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What is the role of iago in the book othello
The tragedy of othello the moor of venice critical analysis
The tragedy of othello the moor of venice critical analysis
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Iago as the Hero of Othello A Shakespearean play always includes a typical villain character. He is boisterous, egotistical, sometimes witty, and all too eager to seek revenge. In William Shakespeare Othello, Iago is the well-liked, trusted, and brave ensign of the great Venetian general Othello, or so it appears. Iago actually possesses all of the typical villainous qualities, however Iago conducts himself with great composure, and by manipulating his counterparts, he makes people believe he is on their side. I find this characteristic to be a very intriguing one that is not easy to perform. It is perhaps Iago's villainous actions throughout this play that lead me to believe that he is the hero rather than the typical villain. In the first scene of the play, we learn that Iago is jealous of Cassio because he has just received the rank of lieutenant, which Iago was expecting to receive. It is also obvious to the reader that Iago is contemptous of Othello who granted Cassio such a high ranking. From this point on Iago is able to It is from this scene on that Iago uses his brilliance to capture the attention of the people, both onstage and off. In order to do this Iago begins by informing the Moor that his new father-in-law has found out about his new relationship to Othello, and in turn he is very angry. However, a scene earlier Iago is the one who skillfully informs Barbantio that his daughter has run off with the Moor, but he did not actually do the telling. Instead Iago used more convincing words in order to get Roderigo to think he would win the new brides heart, if only he attempted to break up the marriage first by telling the father. When Iago finally tells the Moor that Barbantio is coming for him, we ... ... middle of paper ... ...ns, he does not have to be a nice man, he just has to be able to act like one. A man who can change his entire demeanor with the wind, does not have to be viewed as a role model, but he is a hero in my mind. Works Cited and Consulted Bloom, Harold, ed. Modern Critical Interpretations: William Shakespeare's Othello. New York: Chelsea House Publishers, 1987. Jones, Eldred. "Othello- An Interpretation" Critical Essays on Shakespeare's Othello. Ed. Anthony G. Barthelemy Pub. Macmillan New York, NY 1994. (page 39-55) Shakespeare, William. “The Tragedy of Othello the Moor of Venice.” The Norton Anthology of World Masterpieces. Ed. Sarah Lawall. New York and London: W. W. Norton & Company, 1999. 2115 – 2192. Vaughan, Virginia Mason, and Kent Cartwright, eds. Othello: New Perspectives. Cranbury, NJ: Associated University Press, 1991.
Kernan, Alvin. “Othello: and Introduction.” Shakespeare: The Tragedies. Ed. Alfred Harbage. Englewood Cliffs, NJ: Prentice-Hall Inc., 1964.
During the course of human history, pandemic diseases have threatened the balance of civilization itself. Viruses, bacteria, fungi, and other infectious agents have changed the way we eat, sleep, and live our lives. One of these scourges was smallpox, a highly infectious and deadly disease that causes boils to sprout on the entire body. Once endemic to the entire world, it has been wiped out with mass vaccination efforts by the World Health Organization with the last reported case being in 1977 in Somalia (Tucker 118). The threat of the virus still looms over us, however, with the advent of the age of terrorism. Its transmission method (human to human), the lack of effective treatment, its high mortality rate, and its ease of weaponization has compelled the Centers for Disease Control to classify it as a Category A bioterrorist agent with the highest potential for use as a weapon against civilians (Ryan 41).
Bradley, A.C.. Shakespearean Tragedy: Lectures on Hamlet, Othello, King Lear and Macbeth. New York: Penguin Books, 1991.
In the early '80s, MDMA made its way from the doctor's office to the dance floor from a Texas entrepreneur who synthesized the drug in a lab. He re-named it "Ecstasy" and sold it for $20 a hit—legally—in Dallas-Fort Worth clubs. But, the Drug Enforcement Agency worked quickly to outlaw MDMA, and Ecstasy officially became an illegal drug in 1985.
Shakespeare, William. Othello. Ed. Barbara A. Mowat and Paul Werstine. New York: Simon & Schuster Paperbacks, 2009. Print
Shakespeare, William. Othello. Ed. Barbara A. Mowat and Paul Werstine. New York: Simon & Schuster Paperbacks, 2009. Print
Jones, Eldred. "Othello- An Interpretation" Critical Essays on Shakespeare's Othello. Ed. Anthony G. Barthelemy Pub. Macmillan New York, NY 1994. (page 39-55)
Shakespeare, William. Othello, The Moor of Venice. from Literature and the Writing Process. McMahon, Day, Funk. Prentice-Hall Publishers: New Jersey, 1996. 864-947.
Shakespeare, William. "Othello". The Norton Shakespeare. Ed. Stephen Greenblatt. New York: W.W. Norton & Company, 1997.
In 2015 only 59 shark attacks have occurred around the world compared to the millions of sharks killed by humans every year. Due to these accidental shark attacks people tend to think that sharks, especially Great Whites are evil creatures with malice intentions when attacks do occur; but, on the contrary that is wrong. Sharks are not the only beautiful and unique creatures in the ocean, they also play a vital role in our ecosystem; however, due to human interference they might not be around much longer, through awareness sharks can be protected from endangerment.
Thesis: Sharks should be conserved because they are an important part of the ocean, attacks are often incidental, and human behavior influences the behavior of sharks.
"Othello." Shakespeare for Students: Critical Interpretations of Shakespeare's Plays and Poetry. Ed. Anne Marie Hacht. 2nd ed. Vol. 2. Detroit: Gale, 2007. 649-87. Gale Virtual Reference Library. Web. 30 Oct. 2013. .
Barthelemy, Anthony G. "Introduction" Critical Essays on Shakespeare's Othello. Ed. Anthony G. Barthelemy Pub. Macmillan New York, NY 1994. (page 1-19)
The classic antagonist in every story seeks to see the fruition of their devious plan, and would most likely be successful without the direct opposition of the protagonist. However, in Othello, rather than working against Othello, Iago gives an illusion of working with him in order to gain an advantage in the construction of his plot. Acting as a playwright within the play, Iago pushes and prods characters into the position that is most favorable to his final plan, which ultimately is to bring down Othello. In Iago, Shakespeare presents a villain who is not only able to construct elaborate schemes, but one who is also clever enough to disguise them with a façade that allows him to manipulate others.
Farnham, Christie. The Education of the Southern Belle: Higher Education and Student Socialization in the Antebellum South. New York: New York UP, 1994. 39-43. Print.