To what extent do you believe that Othello is an honourable murderer?
"An honourable murderer if you will; for naught I did in hate, but all in honour" - To what extent do you believe that Othello is "an honourable murderer"? Honour is defined as the evaluation of a person's social status as judged by that individual's community. To be put simply, Margaret Visser observes that in an honour-based society "a person is what he or she is in the eyes of other people." To argue whether Othello's murder of Desdemona was indeed intended to be portrayed as honourable in motive, the reactions of the other characters and the social context of the play must be taken into account. The extent to which the quote can be agreed with will therefore have changed over time as the context has altered. The pivotal quote "Why, anything; an honourable murderer, if you will, for nought I did in hate, but all in honour." could be interpreted in two ways. Firstly, if taken as Othello's justification to his crime, the audience are likely to lose any sympathy they have for the character. This is because it contradicts the rage Othello portrays just before he smothers Desdemonda; he shows her no mercy when she begs to postpone her death with 'Down, strumpet!' and 'It is too late'. As the truth has been revealed by this point, this interpretation could present Othello as a stubborn man, unwilling to take any blame - qualities that are less than honourable. On the other
Discuss the origins and characteristics of the dramatic monologue.
Discuss the origins and characteristics of the dramatic monologue Dramatic monologues and soliloquies are very similar forms of literature despite the fact that one is poetry and the other is drama. A soliloquy is the act of talking to oneself, silently or aloud in drama. It is a convention. Playwrights use this device as a convenient way to convey to the audience information about a character's thoughts, motives, and state of mind. Shakespeare was a great user of the soliloquy, the best known of his being Hamlet's speech "To be or not to be." A soliloquy relies on a surrounding play for information about the situation whereas dramatic monologue does not. Dramatic monologue already contains a description of the situation within the poem, therefore does not need a surrounding play. Dramatic monologue is a poem deriving from the soliloquy, with only a single speaker and narrated in first person. The speaker reveals their character whilst evidently directing their speech to a listener. A good example of this is in 'My Last Duchess' by Robert Browning (1812-1889), "How such a glance came there; so not the first are you to turn and ask thus." Or in another of his poems 'Porphyria's Lover', "And yet God has not said a word!" Although the listener here is less obvious, there is one, the implied ear is God. This particular piece of dramatic monologue has a more
Explore Shakespeare(TM)s presentation of the changes in Othello(TM)s character in the play Othello(TM)
Explore Shakespeare's presentation of the changes in Othello's character in the play 'Othello' 'Othello' can be described as a catastrophic play written by Shakespeare in Elizabethan times and represents the real-world themes of love and jealousy as well as racism. The play demonstrates the downfall in character of a noble general, Othello who at the beginning of the play is full of courage, discipline and authority. The influence of other characters, triggers the deterioration of Othello's great qualities as a result of his selfishness and jealousy. The continuous change of Othello's character creates reason for the audience and Desdemona to question what has happened because of the changes brought about by Iago and his deviousness which Othello falls for. This causes the several tragedies, which occur one-by-one gathering pace towards the end of the plot. At the beginning of the play (Act 1, Scene 1), before we are introduced to Othello, we are bestowed with some impression of him through the opinions of Iago and Roderigo. This is a clever technique used by Shakespeare to immediately show us what the other characters think of him as well as signal out Iago's negative personality; "an old black ram Is tupping your white ewe" instantly labelling Othello, the moor, as an aggressive beast 'mating' with a white, innocent woman, demonstrating the extreme level of racism at the
To what extent does Shakespeare present Iago as a tragic villain with no redeeming features?
To what extent does Shakespeare portray Iago as a tragic villain with no redeeming qualities? To say that Iago is a tragic villain with no redeeming qualities is a grossly over-simplified statement, which in no way accounts for the complexity of human behaviour or Shakespeare's skill in portraying it. The Aristotelian tragic hero is defined as essentially good with a single fatal flaw which helps lead to their undoing. Therefore the corresponding villain must logically possess a redeeming characteristic; if not only to provide balance then to be a realistic character in their own right. The role of Iago as villain depends largely on one's interpretation of the tragic genre, be it classical or modern. Seneca (4BC-AD65) developed Aristotle's theories that a tragic hero falls from high to low by also expostulating that evil may defeat reason during the play. Although Iago is usually classed as a villain, he could also be seen as an anti-hero of tragedy; he falls from high to low, from "honest Iago" to "viper" (at least in the other characters' estimations), and his malevolence evidently overcomes all other aspects of his character as the plot unfolds. Also, though he undoubtedly commits heinous acts against the other characters, the play seems to focus on him as opposed to Othello; it is his soliloquies which carry the most weight and his words which drive the action forward.
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
How does Iago poison Othello's mind in Act 3?
Othello is a character whom from the start, we do not see any flaws within, or within Desdemona's and his marriage. However, the name 'Iago' is synonymous with villainy and evil. He is without much doubt on of Shakespeare's most popular antagonists, but the question remains as to what actually motivates Iago to betray Othello so and make him 'hate the moor!'? It may be because he believes the "lusty Moor hath leap'd into my seat', out of insecurity within his own marriage, or it could perhaps be ambition about the ignited rage he felt when Cassio was promoted, however, if this is true, then Othello's downfall is merely a side effect. This therefore leads the reader to believe it is a reason such as those exaggerated and created within his soliloquy's, one which is more complicated than such, as the deliberate poisoning of Othello's mind is evident. Iago poisons Othello's mind in a number of ways; firstly through the carefully selected narrative order of his building of the guise of friendship. It seems to be coincidental that all of these events happen within the play and that Iago is present, such as the closeness in relationship and timings of the seemingly adultery moments between Cassio and Desdemona, with Iago to whisper "pestilence" into Othello's ear. Firstly, the build-up of trust between Othello and Iago built from the events that Iago sometimes himself incurs, but
In the world of Shakespeare(TM)s play, is the greatest suffering reserved for those who take it upon themselves to become avengers?
