To what extent does language reflect the disintegration of Othellos character?
To what extent does language reflect the disintegration of Othello's character? Throughout the play, the protagonist's language seems to be an honest portrayal of his state of mind. His language is inconsistent through the play and this reflects the characters downfall and change in nature. In the beginning of the play Othello appears to be a noble man with a calm nature. This is apparent during Othello's disagreement with Brabantio over his marriage to Desdemona. Othello exclaims, 'Keep up your bright swords, for the dew will rust / them.' (Act1,2,58). His use of language demonstrates he is wise as he is being rational rather than responding to physical violence. It is through this calm and rational manner that Othello persuades the Duke to dismiss Brabantio's claims that he has used 'magic' and 'drugs' to woo his daughter. Othello even says, 'Rude am I in my speech', to apologise for any offence he may cause even though he is fully aware that he is speaking in a polite and calm manner. His language here shows control unlike Brabantio who uses abrupt and accusing language: 'O foul thief! Where has thou stow'd my daughter?' (Act1,2,62). Othello's love for his wife is portrayed through his speech: 'I therefore beg it not / To please the palate of my appetite, / Nor to comply with heat the young affects / In my distinct and proper satisfaction, / But to be free and
Deception in Othello
Deception in Othello Deception is a reoccurring theme throughout the play which touches all protagonists at various levels. The plot is based on the dishonesty and delusion of the characters. It is difficult for the audience to judge who is deceiving whom. the audience Often becomes part of the trickery and remains unaware that they themselves are being deceived. Deception is performed by all characters, however to different extents and purposes., The three main characters in scene one, Iago, Othello and Desdemona, become involved in a mutual.. Iago is a character which leaves the audience dubious about his true intensions. Nevertheless, Desdemona and even Othello himself can be found guilty of trickery. Deception is perceived as a powerful and destructive force. In the first scene it becomes the main source of tension between the protagonists, and continues to degenerate their mental state throughout the play and eventually leads the final downfall of the characters. Throughout the first scene deception becomes a method applied by all characters in order to establish their power and control over others. The structure of the plot is based on Iago's self-centered plan, which aims to promote his position. He intends to trick other in order to achieve his plan. He announces to the audience that he will follow Othello "to serve my turn upon him", which prove his dishonest
To what extent does Shakespeare present the catastrophe of Othello as inevitable?
To what extent does Shakespeare present catastrophe of 'Othello' as inevitable? The play 'Othello' has derived from opposites and opposition, and many contradictions contained in the play are embodied in the tragic hero, this basic plot alone could have well been presented as a catastrophe and so it is almost certain that Othello could be seen as inevitable because this plot later on spirals out of control within a short timescale due to the fact that Shakespeare has deliberately compressed the timeframe down which makes the play almost too fast for the audience to take in, which demonstrates the catastrophe of Othello as inevitable because there is no time to think thoroughly and make wise decisions which leads to his own downfall. The concepts from Aristotle are also evident throughout the play because the three main factors present are: the protagonist, who inevitably acts disastrous, the unities, in which the timeframe is tightly packed and limited and the catastrophe, in which the protagonist (Othello) and other main characters die, and so the sense of tragedy is reinforced as the play used all the required elements for a tragic play in Aristotle's view. At the very beginning in Act I Scene 1, Shakespeare makes Iago inform the audience that he will follow Othello to "serve my turn upon him" which instantly suggest that inevitably something deceitful from Iago will
Discuss how Iago manipulates language to achieve his aims
Discuss how Iago Manipulates Language to Achieve his Aims Iago is often described as the narrator of 'Othello', he directly speaks to the audience, and they enjoy the privileged exposition of Iago's intricate schemes as he intertwines his network of lies around the rest of the unsuspecting characters. The audience witnesses this through soliloquy, and in the speeches early in the play, he gives several clues as to his motives, modus operandi and intentions. He is open to their scrutiny who, throughout the play, admire, horrified, the progress of his scheming. The first main speech of Iago's is directed to Roderigo in I.i.40-65. This speech exposes Iago's explicit delight in his treachery. The inferiority complex from which he undoubtedly suffers is most obvious at the beginning of the speech; he openly ridicules the 'duteous and knee-crooking knave' in a fashion that is both patronising and contemptuous. He sees men who are faithfully devoted to their masters as no more than a mere donkey, who 'wears out his time much like his masters ass'. Iago uses bestial imagery throughout the play (for example when he referring to Othello and Desdemona as a 'black ram' and 'white ewe' respectively) in a manner that is often very aggressive and insulting. In the Arden edition, this passage consists of several lengthy sentences; his manipulation of their structure reflects cunning nature
Explain how Iago has effected the transformation of Othello from heroic lover to brutal murderer in 3.3. How is Othello's transformation conveyed to the audience?
