Analyse the dramatic effect of the devices Iago uses in Act III Scene 3 to convince Othello of his wife’s infidelity. Who is to blame for the tragedy?

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Amy Grammer

Analyse the dramatic effect of the devices Iago uses in Act III Scene 3 to convince Othello of his wife's infidelity. Who is to blame for the tragedy?

Shakespeare's tragedies of this kind are all based around the idea of the downfall of a hero whom the audience has had a chance to relate to. Othello is indeed heroic at the beginning of this play but would have been different in a major way from the ill-fated Hamlet or Macbeth to the Elizabethan audience. He was black. His was a race that was generally portrayed as inferior or evil in Elizabethan theatre and yet here was a Moor playing the hero, a well educated, dignified hero at that. But can a black man, however comfortably he seems to fit into society ever truly feel secure in a world dominated by white people? Will he always feel like an outsider? He is exploited by the virulent Iago who cleverly manipulates him in to believing he has been "cuckolded" and drives him to homicide and then suicide through the use of dramatic devices. In this essay I shall look at how Iago manages to convince Othello of his wife's infidelity in the pivotal scene of Act III Scene3. I will also consider who is to blame for the tragedy. Although it is easy to hate Iago and attach all the blame to him putting the other supposedly "good" characters on a pedestal I hold every important character in the plot at fault. It is only through other characters flaws/qualities (depending on whose viewpoint you take) that Iago is able to achieve his means.

Dramatic devices are techniques/language used to create tension for the audience and usually have a purpose within the play, in the case of those I shall be examining Iago uses them to make Othello believe his wife has been unfaithful. Dramatic devices are chiefly for the audience rendering a play believable and understandable. It gives a play depth and makes the plot and interpretation of it more complex. Before dramatic devices the play has only the black and white outlines of a colouring book but after it is coloured in with all the colours in the pencil case of language. Dramatic devices can get an audience involved in the play, leaving them frustrated they cannot change the plot or forewarn a character of what is to come. For example Iago's soliloquies inform the audience of Iago's plan and leave them dissatisfied they cannot intimate the good character of Othello of his evil intentions. They are chiefly used to make Iago's pretences of Desdemona's infidelity more tenable to the audience (and Othello) than outright lies by using them to imply her spurious affair with Cassio.

Below is a brief summary of events so far in the play which will help me place the central Act III Scene 3 events into context and appreciate each characters position.

* The play opens on a conversation between Iago and Roderigo in Venice. Iago expresses anger and remorse that the learned Cassio is promoted to lieutenant above him by Othello. He considers himself much more worthy of the position because of his superior experience and expresses an intense desire to get his revenge on Othello. They awaken Brabantio to enlighten him to the fact Othello and his daughter, Desdemona, are married. Iago remains in the shadows but heightens Brabantio's anger towards Othello by shouting racist metaphors. Brabantio storms off to the senate to expostulate about his daughter's marriage.

* Brabantio tells the Duke of Venice that Othello managed to win Desdemona using sorcery although it is fairly obvious he is covering up his racist notions, he cannot believe his daughter has married a black man. However, the Duke of Venice approves of the marriage because of his admiration for Othello's eloquence and battle skills. Desdemona also speaks of her love for Othello in an open and mature manner. Brabantio speaks the words "Look to her Moor, if thou has eyes to see, she has deceived her father and may thee". These words will come to feature prominently in Act III Scene 3 when Iago employs Brabantio's warning to make Othello doubt Desdemona's allegiance.

* The characters travel to the removed site of Cyprus. We see a glimpse of how strong the love between Desdemona and Othello is when Desdemona thinks Othello may have drowned.

* Iago, knowing Cassio's low tolerance of alcohol, easily manages to get Cassio inebriated. Roderigo, desperate for the love of Desdemona, collaborates with Iago and agrees to start a fight with Cassio (Roderigo believes Cassio is having an affair with Desdemona). Othello appears on the scene and Iago speaks "reluctantly" of Cassio's wrong conduct. Othello is appalled at Cassio and demotes him from his esteemed position as lieutenant. Cassio still believes Iago to be his virtuous and loyal friend and turns to him for help. Iago says, "the Generals wife is now the General," meaning for Cassio to turn to Desdemona for help. This will make his pretend suspicions of Desdemona and Cassio's affair to Othello seem more justified.

* Aemilia, Iago's wife, arranges a meeting between Desdemona and Cassio so that Cassio may ask Desdemona to convince Othello to reinstate him. Cassio is very concerned that he has lost his reputation, which he holds dearest of all.

* Iago plans to persuade Othello that Desdemona and Cassio are more than just friends.
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There are four main characters in this play, Iago, Desdemona, Cassio and Othello himself. Othello is a man of calm integrity, a dutiful and loving husband who is a pillar of Venetian society. He appreciates the beauty of language and as a result is an articulate speaker. However, rather unusually we find the central character, Othello, a passive character in the play where as the villain, Iago, is at the centre of the action.

Iago and Desdemona are the most constant characters in the play (as opposed to Othello who changes) and they couldn't be more different. ...

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