In his soliloquy from Act 2, Scene 1 of Othello, Shakespeare underlines Iago's search for justification as he conducts a plan to destroy Othello through repetition, connotation, and absolutes. Firstly, Shakespeare incorporates the repetition of "love" in Iago's soliloquy creating an appeal to logos as well as pathos. The use of "love" in the beginning if Iago's soliloquy when he accuses Cassio and Desdemona of being in love with each other is an example of his search for justification: "Cassio loves her, I do well believe't./ That she loves him, 'tis apt of great quality". The reader knows Iago has no proof of an affair; his accusation is simply an attempt at convincing himself and the reader that the chaos he will soon cause is just by using logos. Then, creating an appeal to pathos, Iago describes his love for Othello and Desdemona, as if admitting this will make up for what his plan entails: "I dare think he'll prove to Desdemona/A most dear husband. Now, I do love her too" (2.1.311-312). The repetition of love changes meaning, but still represents Iago's search for excuses and forgiveness for his upcoming actions. …show more content…
This contrasts with the innocent "white ewe" description that is often ascribed to Desdemona. These animal references continue in Iago's second soliloquy: "Make the Moor thank me, love me, and reward me/ For making him egregiously an ass" (2.1.330-331). First, Iago calls Othello "the Moor", a racist reference to Othello's African background. Next, Iago announces his plan to make Othello thank him, not knowing that Iago is the cause of destruction. The word "ass" continues to reference Othello's allegedly animal-like nature. Iago uses these racist, connotative words to undermine Othello as justification of his barbaric
The American people are easily swayed by the abundance and/or cost of products on the market. As a direct result of this truth, America has fallen into pitfalls in the name of cost effectiveness and consumerism. Pollan gives the examples of the Alcoholic republic and the Republic of fat in which he compares and contrast the causes and results of American lifestyles and the affluence among other changes in our culture and history. Mainly, that Americans will never exhaust their greed and gluttony. Pollan uses ethos, pathos, and logos to successfully persuade his audience to see his point of view.
- The best example is to keep the logo as clean and clean as possible, Google company logo
“Ethos, Pathos, and Logos are modes of persuasion used to convince audiences. They are also referred to as the three artistic proofs (Aristotle coined the terms), and are all represented by Greek words” (Ben Bernanke).
Othello is such a gullible character with so much trust in the wrong people. He trusts Iago before he trusts his own wife, Desdemona; he let Iago get into his mind. Iago arises any doubt Othello has for anyone he ever trusted making them all seem untrustworthy. More then anything Iago uses pathos to appeal to emotion. “ But I will wear my heart upon my sleeve For daws to peck at. I am not what I am” (Othello, Shakespeare, Act I Scene I Line 65-66). Iago talks about being open and honest; although this is not true it makes the other characters feel secure. Othello is a strong character, but Iago is his downfall. Blinded by jealousy and questions Othello will no longer trust Desdemona nor Cassio, because of this he will meet his
In the light of the various descriptions of an unstable person, Iago is a psychopath with his manipulative choice of words. He tells people things that they want to hear and he says it in a manner that makes him appear exceptional. “ I humbly do beseech you of your pardon, For too much loving you.” (3.3.106) In act three, Iago pretends to be Othello’s confidant, and he wants Othello to suspect his wife is having an affair. Iago has a pseudo relationship with Othello the entire duration of the play.
