To what Extent does Shakespeares Language Establish the Heroic Nature of Othello and the Power of his Love for Desdemona in the First Two Acts of the Play?
To what Extent does Shakespeare's Language Establish the Heroic Nature of Othello and the Power of his Love for Desdemona in the First Two Acts of the Play? The audience, having been introduced to Othello by Iago's 'motiveless malignity,'1 expects this man to be professionally 'bombast' and animalistic. In fact Othello is not named until the third scene, thus dramatising his blackness and bestiality. However this preconception of Othello is immediately undone when he successfully calms the angry Brabantio and satisfies the suspicious Duke and Senators. Othello's heroic nature cannot be doubted due to the solidity of his character in the first two acts of the play; as Rebecca Warren notes, 'Othello possesses a mythical and monumental quality that cannot be denied; he speaks and acts powerfully in a way that inspires confidence in his character.'2 This essay will explore the extent to which Othello's heroism is interdependent with his love for Desdemona, and what implications this dependency will have on the power of both. Othello's first action in the play is to convince Brabantio, the Duke and the Senators that he genuinely loves Desdemona, not that he has used 'mixtures,' a 'dram' or a 'practice of cunning hell' to seduce her. Shakespeare allows Brabantio to speak before Othello, immediately creating a confident and superior character in the latter. When Othello does make
Othello is more of an egotist that Iago. Discuss
Most people would agree that Iago is without doubt, an egotist, by believing he should have been Othello’s lieutenant, instead of Cassio. However, Othello is much more of an egotist that Iago, as he is exceptionally proud of his achievements, and overly aware of his nobility. It is his excessive pride which results in him being so easily manipulated and jealous to the extent that he murders his wife. Othello is first introduced in the opening dialogue between Roderigo and Iago, and we are shown an arrogant and pompous man who seems to have promoted an unsuitable man to be his deputy. Othello’s name is not used and he is referred to as the Moor. Iago describes his as “horribly stuffed with epithets of war” and “loving his own pride and purposes”. This initial characterisation of Othello gives the impression that he is egotistical and self centred, and uses war imagery to make his speech sound very sophisticated. Although through Iago’s extremely biased it is not immediately assumed that Othello is as he is described. As the scenes unfold, it becomes increasingly evident that Othello is heading towards a fall of dynamic proportions. First, he is aware that he is a warrior of high degree, capable of wielding a sword in hand to hand combat, and equally skilful at marshalling troops and drawing lines of battle. These qualities have propelled him to the top of the
A hero of tragedy must evoke the audiences with a sense of pity and fear." Discuss in relation to Othello
It is often said that “A hero of tragedy must evoke the audiences with a sense of pity and fear." Discuss in relation to Othello. Othello fulfils the criteria of a domestic tragedy as it focus on the marital relationship between Othello and his wife, Desdemona. Shakespeare follows patterns of Aristotle’s theory of tragedy which enables him to elicit “pity” and “fear”. For example the tragic hero is a man of noble rank, he reaches pinnacle of happiness and worldly success. In Act II, with his position as commander of Cyprus and reunion with his wife Desdemona: Othello proclaims to Desdemona and those gathered in Cyprus: “If I were to die to die, ‘Twere now to be most happy; ( Act II.i.181-182) His hyperbolic speech conveys Othello’s happiness, as it is at its peak at this point in the play. His tragic flaw however, leads to reversal of fortune (peripeteia). Othello’s tragic flaw is manifested as his gullibility, by his “free and open nature”, that Iago exploits to bring about Othello’s down fall, creating “pity” and “fear” which is elicited during the play. After Othello’s death, order is restored in the end, leaving the audiences to experience catharsis and feel a sense of loss, just as Aristotle intended it to be. The portrayal of Othello in Act I is juxtaposed to the Othello in Act III and IV, he is very different, he is
Is Othello presented as a tragic hero or as an 'erring barbarian' in the play Othello?
