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Shakespeare as a writer
Shakespeare as a writer
Shakespeare as a writer
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Othello sends her off to get Desdemona and says to the audience “She says enough, yet she’s a simple bawd/That cannot say as much. This is a subtle whore,/A closet, lock and key, of villainous secrets./And yet she’ll kneel and pray, I have seen her do ’t.” (4.2.21-24) Othello is dismissing her statement under the principle that any woman would say the same story and the only truth he can trust would be what he is told by a man. Othello uses words such as “whore” and “villainous,” which are words first spoken by Iago. These are used only in the most demeaning way and this shows that he truly believes that no matter what evidence he is shown, or who claims she is a good wife, that she has just hidden her true nature from them as he has seen her “kneel and pray” just like any good wife.
It is similar to saying “damn it” in today’s vernacular. This gives us a sense that Iago doesn’t follow the common rules of the age despite being raised in a very political world. Iago’s language throughout the play shows us that he is a villain character. The first things we learn about Iago is that he hates Cassio for taking a position he feels he deserves. His reason for hating Cassio is that he is “a great arithmetician” (1.1.20) and that he “never set a squadron in the field,/ Nor the division of a battle knows.” (1.1.23-24) Iago views Cassio as a lesser because he is not a military officer and has never seen battle, instead, he works with numbers and is, therefore, less of a man that Iago. Cassio portrays a more feminine character and this is unacceptable to Iago. This also adds insight to what Iago views as masculinity. He views military experience as the foundation from masculinity and working with books and numbers as a lesser calling and not deserving of high
He questions Othello and makes him think the worst between Cassio and Desdemona, and then his use of words adds color and a picture, so it has to be right. Last, his sarcasm creates the assurances Othello needed to be duped. To start, Iago uses rhetorical questions to cause Othello to question Desdemona’s love for him. When Othello finishes with “.Than answer my wrath!” Iago comes back with “Isn’t this my lord.”
Everyone at some point in their lives attempts to convince someone to behave certain ways and to do specific things that ultimately will only benefit the person doing the convincing. Throughout the entire book, Othello, Iago attempts to convince numerous people in order to in the end only benefit and help himself. In this scene, Roderigo is explaining to Iago how he no longer wants to love because he is without Desdemona’s love. Iago then focuses on convincing Roderigo not only out of suicide, but also into getting Desdemona back. If Iago was unable to encourage Roderigo to go back after Desdemona, his plans would have been ruined. In lines 296-395, Iago uses many different uses of language in order to convince Roderigo to do what he wants him to do.
Act iii, scene iii, lines 108-131 of William Shakespeare’s “Othello” unquestionably shows Iago’s trickery and deceptiveness which is masked through his reputation for honesty, reliability and direct speaking. This section not only shows Iago’s slow but powerful act of deception, but also shows the jealousy and insecurities slowly depriving Othello’s inner peace and balance.
Critics such as M. R. Ridley believe that the ability to hurt is the most
The fact that Othello is wavering between believing Iago and trusting his wife is reflected in the imagery Shakespeare uses in the soliloquy. The first image that is used is that of a falcon. Lines 301-304 read: “If I do prove her haggard, / Though that her jesses were my dear heartstrings, / I’d whistle her off and let her down the wind to prey at fortune.” This shows that Othello is still unsure about Desdemona, and claims that though he is in love with Desdemona, he would drop her if he found out she was cheating. This is quite a strong willed statement, but it is diminished by lines 319-320, which follow the entrance of Desdemona and Emilia into the chamber. Othello says, “If she be false, heaven mocks itself! / I’ll not believe ‘t.” This is an example of how turbulent Othello’s state of mind is. The steadfast determination expressed using the falcon image sort of “melts” when he sees Desdemona, and he immediately professes denial that she could be untrue to him. Yet, just ten lines earlier (l. 308), Othello says, “She’s gone! I am abused!” and proceeds to lament the very institution of marriage: “O cure of marriage, ? That we can call these delicate creatures ours / And not their appetites!” Shakespeare’s placing of these three different conclusions Othello has drawn in such close proximity is an example of antithesis, and a testament to the changing and chaotic state of mind of Othello.
