'Obsession and jealousy are hugely destructive feelings and therefore make great literature Explore how and why Shakespeare presents obsession and jealousy throughout Othello.
Obsession and jealousy are hugely destructive feelings and therefore make great literature’ Referring to these lines and other parts of the play, explore how and why Shakespeare presents obsession and jealousy throughout the play (25 marks) Shakespeare presents jealousy to be an inevitable, negative trait which ultimately destructs what key characters appear to be obsessed with, eventually leading to the downfall of certain characters. Within the entire play, Iago is shown to be a strong Machiavellian character who plays with other characters jealousy and obsessions in order to fulfil his own obsession of his hatred for Othello. In the extract, Iago shows the blinding effects of jealousy within Cassio and his obsession with his recent loss of reputation. Due to Cassio’s distress over losing his ‘reputation’ as being exposed as a ‘drunkard’ he will take any advice from Iago just because he claims that his is an ‘honest man.’ The obvious use of dramatic irony is used by Shakespeare not only to suggest the detrimental, desperate effects of obsession, particularly with Cassio, but also to show how the lengths that Iago is willing to go in order to fulfil his own jealousy over Cassio’s higher position within Othello’s army. Iago manages to successfully create a perceived image of himself as an ‘honest’ man in order to manipulate characters like Cassio in
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
In the opening scene of "Othello" what do we learn about the characters, the dramatic way in which the play opens and the language used.
In the opening scene of “Othello we learn of Iago’s role as the vice character, a character that is derived from Medieval morality plays. In act one scene one of “Othello” Shakespeare explores the roles of women in late 16th century Venice. Shakespeare also explores themes of lust, power and darkness in the opening scene. Iago is portrayed as the vice character in “Othello.” “SBlood” Shakespeare presents two aspects of the vice characters, from medieval morality plays, in Iago’s temperament. Iago is bawdy and obscene in his speech when he curses “Sblood.” Like Iago the vice characters, such as “Mischief” and “Nowadays,” use obscenities and imagery to mock other characters on stage. He openly tempts other characters in the play, like the vice character “the devil.” He convinces Roderigo he is trustworthy on many occasions, when in fact he is completely false in his relationship with Roderigo, and he continually baits Roderigo with the possibility of sleeping with Desdemona. Iago ensnares Roderigo in his own plot against Othello; he deceives him into carrying out his regime which eventually leads Roderigo to attempted murder against Cassio. Similarly the vice role, Tituvillus, would carry a net on his person, to trap his victims in a symbolic net of sin; a submission to evil. The vice is also responsible for the fall of man into sin.
Othello and Desdemonas love at the beginning of the play is built on mutual trust and attraction. By the end of Act 3, however, Othello has become the green-eyed monster of jealousy. Explore this descent.
Othello and Desdemona’s love at the beginning of the play is built on mutual trust and attraction. By the end of Act 3, however, Othello has become the ‘green-eyed monster’ of jealousy. His love for Desdemona has been undermined and the seeds of the tragedy have been sown. Explore this descent. The destructiveness of jealousy is a continual undertone throughout ‘Othello’ and ultimately destroys the love between Othello and Desdemona. Othello’s suspicions regarding Desdemona’s fidelity provoke him to rage and violence and as an audience we witness the swift collapse of his pride and nobility. The speed and intensity of these changes suggest one of two things – either Iago’s insinuations caused Othello’s doubts, or whether he simply unleashed his pre-existing fears. It’s fair to conclude that Othello’s jealousy is based on unreasonable fears which lead to equally irrational behaviour, and Iago himself exhibits a self-consuming jealousy directed against love itself in all manifestations. Jealousy, warns Iago, in order to awake it within Othello, ‘Is the green-ey’d monster, which doth mock the meat it feeds on’ [III.iii. 165-167]. Othello is revealed as one who, from the moment that jealousy strikes, divorces himself from rationality. ‘Green’ is traditionally symbolic of jealousy and envy and serves to further emphasise this idea of Othello’s
How the character of Othello changes.
Bradley Storey English Essay Deterioration of the Character Othello The play is created by the portrayal of the transformation of the play’s main character, Othello, whose love for his wife Desdemona is manipulated by Iago. The outcome of the ordeal is a character that is highly contrasting to that of before. The setting of the play plays an integral part in defining the character Othello, as it places him against a back drop of political turmoil which acts as a perfect catalyst to the turbulent domestic issues faced by the character due to the conflict of his public and private life; issues that will ultimately undo the character. Initially the play is set in Venice, where all is well. A land of peace devoid of confusion and conflict, it is here where Othello is regarded in high respect as a valiant war hero. His status is complimented by the articulate nature of his speech, which is apparent in his meeting with the Duke in Act one, scene three “Most potent grave and reverend signiors/ my very noble and approved good masters….with such proceedings I am charged with all/ I won his daughter. Shakespeare is prone to the use of rhyme to illustrate the intellectual capabilities of a character, ergo his class, as a character that is able to speak with such fluency is obviously of a high intellect. He is respected even by those above him in the political hierarchy,
How does Shakespeare use representations of speech and other dramatic techniques to explore the theme of trust in the following extract, and in other episode elsewhere in "Othello"?
