and shows how these notions have acted as a destructive force on the characters. In Macbeth, Shakespeare links together the themes of masculinity and cruelty from the very first Act, where Lady Macbeth suggests that her womanhood impedes her from violence, spurning her feminine qualities and calling upon spirits to unsex her (I.v.40-1). She calls for these murthring ministers (48) to Come to my womans breasts, / And take my milk for gall (47-8), filling an image that is traditionally associated with the nurturing of infants with bitterness, and in doing so revealing that her own desire for evil has totally consumed her. This intense passage incites an almost inhuman passion in Lady Macbeth, and yet it is the effect on Macbeth of this supposed relationship between masculinity and violence that propels th e rest of the plot. Lady Macbeths appeal to the spirits resounds distinctly with her fear that Macbeth will not have the strength of will to murder Duncan, utilising the same symbolism of femininity: Yet I do fear thy nature, / It is too full o th milk of human kindness (16-7). Later, she goads her husband by implicating his manhood in his failure to kill the King When you durst do it, then you were a man (I.vii.49) -and her sexual taunting compounds her admonishment as she likens Macbeths inability to complete the act of murder to an inability to perform the sexual act (35 ff.) In the face of such passionate castigation, Macbeths weak argument If we should fail? (59) only flounders in his inability to resist his wifes sexually-charged manipulation, and from this point onwards it is evident that Macbeth is slowly overcome by evil (in the following scene he has the guilt-inspired hallucination and murders Duncan). It is, however, interesting to note that the womans strength of will and evil essence eclipses that of the man; even though Lady Macbeth is trying to reject the traditional connotations of femininity, this only makes her appear all the more evil. Nevertheless, it is possible to see that this conceptual association between manhood and violence, does partly energise Macbeths actions: in Act III, scene i, he uses the same rhetorical tactics to persuade the murderers, Now if you have a station in the file, / Not I th worst rank of manhood, sayt (101-2).In Othello, Shakespeare presents similar notions of masculinitys ability to fuel jealousy, indicating that Othello expresses his manhood through military prowess, but that this tendency is incompatible with love. His address in Act I, scene iii about his military heroism is so descriptive and elaborate that it is clear that Othello enjoys telling stories of his valour and success in war. However, in Act II, the Turks are drowned News, lads! our wars are done (20) and with this eradication of the militar y opposition, the play quickly loses its political focus and becomes a domestic drama. It is evident that Othello himself is unable to function outside of a military capacity, and while he once survived by proving his manhood in public, it appears more difficult for him to do so in a private setting. The positive aspects of his personality, those that he previously used as a captain, are exploited and perverted by Iago, who channels them towards jealousy and revenge. For example, Othellos decisiveness is reduced to a tendency to quickly jump to conclusions with only circumstantial evidence. He rashly declares Shes gone (III.iii.267) before Iago has even produced the proof of the handkerchief, and thus we see how to be once in doubt / Is [once] to be resolvd (180); while judicious as a soldier, Othello is foolish as a lover. In addition, his clear focus on a task morphs into a narrowness of opinion that prompts him to dismiss Emilias worthy evidence in Act IV, scene ii; he rejects th e evidence as dishonest because it does not align with his pre-conceived views. Furthermore, Othellos recognition of his justified high status and reputation is transformed into an unhealthy self-obsession and paranoia, leading to the developments in Act III, scene iv, which transpire even without even the assistance of Iago. While he sets the turmoil in motion by planting the handkerchief, the stichomythic screaming match of lines 75-98 is prompted by Othellos obsessive fixation on the gift he gave Desdemona. His forced triple repetition of The handkerchief! indicates once again that Othello still regards Desdemona as a military problem to be solved in the army to lose an important object may well be regarded are sedition and not as his new wife. His confusion between his rÃÆ'Â ´le as a military man and as a husband is also evident in Act III, scene iii, when he forms his rage and grief about Desdemonas supposed infidelity into an extended military metaphor. His farewell declar ations to The spirit-stirring drum, th ear-piercing fife, / The royal banner are to both his military life