Iago wanted Othello’s position and used others to shame Othello and gain stature. Iago dressed himself up a trustworthy man and worked his way into Othello’s trust with tricks and lies. He wore a very convincing mask; often temporarily defending the person he was trying to ruin to further his honest visage. He says to Othello, “Men should be what they seem…” (3.3.127) through these methods, Iago convinces Othello that Cassio, an officer, was having an affair with Othello’s beautiful wife Desdemona. As a vicious result, Othello is driven mad with anger and sadness and throttles Desdemona in their bed. The death and want left by Iago’s deception is vast hurting everyone involved most frequently on a mortal level. When the truth finally comes out, Othello, in his grief and remorse, ends up stabbing himself with a dagger. In the end, many die due to Iago’s deception, through villainy or despair, and none gain what they truly want because of it. This just goes to show that the mask of deception that a man wears can cause an unbelievable amount of harm, bodily and worse,
...rom this time forth I will never speak a word.” (V.ii.303-304) By silencing himself, Iago is also proving to Othello that perhaps he is not the great pious hero that everyone believes him to be. Othello took an ambiguous piece of information and spun this great fantasy out of it, convincing himself that Desdemona was sleeping with Cassio. Rather than questioning Desdemona, Othello believed only a small rumor. Othello’s fall into Iago’s trap can only be blamed on Othello for blindly following such an ambiguous statement; “I told him what I thought and told no more/ Then what he found himself was apt and true” (V.ii.187-188). Whether or not Iago hoped to gain anything from his actions is still questionable. However, Iago was successful in destroying Othello, emotionally and finally physically, achieving his objective of bringing justice to himself, the victim.
That’s Othello’s weakness that Iago deems as useful. Othello’s love turns to jealousy. The question is how sympatric is Othello to the reader. Othello feels betrayed. But Othello loses his look of a gullible, good guy when he decides he wants Cassio and Desdemona dead. The rage of his jealousy turns the character of Othello the readers know on its head and creates a different look. Only during and after the death of Desdemona can the reader see the good that was once in him. Othello shows regret and kind of a sense of torment. Clearly parts of him doesn’t want this to happen. And after the death of Desdemona he sees the misplaced change and rage he had. When Othello hears of Iago’s disseat he changes back to the good Othello that was present in the start of the play. He might be filled with regret and a new rage for Iago, but is morals seem solid
He is also convinced that Desdemona is secretly in love with Cassio, and thus the wicked manipulations are prompted by genuine sexual jealousy. Shakespeare removes this motive, mentions Othello 's promotion of Cassio over Iago, and leaves only a few passing references to possible sexual jealousy. Iago alludes twice to his suspicions that both Othello and Cassio may have slept with his wife: "I do suspect the lusty Moor / Hath leaped into my seat" (2.1.295-6); and only parenthetically, "(For I fear Cassio with my nightcap too)" (2.1.307). When Iago first refers to the rumor about Othello and his wife, however, he adds oddly, "I know not if it be true, / But I, for mere suspicion in that kind, / Will do, as if for surety" (1.3.379-381). In an article titled "Psychoanalysis after September 11" (2002), Jonathan Lear refers to Iago as a representation of such motiveless maliciousness. Iago embodies, Lear argued, a hatred that cannot be rationalized, an evil not based on reasons. Lear drew a distinction between jealousy and envy; while the jealous Othello attacks because he believes he has lost the good object or been betrayed by it, the envy that Iago represents "attacks the good because it is good." In these two different events, Iago expresses his suspicion of Othello’s honesty when previously he loathes Othello because of his honesty. Iago seems to come to the conclusion that is impossible for Othello to cheat him because
Iago, the antagonist in “Othello, the Moor of Venice,” has jealousy and hate towards Othello, a black man, observed by his thoughts and actions throughout the play. Iago’s hate arose from Othello, a racial minority, who was General of the Army in the Venetian War over him years before. Iago uses animal imagery, racist slurs, and manipulative tactics to create complications and mistrust in Othello’s and Desdemona’s marriage.
