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Role of women in drama othello
A social context for othello
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Before the ability to read words, pictures can be used to communicate to babies or even the illiterate. Pictures are universal. They will be seen as the same language no matter what part of the globe you are in. A good author can create pictures through his words. A great author can create the same imagery for centuries to come. The function of imagery in the mid-sixteenth century play Othello by William Shakespeare is to add characterization and eventually define meaning in the play. The antagonist Iago is defined through various images, some being the use of poison and sleeping aids, to show his true evil nature. Othello’s character is also shaped by imagery such as the black and white, animalistic, and horse images, which indicates his lust and sexual nature. Characterization of women is heavily dictated by imagery in the play used to show the parental gender system of the time. Examples of this imagery is that of hobbyhorses and the alike showing that Desdemona and Emelia, were nothing better than present day whores. Othello’s view at the start of the play is contradicting of these parental views with Desdemona and Othellos’ true love overcoming such stereotypes and we are told this through imagery of fair warriors and that alike them. The wages of deceit is also shown through imagery of spiders and webs, uniforms and other images. Also, the power of jealousy is very well defined by imagery in the story. The green-eyed monster, handkerchief, and cuckolding imagery are very prominent in the defining this theme.
The devilish character of Iago is depicted very well though different types of imagery. His sadistic intent is depicted through this imagery “I’ll pour pestilence into his ear” (II iii 356) reffering to Othello, says Ia...
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...er man. Emelia, who was the poor wife of the evil Iago, who holds the burden of his devilish nature. Imagery is also key in understanding the main issues of the play such as the jealousy found in all men through the examples such as that of the green eyed monster and then the horns of the cuckold. (tighten up)
Imagery can be found in all areas of this seventeenth century play. Shakespeare creates hidden imagery like any other great author, or in his case playwright. Shakespeare was something special to still be read and studied hundreds of years later. This play could be studied crucially many times and there could still be hidden imagery and new themes picked up every time. What Shakespeare created was a true work of art that shows his great brilliance.
Works Cited
Kennedy, X. J., Dana Gioia, and Nina Revoyr. Literature for Life. Boston: Pearson, 2013. Print.
In William Shakespeare's play, Macbeth, imagery is found throughout as it is demonstrated in clothing, blood/murder, and finally lightness and darkness. It reveals different things about characters in play such as suspicion of Banquo and Macduff of Macbeth on how he became the King of Scotland, to Macbeth’s fear of losing the crown which revealed his evil side to commit murder to try and protect what he has wanted all of his life. Macbeth’s choices put his life in jeopardy. In life, there are little things people look over that may just open their eyes and see the world from a new
William Shakespeare found that imagery was a useful tool to give his works greater impact and hidden meaning. In Hamlet, Shakespeare used imagery to present ideas about the atmosphere, Hamlet's character, and the major theme of the play. He used imagery of decay to give the reader a feel of the changing atmosphere. He used imagery of disease to hint how some of the different characters perceived Hamlet as he put on his "antic disposition". And finally, he used imagery of poison to emphasize the main theme of the play; everybody receives rightful retribution in the end.
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.
Othello, a play written by William Shakespeare in approximately 1603, focuses on two opposite characters named Othello and Iago. Othello is a respectable army general who tragically dies in the end. The readers believe that his flaw is jealousy, which ruins his calm and makes him believe Iago, a character nobody should trust. The antagonist of the play, Iago, is a cunning liar who lies and tricks almost every other characters in the play to ruin and manipulate Othello. The play starts on the street of Venice where Iago convinces Roderigo to plot against Othello by planning falsely accuse Othello’s wife, Desdemona, of cheating. Interestingly, another specific detail critics usually look at is that Shakespeare choose to make the character of Othello a dark-skinned man, which was not a common feature a hero should have during the Elizabethan. Some of the common themes in Othello are the role of race and racism, the effects of jealousy, and the differences between genders during the Elizabethan.
Before coming directly to the forming of the love-theme that differentiates Othello from other Shakespeare plays that utilize the same theme, I turn arbitrarily to Iago to inspect a distinguishing mark of his of which the relevance to thematic form in the play will appear a little later. When Iago with unperceived scoffing reminds Roderigo, who is drawn with merciless attraction to the unreachable Desdemona, that love effects an unwonted nobility in men, he states a doctrine which he “knows” is true but in which he may not “believe.” Ennoblement by love is a real possibility in men, but Iago has to view it with bitterness and to try to undermine it. (333-34)
Othello avoids all irrelevancies and the action moves swiftly from the first scene to the denouement. We never get lost in a multiplicity of incidents or a multitude of characters. Our attention remains centered on the arch villainy of Iago and his plot to plant in Othello’s mind a corroding belief in his wife’s faithlessness. (viii)
There exists a kind of person who can be called by no other name than by “Magnificent Bastard”. They are masters of deception, bloody brilliant, unstoppable in achieving their goals even when it means grinding others into the dust, and yet they have such a flair, such a charming disposition, that they are often admired by even those who are wronged by them. Iago in Shakespeare’s play Othello is one such character. The audience may love or hate him, but either way they must admit that he commands the spot-light. In spite of this, the reason why Iago acts as he does is shrouded in mystery. Even when directly speaking to the audience about his motivations, Iago is not always truthful. In reality, while Iago derives great pleasure from manipulating others, his driving motivation throughout the entire play is his own jealousy; from being unrecognized for his greatness, to an impossible love for Desdemona, and of the virtuous characters all around him.
Appearances can be deceiving as often what appears to be real is in truth an illusion. This notion is presented in Othello as it explores how appearances and societal perceptions are often fraudulent in comparison to true. This is evident when the antagonist, Iago employs dramatic irony stating that, “Men should be what they seem”. Here, Iago is hypocritical as he is perceived to be honest by the Venetians. However, this social façade is only masking his duplicitous nature. Iago’s character is further revealed through the use of metaphor, “The Moor has already changed with my poison”. In this instance Iago is attempting to conjure up the insecurities of Othello, such as Desdemona’s fidelity and devotion to
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.
“I am not what I am,” proclaims one of Shakespeare’s darkest and most enigmatic villains, Iago, in the tragedy Othello. Iago’s journey for revenge enables him to become capable of immoral acts, and whilst his malevolence excites us, we are no more intrigued by his attributes than we are of the play’s tragic hero, Othellos’. Rather, both characters’ confrontation with jealousy and their subsequent moral demise as a result of failing to control such an emotion provides the true excitement for audiences. Iago’s spiteful manipulation of Othello makes him a multifaceted character — whose corrupt attributes make the audience examine their own morality. However, the same can be said of Othello; his failure to withstand Iago’s ‘pouring of pestilence’
In William Shakespeare’s play “Othello” the use of animal imagery was evident throughout the telling of the story of the.. Shakespeare explained several characters actions by comparing them to similarities in animals. The characters in “Othello” were often depicted as having animal-like characteristics. Some characters were even compared to animals by other characters in the play. By defining characters in terms of these characteristics one can get a clear description of what the character is doing or saying as compared to certain animals.
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,”
Shakespeare uses many forms of imagery in his plays. Imagery, the art of making images, the products of imagination. In the play Macbeth Shakespeare applies the imagery of clothing, darkness and blood. Each detail in his imagery contains an important symbol of the play. These symbols need to be understood in order to interpret the entire play.
The Development of the Character of Othello as Shown by his Use of Language and Imagery in William Shakespeare's Play
In the play Othello, the character Iago plays a paramount role in the destruction of Othello and all of those around him. Some critics state that Iago's actions are motiveless and that he is a purely evil character. However, during the course of this paper, certain motives for Iago's actions will be discussed.