Explore the presentation of the relationship between Othello and Iago
Explore the presentation of the relationship between Othello and Iago Othello and Iago are the two main characters in 'Othello' and they represent the stereotypical cliché of 'good versus bad.' Othello, the noble, honest and brave general represents good, whereas Iago, the bitter, evil, misogynistic lieutenant represents everything evil and destructive. Despite their differences, they have been friends for many years, as Iago has not revealed his malevolent characteristics. He pretends to be a perfect gentlemen and a friend of the community when he is persistently perceived as "honest Iago," yet as the tragedy unfolds, Iago's true colours are revealed. However, Iago's character does not change throughout the play - he was evil in the beginning and remains evil when the play concludes. In contrast, the mannerisms and actions of Othello change dramatically for the worse as the play progresses and the root cause of this is Iago. Iago is very much the instigator of everything evil in the play; he is the catalyst for evil. The relationship between the two main characters is ever-changing as Iago's plot becomes more sinister and his grip over Othello tightens. Iago's hatred for Othello clearly stems from bitterness for not being promoted as "the moor's" lieutenant. Immediately, Iago shows signs towards jealousy of Cassio, "a Florentine," who got promoted as Othello's right-hand
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
Re-read Iago(TM)s soliloquies at the end of Acts I and II. How might the actions here reverberate throughout the play? How might the actions be spoken, staged and filmed to create different emphasis and interpretations?
In my opinion Iago is a crude character with evil imbedded into his soul - a typical villain in a Shakespearian play. The line "put money in they purse" shows Iago as his manipulative self. I believe his mind is fixed on causing hurt and destruction, fuelled by his jealousy over Othello and his wife. This view is outlined well by the critic Helen Gardener. 'Malice is motiveless'. This view is shown well in operatic version of Othello, in which Iago states that 'vile is [his] my tissue', which just shows that Iago does this to Othello because he is evil, not through jealousy. In comparison to this the view of Neville Coghill is that Iago has been turned to this evil plot because of the actions of Othello. However I really don't think this is a feasible argument simply because, Iago continues with his evil plans after Cassio has been sacked and Othello tells Iago he can be 'his most trusted lieutenant' so it is absurd to believe that Iago is simply plotting a revenge attack on Othello. This is therefore why Iago's evil actions are so shocking because he has no real motive. He is clearly jealous of Othello and believes he should be in a better position than he is because of the line, "know my price". Shakespeare shows Iago at first to have strong feelings of jealousy and bitterness towards Othello. Lines such as 'his own pride and purposes' shows how Shakespeare wants
How does Iago use language to assert powers over others?
How does Iago use language to assert power over others? "I am not what I am". Despite Iago's confession to Roderigo that he is not what he appears to be, this puppeteer of a character is still enabled to pull the strings of those around him, all the while preserving his reputation as the 'honest Iago'. This could be attributed to Iago's use of language as a persuasive, manipulative, emotional and rhetoric device. When attempting to rile up Brabantio, Iago uses bestial imagery such as 'a black ram is tupping your white ewe' and 'the Moor and your daughter are now making the beast with two backs'. This metaphor reflects the Elizabethan stereotype that a black man is power hungry, uncivilised, savage and a worthless outsider. In the period of time the play is set in, inter-racial marriages between black and white couples were unacceptable and Iago plays on this to enrage Brabantio. This animal references works not only work to craft Othello as an animalistic, violent, sexual being in Brabantio's eyes, but also to portray his daughter as innocent and pure with the use of the word 'white'. This causes a contrast between the two lovers, flaring a father's need to protect his daughter by victimising Desdemona and bestialising Othello. Similarly, Iago plays on the perception of a 'father's role' in the context of the play by using connotations of robbery to imply that Desdemona,
How effective is Shakespeare in creating Iago as a tragic villain?
Lara Jackman 2AA. Mr. Dunford "Tragic villains do their evilness, reach a high point, and then plummet to their doom." Todd Lidh (Flager College) "Iago is a mysterious creature of unlimited cynicism." "The Wheel of Fire"- G. Wilson Knight From an analysis of the tragedy of "Othello" and with reference to the two interpretations above, how effective is Shakespeare in creating Iago as a tragic villain? Centre No.: 49005 Candidate No.: 7244 In creating Iago, Shakespeare crafts a character that, according to Harold Bloom,"is by merit raised to a bad eminence that seems unsurpassable."1 Undeniably, Iago is one of Shakespeare's most compelling villains; his unfaltering malice, as well as his relentless desire for a revenge supported by feeble motives, are all features that have ensured infinite fascination over Iago's character for the past 400 years. Over the centuries, critics have developed a range of opinions with regards to this character, from a "recognisable type of human being...with passions and frustrations..."2 to "a being next to Devil"3 Indeed, it is impossibly hard to label Iago as any particular stereotype, due to Shakespeare's characterisation. With reference to the first quote, Iago can certainly be nterpreted as a "tragic villain", and his cynical nature is definitely a driving force for the inevitable tragedy in "Othello".
