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Shakespeare's views on love
Character analysis of shakespeare's othello
Character analysis of shakespeare's othello
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Recommended: Shakespeare's views on love
As Laura Numeroff’s popular children’s book says, “If you give a mouse a cookie, he’s going to ask for a glass of milk.” Throughout William Shakespeare’s tragedy, Othello, the topics of love and hate are expressed throughout the drama. Through murderous doings and villainous manipulations of the soul, Shakespeare’s play accentuates the wrongdoings of human nature and their role within daily lives of couples of all statuses. Additionally explored is the idea that, as directly stated within Shakespeare’s play Midsummer Night’s Dream, “the course of true love never did run smooth” (I.i.5) In other words, love never works out, no matter how hard a pairing works at it, due to the corruption of humanity and their nefarious wants and desires. This …show more content…
Within Iago and Emilia’s relationship, the main discrepancy is the gender roles set by Iago about women and their role in society. After Iago’s wife arrives at shore on Cyprus, Iago immediately begins downgrading her and attacking her actions. Even the act of kissing another man as greeting, a common gesture during Shakespeare’s time, is criticized and twisted to make Emilia appear as a lowly talkative whore. Eventually, Iago begins to describe the perfect wife to Emilia and Desdemona, in which he states, “[the perfect wife] would suckle fools and chronicle small beer” (II.i. 25). In other words, Iago states that a women should stay home with the children and tend to housework. However, women, according to Iago, are instead “pictures out of doors,/ Bells in your parlours, wild-cats in your kitchens,/ Saints in your injuries, devils being offended,/ Player’s in your housewifery, and housewives in your beds” (II. i. 24). Instead of being good housewives, Iago alternatively believes women are ineffective, noisy, a distraction, and slutty. Because of this social barrier against his wife and his ideal women, Iago would never be able to efficaciously love Emilia to the extent she loves him. This demonstrates that no matter what people have in in front of them, people are naturally greedy and want more than what’s given to them to work …show more content…
Within the play, Iago’s master plan is to kill Desdemona and Cassio in order to get his job back. However, in order to do this, Iago convinces Othello that his lovely wife Desdemona is cuckolding him with his lieutenant Cassio. After manipulating and working in his unscrupulous ways, Iago properly convinces Othello that Desdemona has been cheating on him, despite the fact that Desdemona is, in fact, innocent. In a fit of raging mania, Othello bursts into fury and cries, “I am abused, and my relief must be to loathe her” (III.iii.48). With the belief that he is a horned man, Othello reverts into despising his loving wife as he sees no other way to accept what has been- wrongfully and inaccurately- revealed to him. Without wrath blinding Othello to conclude something wildly inaccurate, the seemingly unusual but almost perfect couple could have lasted for eternity. However, Othello decides that the only rational way to deal with his, unbeknown to him, made up problem is it permanently get rid of Desdemona by terminating her life. Yet, it’s mortal weakness to let passion conceal logic in fits of rage. Additionally, jealousy, another characteristic damnation, topples relationships. Within act III, Othello implores Desdemona to immediately fetch his handkerchief, as
...ng Desdemona has been unfaithful, ‘Trifles light as air Are to the jealous confirmations strong As proofs of holy writ’. However, his manipulation can also be seen with Emilia, in particular her finding of the handkerchief, ‘my wayward husband hath a hundred times Woo’d me to steal it’. The fact that Emilia gives Iago the handkerchief, despite her initial intention which is to have it copied and to return the original to Desdemona and despite his crude and derogatory remark, ‘it is a common thing’, reveals her desperation to please Iago and to satisfy his need for instant gratification. This contrasts with her outspoken, headstrong nature when Iago is not present and shows that women of this time period were dominated by men in all ways, including the suppression of their natural personalities.
Iago shows a little of his lack of care for women when he quotes, “You are pictures out of doors, bells in your parlors, wildcats in your kitchens, saints in your injuries, devils being offended, players in your housewifery, and huswives in your beds” (2.1.111-14). Iago clearly does not have a high opinion of women, and it is because of his low opinion of women that Iago does not feel any guilt in using Desdemona for his gain. Had Iago have had a better opinion of women, he may have not have used Desdemona as a means to an end, which is an action frowned upon in philosophy (Johnson, “Kant’s Moral Philosophy”). Castiglione would put Iago at fault due to him using Desdemona’s own duties as a noble woman against
...nse, really showing Iago’ shallow character as well as proving the theme of ignorance behind a man’s view of women. Through the act two Iago continues to go on about what he believes a perfect woman is; one who’s every good quality is balanced by another good quality.
