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
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
To what extent does Iago contribute to the tragedy of Othello?
To what extent does Iago n contribute to the tragedy of Othello? Joe Stanford Iago explains in Act 1, Scene 3, how 'Virtue' is 'A fig!' and ''Tis in ourselves that we are thus, or thus'; he believes how 'Our bodies are gardens' and 'our wills are gardeners'. This demonstrates Iago's profound understanding of human nature, and his belief that one's 'will' or strength of character is a powerful tool to control oneself. Iago uses his knowledge of 'will' advantageously; using it to manipulate characters' minds. Underpinning his manipulation lies what Coleridge cited as 'motiveless malignity', yet one might say his chief motives are clear. In Act 1, Scene 1, Iago is angered by Othello 'already cho[osing] [his] officer', Michael Cassio. Iago failed to attain the promotion, especially by a man who has 'never set a squadron in the field' of war. Not only does Iago strive for the position of lieutenant, but Cassio's advancement renders a hatred for Cassio. It is revealed in Act 5, Scene 1, that Cassio owns 'a daily beauty...which makes me [Iago] ugly'. Another motive charged by jealousy. In Act 1, Scene 3, Iago states 'I hate the Moor' as he believes Othello has slept with Emilia - 'done my office'. This motive reinforces Coleridge's view of 'motiveless malignity' for Iago 'know[s] not if't be true'. Seemingly, however, Iago has a drive fuelled by jealousy and greed. Iago's
How significant are Iagos soliloquies to the development of tragedy in Othello?
How significant are Iago's soliloquies to the development of tragedy in 'Othello'? Tragedy is constantly evolving, with differing key aspects defining how tragedians have constructed their plays. Stoppard believed tragedy should be defined as: "Wheels [that] have been set in motion and they have their own pace, to which we are . . . condemned. Each move is dictated by the previous one - that is the meaning of order". Shakespeare uses Iago to orchestrate Othello's tragic downfall and has him 'set the wheels in motion' by using a dramatic device usually associated with a tragic hero, rather than the antagonist, in soliloquies. Shakespeare has Iago use his soliloquies to foreshadow everything we see throughout the play, showing his careful consideration to how he will engineer Othello's downfall. During Iago's soliloquies, Shakespeare ensures his plots are made blatant as he hopes 'to get his place and to plume up my will in double knavery' and will do so by having 'our Michael Cassio on the hip'. The vivid imagery of Cassio being powerless at Iago's mercy is used by Shakespeare early on in the play to heighten the audience's fear when Iago eventually 'wounds Cassio in the leg'. Shakespeare has Iago share key details to his plot as he plans to 'question Cassio of Bianca' after 'I will in Cassio's lodging lose this napkin'. Shakespeare does this to trigger a feeling of
Male Domination In Othello
Desdemona, Emilia, and Bianca are victims of a male dominated society. Discuss. Male domination in society is a stigma, which has always existed, and one that may not cease to exist. However, the difference does exist in the way the women of the different ages chose to accept such behaviour and render themselves victims of such circumstance. In relation to the Elizabethan period, and having the characters of Desdemona, Emilia, and Bianca in mind it can be true to say it may have been harder for them not to accept it than it is today. In reality, it was not even noticed by some of the women and for the few who noticed it, they could do nothing more than accepting it as their fate and trying to live with it. In discussing the victimisation of the above named women in this male dominated society, both sides of the argument for each character would be explored with emphasis on their individual struggles for independence. The 'fair warrior' Desdemona as referred to by her husband Othello undoubtedly struggles throughout the play. From her struggle for independence from her father Brabantio, to the struggle for her life from her husband Othello. Shakespeare seems to deceive the audience to think that Desdemona may be one of his unique female characters who fight for the rights of women. However, this power which we see her possess at the beginning of the play as she tells her
To what extent is language central to the understanding of Othello and Macbeth
A Critic has observed that, 'The nature and the extent of the tragic falls of Othello and Macbeth are reflected in the words they use and those which are used about them.' To what extent do you consider language to be central to the understanding of both plays? Throughout both plays we judge characters through the language they use and the language used to describe them. Both Othello and Macbeth are respected and valued at first and their language, particularly in the case of Othello, deteriorates as they begin to lose their nobility. The audience in Shakespeare's time would also have judged them on their birth and place in society. Othello is of 'royal siege' (I ii l.22) and Commander of the Venetian Army. His prominent place in society is typical of the definition of tragedy by Aristotle who believed tragic heroes should be of high status. Macbeth is also a member of the Scottish aristocracy, Thane of Glamis, before he becomes King. However, Othello's heritage and skin colour make him an unusual tragic hero and one would imagine that the audience in Shakespeare's time would have been shocked to have the hero as a black man, 'the Moor' (I i l.40). At the beginning of the play Othello is described as 'valiant' (II ii l.1) and 'noble' (I ii l.91). His language shows him to be eloquent and dignified though he claims to be 'rude' (I iii l.81). Macbeth at first is similarly
All of the characters who experience misfortune in Othello bring it upon themselves. Discuss the truth of this statement
Essay: Othello All of the characters who experience misfortune in Othello bring it upon themselves. Discuss the truth of this statement. Many of William Shakespeare’s tragedies portray characters that eventually experience misfortune by the end of the play. Othello is a prime example of depicting various characters that each come to their own downfall because of a critical weakness. In the play, Othello’s mislead insecurities in his wife’s love for him, Roderigo’s foolish trusting nature, and Desdemona’s submissive naivety all illustrate Shakespeare’s usage of a critical weakness in creating each character’s own downfall. Othello, who slowly becomes increasingly jealous of Cassio, begins to reveal his key weakness of being mislead to insecurity in his innocent wife’s love for him. Scene 3 of Act 3 is crucial as it outwardly reveals the slow but important transition of Othello’s peaceful state to one of constant insecurity, shown through the short and direct dialogue given by Othello. In the previous acts, he would rarely ask such questions; he would openly display his thoughts. However, it becomes clear that he starts to respond much differently. He starts to demand Iago many direct questions such as, “Was not that Cassio parted from my wife?” (3.3.38), and, “Why of thy thought, Iago?” (3.3.108). These regard the touchy circumstance of Cassio’s