Implicitly targeting Othello’s doubts about marrying Desdemona and insecurities about her actions with infidelity, Iago eventually impacts Othello enough that the General himself confides in Iago about his own wife. Earlier in the play, ‘honest Iago’ needs to first gain Othello’s confidence and he does so by expressing his loyalty to Cassio, “I had rather have this tongue cut from my mouth/ Than it should do offence to Michael Cassio”, while Othello is present in a conflict (2.3. 203-204). Then, later in the play Iago baits Othello by suggesting that Desdemona and Cassio are having an affair. Immediately, Othello wants more information; however, Iago nervously responds with, “…vicious in my guess-/ As I confess…” and tries to calm Othello by saying, “My noble lord-” (3.3 46-47, 93). When voicing his devotion to Cassio, Iago immediately begins to play on his false reputation as ‘honest Iago’. He enables Othello, and his fellow characters, to think highly of him and to respect that even when his partner, Cassio, has not been following orders, Iago would even endure physical pain and have his “tongue cut from [his] mouth” and proves his locality (2.3. 203). This leads to when Iago responds to Othello’s queries, about
Iago has been excellent at saying the what is needed to get to people, he misleads them to get a reaction he wants out of them. He is clever with his words to avoid confrontation that can easily happen. “Othello 's confusion is the human experience of language. In other words, language itself, not the outside world, determines meaning” (Christofides 2). Iago uses his words against Othello to get him to do Iago’s doings. Iago has an eloquence with
Shakespeare develops the character Iago into an instigator and evil man. Iago attempts and succeeds to convince Othello that his wife has had an affair with his friend Cassio. We see Iago beginning his plans at the very start of the play. “But I will wear my heart upon my sleeve for daws to peck at, I am not what I am.”(Oth 1:1:64-65) He immediately tries to start trouble with Brabantio and Othello over the marriage to Desdemona. Iago want to get in Othello’s way because he was passed over for general and Cassio was chosen instead. We see from the start how he plots against Othello and he involves several characters in his plans. “And what’s he then that says I play the villain? When this advice is free. I give and honest, probal to thinking, and indeed the course to win the Moor again? For tis easy Th’ inclining Desdemona to subdue in any honest suit; she’s framed as fruitful…”(2:3:295-300).
His marriage to Desdemona is critiqued time after time, with the chief antagonist being Desdemona’s father, Brabantio. He believes the marriage between Othello and his daughter to be “in spite of nature” and regards his son-in-law as an animal by claiming his “house is not a grange” where Othello can reside (1.1.108, 1.3.98). Iago also uses animalistic imagery to describe Othello, calling him “an old black ram” and a “Barbary horse,” (1.1.90, 1.1.114). He even questions why Desdemona would choose Othello, a Moor, over someone “Of her own clime, complexion, and degree” (3.3.246). After examining other characters’ interpretations of Othello, one can understand his desire, and even more so his need, to conform to the expectations that Venetian society had set for him. Othello even begins to internalize this racism, equating his blackness to “vengeance” and describing his face and “begrimed and black” in comparison to Desdemona’s, “as fresh as Dian's visage” (3.3.402-403). The constant pressure that Othello faces due to his status as a pariah and his obligation to display himself as a powerful, warlike figure is threatened by the possibility of humiliation by his adulterous wife and contributes to Iago’s subsequent
Iago first lies to Othello when he says, “Cassio my lord? No, sure, I cannot think it That he would steal away so guiltylike, Seeing your coming” (Shakespeare 3.3 41-43). This is the first seed of doubt that Iago plants in Othello’s head about Cassio being with Desdemona. Originally it was Desdemona, Cassio, and Emilia all talking together but as soon as Othello entered, Cassio left. Iago tells Othello that Cassio left looking all guilty, like he was hiding something. In these lines Iago is using logos toward Othello by being logically and saying why else would Cassio leave when you entered if he weren’t hiding something important. Also, in these lines and a lot of the other lines in this scene Shakespeare uses syntax. He uses syntax by making it sound like Iago is hesitant to respond to Othello which makes it seem like Iago is hiding something. Another quote in this scene when Iago persuades Othello is when he tells him, “I sleep I heard him say ‘Sweet Desdemona let us be wary, let us hide our loves’ And then, sir, would he gripe and wring my hand, Cry ‘O sweet creature’ then kiss me hard” (Shakespeare 3.3 475-478). This quote is explaining how Cassio has dreams about having sex with Desdemona. This is all made up by Iago as he has no clue what Cassio dreams about, but he persuades Othello that it is true. This quote uses pathos by playing with Othello’s