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What is the irony in othello
Analysis of the character of othello
What is the irony in othello
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The Irony of William Shakespeare's Othello
Irony plays a great role in ?The Tragedy of Othello?. The villain, Iago, plans from the very beginning of the play to ruin Othello?s life. All the major characters in the play believe that Iago is an honest and trustworthy person. The tragic irony is that Iago fools them all. Throughout the whole play Iago manipulates the people around him and lies to them. Iago is very distressed, because Michael Cassio was promoted to Othello?s lieutenant instead of himself. This is Iago?s main reason for revenge against Othello. Iago?s plan is to manipulate Cassio and Desdemona, so that it would appear that they are having an affair; which would break Othello?s heart. Iago does succeed in his plan, because, ironically, everyone in the play believes all his actions and advisements are just, true, and from the heart. Irony, thus, plays a role in the deception of Othello by Iago and in the tragedy of Othello?s response. The irony of the play is demonstrated through situational, verbal, and dramatic irony. There are many cases of these three types of irony in the play. When situational, verbal, and dramatic irony are used in conjunction; the effect is one of great tragedy and loss.
Situational irony is when ?the result of an action is the reverse of what the actor expected?(Literary Terms, e-text). There are several cases of situational irony in ?The Tragedy of Othello.? The first case is in Act I Scene III. Brabantio warns Othello of Desdemona?s deceptiveness. Othello says to this, ?my life upon her faith?(1. 3. 293). This statement means that Othello believes in Desdemona?s honesty and loyalty so much that he would give up his life if she were untrue. This is ironic, because later on in the play...
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...nation of situational, verbal, and dramatic irony is very useful in creating an overall feeling of loss and catastrophe in the play. The role of irony in the play is to create the loss of a great potential in the play. The audience can see that because of Othello?s tragic trust in Iago, miscommunication occurs and disaster follows. The characters, Othello, Desdemona, Cassio, Emilia, and Roderigo are all intimately close to Iago, and are all manipulated by him. Because of Iago?s reputation of being trustworthy and honest, the characters believe in him without doubt, and that brings about the destruction of Othello and on a greater level; the disintegration of social order.
Bibliography:
Shakespeare, William. ?The Tragedy of Othello, the Moor of Venice?. The Riverside Anthology of Literature. Boston: Houghton Mifflin Company, 1997, 1102-1195.
Northrop Frye once said, “Tragic heroes are so much the highest points in their human landscape that they seem the inevitable conductors of the power about them, great trees more likely to be struck by lightning than a clump of grass. Conductors may of course be instruments as well as victims of the divisive lightning.” Othello is the pillar of tragic heros, first playing the part of a loving husband with a beautiful wife, then being manipulated into believing his wife was cheating on him and killing her. Throughout the play, he played the part of the protagonist, everyone hoping he would figure out Iago was lying to him. Othello being the protagonist made the fact he was also a villain bittersweet. His apparent love for his wife Desdemona, his ‘just’ reasoning for killing her, and Iago’s deserving end all contribute to the tragic work as a whole.
William Shakespeare’s Romeo and Juliet is a tragic story about two lovers who are from two competing families, and their eventual suicide. Shakespeare uses dramatic irony throughout the play to create tension for the audience and foreshadow the ending. Dramatic irony is when the words or actions of characters in a story have a different meaning to the reader than to the characters. This is because the reader knows something that the characters do not. Romeo and Juliet’s death could have been prevented if the characters in the story weren’t so ignorant of their situations, and often times the reader recognizes this.
Shakespeare, William. The Tragedy of Othello: The Moor of Venice. Ed. Barbara A. Mowat and Paul Werstine. New York; Washington Square Press, 1993.
Language and imagination are among the most dangerous weapons Iago has at his disposal in Othello. Jealous and angered by Othello’s - his commanding officer - passing over him for a promotion, Iago develops a fierce, antagonistic perspective the aforementioned character; this sentiment quickly corrupts his volition, and he subsequently concocts a plot bent on destroying Othello. He renders this revenge scheme credible by concealing his true feelings behind a facade of loyalty and trustworthiness, and fabricating a fictitious story concerning the infidelity of Desdemona, Othello’s wife. Until the play concludes, Iago utilizes purposeful rhetoric to drive his agenda, and also a mastery of deception to mislead the minds of his targets.
Shakespeare, William, and Kim F. Hall. Othello, the Moor of Venice: Texts and Contexts. Boston: Bedford/St. Martin's, 2007. Print.
Characters in the play fail to comprehend Iago’s true nature until it is too late. Those interacting with Iago fall into the belief that Iago is loyal to his superiors, when Iago is actually focused on bringing them (Cassio and Othello) down. Iago constructs a false impression of his loyalty to Othello through ...