Explain how Iago has effected the transformation of Othello from heroic lover to brutal murderer in 3.3. How is Othello's transformation conveyed to the audience? In 3.3, we see a dramatic transformation in both Othello and that of the play itself. Though Iago remains the manipulative force in the play, we are instead able to see, in this scene, the full effect that this has on Othello - we witness the dramatic reduction from a heroic lover to brutal murderer, conveyed to the audience through a variety of dramatic techniques. The scene begins with Desdemona comforting Cassio that she shall 'watch [Othello] tame and talk him out of patience; his bed shall seem a school ... intermingle.' Here, Desdemona 'tam[ing]' Othello is reflective of the derogatory, bestial imagery that Othello is initially deemed to be of - 'a black ram tupping your white ewe' - thus giving rise to wild, evocative imagery: Desdemona herself thinks Othello a 'beast' that needs to be 'tame[d],' with the implication here being one of an intense and turbulent relationship between the two - foreshadowing the theatrical and dramatic turbulence that is to occur. Here, she 'intermingles' politics and war with that of the domestic environment - an environment that Othello cannot fully control - thus she blurs the boundaries between the two, setting up, though quite subtly, the dichotomy between appearance versus
How does Iago manipulate different characters in order to achieve his aims?
How does Iago manipulate different characters in order to achieve his aims? Iago is able to manipulate different characters throughout Othello by appearing to be honest and trustworthy, and using this to make people believe what he is saying is the truth. This means that Iago can tell them what he wants, in order to achieve whatever he desires. Iago is essentially a two-faced character, and it is very ironic when Iago swears, 'By Janus.' (I, 2, 33), as Janus is a two-faced Roman god. The first person that Iago manipulates is Roderigo. Roderigo is blinded by his love for Desdemona, and is prepared to try anything to win her heart. This makes him easy to manipulate, and doesn't require much skill on Iago's part. Roderigo is initially displeased with Iago, as he has paid Iago to promote a marriage between him and Desdemona, but instead Desdemona has gotten married to Othello. However, Iago easily restores Roderigo's faith in him by expressing his hate for Othello. He says things such as; 'Despise me if I do not' (I, 1, 8) when Roderigo asks if he hates Othello. Roderigo is used for his money, Iago tells him repeatedly to 'put money in thy purse' (I, 3, 330). Even when Roderigo threatens Iago, 'assure yourself I will seek satisfaction of you' (VI, 2, 195), he doesn't have the necessary willpower and strength to back up his threats, and instead is convinced by Iago to murder
Explore the ways in which Iago destroys the relationship between Desdemona and Othello
Explore the ways in which Iago destroys the relationship between Desdemona and Othello It is obvious from the very beginning of the play that Iago plans to get his revenge upon Othello. For instance he comments that "I follow him to serve my turn upon him." However it does not become immediately apparent what Iago is going to do until Act 1 Scene 3 when he states that "To get his place and plume my will...after some time, to abuse Othello's ear that he is too familiar with [Desdemona]." Therefore it is clear that Iago destroys the relationship between Desdemona and Othello because of his immense jealousy of Cassio which is shown by "For 'Certes' says he, 'I have already chosen my officer.' And what was he? ...One Michael Cassio, a fellow [with] mere prattle without practise." Iago is not only jealous of Cassio, but also of Othello because he believes that "he's done my office." In fact this is entirely refuted by Iago's wife Emilia later on in the play. For instance when both her and Desdemona are discussing whether they would "abuse their husbands," Emilia claims that she would "neither [do so] by this heavenly light." Therefore Iago's jealously of Othello is clearly uncalled for as he has no reason to suspect that Emilia has been unfaithful. Nevertheless, Iago still wants to be "evened, with him wife for wife." Another possible reason for Iago's jealousy could be that the
Explore the presentation of Iago in Shakespeare's Othello.