William Shakespeare's Othello is a remarkable tale of trust, deceitfulness, lust and the most destructive of human emotions: vengeance and hatred. Iago better known as Othello's antagonist embodies vengeance and hatred to move an agenda to squash all who oppose Iago's plans. As defined by Merrium-Webster the definition of a protagonist is a principal character in a literary work or a leading actor, character, or participant in a literary work. Othello by Shakespeare is a play about Othello an example of a tragic hero with all figures centered around Othello as the protagonist yet, Othello has two main leading characters. Iago and Othello have stark contrasts as leading roles and different themes represented through the actions, words, and moral compass of both characters. As Othello plays out the audience finds that Iago is the driving force behind Othello and the cause for all chaos. Iago's thirst for vengeance due to feeling dissatisfied and passed over potential lieutenant position pushes Iago to ruin the lives of all associated with Othello. The thirst for vengeance drives Iago as Iago drives the plot achieving all goals and because of this Iago is the true protagonist of Othello.
Othello is a play that asks us to examine the position of women in society. This play explores issues such as clandestine marriage, accusations of adultery, and it includes three different social classes of women. First, we have Desdemona, this is a woman from a noble family in Venice and has the least amount of freedom. Her behavior was watched very carefully. The perception of Desdemona is created by the language that other characters use to describe her. In Act 2, Scene 1, Cassio refers to Desdemona as ‘a maid/That paragons description and wild fame’; that she
The play Othello was written in 1604 during the Elizabethan era. Othello, the moor, enjoyed success in combat, which gained him a reputation as one of Venice’s most prominent Generals. He married the lovely Desdemona, the daughter of Brabantio, a Venetian Senator. Othello, despite his blackness, is a noble leader and Cassio his Lieutenant. Iago, serves as Othello’s ensign- an officer of low rank. Iago thinks he is worthy of a better title and resents both Othello and Cassio for their position. Iago was intrigued by Othello’s decision to appoint Cassio since he believed he had the qualities and experiences needed for the position despite having the “three great ones of the city” advocate in his favor. (1.1.9). Iago is threatened by both Othello
The Relationship Between Othello and Iago In this scene Iago persuades Cassio, who is on watch, to drink, knowing that he is not a drinker and that he will be easy to antagonise. Roderigo provokes Cassio into a fight and Othello, hearing the disturbance, arrives to find the nobleman Montano seriously injured. Cassio gives no explanation, Montano pleads self-defence, and say that Iago knows best, so Iago is ordered to speak, ' Iago, who began't? " This passage starts with Othello, who appears to have interrupted someone, as there is a line break.
First, in order to defend Desdemona's chastity, Emilia challenges the societal norm of silence. Recall the incident when Othello calls Desdemona a "whore" for cheating. In response, Emilia protests loudly against Othello and attempts to disprove his belief that Desdemona is not chaste: "A halter pardon him [Othello]! And hell gnaw his bones! / Why should he call her [Desdemona] whore? (4.2. 143,144). Instead of Emilia conforming to the attribute of Renaissance women as silent, she condemns Othello for his false accusations against her mistress, Desdemona. Later in the play, after finding Desdemona killed, Emilia challenges silence again: "As ignorant as dirt! Thou hast done a deed-... / The Moor hath killed my mistress!" (5.2. 171,174). Although Othello tells Emilia that it would be "best" for her to remain silent, she ignores his request and ridicules him for killing "sweet" Desdemona (5.2. 169).
Iago’s animosity towards Othello emanates from the very core of his being. Can the tragedy in Othello be explained in this way?
Iago initially uses the word honest to mean honourable, in reference to Cassio. Othello has asked him if "he [Cassio] is not honest?" To which Iago parrots back "Honest my lord?" This usage is constant with what Othello means, whether Cassio is honourable or not. However, Iago uses the word to cast doubt on Othello. By parroting it back, he is making it seem to Othello that he does not want to answer the question, that he doesn't want to tell Othello something. This is seen in the subtext that Iago wishes to create. This use of it also contributes to Iago's objective, to...
It is obvious that Iago does not like Cassio and this is evident when in Act 1 Scene 1 he states, 'One Michael Cassio...That never set a squadron in the field, Nor the devision of a battle know' thus criticizing his military abilities. Having said that, this is the chief motif why Iago wants to bring down Cassio. Another reason might be that Iago believes that Cassio has slept with his wife, conspicuous in a soliloquy where he says, 'For I fear Cassio with my night cap too', the 'night cap' referring to his wife.
reason he "would expend time with such a snipe" is but to use him. He
jealous, even though he does not know if it is true or not. Iago is