In Shakespeare’s Othello, Iago is the antagonist and villain who causes all the trouble and disorder. Othello is the protagonist, and is the main person Iago’s destruction and revenge is aimed towards. Othello is naïve and gives everybody his trust even though he may not know them or they haven’t earned his trust yet. He often refers to Iago has “Honest” Iago, which is a direct showing of irony because Iago is not honest at all (Shakespeare, I, iii. 289). Iago is so angry that Othello didn’t give him the promotion that was given to Cassio that he plans to seek revenge against Othello. He seeks his revenge against Othello by manipulating and lying to all of the people around him including his closest friend Roderigo, Cassio, Othello’s wife Desdemona and even his own wife Emilia. In the end, Iago’s lies and manipulation led to the deaths of Roderigo, Emilia, Othello and Desdemona. This isn’t the first time many of these individual characteristics have shown up in one of Shakespeare’s plays.
Shakespeare, William. The Tragedy of Othello, the Moor of Venice. Ed. Barbara A. Mowat and Paul Werstine. New York: Washington Square, 1993. Print.
Shakespeare, William. "The Tragedy of Othello: The Moor of Venice." The Signet Classic Shakespeare. Ed. Alvin Kernan. New York: Penguin Putnam, 1998.
In the story of Othello we see how the actions of one man go on to ruin the lives of multiple people. The villain Iago single-handedly creates the tragedy of Othello through his puppeteer like control of the other characters in the play. Iago captivates the audience as his plan progresses. Readers are anxious to know what will happen next in the play. What makes Iago so fascinating is his mysteriousness as a character, his fully devious ways, and how magnificently clever he is in organizing the demise of Othello.
In this tragedy, Othello, Shakespeare, has created a villain who behaves in this manner. Iago’s hatred, method of revenge, and vengeful hatred are the reasons for the lives lost in this play and the reasons that led to Iago’s downfall. Iago’s hatred of Othello and Cassio causes him to seek revenge, and he is able to succeed because his victims are too innocent to suspect him. Iago is a Machiavellian Shakespearean character who cunningly convinces his victims of his full moral support and proves his innocence in a way that his victims do not suspect him. When Cassio finishes his conversation with Desdemona about how he will not have his job back, Iago unfolds his mischievous plan against Desdemona when he says that, “so will I turn her virtue into pitch, And out of her own goodness make the net that shall enmesh them all” (Shakespeare, 49).
...y of the truth and stabbning of Iago only hints at the justice Iago truly deserves. He manipulated Othello and his peers and used the people around him—including his own wife, who he also kills—to enact a vengeful, jealous whim and ruin Othello, who is only guilty of being successful and having a pretty wife who loves him. Throughout the play Iago made it clear to a modern-day audience that Othello only acts the way he does as a result of the manipulation he has been through—he is a product of Iago’s actions, not his own. The not-so-subtle racism throughout the play betrays Shakespeare’s thoughts on this subject, as well as the thoughts of the audience of the play when it was originally performed. However, in a more modern context, Othello is a tragedy not just because of the events that unfold, but also because of the treatment and manipulation of Othello himself.
William Shakespeare masterfully crafted Othello, the Moor of Venice as an Aristotelian tragedy play. The main protagonist of the play, Othello, is the perfect example of a tragic hero. Shakespeare was influenced by Aristotle’s concept of a tragic hero and used Aristotle’s principles to create Othello. William Shakespeare attempted to create an Aristotelian tragedy play with a tragic hero and succeeded in Othello, the Moor of Venice by weaving in pity and fear into each line and action. The power of pity and fear creates the upmost tragic situation and follows in accordance of Aristotle’s definition of tragedy. Othello makes the ultimate act as a tragic hero by killing himself at the end of the play. “Othello, more than any play in the canon, has a fascinating and contentious performance and reception history,”
The key to Iago’s deception is his ability to convince others that he is on their side. This first comes up when Iago gets Roderigo to “put money enough in [his] purse” to pay Iago for his services (1.3.316). Iago then tells the audience that he would “be time expend with such a snipe but for my sport and profit” (1.3.318-323). This sets the stage for the rest of Iago’s betrayal where he constantly tries to make himself the protagonist while being the antagonist behind the scenes. Furthermore, through Iago’s feeling that he needs to cover himself from seeming like the villain, it becomes clear that he thought out all the possible implications his act could bring upon him, which is ironic considering how little he cares for his action’s implication on others. Through the juxtaposition, Shakespeare demonstrates how Iago loses sight of humanity while still having enough reason to carry out his carefully planned betrayal. In continuation with the pattern of differentiating between thoughts and actions, Shakespeare again utilizes this juxtaposition when Iago convinces Cassio that he is “in the right,” while wondering to himself, “what’s he then that says I play the villain? When this advice is free I give and honest” (2.3.245-247). The juxtaposition
...gonism. Characterization was used to emphasize Othello’s gentlemen like nature and noble soldier status, while to the contrary, Iago’s actions defined him as a conniving saboteur. These differences create a tension that stresses the good in our protagonist and the bad in our antagonist. Metaphors were used by Iago that showed his manipulative pattern of malice. A subtle placement of irony extenuates our negative perceptions of Iago. Symbolism was a crucial role in Othello, this may have been the crown jewel of literary devices used to demonstrate that Iago was a great villain in the play Othello. Symbolism was the device that this whole play hinged on. Were it not for the handkerchief and the inherent symbolism Othello would have played out very differently.