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Conclusion of iago's role in othello
The impact of iago on othello
The impact of iago on othello
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Shakespeare also uses allusions to let the readers know that Iago is not human. At the end of the play, when everybody finally seems to be understanding Iago’s part in all the destruction that happened, they all make different allusions about Iago. Roderigo’s final words before he is brutally murdered by Iago are, “O inhuman dog!” (V/i/64) Through this quote, Shakespeare shows how Roderigo figures out everything that has happened, but is too late, as he is then killed by Iago. Emilia figures out Iago’s master plan and how it all worked out against her, moments before she is killed by her own husband. Emilia says, “Let heaven and men and devils, let them all,/All, all, cry shame against me, yet I’ll speak.” (V/ii/220-221) Emilia calls Iago a devil here, and tells everyone that he is not human nor a man. Shakespeare chooses to have Emilia say this quote because it shows how even she admits her husband is not human. …show more content…
He says, “Where is that viper?” (V/ii/283) Shakespeare has Lodovico say this so that the readers know that Iago is so evil that even a man who does not know him is disgusted by what he did. Lodovico calls Iago a dog as well, as he sees the mess that Iago made of so many people’s lives. He says, “O Spartan dog…” (V/ii/360) Furthermore, Othello makes an allusion about Iago to a devil. This allusion fits in with the motif of hell and devils as mentioned before. Othello says, “Will you, I pray, demand that demi-devil…” (V/ii/299) As Othello figures out how Iago has been deceiving him all along, his last words about Iago are calling him a half-devil. Shakespeare uses this phrase to help readers piece together the identity of Iago. Shakespeare decides to make multiple allusions about Iago at the end of the play, so that the readers are reminded that Iago is not
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.
ii, 275), so he is even at the end of the play linked to the
Picture this- William Harold Shakespeare, the most coveted playwriter in the history of the world, sitting at his desk, perspicaciously pondering over what shall become his most prominant and delicated tragedy of yet. Of course, given what little is known about Shakespeere displays, such deepseated imagery cannot simply be accomplished without first the propriety of haste and vinction.And yet, his very own rhetorical vibe displays allows such a vague pictoration to be concieved. Throughout the whole of Othello, the great Shakespeare remarks through an astounding displays show of pronouns, allitteration, and cacophonous diction his own resentment of both the King of Italy and the poor conditions of the said novelist.
An epithet is an adjective or adjective phrase that characterizes a person or thing. Epithets can often consist of abusive or contemptuous words such as those directed by the professionally offended Iago in Shakespeare's Othello. Iago refers to Othello with damning epithets to suggest the Moor as a lust driven animal that is violating the innocent Desdemona. For instance, he calls Othello, "an old black ram" who is "tupping" Brabantio's "white ewe"(Act I, Scene I: 90-91). He is referring to the fact that Othello is a Moor, or dark skinned man. Iago is also making the insinuation that Othello is, at this moment, copulating with Brabantio's innocent daughter, Desdemona. In addition, Iago warns Brabantio that if he does not rescue his daughter, the "devil" will make Brabantio a grandfather (Act I, Scene I: 93). Again, he is suggesting that Othello is demonic and comparable to a wild animal. He continues erupting insults shouting that a "Barbaray horse" is mounting Desdemona and that Brabantio's nephews will "neigh" and cousins will be "coursers," or strong horses (Act I, Scene I: 113-114). Yet again, Iago is suggesting that Othello is animal-like and that this quality will arise throughout Brabantio's family. It is important to note that in the play production Iago speaks such crude and obscene language while hiding behind several clustered poles below Brabantio's window. This gesture reveals Iago's attempt to remain an "honest man" in the eyes of the other characters while carrying out a plan of revenge. Although Iago's insults toward Othello appear to be racial, it does not make the entire play racist. Iago is so consumed by revenge against Othello, for passing him over for the promotion that he will say or do anything to attain his "peculiar end" (Act I, Scene I: 62).
In the play, Othello by William Shakespeare throughout the entire play it had portrayed symbolism and foreshadowing. These had influenced the most of the characters to act in a foolish ways. This leads us to a suspense ending that caused loved ones to go against each other. By not realizing what is going on between the characters can cause confusing in the plans of the play. Likewise, by connecting each of the following character made it seem we might have knew something was going to happen at the end. Throughout the play we are able to recognize that the handkerchief is played as an important part with all the characters. This is done by showing how each one of the characters is acting with it being loss. Due to it being misplaced some of the characters will do something they normally wouldn’t have done.
Critical Analysis of Iago's Soliloquy in Act 2 Scene 3 of Othello by William Shakespeare
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).
Shakespeare's Use of Language to Convey Othello's State of Mind. Iago's manipulative ways have Othello convinced that Desdemona has. deceived him. "Villain be sure thou prove my love a whore."
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.
When Othello says this, he means how he is indebted to Iago, but the hidden, ironic meaning is that Othello is now the property of Iago, and will not escape his evil grip until death. These sorts of ironies again bring out the idea of the villains talking in a riddle, which gets passed on to Othello. This whole idea I think is showing how evil is so powerful that once it has you, there is no escape.
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 Act three, Scene three, Desdemona agrees to speak to Othello in Cassio’s behalf) As Desdemona and Cassio discuss Cassio’s loss of rank and trust in Othello’s eyes. Iago brings to Othello’s attention the discussion taking place between Cassio and Desdemona. Iago knowing full well why the discussion is happening. Iago hints the pair seems to be spending a lot of time together. Iago plants the seed of doubt in Othello’s mind Othello begins to ponder the idea of whether Iago suspicions are true.
According to The Merriam-Webster dictionary, a parody is defined as “a piece of writing, music, etc., that imitates the style of someone or something else in an amusing way”. Despite this, a parody can also be used as recognition towards the original writer to appreciate a piece of work. Incorporated into Ann-Marie MacDonald’s modern drama “Goodnight Desdemona (Good Morning Juliet), are two of Shakespeare’s remarkable tragedies “Othello” and “Romeo and Juliet”. MacDonald uses the two tragedies to create her modern play “Goodnight Desdemona (Good Morning Juliet)”, that portrays itself as being a parody and also a tribute to Shakespeare’s work that is reinforced with the changing of the original tragedies, the characters involved in the plays, and also both MacDonald and Shakespeare’s outstanding writing style.
Many references are made to animals in the play. Iago uses beast imagery to express his contempt and to downgrade those he despises. Early in Act 1, he rouses Brabantio's anger by using crude images of animals fornicating to inform him that his "daughter and the Moor are now making the beast with two backs." Such a metaphor is designed to evoke a strong emotional response. In a soliloquy at the conclusion of Act One, Iago says "It is engendered. Hell and night / Must bring this monstrous birth to the world's light." Shakespeare uses the image of a monster being born as a metaphor for the start of Iago's evil scheming. It also becomes evident that Othello's mind has been corrupted by Iago's evil handiwork when he too starts to use the same sort of animal imagery in his speech. In one scene, convinced of his wife's infidelity, Othello loses all self-control crying out "goats and monkeys," animals traditionally considered lascivious.
In the end, Iago’s last words perhaps best suit the play. “What you know, you know.” Everything is presented for the entire world to see, with little hidden meanings to things and actions. Roderigo’s lust, Emilia’s fear and loyalty, Desdemona’s purity, Othello’s trust and insecurities, and Iago’s jealousy and ego contribute to the “disastrous conclusion that excites pity or terror.