In the world of Shakespeare's play, is the greatest suffering reserved for those who take it upon themselves to become avengers? If vengeance as described by Merriam's Webster's dictionary is the punishment inflicted in retaliation for an injury or offence then it could be rightly said that it is one of the major motives of the characters in the play Othello. However, the issue of whether it is the avengers who receive the greatest suffering is not exactly clear-cut. In the light of this argument, the characters of Iago, Othello, and Emilia, (those who seek revenge) will be discussed and the extent to which they receive the greatest suffering will be considered. The treacherous villain Iago justifies all his evil doings as a way of revenging all those who have either betrayed him or come as an obstacle against his ambitions. His prime victim was Othello whose marriage he does not only destroy, but whose life he indirectly takes. He aims at destroying Othello because he failed to make Iago his lieutenant but rather told him that 'I have already chosen my officer'. In this statement, we see Iago's bitterness and hatred for Othello. It also anticipates the fact that Cassio, who is the officer in question, will also suffer Iago's wrath and will be used as an instrument for Othello's destruction. Iago's other motive of revenge to Othello lies in his 'mere suspicion' that 'it
Othello is a play about the desperate need for certainty. Discuss.
Othello is a play about the desperate need for certainty The theme of certainty pervades the play from the opening scence, and as it progresses, the quest for certainty becomes more desperate and frantic; not only within the minds and actions of the characters, but also within the audience as we become desperate to know and understand the outcome of Iago's malicous plan. Shakespeare introduces the protaginist, Othello, to the audience through the malicious and predujiced tongues of Iago, Roderigo and Brabantio. Iago condemns Othello for favouritism and shows obscenley to Brabantio that Othello is an 'old black ram', the 'devil', a 'barbary horse' copulating with his daughter. Rodergio too describes him as a 'lascivious moor' and 'an extravagent and wheeling stranger.' This causes Brabantio to feel certian that Othello, repulsive in his blackness, must have seduced Desdemona by withcraft, magic spells or drugs. The picture echoes aspects of medevil and Elizabethan traditions about the devilish, cruel and lustful nature of moors, and Brabantio would most certainly rather believe these acceptable truths as opposed to reality- his 'pure' and virginal daughter is partaking in a sordid affair. Othello's own desperate plea for certainty is also evident from the offset. Although he refuses to hide from Branbantio and denounce his frabrications, he suggests that Desdemona should
To what extent does Act 3 Scene 3 represent a turning point in Shakespeare's 'Othello' ?
To what extent is Act 3 Scene 3 a turning point for the character of Iago in Shakespeare's 'Othello?' Act three scene three is a turning point for the character of Iago as his plan of re-gaining power is coming together and working to his expectations. The conflict between Iago and Othello reaches crisis point at this stage of the play and provides for an effective, intense scene. Iago's manipulation of Othello is subtle, yet effective. In no way does he himself say directly that Desdemona and Cassio are having an affair, or say a bad word about Cassio. Instead, he only insinuates it and uses his sense of tone to plant a seed of doubt in Othello's mind. Iago, although having a clear hatred for Othello, has to pretend to like him in order to gain his trust and be looked upon as an honest man. Iago is aware that his actions are "evil" but it is suggested that he takes great satisfaction within this. "Divinity oh hell, when devils will the blackest sins put on, they do suggest at first with heavenly shows, as I do now" His use of tone shows this feeling of satisfaction and suggests that he is almost proud of his actions and to the success of his plot. Iago makes Othello un-easy by saying "I like not that" about Cassio's exit; in which Iago describes as "guilty-like", extending Othello's doubt once more. The audience begin to see Othello as a
How does Shakespeare present Iago as a tragic villain in Act 1?
Chad Walker January 15, 2011 How does Shakespeare present Iago as a tragic villain in Act 1? Shakespeare's Iago is the antagonist of Othello but what makes him tragic is an enigma as he is reticent and seems motiveless. However, Shakespeare prints three possible motives into the play that present him as tragic. Iago is a Machiavellian villain as was Macbeth in Macbeth, written two years after Othello, and A.C. Bradley notes how 'Italian villainy was prevalent in Shakespeare's time'1. Machiavelli was an Italian philosopher and political adviser. One of his most famous works is The Prince that outlines how a monarch should gain control by deceiving his opponent as an ally. Iago says he will follow Othello only 'to serve my turn upon him'2 in that he may achieve his revenge. He is also a character built on amorality. A.C. Bradley says that he is a 'psychological impossibility' and 'a product of imperfect observation'3 but if he were to be perceived as amoral then his behaviour and scheming may be explained due to him being psychotic - there was little knowledge of psychotic behaviour in the 16th century and insanity was diagnosed by religious leaders as being influenced by the devil which Iago is realized to be in Act five, scene two by the other characters: 'I look down towards his feet; but that's a fable. If that you be'st a devil, I cannot kill thee.' 'I bleed,
