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Verbal irony on othello
Verbal irony on othello
Verbal irony on othello
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In many sit coms, movies, tv shows characters go down a downwards and upwards spiral in the garden motif. The garden motif is the concept that your mind is the gardener, and your soul is the garden, everyone has the choice to either water or tend to themselves, and therefore grow or neglect themselves. In the play Othello, we see this motif develop and originate from the villain Iago. After losing his dream job, he starts to use the garden motif to his advantage. He uses the garden motif to manipulate others to reach his own selfish desires. The garden motif helps develop characters into who they are and who they will be. Iago is the only character who seems to be educated about the motif. This is how he uses it to his advantage, thinking that he must take charge of his own life and tend to his garden. Without this, the characters may choose a different route with different opinions, changing the story. …show more content…
In this scene we learn of Roderigo’s love for Desdemona. He tells Iago that he plans to drown himself out of lovesickness. Iago speaks to him as if he were a fool. He tells him that he must take charge of his life. That if he wants Desdemona, he must put in the work for her. He relates his life to the garden. “Our bodies are our garden to the which our wills are gardeners: od that if we will plant nettles, or sow lettuce […] either to have it sterile with idleness or manured with industry, why the power and corrigible authority of this lies in our wills.” This is not only showing the audience that he has control over his actions, but that he is starting to plant his own seed in other peoples’ brains. We see this in this scene when Iago starts to persuade Roderigo to “put thy money in thy purse”. He has been spending his money intuitively and tells him to focus on making money rather than
For Shakespeare’s Iago, humans are affected by their emotions - these can be empowering or debilitating. Literature naturally mirrors this and within Othello Iago is empowered by Roderigo’s infatuated debilitation. In Act I Scene III, Roderigo is brought into a deep despair due to his inability to court Desdemona. He proclaims, “I will incontinently drown myself”; the hyperbole represents how much he craves for Desdemona. However, Roderigo is not the focal point; it is in fact Iago who feeds off his vulnerability by manipulating him into fighting with Cassio. This represents Iago’s Machiavellian nature in that he is able to make Roderigo give him money as well as bringing Cassio into a state of fury; this is so he is stripped of his Lieutenant rank and in turn promoting Iago to Lieutenant. This parallels what Iago’s monologue at the very end of Act I Scene III is trying to establish; the foreshadowing of the events that will occur. In a way this does allow for the concept that through Iago’s seeming adversity, he has strengthened his motives. On the other hand, Rodrigo’s adversities have led him down a path of turbulence making
	The first scene of Act I illustrates Iago's use of manipulation. Iago knows that Roderigo is upset about losing Desdemona to Othello. Iago himself is angry at Othello for being passed over for promotion to lieutenant for Michael Cassio. Realizing that by playing on Roderigo's jealousy he can gain an ally to work against Othello. Iago does this in a subtle manner. He explains to Roderigo that he was passed up for promotion by Othello. While doing this he makes Othello look inferior by reinforcing the fact that he is a Moor. By pointing out that Othello is a Moor Iago causes Roderigo to become even more jealous, because of the fact that he lost Desdemona to someone who he feels is of a lesser race. It even seems that Iago is toying with Roderigo when he reveals that he is a fraud when he says, "I am not what I am." (I.i.62) By using these tactics, Iago has almost gained total control of Roderigo.
Iago has a close friend named, Roderigo, he loves Desdemona and wishes she loved him back. Iago starts his scheme by saying “I am not what I am”(I.i.71). This is one of many warnings that Iago gives the people that he schemes against. This warning is telling him that what you see is not what you are going to get. One can also elude from this warning that he will only let you see what he wants you to see. One can see that Iago is clearly going to lie to Roderigo by that single statement. The statement alone should shoot red flags up in anyone’s mind. Once Roderigo gets Brabantio out of bed; Iago says something strange to Roderigo, “Though I do hate him as I do hell, yet, for necessity of present life, I must show out a flag and sign of love”(I.i.171-173). Subsequently warning Roderigo about how he lies to people, Iago expects Roderigo to trust him. Unfortunately Roderigo falls into the trap and trusts Iago. Well along Cassio loses his lieutenancy Roderigo is discombobulated. He begins complaining about things Iago asked him to trust him with; corresponding his money, him getting into a ...
In the first scene we are thrown right into the action with the argument between Iago and Roderigo. This first argument shows us how Iago is cunning and sly because he has already manipulated a weak Roderigo into paying him for something he hasn't even done yet. Roderigo who is obviously weak and simple has asked Iago to help him woo Desdemona in exchange for money, he thinks Iago has not done this because Desdemona is now at this moment marrying the moor. Yet Iago manages to convince Roderigo of his sheer hatred for Othello and swindle him out of his money. As he later exerts in his soliloquy at the end of Act I.3 ' thus do I ever make my fool my purse' this shows his attitude to Roderigo he is just money for Iago a pawn in his plan. This attitude shows how to a certain extent Iago primes the character he will use later in his plan showing a consistent strategy, he knows he can use Roderigo in the future so keeps him on his side instead of being rude and sharp with him. You can see that Iago finds Roderigo tedious but keeps him a friend for his money and possible use in the future.
