The Use of Soliloquies in William Shakespeare's Othello
Soliloquy is a stage device which can be found throughout the works of
many modern day playwrights, and is famously used by Shakespeare in
his theatrical tragedy, “Othello.” We see at many key moments, both
the lead roles of Othello and Iago, speak when no other characters are
present or listening, revealing their inner most thoughts to the
audience, illuminating their private intentions and allowing them to
evaluate what their actions have already accomplished, without
offering the other characters the chance to learn what they are really
like.
Some critics express the opinion that modern audiences find that
soliloquy is often ‘outdated’ and ‘embarrassing.’ In a time of film,
where facial close-ups and various other informative techniques can be
adopted to reveal characters inner-most thoughts and emotions, the
soliloquy in contrast is delivered in neither a subtle or particularly
complex manner. Soliloquy can sometimes be seen as an easy way out for
writers to reveal their characters and their intent without having to
put in any work demonstrating them through dialogue and stage
direction.
By allowing the audience to witness a character talking only to
themselves, the soliloquies main purpose is to allow the audience to
feel secure that they are learning the purest truth about that
characters thoughts and are comfortable accepting these as fact.
However in retrospect, when Iago or Othello are revealing their own
thoughts to themselves, instead of seeing their words as one
dimensional and simply accepting them, we realise that they reveal
more about each of the cha...
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...a valuable sense of intimacy between the
actor and the audience which can then be manipulated through language
to arouse tension and gain an effective ‘strange-hold’ upon the
audience. If used correctly, as Shakespeare does, without having the
characters simply state what they are feeling but, through imagery,
show the audience just how they are feeling via the language they use,
then the soliloquy cannot cause embarrassment. The soliloquy shall
never be outdated with regards to performance on the stage, as the
playwright has no other choice than to have the characters tell you
what is on their minds. There is no space or means for any other
nature of access to the characters private thoughts, intent or
emotion. All in all, it’s effectiveness all depends on its delivery,
and this is something that Shakespeare mastered.
Shakespeare’s use of rhetoric by his characters is clearly used effectively in Othello through Iago’s and Roderigo’s conversation with Barbantio. The two make use of double meanings, animal imagery, Devil and God comparisons, the use of sexual references, and descriptive insults to confuse Barbantio and make him angry towards Othello. Through Iago’s initial torment, continued by Roderigo, they are able to force Barbantio to do exactly as they wish.
Othello in William Shakespeare's Play Most of the characters in "Othello" perceive Othello as unclean and
powerful story. This scene is as important as Act 2 Scene 2 or Act 4
The Tragedy of Othello by William Shakespeare is a great work by a great author. Shakespeare was correct in titling it The Tragedy of Othello because Othello lost so much. In the literary sense, a tragedy is the downfall of a character through that character's own flaws. The way most people see a tragedy is a story where there is much suffering and loss, and a not so happy ending. No matter way one looks at it, literary or public sense, this was a correct title. The main character, Othello, brought his own downfall upon him through his flaws, caused the suffering of many people, and he himself loss very much. All of these factors pile up to equal a big tragedy.
Analysis of Othello’s Soliloquy. During Othello’s soliloquy in Scene 3, ll. 299-318, Shakespeare uses the literary devices of imagery, symbolism, and antithesis to develop the state of mind of Othello during this strenuous time in his life. Othello, who seems to intrinsically believe that as a public figure he is fated to be unsuccessful at marriage, is torn between his love for Desdemona and the possibility that she is having an affair with Michael Cassio. This particular passage comes at a juncture after he denies that this could be true, and before he is finally convinced of his wife's infidelity.
and metaphorical expressions of the word. The scene opens the way to show us Shakespeare's portrayal of different characters and their various language preferences. Iago and Brabantio are extremely contrasting. characters, especially in language choices. It should be said that Othello was written (never published) by Shakespeare for theatrical.
“I asked her to wear something revealing, so she showed up in a prophet's toga.”(CITE) Jarod Kintz’s words are an example of miscommunication, or failure to comprehend meaning. In this case, it is implied that one person misunderstood the message of another, but incomprehension also applies to problems other than falsely interpreted requests. Incomprehension can occur when people misinterpret another’s words or intentions, or when a person misreads situations or events. The outcome described in Kintz’s quote is unexpected and unintended, but there are instances of incomprehension that have consequences of greater severity. Perhaps a classic tragedy with a high body count falls under these parameters.
Snyder, Susan. "Beyond the Comedy: Othello" Modern Critical Interpretations, Othello Ed. Harold Bloom, Pub. Chelsea House New Haven CT 1987. (page 23-37)
Language and imagination are among the most dangerous weapons Iago has at his disposal in Othello. Jealous and angered by Othello’s - his commanding officer - passing over him for a promotion, Iago develops a fierce, antagonistic perspective the aforementioned character; this sentiment quickly corrupts his volition, and he subsequently concocts a plot bent on destroying Othello. He renders this revenge scheme credible by concealing his true feelings behind a facade of loyalty and trustworthiness, and fabricating a fictitious story concerning the infidelity of Desdemona, Othello’s wife. Until the play concludes, Iago utilizes purposeful rhetoric to drive his agenda, and also a mastery of deception to mislead the minds of his targets.
Othello is a man of romantic nature. He fell in love with the beautiful Desdemona. He was accused of stealing her away from her father. Othello was of a different race and did not fit in with her family. Othello makes a plea for Desdemona and tells his story which wooed her to begin with. Othello tells of the love that her father showed him since his boyish days. This was like a match made in heaven that overcame many obstacles which got in their way. Othello could not understand why he was good enough to work and fight alongside of her father, but was not good enough for his daughter.
This soliloquy is important to the play because it shows how words that were not intended, could be intended in this play. There is a lot of that in this play. This soliloquy triggers the turning point in the play when the two lovers begin to get to know each other and make plans for the future about where to meet and such. In their previous encounter, they did not talk about the future, or even exchange names. Here, they begin the love trek that is fated to end.
Othello is a man who is respected as a General in the Army. Brabanzio even considered him a friend. Thanks to Iago planting a seed in Brabanzio ear about his daughter, Desdemona, Brabanzio accused Othello of taking his daughter away from him by means of drugs or poision. Othello has fought on the battle-field and now finds himself on a very different kind of battle-field. He finds himself in a position of being forced to defend his honor, friendship and his love. There has been accusations made against Othello, so in a room filled with signors, masters, the Duke, and Brabanzio, Othello has a strategy of battlement in his own way. He tells the Duke to send for Desdemona, “Send for the lady to the Sagittary, And let her speak of me before her father” (1.3-115-116).
Critical Analysis of Iago's Soliloquy in Act 2 Scene 3 of Othello by William Shakespeare
Internal and external struggles influence people to action, be it swift and daring or cunning and low. In Shakespeare's plays, the events around and within a character often combine to cause a character to act in a manner that would be considered out of character or unnatural for the person. Shakespeare uses these characters to provide the audience with a lesson or theme; to give them something they can apply to life and see learn from. In Othello, the character he uses as an example is, in fact, Othello. Shakespeare informs his readers of how doubts caused by rumors and lies can lead to the breakdown of even a once noble person.
Hamlet's "To be, or not to be" soliloquy is arguably the most famous soliloquy in the history of the theatre. Even today, 400 years after it was written, most people are vaguely familiar with the soliloquy even though they may not know the play. What gives these 34 lines such universal appeal and recognition? What about Hamlet's introspection has prompted scholars and theatregoers alike to ask questions about their own existence over the centuries?