and to Desdemona, and the passion of the military vocabulary combines with the anaphora to emphasise his confusion between his dual roles of soldier and lover.However, Othello is clearly different from Leontes in The Winters Tale; his jealousy is so deeply ingrained and ravaging that it needs no-one elses suggestion to prompt an unprovoked, violent reaction. In comparing the causes of action in Othello and Macbeth, it is perhaps fair to assert that Iago and Macbeth are the most similar, as they are the characters who are most obsessed with power. Macbeths vaulting ambition (I.vii.27) immediately comes to bear when the Weird Sisters deliver their prophecy, and Shakespeare tracks Macbeths descent into tragedy from that point onwards. Banquo says that his friend is rapt (I.iii.142) and that his trance-like state is evident in his speech: My thought, whose murther is but fantastic al,Shakes so my single state of man that functionIs smotherd in surmise, and nothing isBut what is not. (I.iii.139-142)It seems that these horrible imaginings (138) are already beginning to consume his person, and with the steadily increasing death count that follows due to Macbeths determination to permit nobody to stand in between him and the crown; it is easy to see how his ambition leads to his tragedy. However, Macbeths obsessive desire to be king is unlike Iagos desire for power and his subsequent malicious actions. Of course, Iago does have a number of minor grievances against Othello and Cassio he desires revenge for Othellos decision to make Cassio his lieutenant over him, and, since Cassio was probably promoted on the basis of class, Iago resents those characters who mock him as a lower-class ensign:Let it not gall your patience, good Iago,That I extend my manners; tis my breedingThat gives me this bold show of courtesy. (Cassio, II.i.97-9)However, even the money with whi ch Roderigo is bribing him and his suspicions that Othello has slept with Emilia (II.i.95) are by no means the primary motivators behind Iagos malevolence and hunger for power. Iagos degenerate world-view of men as debauched animals leads him to believe that anything that contradicts with this concept must be conquered and suppressed. This is evident in his frequent use of vulgar, animalistic vocabulary:Were they as prime as goats, as hot as monkeys,As salt as wolves in pride, and fools as grossAs ignorance made drunk. (III.iii.403-5)This gross description is demonstrative Iagos inability to perceive the beauty of man or of love, and subsequent incapability of tolerating anything that seems to rise above depravity. His opinion that love is merely a lust of the blood and a permission of the will and further instruction to Roderigo to Come, be a man! (I.iii.334-5) unite his cynicism with a rather twisted view of manhood that forbids him to fall in love. He hath a daily beauty in his life / That makes my ugly Iago says of Cassio (V.i.19-20), emphasising again his cynicism and hatred of beauty, out of which his plan to destroy Othello rises. Another of Iagos animalistic, bestial images, his description of Othello and Desdemona as the beast with two backs (I.i.115), reveals another of Iagos perverse obsessions: he not only totally despises love, but seems fixated on sex, and desires power even over Othellos private sex life. Showing an unhealthy attention to sexual detail in his closely observed speech (for example in terms like bride and groom / Devesting them for bed) (II.iii.180-1), Iago also constantly interrupts Othellos conjugal efforts. There is also a suggestion of a homosexual attraction to Othello: more than once, Iago tells Othello that he loves him (e.g. III.iii.116), and it seems possible that such an attraction might prompt a resentment of Desdemona, and a desire to have power even over their happiness.Like Iagos manipulation, Macbeths violence also transcends his ambition, as it takes on other causes to propel it. Whilst Lady Macbeth becomes less potent in her ambition and malign influence on him, as soon as he commits Duncans murder, Macbeth is stained with an evil that goes beyond anything that he possessed beforehand. His torment that he could not say Amen, / When they did say God bless us (II.ii.26-7) symbolises his subsequent damnation, which sets in and becomes to Macbeth a habit. In Act iii, scene ii, he indicates his impossible position I am in blood / Steppd in so far that, should I wade no more, / Returning were as tedious as go oer (III.iv.135-7). This is later supported by his redundant and merciless murder of Macduffs wife and child, the effect being Macbeths eventual failure to find any meaning in life. When the message arrives that his wife has died, he responds with nothing but numb indifference She should have died hereafter (V.v.17) this strangely muted response segueing into utter nihilistic despair . In To-morrow, and to-morrow, and