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Discuss the role of iago in othello
Discuss the role of iago in othello
Cassio in othello character analysis
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Othello: Summary
*Othello is a tense, closely-knit play, with an ever-increasing emotional scene. The character Iago, Othello's ancient, is the cause of all the tragedy which comes to pass as the play progresses. He is a manipulator, opposing
Othello not directly, but through other characters whom he tricks. From his actions throughout the play one sees that Iago was gifted at using other people, to further his own schemes. *Act One, Scene One is the most important because it foreshadows the whole drama. Iago gives the reader warning that he is not all that he seems when he says, "I am not what I am" (I,i). He appears to help
Roderigo, a suitor to Desdemona, who has run off with Othello, the Moorish general of the Venetian army. Iago hates Othello for another reason. instead of choosing him to be his lieutenant, Othello chose Cassio. In the end of scene,
Iago and Roderigo have informed Brabantio about his daughter's elopement. Then they went to confront Othello with this situation.
*At the beginning of Scene Two of Act One, Iago gives advice to Othello and lets him know what is about to happen. Shortly after their talk Brabantio confronts
Othello about stealing his daughter. Then they all went and saw the Duke.
Othello defends himself and asks if Desdemona can testify on the behalf of him.
Othello tells how that the only "witchcraft" he used were his stories, and how
Brabantio used to invite him up to tell them. Finally, Brabantio disowns
Desdemona and she goes to be with Othello.
*Near the end of the first scene of the second act, Iago convinces Roderigo, who was observing Cassio's enthusiastic greeting of Desdemona, that Cassio and
Desdemona have something going on between them. Thus manipulating Roderigo through his passion for Desdemona, Iago convinces him to provoke Cassio to anger, so that the lieutenant will be discredited in Othello's eyes and Iago can take his position.
*In Act II, Scene III, I ago tricks into a drink, knowing that he has a low tolerance for alcohol, making it easier for Roderigo to provoke him to fight.
Cassio departs the scene, and Iago starts to insinuate to the other soldiers is a bit of a lush. Cassio soon, returns, chasing Roderigo, and when his comrades attempt to restrain him, he strikes at them as well. When Othello arrives on the scene, Iago makes it seem that he doesn't want to discredit Cassio, but his insinuations make Othello discharge his lieutenant. However, as soon as Othello is gone, he goes to Cassio as a helpful friend.
	The first scene of Act I illustrates Iago's use of manipulation. Iago knows that Roderigo is upset about losing Desdemona to Othello. Iago himself is angry at Othello for being passed over for promotion to lieutenant for Michael Cassio. Realizing that by playing on Roderigo's jealousy he can gain an ally to work against Othello. Iago does this in a subtle manner. He explains to Roderigo that he was passed up for promotion by Othello. While doing this he makes Othello look inferior by reinforcing the fact that he is a Moor. By pointing out that Othello is a Moor Iago causes Roderigo to become even more jealous, because of the fact that he lost Desdemona to someone who he feels is of a lesser race. It even seems that Iago is toying with Roderigo when he reveals that he is a fraud when he says, "I am not what I am." (I.i.62) By using these tactics, Iago has almost gained total control of Roderigo.
Cassio, and so in act 3 scene 3 Iago puts his plans into action and
“I asked her to wear something revealing, so she showed up in a prophet's toga.”(CITE) Jarod Kintz’s words are an example of miscommunication, or failure to comprehend meaning. In this case, it is implied that one person misunderstood the message of another, but incomprehension also applies to problems other than falsely interpreted requests. Incomprehension can occur when people misinterpret another’s words or intentions, or when a person misreads situations or events. The outcome described in Kintz’s quote is unexpected and unintended, but there are instances of incomprehension that have consequences of greater severity. Perhaps a classic tragedy with a high body count falls under these parameters.
Desdemona is a stunning, youthful, white, Venetian debutante. She is her father's pride and joy, but she refuses to marry any of the rich, handsome Venetian men that her surroundings expects her to spend the rest of her life with. Instead, she elopes with Othello – an older black man, an outsider to Venetian society. Turns out, this is a pretty intrepid move – Desdemona not only defies her father's expectations (that she marry a white man of his choosing), she also thumbs her nose at a society that largely disapproves of interracial marriages. In this way, Desdemona's relationship with Othello speaks to the play's concerns with Sixteenth Century attitudes about sex, gender, and race. Desdemona withholds many attributes to the play Othello by Shakespeare. She leads on a perfect life, as the perfect woman, but will it last forever?
By the end of Act 1 we have a strong sense of Iago’s determination to
the play, Iago is jealous of Cassio of his title and plots his plan to get rid of him. Afterwards, Iago
The whole time, Othello holds Iago to be his close friend and advisor. Iago knows that
The situation above leaves an opening for Iago to fulfill his vital plan to bring down Othello through Desdemona. Cassio was a mental wreck and told Iago that his reputation was ruined. Iago told him that he can get his rank back through Desdemona and get back on Othello's good side. "Confess yourself freely to her, importune her help to put you in your place again (p. 54)." Once Cassio talks to Desdemona, Iago will speak with Othello and get him to think of his wife's trust. In Act three Scene three Iago is speaking to Othello and warns him to look out for Cassio and Desdemona. Othello asks Iago if it was just Cassio that left from speaking with his wife.
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.
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
The Tragedy of Othello William Shakespeare’s, The Tragedy of Othello, the Moor of Venice, from the sixteenth century is an excellent example of Renaissance humanism. “A poet of unparalleled genius, Shakespeare emerged during the golden age of England under the rule of Elizabeth I.”(Fiero 3:98) He produced comedies, tragedies, romances and histories. According to Webster’s pocket dictionary, a tragedy is defined as a form of drama in which the protagonist comes to a disaster, as through a flaw in character, and in which the ending is usually marked by pity or sorrow. I would like to concentrate on the character Iago and the theme of deceit.
Iago's plan is to get Cassio drunk and he manages to do so, ' He'll be as full of quarrel and offence, As my young mistress' dog'. As a result a fight broke out between Roderigo and Cassio. Due to all the commotion, Othello tries to eliminate the chaos by asking for the truth. When Othello asks what is happening, Iago answers,' I had rather have this tongue cut from my mouth/ Than it should do offence to Michael Cassio' so to appear loyal to the latter character. Iago's indirect insinuations about Cassio get him fired. Nonetheless he still makes Cassio think that he feels sorry for him and that he wants to help hi...
Shakespeare’s utilization of characterization through personal thoughts illuminates the willingness of Iago to betray during his quest for revenge. While blissfully deceiving Roderigo, Iago’s reveals his
Characters in the play see Iago as trustworthy but in reality he is underhanded, two-faced, and scheming. (Smith, 2000)
...se his is still enjoying the intrigue which he can only understand. To some extent his is playing with his subjects, making them believe that they act of their own violation while manipulating them. He is also testing them, perhaps to determine how worthy they are of their positions. (Act 4 scenes 3-6).