How does Shakespeare use the arras device for particular effect Essay Example For Students

How does Shakespeare use the arras device for particular effect? Essay Throughout his plays Shakespeare weaves the arras device skilfully into his plots shaping the characters involved, the genre, and the outcome of the tale. The arras technique was frequently used during Elizabethan times for dramatic effect and to emphasising the theatrical theme; it is still commonly practiced to this day. The literal definition for an arras is a wall-hanging, however, the purpose is concealment, meaning that an arras can take many forms both physical and metaphorical. Shakespeare uses the device to develop characterisation and to exaggerate comedy, betrayal and dramatic irony. The use of the arras for different effect is used in all the Shakespearean plays I have studied. The traditional form of an arras was a wall hanging or tapestry hiding an individual from the other characters. This barrier would permit a person to hide from another, allowing the person hiding to listen, concealed, to what the other person was saying or doing. Shakespeare uses this method in Cymbeline, when Iachimo is unwittingly taken into Imogens chamber To the trunk again, and shut the spring of it. Iachimo hides in the trunk, because he wants his presence to be secret, he knows the trunk will be taken to Imogens room so manages to pass by her guards and maids unseen. When Imogens maid enters her rooms she immediately asks Whos there? my woman Helen? This method is repeatedly applied in The Merry Wives of Windsor, when Falstaff hides from mistress Page and when he is carried out of Mistress Fords house in a laundry basket covered in dirty washing, unknown by Mr Ford, who is angrily searching for him. Once again this character hides in a moving arras, and passes right under the person they are hiding froms nose. Shakespeare can use this form of the physical arras to display and enhance humour and tragedy and in all of the plays I have studied this technique has occurred. However, the play that is the most dependent on the arras shaping the genre is The Merry Wives of Windsor, where the comedy solely relies on the humour being formed when Falstaff tries unsuccessfully to use the arras device. Falstaff believes he is tricking the two mistresses Ford and Page playing them both, this is shown when he is trying to woo Mistress Ford I love thee; none but thee, but suddenly Mistress Page appears and he is forced to hide. Hidden behind a wall hanging he believes that Mistress Page has no idea of his presence, when ironically the whole situation has been previously planned by the two women Mistress Page, remember your cue. This means that when Falstaffs confidence shines through it is comical for the audience who, through dramatic irony know what he does not; that in fact he is the one being played. To add further humour to his arrogance the director could have made him poorly hidden with his round stomach giving him away. Shakespeare continues this theme of comedy when Falstaff has to be hidden once again, but this time from Ford who knows not of the trickery devised by the two wives. Falstaff has to allow himself to be buried underneath a dirty pile of washing in a laundry and later dumped into a muddy brook, when trying to escape Fords resentful search. Humour is displayed when Falstaff tries to use the two different arrases but finds difficulty with his large size; Hes too big to go in there. A physical arras, whos purpose is to achieve trickery, is also used four times in Much to do about nothing. The first two arrases are of the same style and are intended to have the same effect; to be overheard. It first occurs when Don Pedro, Leonato and Claudio manage to trick Benedict into believing that Beatrice loves him. This trap is carefully schemed and rehearsed by the two characters. The scene begins in the orchard with Benedicks monologue where the audience is told of his complaints of love. He wonders if he will ever marry May I be so converted and see with these eyes? I cannot tell; I think not and how till all graces be in one woman, one woman shall not come in my grace. However, the audience has been previously been informed of his friends plan and here dramatic irony occurs. The trickery starts with Don Pedro asking See you where Benedick hath hid himself? talking of the arras Benedick thinks he is well hidden behind, a box hedge, and this is obviously not intended to be over heard. However, he goes on to say you told me of Many times a playwright EssayA style of the arras devise that is used a lot less frequently in Shakespeare plays, but still causes great dramatic effect is a metaphoric arras, shown in Hamlet Much to do about nothing and in Cymbeline. A metaphorical arras devise arises into the plot of Hamlet helping to further sculpture the genre and end result. The arras that Hamlet seems to shelter behind in some parts of the play is madness that causes confusion amongst the other characters and amongst the audience. At the beginning of the play the audience is made to assume that madness is an act covering Hamlets real intentions, but as the play continues the madness seems to merge into the character of Hamlet, leaving the audience puzzled about if his actions are actually intended. The bewilderment cause by the arras shows the layering and entwining of different tales that makes this play even more complex. Another metaphorical arras devised to create tragedy is shown near the end of Much To Do About Nothing, when a small number of characters, including Hero, fake Heros own death. However, this devise is shown clearly to be intentional and this was succeed by Heros disappearance from public. This arras allowed Heros innocence to be proven without any further embarrassment for her and for Claudios love guilt to be revealed For this I owe you: here comes other reckonings here it seems as though Claudio takes full blame for the death of Hero causing his actions to be filled with guilt. The arras devise can also be the foundation of the audiences feelings towards certain characters, the audiences feelings about a certain character can be shaped by the use of the arras and this is shown in Shakespeares play Cymbeline. Spectators views towards Iachimo are affected by his unwanted, unknown presence and how venerable Imogen is lying completely oblivious in her bed. He seems to take advantage of her defencelessness by using the arras of sleep to be somewhat controlling and creepy which could easily unnerve the audience. Although this form of arras is not literal and is not an object which conceals him, it is in some ways even more affective in portraying the true characteristics of Iachimo. Viewers of the play, I believe, would feel uneasy about Iachimos next actions after his comment Our Tarquin thus did softly press the rushes, ere he wakend the chastity he wounded. This would be because Iachimo seems to take pride in comparing himself to Tarquin a well known story in Elizabethan times. From the tiny glimpse of Shakespearean plays I have studied I have seen continuous occurrences of the arras devise, where it has been used in many different ways to cause many different effects. In all the arrases that occurred the purpose accomplished, while highlighting and exaggerating dramatic effect. The devise plays a very important part in all the plays, and I do truly believe that the arras devise greatly affects the outcome of the play.