to-morrow, / Creeps in this petty pace from day to day (19), Macbeths forceful triple repetition emphasises his hopelessness. However, It is a tale / Told by an idiot, full of sound and fury, / Signifying nothing (26-8) not only indicates Macbeths view of the meaningless of life, but also his attempt to somehow justify the crimes he knows were so heinously unnecessary. Deception is a prolonged cause of action in both plays. Duncans fateful error in thinking Theres no art / To find a minds construction in the face (I.iv.11-2) is made all the more ironic by the frequent references to false impressions Lady Macbeth chastises Macbeth for doing exactly this Your face, my thane, is as a book, where men / May read strange matters (I.v.61-2). Her order to look like th innocent flower, / But be the serpent under it (64-5) draws on the image of Satan, the deceiver, in Genesis, highlighting to the audience the way deception will be a contributing facto r in the trajectory of terror Macbeth traces. The frequent allusions to darkness metaphorically covering truth contribute to this. Macbeth says Stars, hide your fires, / Let not light see my black and deep desires (I.iv.50-1), which is soon reiterated by Lady Macbeth. Come, thick night, / And pall thee in the dunnest smoke of hell (I.v.50-1) does not simply enhance the sinister atmosphere of mystery, but is particularly interesting in the way she continues. Lady Macbeth desires that her keen knife see not the wound it makes (52), and from this we infer that she wishes to even shelter herself from the truth of her deeds. Macbeth says The eye wink at the hand; yet that be / Which the eye fears, when it is done, to see (53-4). This seems to be an allusion to Pauls first letter to the Corinthians, in which he calls for unity in the early church, a church characterised by every member (every part of the body) being open with each of the others: And the eye cannot say vnto the hand , I haue no neede of thee . Twisting the words of Saint Paul, Macbeths words are also significant in that the hand is the performer of action, the executer of the murder, whilst the eye shows Macbeths desire to himself be deceived of what he is doing. Just as Macbeths denial of reality spurs him on towards his impending doom, so does deception in Othello consign the protagonists ruin. Iagos duplicity is shrouded from all the characters, and the multiple dramatically ironic references such as honest Iago (II.iii.335), You advise me well (II.iii.325) and I never knew a Florentine more kind and honest (III.i.40) emphasise his adroit dishonesty. However, the less obvious but arguable more interesting illusion that traps Othello is that of the place itself. Cyprus, although still under Venetian law, was situated outside Venice itself and so was a territory outside the immediate government of the state. In the first act of Othello, the cast is sent to Cyprus on a matter of state, but it is possible to argue that by sending the main cast away to the island, Shakespeare is parodying the idea of pastoral. This concept he used in his comedies to some extent when a company is sent into a (usually) forest scene devoid of social norms in order that they undergo some sort of education to take back to urbanity at the end of the play. However, in Othello, when the Turkish threat is quelled the island begins to lose its Venetian connections and political significance, and with celebratory revelries and drunken brawls it soon becomes clear that the island initially resembling, for example, Illyria, is far from benign. The plot of Othello also to some extent parodies that of some of Shakespeares comedies, full of misinterpretation. However, whilst in the comedies the deception and confusion fade away at the end of play (usually concluding in marriage), in this case the play finishes with the deaths of Othello and Desdemona, their marriage barely consummated. Cyprus is therefore a trap it seems to be a place of new beginnings, away from the trouble with Brabantio, but in fact it is not completely disconnected with Venice, and when Lodovico arrives and highlights the change in Othello, we are reminded of this. Othello seems to act as if Cyprus were the pastoral setting devoid of social rules that we see in Shakespeares comedies, but they soon begin to re-emanate and imprison anyone crossing them; the faÃÆ'Â §ade is deceptive. However, it is arguably the presence of some divine force, such as Fate, that predetermines at least the outcome of events in these plays, quite obviously in Macbeth, though less so in Othello. This classical idea of the principle, power, or agency by which, according to certain philosophical and popular systems of belief, all events, or some events in particular, are unalterably predetermined from eternity is clearly evident in Macbeth, and the question of the true identity of witches haunts the play