Is Othello presented as a tragic hero or as an 'erring barbarian' in the play Othello? "Othello dies belonging to the world of action in which his true part lay." [F.R Leavis] This statement is one that I agree with and feel really epitomizes the character of Othello. I believe Othello to an extent is an 'erring barbarian' containing many barbaric traits; not only a man who is incessantly naive, but also a man who is savage at heart and who constantly savours violence. However, some people see him as a tragic hero - a virtuous character of noble stature and greatness - yet I question whether Othello can even be classed as a 'hero' in this dramatic Shakespearean tragedy. Initially in the play, Shakespeare presents Othello in a positive light; perhaps encouraging his audience to challenge the prejudice of black people in 16th century Elizabethan society. The Duke says to Othello: "valiant Othello we must straight employ" Here, Shakespeare presents Othello positively as it shows that the Venetian government trusts Othello enough to put him in full political and martial control of Cyprus. This shows that although he is a cultural and racial outsider in Venice, Othello is portrayed as an integral part to society and being well respected by the Duke and Senate - something that was very unusual for a 'moor' in the 16th century. Therefore, this unconventional occurrence suggests
To what extent can Othello be considered as a 'tragic hero'?
To what extent can Othello be considered a ‘tragic hero’? The extent of which Othello is a tragic hero has been open to much debate; the basis on which he is judged falls to Aristotle’s established view of the crucial elements that distinguish whether a person is truly tragic. According to Aristotle, a tragic protagonist is a nobleman or person from high status, who contributes to his own demise and illustrates a flaw or weakness in judgment. The tragic protagonist must make a fall from a high state of being to a low state or death. The tragic hero’s downfall, said Aristotle, was brought upon by some error of judgement. Aristotle’s theory is not the final word on tragedy, however it can support in pinpointing the pivotal traits in Othello’s character and when they occur, with great accuracy. This tragic ‘flaw’ has sometimes been incorrectly interpreted in moral terms, and some critics have looked for some moral weakness in the tragic hero. For Othello, this has led to the commonplace assertion that his fall is because he was too naïve and trusting in his subordinate, Iago. Although, metaphorically speaking he does fall from a great height, it would be wrong to suggest that because Othello satisfies one of the Aristotelian criteria, it makes him a tragic hero. It is only when the six basic ideas are considered, can a hero be justly regarded as ‘tragic’.
A tragic play centres on peripeteia. To what extent can Act 3 scene 3 be regarded as the turning point in the play"Othello"?
A tragic play centres on peripeteia. To what extent can Act 3 scene 3 be regarded as the turning point in the play? ‘Peripeteia is a sudden reversal of fortune or change in circumstances.[1]’ It is a key device used in tragedies to bring to life the catastrophic situation that leads to the destruction of the protagonist. Aristotle said that a peripeteia is: ‘a reversal of fortune, involving persons renowned and of superior attainments[2]’ Shakespeare’s ‘Othello’ is a tragedy in which the protagonist falls from a respected General in the Venetian Army with a loving wife, to a jealous and raged monster. Act III sc iii can be widely regarded as the turning point as the audience sees the factors that contribute to Othello’s downfall come together. Firstly the handkerchief is used as a structural device to provide Iago with sufficient evidence to destroy Cassio. Secondly Iago is promoted to Othello’s lieutenant after bonding with him and finally Othello is misled by Iago’s hint-dropping of his wife’s infidelity which provokes his rage. However the change in emotions of Othello and the victimisation of Desdemona are seen as no surprise as they are set up in this way by Shakespeare throughout the play, creating no turning point. It could also be argued that there is no peripeteia as the audience sees Iago’s manipulation unfold throughout the play and thus
Othellos jealousy and the speed at which it develops are absurd. How far do you feel you can agree with this statement?
“Othello’s jealousy and the speed at which it develops are absurd.’’ How far do you feel you can agree with this statement? Jealousy is weapon used in the play that is used to cause disturbances between Othello and Desdemona. The speed at which Othello’s jealousy spreads throughout the play is absurd as at the start of play Othello sees Desdemona as his pride and only love however he is heavily reliant on Iago and when Iago tells him about the handkerchief he believes him. Nevertheless, he has reasons to justify his jealousy as he sees Desdemona with Cassio. However, from the audiences view it is a completely different interpretation to how Othello see’s this. His jealousy is recognised by himself and this is what makes it absurd. It can be argued that the jealousy that Othello feels towards Desdemona is not actually real. This can be said as Othello is more suspicious of Desdemona which is causing the jealousy. ‘’O beware, my lord, of jealousy: It is the green eyed monster’’ (Act 3, Scene 3, Lines: 167-68, Page 66) Until this point Othello was not jealous and was confused, at this point Othello is thinking and understands what he’s saying and this is when the change starts to happen and the jealousy in Othello starts to progress and becomes real. Although this can be seen as jealousy, it is actually Othello’s anger at Desdemona which Iago notices
How does Shakespeare use representation of speech and other dramatic techniques to convey Iago's feelings towards Othello.
