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Before the ability to read words, pictures can be used to communicate to babies or even the illiterate. Pictures are universal. They will be seen as the same language no matter what part of the globe you are in. A good author can create pictures through his words. A great author can create the same imagery for centuries to come. The function of imagery in the mid-sixteenth century play Othello by William Shakespeare is to add characterization and eventually define meaning in the play. The antagonist Iago is defined through various images, some being the use of poison and sleeping aids, to show his true evil nature. Othello’s character is also shaped by imagery such as the black and white, animalistic, and horse images, which indicates his lust and sexual nature. Characterization of women is heavily dictated by imagery in the play used to show the parental gender system of the time. Examples of this imagery is that of hobbyhorses and the alike showing that Desdemona and Emelia, were nothing better than present day whores. Othello’s view at the start of the play is contradicting of these parental views with Desdemona and Othellos’ true love overcoming such stereotypes and we are told this through imagery of fair warriors and that alike them. The wages of deceit is also shown through imagery of spiders and webs, uniforms and other images. Also, the power of jealousy is very well defined by imagery in the story. The green-eyed monster, handkerchief, and cuckolding imagery are very prominent in the defining this theme.
The devilish character of Iago is depicted very well though different types of imagery. His sadistic intent is depicted through this imagery “I’ll pour pestilence into his ear” (II iii 356) reffering to Othello, says Ia...
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...er man. Emelia, who was the poor wife of the evil Iago, who holds the burden of his devilish nature. Imagery is also key in understanding the main issues of the play such as the jealousy found in all men through the examples such as that of the green eyed monster and then the horns of the cuckold. (tighten up)
Imagery can be found in all areas of this seventeenth century play. Shakespeare creates hidden imagery like any other great author, or in his case playwright. Shakespeare was something special to still be read and studied hundreds of years later. This play could be studied crucially many times and there could still be hidden imagery and new themes picked up every time. What Shakespeare created was a true work of art that shows his great brilliance.
Works Cited
Kennedy, X. J., Dana Gioia, and Nina Revoyr. Literature for Life. Boston: Pearson, 2013. Print.
Texts and their appropriations reflect the context and values of their times. Within Shakespeare’s Othello and Geoffrey Sax’s appropriation of Othello, the evolution of the attitudes held by Elizabethan audiences and those held by contemporary audiences can be seen through the context of the female coupled with the context of racism. The role of the female has developed from being submissive and “obedient” in the Elizabethan era to being independent and liberated within the contemporary setting. The racism of the first text is overtly xenophobic and natural, whilst the “moor” is unnatural whereas the updated context portrays Othello’s race as natural and racism as unnatural. Therefore these examples show how Shakespeare’s Othello, and it’s appropriation, Geoffrey sax’s Othello, reflect the context and values of their times.
In Othello, Iago is Shakespeare’s most malicious character and serves as a vehicle to these two themes. Iago despises Othello; he has a strong will to destroy Othello’s life, yet the motive behind his plan goes unexplained. Iago is a great manipulator of the tongue and lies to everyone in order to advance his plan; however, every character in the play considers Iago an honest character, and Othello even associates Iago with light and eyesight. Othello continuously asks Iago to explain or make something clearer. Until the very end, Iago appears to be honest and helpful to the other characters, but underneath this seemingly harmless façade, Iago is a demon with the strongest will; he will stop at nothing until he ruins Othello’s life. Iago uses a positive appearance to enact his
...n the end of the play. Iago is not really evil or the vice character he is the misunderstood and wonderful character who can only be seen through a certain lens before it all goes back to black and white and good and evil fights one another for the main stage again. Shakespeare pulled many themes into this story but in all truth I believe that Iago is true main character, not Othello or Cassio, but Iago with all of his problems and vices, he is the truest expression of being human.
There exists a kind of person who can be called by no other name than by “Magnificent Bastard”. They are masters of deception, bloody brilliant, unstoppable in achieving their goals even when it means grinding others into the dust, and yet they have such a flair, such a charming disposition, that they are often admired by even those who are wronged by them. Iago in Shakespeare’s play Othello is one such character. The audience may love or hate him, but either way they must admit that he commands the spot-light. In spite of this, the reason why Iago acts as he does is shrouded in mystery. Even when directly speaking to the audience about his motivations, Iago is not always truthful. In reality, while Iago derives great pleasure from manipulating others, his driving motivation throughout the entire play is his own jealousy; from being unrecognized for his greatness, to an impossible love for Desdemona, and of the virtuous characters all around him.