throughout. The suggestions are that they the may be sinister independent figures, harnessing supernatural forces for cruelty, or alternatively they may be agents of fate themselves. They bear striking resemblance to the Ancient Greek and Norse Fates, and the etymological origin of weÃÆ'Â ¯rd is the Anglo-Saxon wyrd, meaning fate. Certainly, the witches inscrutability, beyond the bounds of human comprehension, not only adds an atmosphere of dark mystery to the play, but more importantly indicates a sort of divine justice or order exerted upon Macbeth and his world. Macduff was unaware of the witches prophecies but still his part was fulfilled, and it seems the prophecies were actually designed to wreak so much havoc on Macbeth, that he himself would cause them to be self-fulfilling. Macbeths rash complacence due to his belief in his invincibility is what fulfils the witches malevolent scheme it is a foolishness that contributes to his downfall. In contrast, in Othello, indications of a divine presence are far less obvious. Othellos cry just before he kills Desdemona of you chaste stars, / It is that cause (V.ii.2-3) is highlighted as even more ironic by the final scenes bedroom setting, since Othello and Desdemona spent a lot of the play attempting to leave the stage to consummate their marriage. However, despite references to fate, it does not quite seem as if individual events in Othello were set down in stone from the beginning of the play. Instead, the playwrights implication is that whilst the conclusion may or may not have been predetermined, characters act primarily under their own control or the control of others. There are, however, a number of biblical references in Othello that imply that Othellos outcome will inevitably be one of tragedy, however that may come to pass. At the beginning of the play, Othello is implicitly compared to Christ when the officers come with burning torches to collect him, just as was done to Christ (described in John 18:3 ). Furthermore, Othello echoes Christ when he quietly stalls the fight, telling them to Keep up your bright swords (I.ii.59) and later, Shakespeare makes direct reference to the time when Jesus asks Simon Peter three time if he loves him in order to atone for the three times he denied him, Peter answering Yea Lord, thou knowest that I loue thee. Othello asks Iago If thou dost love me, / Show me thy thought, Iago answering, My lord, you know I love you (III.iii.115-7). By alluding to the moment when Christ was arrested, and later referencing the time after the Resurrection, Shakespeare compares the two figures ironically. The Old Testament prophets foretelling of Christs coming and of his sacrifice draws the audiences attention to the destiny that Othello will also have; but whilst Christ came to bring redemption and salvation, Othellos suicide is thrust poignantly and ironically into darkest tragedy. However, a paradigm shift occurs when Desdemona begins to emerge as the Chri st-like character. Her continual love for Othello despite his abuse of her clearly mirrors Christs love for the church:My love doth so approve him,That even his stubbornness, he checks, his frownshave grace and favour [in them] (IV.iii.19-20)This comparison with Christ, coupled with Desdemonas request that if she dies, Emilia might use her wedding sheets as her shroud, both indicate her impending death. By the end of the play, Othello is compared to the devil, as well as to Judas, the betrayer of Christ when (in the First Folio) he pronounces himself Judean. It is as if his fate has finally been realised when he uses the vocabulary of Revelation in his pleading for eternal damnation:Whip me, ye devils,From the possession of this heavenly sight!Bow me about in winds! roast me in sulphur!Wash mw in steep-down gulfs of liquid fire! (V.ii.277-81)Spiritual allusion in Othello is more than just clever intertextuality of character comparisons. It tracks the divine state of Othello and Desdemona in particular, with implications of a spiritual force exerted upon them, partly through Iago as the enactor of this. The audience is certainly reminded of Faust, tempted by Mephistophiles, but securing his own fate and in the final hysterically crying out as devils drag him down to hell. Ultimately, there are a number of causal factors behind the tragedy in Othello and Macbeth, a thus a number of different levels of culpability apparent. Characters simultaneously act in their own free will, under the control of others (Iago and Lady Macbeth), and under the control of divine forces, or Fate. Shakespeare indicates that without any one of these factors, the conclusion would at least not have been effected in quite the same way. What seems obvious to the audience is obscured from the characters, and so tragedy creeps up on both Othello and Macbeth so unsuspectingly that it consumes them even before they are aware.