How does Shakespeare use representation of speech and other dramatic techniques to convey Iago’s feelings towards Othello in the extract and in one other episode elsewhere in the play? Shakespeare presents Iago’s feelings towards `Othello in the play, through numerous images and explicit lexical choices. In addition to the printed extract, I will look at the last part of Iago’s soliloquy at the end of Act 1. In this text, Iago recounts a story as to why he detests Othello. He recalls when Othello passed him over promotion for the position of lieutenant. He sarcastically describes Othello as pompous, “Loving his own pride and purposes”, as he used military language to deliver the message that he has already chosen another man. “Horribly stuffed with epithets of war”. The rhetorical question Iago’s uses, “And what was he?” Prepares him to delve further into why he despises Othello. Iago believes that Othello has greatly misjudged choosing “Michael Cassio”, over him, as Cassio is a “Mere prattle without practice”. Throughout this extract Iago dominates through sheer volume of words it only begins as a typical conversational pattern, then Iago dominates the text with his lengthy speeches. Shakespeare uses metaphors to make a contribution to the dramatic impact of this verse. For example, Iago uses the metaphor of a ship “blee’d and
Examine the friendship between Othello and Iago and how it links to the downfall of Othello
Examine the friendship between Othello and Iago and how it links to the downfall of Othello Othello and Iago are one of the most distinctive protagonist and antagonist in all of Shakespeare’s plays as they both depict the conventional stereotype of good against evil, Othello clearly symbolises the ‘good’ character as he is represented as both moral and virtuous, on the other hand Iago’s persona characterises the wicked and immoral which he rebelliously possesses. Iago’s sham friendship is not revealed until the very end of the play, he disguises himself as a close partner of Othello as he is acknowledged as ‘honest Iago’ which the audience knows to be deceitful view as he resembles pure and utter evil. Nonetheless they have been associates for a few years; however Iago’s representation is suddenly changed once Othello is promoted to being general of the Venetian society. Iago’s immoral behaviour doesn’t seem to waver at all in the play, in the play we initially learn of his act of vengeance which he wishes to commit and he unquestionably commits it right through to the end of the play. Iago in some respect is without a doubt the provocateur of all aspects evil in the play, he is to a great extent the stimulant of all immorality. In comparison to Othello, his behaviour in due course vastly changes as his good character is overcome by evil, as the play goes
Explore the extent to which Shakespeare's characterisation of Iago and Edmund is influenced by the Machiavellian villain and the Vice figure of medieval morality play. (62 marks)
Explore the extent to which Shakespeare's characterisation of Iago and Edmund is influenced by the Machiavellian villain and the Vice figure of medieval morality play. (62 marks) Shawda Aziz Both Iago and Edmund possess traits which are both Vice-like and Machiavellian, however Iago leans more towards the Machiavellian figure (but is still strongly Vice-like), as does Edmund but on a lesser level as his motives are clearer than Iago's. Iago has a strong ability to convince other characters of his honesty and loyalty towards them, but the audience are immediately introduced to his intense passion for revenge despite the lack of real reason in seeking so. Iago represents the true form of villainy and is immensely unpleasant throughout the play which is shown to the audience. Edmund is similar to Iago in the fact that he is also seeking revenge and feels like he has been treated unjustly and must get what he thinks he deserves. Both characters aim to climb up the social hierarchy and gain financial superiority by using other characters and they are prepared to hurt the source of this wealth in doing so; this trait is very Machiavel-like. Both characters show similar traits in the way they use the idea of seeming and appearing as a virtuous character. This view prompts at their roles as Machiavellian as the Machiavelli figure is far more controlling and aware of other