If a picture tells a thousand words, than imagine the importance of an image upon a play such as Macbeth. In any literary work, it is extremely important that the author can effectively manipulate a reader's feelings towards a character. In Macbeth, that feat is accomplished magnificently by Shakespeare. Through his skillful use of imagery, Shakespeare shows us a deeper look into the true character of Macbeth. Though imagery is widespread throughout Macbeth, it is most dominant in clothing imagery, light and darkness imagery, and blood imagery. Through these images,
“I am not what I am,” proclaims one of Shakespeare’s darkest and most enigmatic villains, Iago, in the tragedy Othello. Iago’s journey for revenge enables him to become capable of immoral acts, and whilst his malevolence excites us, we are no more intrigued by his attributes than we are of the play’s tragic hero, Othellos’. Rather, both characters’ confrontation with jealousy and their subsequent moral demise as a result of failing to control such an emotion provides the true excitement for audiences. Iago’s spiteful manipulation of Othello makes him a multifaceted character — whose corrupt attributes make the audience examine their own morality. However, the same can be said of Othello; his failure to withstand Iago’s ‘pouring of pestilence’
this with the character of Iago. In the first part of the play most of
In William Shakespeare’s play “Othello” the use of animal imagery was evident throughout the telling of the story of the.. Shakespeare explained several characters actions by comparing them to similarities in animals. The characters in “Othello” were often depicted as having animal-like characteristics. Some characters were even compared to animals by other characters in the play. By defining characters in terms of these characteristics one can get a clear description of what the character is doing or saying as compared to certain animals.
William Shakespeare found that imagery was a useful tool to give his works greater impact and hidden meaning. In Hamlet, Shakespeare used imagery to present ideas about the atmosphere, Hamlet's character, and the major theme of the play. He used imagery of decay to give the reader a feel of the changing atmosphere. He used imagery of disease to hint how some of the different characters perceived Hamlet as he put on his "antic disposition". And finally, he used imagery of poison to emphasize the main theme of the play; everybody receives rightful retribution in the end.
The function of imagery in the mid-sixteenth century play Othello by William Shakespeare is to aid characterisation and define meaning in the play. The antagonist Iago is defined through many different images, Some being the use of poison and soporifics, sleeping agents, to show his true evil and sadistic nature. Othello’s character is also shaped by much imagery such as the animalistic, black and white, and horse images which indicates his lustful, sexual nature. Characterisation of women is heavily dictated by imagery used to show the patriarchal gender system of the time. Some of this imagery is that of hobbyhorses and the like showing that they, Desdemona and Emelia, were nothing better than common whores. Othello’s view at the start of the play is contradicting of these patriarchal views with Desdemona and Othellos’ true love overcoming these stereotypes and we are told this through imagery of fair warriors and the like. The power of deceit is shown also through imagery of spiders and webs, uniforms and other such images. Also the power of jealousy is well defined by imagery. The handkerchief, green-eyed monster and cuckolding imagery are prominent in defining this theme.
The Development of the Character of Othello as Shown by his Use of Language and Imagery in William Shakespeare's Play
In King Lear. Shakespeare uses imagery of great imaginative depth and resonance to convey his major themes and to heighten the readers experience of the play. There are some predominant image patterns.
Iago character in William Shakespeare’s Othello is truly the definition of the nature of evil. He portrays such a strong character describing this nature of deceit throughout the play taking full capability of characters; Desdemona, Othello, Cassio, and Rodrigo. His ability to master the nature of good first before plotting his schemes, allows Iago to become successful in each of his evil plots. Iago would not be successful if it was not for his mastery in being good. Not only does he achieve his goals in scheming, but he also understands human nature, that allowed him to understand thoroughly of good people and was able to take advantage of the cause. Iago, alone, represented both the nature of good and the nature of evil in Shakespeare’s’ Othello.
William Shakespeare masterfully crafted Othello, the Moor of Venice as an Aristotelian tragedy play. The main protagonist of the play, Othello, is the perfect example of a tragic hero. Shakespeare was influenced by Aristotle’s concept of a tragic hero and used Aristotle’s principles to create Othello. William Shakespeare attempted to create an Aristotelian tragedy play with a tragic hero and succeeded in Othello, the Moor of Venice by weaving in pity and fear into each line and action. The power of pity and fear creates the upmost tragic situation and follows in accordance of Aristotle’s definition of tragedy. Othello makes the ultimate act as a tragic hero by killing himself at the end of the play. “Othello, more than any play in the canon, has a fascinating and contentious performance and reception history,”
Shakespeare uses many forms of imagery in his plays. Imagery, the art of making images, the products of imagination. In the play Macbeth Shakespeare applies the imagery of clothing, darkness and blood. Each detail in his imagery contains an important symbol of the play. These symbols need to be understood in order to interpret the entire play.