How does Shakespeare use representations of speech and other dramatic techniques to explore the theme of trust in the following extract, and in other episode elsewhere in the play? Act 3, Scene 4 of the play ‘Othello’, Desdemona persists in the recommendation of Cassio, but Othello is obsessed with the handkerchief. This extract concerns both Othello and Desdemona; we as the audience hear their conversation regarding the handkerchief. The mood is tense, as both the characters and audience are waiting for Desdemona to tell the truth about the handkerchief, and the way Shakespeare includes a casual conversation between these characters adds to the suspense that is building up. The tone set it uneasy as just before this scene, Iago has manipulated Othello into believing Desdemona is having an affair with Cassio, and so the audience feel uneasy of what is going to happened next. The theme of trust is shown in this passage, through Desdemona lying to her husband and Othello not trusting her in which Shakespeare shows using a variety of techniques of speech and imagery in this extract to explore the trust in the relationships. In Act 4, Scene 1, Iago continues to prompt Othello’s jealousy and Othello overhears Iago teasing Cassio about Bianca – whom Othello assumes to be Desdemona. The theme of trust is explored through Othello’s and Iago’s relationship which is
Iago demands the audiences complicity: we cannot help being fascinated by him Evaluate this view by exploring the dramatic impact of Iago in Othello
‘Iago demands the audience’s complicity: we cannot help being fascinated by him’ Evaluate this view by exploring the dramatic impact of Iago in Othello In Othello, it could be said that Iago is the central character as he commands most of the audience’s attention throughout the play. Iago heavily affects the dramatic impact of the play by controlling the other characters quite effectively, planting ideas in their minds and convincing them to go things they wouldn’t usually do e.g. Iago convincing Cassio to drink during the celebrations in act two, scene three. Iago is utterly convincing as he plays several different roles: the professional soldier, the sociable soldier and the bitter soldier, only revealing his true intentions to the audience, even fooling Roderigo who thinks that he is on his side. Iago shows himself to be the master of manipulation as he manages to reveal the other characters insecurities. Most of the dramatic impact in the play is, ultimately at the hands of Iago. From the very first scene, it is revealed to the audience what Iago’s true intentions are regarding Othello. The opening act would make the audience think that Othello really is the person that both Iago and Roderigo describe, making him out to be a barbaric monster, as Iago describes Othello and Desdemona as ‘making the beast with two backs’. Although, Iago uses negative
Othello is a credulous fool How far and in what ways do you agree with this statement?
‘Othello is a credulous fool’ How far and in what ways do you agree with this statement? It could be said that Othello is but the shadow of himself at the end of the play. Some would say that ‘Othello is a credulous fool’ for believing that Desdemona had cheated on him in the space of a couple of days and for letting his insecurities get the better of him. However, it could be said that Othello is a black man living in a predominantly white society showing that he had reason to be paranoid when clearly not everyone accepted him. Iago’s talents in manipulation may also be one of the causes for Desdemona’s death and not just Othello’s insecurities and foolishness. Othello could be seen to some as a person who was quite foolish and insecure as he believes Iago’s claims without any evidence that Desdemona and Cassio are having an affair. Othello’s inexperience when it comes to relationships is all too apparent as he questions Iago’s claims once throughout the play and then does not question him again. ‘Make me to see it or at least, so prove it that the probation bear no hinge nor loop to hang a doubt on - or woe upon thy life!’ Even when Othello does slightly begin to doubt Desdemona’s infidelity and asks Iago to provide evidence, Iago toys with Othello and says does he really want to see Desdemona and Cassio in bed together, which makes Othello
With particular reference to Act one, scene III, discuss how Othellos tragic and heroic status are established in the first act of the play.
Grace Turner 20th October 2011 ‘With particular reference to Act one, scene III, discuss how Othello’s tragic and heroic status are established in the first act of the play.’ To be a tragic hero, a character must be someone who is initially well respected and someone who holds a high esteem within society. They must have high moral worth and tend to be highly ambitious, it is a single mistake or character flaw which brings them to ruin and they lose all that they possess. The character must always contribute to their own disaster, however, they must also fully realise the extent of their own contribution to the disaster. In ‘Othello’, there are many examples of his heroic status, for instance, the many compliments he receives from various characters show that he himself is an admirable character and shows his great personality not only as a person, but as an officer too, and shows that he is possible of heroic status. Othello tells us that Brabantio; ‘…loved [Othello], oft invited [him], Still questioned [him] the story of [his] life From year to year – the battles, sieges, fortunes
To what extent do you agree that the character Othello is responsible for his own tragic downfall?
Ben Grantham Ms Pritchard S Peters Collegiate School 20962 Candidate Number: 6055 To what extent do you agree that Othello is responsible for his own tragic downfall? As a tragic hero, Othello should be viewed within the context of Aristotle’s Poetics, within which contains the theories of tragedy and the traits a tragic hero must possess to ensure his downfall. These are seen as flaws which cause the hero’s own downfall regardless of external influences. It is undeniable that Othello bears some responsibility for his fall from grace. However, there are various other contributing factors such as the sadistic scheming of Iago and the element of chance, both of which play significant roles in Jacobean tragedy. This is demonstrated in Act 1 when Brabantio says ‘this accident is not unlike my dream,’ a premonition that suggestively foreshadows Desdemona’s murder, illustrating the magnitude of Othello’s downfall. This lexical choice ‘accident’ alludes to Othello’s lack of ability to evaluate the situation and acting on what he perceives as ‘ocular proof.’ This structural technique does not correspond with the Aristotelian model’s key premise, asserting