Iago, as deceitful of a character his is, always remains truthful when it comes to his opinions of his wife, Emilia. Iago claims throughout the play that his wife has cheated on him multiple times through out their marriage, these claims are even made in public among high ranking officers when Iago and Emilia meet on Cyprus, with Iago saying, “You rise to play and go to bed to work.” Iago’s mentioning of his spouse’s supposed cheating shows how much she truly hates everyone around him, even going to the point of combining his hate for Othello, “I hate the Moor, and 'tis thought abroad that 'twixt my sheets he has done my office." The use of the term ‘my office’ seems to dehumanize the idea of sex with a spouse and instead makes it seem like just another job. As the story progresses it becomes apparent that Iago harbors hate not only f...
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 uses the implications of gender roles throughout the play. He creates doubt about Othello’s masculinity, and feeds off of the anxiety these observations create. Iago is not immune to the negative impact of gender standards that cannot be fulfilled. Mark Breitenberg describes these feelings as “…male, heterosexual jealousy – the anxiety and violence engendered in men by a patriarchal economy that constructs masculine identity” and explains these anxieties are “…dependent on the coercive and symbolic regulation of women’s sexuality” (377). Iago’s hatred of Othello is due to the insecurity he feels about his own masculinity and it causes him to feel jealousy towards Othello. As Karen Newman opines, “Othello both figures monstrosity and at the same time represents the white male norms the play encodes through Iago” (153). He is as a brutish, savage monster, but these negative traits can be warped into desirable ones by means of masculine stereotypes. Othello is large, strong, and a warrior. ...
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While she does have good intentions through out parts of the play and is a kind hearted woman, she never defends herself to her diabolical husband. Iago constantly makes hateful and degrading insults towards Emilia. "Come on, come on. You are pictures out of door, bells in your parlors, wild-cats in your kitchens, saints in your injuries, devils being offended, players in your housewifery, and housewives in your beds." (Act 2 scene 1 line 119) Not once does she ever defend herself. In fact, she is nothing but eager to please her husband to win his affection. "I nothing but to please his fantasy" (Act 3 scene 3 Line 343) She betrays her friendship with by stealing her handkerchief and gives it to Iago hoping to satisfy him. This utterly fails leaving Emilia with the desire to continue to try to please him. "Who would not make her husband a cuckold to make him a monarch? I should venture purgatory for 't" (Act 4, Scene 3, line 85) She is a representation of an abused woman who does not have enough self respect to defend herself. It is evident she makes herself a slave to Iago by consistently trying to make him happy despite his malevolent behaviour. Emilias lack of self confidence and passiveness proves that the women in Othello are powerless and
Shakespeare’s play Othello is based on tragedy of Othello’s jealousy, which ironically leads Othello to kill Desdemona, his beloved (wife). Evil Iago is above all Shakespeare’s villains. Iago is a person with evil emotions, and as a result he deceives everybody, he also is exceptionally influential character who has taken in everyone, above all his own wife Emilia. His public face of bravery and honesty conceals a satanic delight in manipulation and destruction, and he will stop at nothing. Iago’s opinion on women is that he detests women in all kinds and shapes, and finds faults even when they have little or no faults.
At first Emilia's character is the ideal submissive wife. Iago treats Emilia rather badly during the first scenes of the play. He refers to her as a nagging housewife and Emilia is submissively unresponsive to his harsh allegation...
Iago controls Emilia and treats her as less when she does not act as a submissive wife. Therefore, Emilia follows to keep Iago satisfy. Further, Iago tells Emilia to steal the handkerchief; which she follows without knowing his intentions, to then be insulted by Iago calling her a “foolish wife” (3.3.313), and demanding her, “Go, leave me” (3.3.330). Apparently, Iago makes Emilia lesser, and she accepts her role as a submissive wife. Moreover, although Othello proclaims loving Desdemona, he perceives her as inferior as a result of jealousy. As in Act 5, Scene 2 where Othello says to Desdemona, “Down, strumpet!” (89), suggesting that he puts her in an inferior position to kill her reflecting his true perception of Desdemona. And likewise Emilia, Desdemona accepts the role of an obedient wife by using her last breath to take the fault off Othello
By making this generalization, the author contributes to the stereotype of women as unfaithful, which can still be seen today through the typical gender role and mistrust of women despite proving themselves reliable. The character Iago, who acts as Othello’s ancient and trusted friend, makes a similar assumption. When asked for his thoughts on women who specifically
For examples, Iago States “You evil whore!” (295) and Iago claiming women talk too much(71). This shows Iago views and beliefs on women. It is clear to the reader that the women in the story do not have any choice. Iago states he wished that “he would have evened with his, wife for wife.
Emilia is a wanton women, and Desdemona is the quiet women. Both women were treated as property and died of betrayal by their husbands. All women in this play share the common role of being treated as if they are nothing except a man’s property. This was very common in this time period and it is shown several times throughout the play. Iago often refers to his wife Emilia as a whore.