Explore the presentation of Iago in Shakespeare's Othello. "O damned Iago! Oh inhuman dog!" Iago is one of the most central and many-layered of Shakespeare's villains, though he is also the subject of some controversy. Has Shakespeare created a "motiveless malignity," as Coleridge suggested (Shakespearean Criticism, 1960), or is Iago deeper and more destructively sharp and vindictive? Shakespeare presents a deep-rooted paradox within Iago - his single-minded conviction and confidence alongside an uncertainty of motive. Iago's importance and his role as Othello's 'poisoner' is perhaps the first thing to consider. Is he simply a catalyst, aiding the inevitable, or does he deliberately orchestrate Othello's end on his own? The duality of Iago is also a vital device used by Shakespeare to illustrate his character - Iago is such a gifted actor that no other character even has the opportunity to suspect that he is dishonest. The juxtapositioning of honesty and lies, good and evil, jealousy and trust, are also key techniques employed by Shakespeare to demonstrate Iago's power. The depth of both Shakespeare's and Iago's language and use of imagery and extended metaphor is also suggestive of how layered the character is. It is difficult, perhaps impossible, to fathom Shakespeare's original intentions for Iago. What must be noted is how different he is from the character in the tale
Presentation of Women in Othello
The Presentation of Women in Othello Shakespeare's portrayal of Desdemona, Emilia and Bianca in Othello comes, generally, in two forms which reflect the prevailing opinion of women in Elizabethan times as mysterious and angelic or, whores, determined to cuckold their husbands. When Othello was written a patriarchal society was the norm. Women had clearly defined roles, as housewives and mothers; they were viewed as inferior, not only physically, but also emotionally. It was thought that they needed a male to protect them, if they were married this responsibility would fall to the husband and if the woman were single, it would be the duty of her father or another male relative. References to any of the three women, Desdemona, Emilia or Bianca, by the other characters, seems always either to praise them for their virtue and beauty, or else condemn them as whores that manipulate men to achieve their own ends. All three are rejected by their respective partners/husbands; they love them almost unconditionally, even when confronted with indifferent and callous behaviour. They are engaged in unbalanced partnerships: they feel more for their self-centred men than the men are capable of reciprocating. Bianca serves to represent the latter of the two opinions; she is a courtesan in Cyprus (''Tis such another fitchew' IV.i.145). She is a contrast to Emilia and Desdemona as she is not
Iagos speech in Act 2 Scene 3 serves as an insight into many of Iagos personality traits, his lack of moral scruples, his delusional state of mind and his powers of manipulation and foresight.
Iago's speech in Act 2 Scene 3, after he offers advice to Cassio about how to retain his military position as part of his cunning plan, serves as an insight into many of Iago's personality traits. Shakespeare portrays through the speech, Iago's lack of moral scruples, his delusional state of mind and his powers of manipulation and foresight. In his soliloquy he confirms the audience's characterisation of him as a villain but he also questions their judgment through use of oxymoron, contrast, metonymy and rhetorical questions. Iago's cunning nature is revealed through metaphor and simile. Through these language features, Shakespeare masterfully demonstrates how soliloquies are insightful into the character's state of mind, plans and character traits. Shakespeare illustrates Iago as a man, bereft of any moral scruple after initiating his plans to achieve retribution. It is not only the malicious side revealed in his speech that is testimony of his lack of a moral compass, but is also reinforced by a conflicting conviction of selflessness and generosity. His malicious side is highlighted by the characterisation of himself as a "devil" and a "villain". The use of metonymies evidences his wicked nature. However, this is contrasted with his conviction that he is generous and selfless. This reassurance serves for selfish purposes, trying to cover the guilt he would have suffered