With Roderigo, someone he commands control over, Iago employs pathos, allowing his plan to appeal to Roderigo’s sensitive emotions about Othello. Roderigo and Iago discuss about how each of them despise Othello when Iago says, “If ever I did dream of such a matter, / Abhor me” using pathos to confirm his hatred towards the General (1.2. 5-6). The play commences with Iago employing direct rhetoric and partnering up with Roderigo to enhance a sense of comradery. Harsh language such as “Abhor me”, exemplifies the hateful emotions Iago feels toward Othello as well as enhances the emotions Iago wants to appeal to in Roderigo (1.2. 6). Affecting Roderigo more influentially, Iago uses deeper, more personal pathos, by highlighting the seemingly good qualities in Roderigo. Iago contrasts Roderigo to Othello pointing out, “Let not they discreet heart think it…manners and beauties: all which the/ Moor is defective in” (2.1. 215, 219-220). Firstly, Iago weighs Roderigo’s positive qualities against Othello’s negatives ones, convincing Roderigo to feel more confident with Iago and following along with his scheme. Secondly, Iago alters this rhetoric to include Roderigo’s love interest, Desdemona. By exemplifying a more personal and sensitive side when talking about “manners and beauties”, Iago can create a bigger impact in
Roderigo’s temptation is his lack of self-awareness which shows how easy it is to be tempted.He is young, rich and foolish. Roderigo’s foolishness is seen when Iago tells Roderigo again and again to "Put money in thy purse" (I. 3.341-360). When Roderigo complies to keep fillng Iago’s purse with money this sho...
Roderigo as a character is little more than a tool, created by Shakespeare to advance Iago’s dastardly plot. It is made apparent that his one true goal is simply the object of his desires, Desdemona; his obvious and overpowering love for her tragically leads to his pitiful end. He becomes a puppet to Iago, enslaving himself to the villain’s schemes in pursuit of Desdemona’s acknowledgement and affections. However, what if his willingness to become part of Iago’s plan may not be indicative of a powerful love, but of a lazy infatuation? What if the fact that he is entirely willing to listen to what somebody else says shows a disinterest in trying for himself? Roderigo shows that he is incapable of wooing her himself, perhaps not because he is undesirable, but because he simply doesn’t try as hard as Othello. Roderigo’s enthusiasm to find a safe “instruction manual” into getting Desdemona to love him is clearly indicative of no true dedication.
Towards the tail-end of the play, Roderigo, fed up with Iago’s counsel and frustrated by his lack of personal progress, approaches him with the intention of severing all ties. Iago, though, manages to maintain a leash over of him by playing on his jealous desire for Desdemona, promising him that he will have her in love in the coming days. This proves to be enough for him to convince Roderigo stay, and he resumes his manipulation. Despite his strong affinity for Othello’s wife, any romantic progress is halted due to Iago’s persistent interventions; he knows that merely mentioning the potential for a relationship between the two is enough to persuade him to do his bidding. While this seems desirable to Roderigo, in actuality, Iago is using his imaginative fantasies against him, and preventing any real advances in his journey for Desdemona, effectively destroying any possibility of this
As much as Iago was using Roderigo, Roderigo was using Iago to try and separate Othello from Desdemona. Roderigo’s extreme feelings make him easily manipulated and unable...
Roderigo has been giving Iago money to help him into Desdemona's favor, and he assumes that Iago knew about the elopement. Iago didn't know, which must have been embarrassing. He says about Desdemona, “Now I do love her too; Not out of absolute lust, though peradventure I stand accountant for as great a sin, but partly led to diet my revenge” (2.1.291-294). He wants revenge for his own suspicion that Othello has gone to bed with Emilia. It's eating at him
Belvedere meaning “beautiful view” in Italian is a word that many people correlated with the style and design of the Italian Renaissance gardens. The sight of these gardens were truly remarkable in a time where design would settle for nothing less of such. Throughout the report many things will be brought to light in relation to the Renaissance gardens. This report will include many sub-sections that will pertain to the design of these gardens. These sections include, the history of the Renaissance gardens, their influences, the garden’s features and the multiple purposes of the different gardens from the Renaissance. Although each section will prove to be different from the one before it, it will be seen that they all link to one common
Roderigo was Iago's puppet. He believed everything that Iago told him and always did as he said, which in the end got him killed. Through the play one wonders often why Roderigo keeps following Iago's demands, and it was because he truly loved Desdemona. He was willing to kill himself if he couldn't have her "i...
Roderigo learns about the elopement of the Moor and Desdemona. He questions Iago in pursuit of the money he has given him in order to woo Desdemona. These lines show that even before the play begins, Iago greatly influences Roderigo. The relationship and trust the two characters have is made apparent through the first lines. Iago takes enjoyment in influencing people, as seen through his first soliloquy.
Iago lulls Roderigo into believing that there is just one more thing standing in the way of Roderigo having Desdemona. Iago understands how to use people. He knows what to say and how to act to influence people’s actions. This is why he is such a terrifying villain. The character of Iago is the perfect mould to start with when crafting the perfect villain.
Roderigo blindly follows Iago’s lead and while his contribution to the disaster is minimal at best, he still is able to feed Iago’s desire for revenge, as all the characters do. The only difference between Roderigo and the other characters is how he does it. Roderigo is madly in love with Desdemona and wants her for himself. The first sign of Roderigo’s desires comes from Barbantio when he speaks: “I have charged thee not to haunt my doors:/In honest plainness thou hast heard me say/My daughter is not for thee…”(I, i)