How does Shakespeare present Iago?
How does Shakespeare present Iago? In Shakespeare's Othello the character Iago is one who has appalled and intrigued audiences for years. His cruel actions have shocked, yet enthralled audiences everywhere. We find ourselves being drawn unwillingly to a character; the audience's revulsion is blended with fascination at the horrific culmination of his terrible scheme. He is a character whom Shakespeare has constructed as an angry malicious character, and beneath his façade of respectability and affability has a wealth of vindictiveness which he uses against those whom he believes to have wronged him. I intend to explore how it is that such conclusions can be drawn from Iago character and how Shakespeare shows it to us. Iago is quick to show his hatred of Othello in the opening scene. 'I follow him to serve my turn upon him'. This suggests that Iago is dedicated to his revenge as he is willing to bide his time. Shakespeare gives Iago bitter, harsh language to reflect his anger and bitterness towards Othello. This harsh aggression is spat out with the brutal 't' sounds; the irregular flow shows the violence and rage that Iago wishes to inflict upon Othello. The fact that other men are ranked above him is a situation that Iago despises and it is because of his subservient role that he lashes out with such ferocity. The natural subservient inferiority of the phrase 'I serve' is
Audiences often find that Iago is the most attractive character in the play, yet he is also deemed to be a Machiavellian demi-devil(TM). What is your response to the role of Iago in the tragedy of "Othello"?
Audiences often find that Iago is the most attractive character in the play, yet he is also deemed to be a Machiavellian 'demi-devil'. What is your response to the role of Iago in the tragedy of 'Othello'? - Jessica Bryant The character of Iago could be said to be divided between the positive persona of evil artist and conversely, the negative persona of dirty-minded soldier (this draws parallels with the negative and positive Aristotelian opposing principles of 'tragic' and 'heroic'). It is this, as well as Iago's use of comic language and soliloquies, role as a playwright, sadism and Machiavellian tendencies that could be said to make him the most attractive character in the play. Iago's wit and verbal dexterity, in particular his lively and dynamic soliloquies, portray him as a comic trickster - aiding his magnetism to the audience. Through the use of improvisation we see Iago making comical mischief, for example, "Making the beast with two backs", a sexual statement of a transformation of Desdemona and Iago into a 'two backed monster' during intercourse, twisting their beautiful and spiritual relationship into something comically bestial. Although crude, it could be argued that Iago is merely a dirty-minded soldier and is entitled to such harmless and insignificant jests. Iago draws attention to "my manners", aping the 'courtesy' that he ridiculed in his soliloquy;
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
Othello. Racial mixing, functions as a crucial foundation, providing a catalyst for Othellos destruction. The notion of racial mixing arises through Othellos acceptance of certain Venetian traits, while still retaining aspects of his own cultu
Othello William Shakespeare's Othello has the ability to speak to audiences from different eras and contexts because he is vitally interested in the exploration of the human condition. Through his characters, he is able to dramatise such ideas and emotions as a hero's tragic downfall and marginalisation of certain groups of the society. While certainly reflecting the values of his Jacobean context, contemporary audiences are still affected by the plight of his tragic hero. (elaborate) In the play, Othello is characterised as an honourable man of high status, overcome and undermined by the deceitful actions of the antagonist, Iago. The high opinion of Othello is reinforced by the conduct of the Duke in the first Act, as he fails to notice Brabantio, "I did not see you: welcome, gentle signor", in his fervor of greeting Othello. This hasty reception portrays a direct contrast to the warm and respectful tones with which Othello is addressed: "Valiant Othello, we must straight employ you!" However, the fragilities of Othello's character, mainly jealousy, in conjunction with Iago's deceptive behaviours, lead to his ultimate undoing, as demonstrated by Othello's overly trusting disposition, particularly in relation to the "honest Iago" repeated numerous times during the course of the play; his underestimation of Iago's deceitful nature; and his inability to see reason when he is
Power in Othello
What kinds of power are explored in Othello? Whilst there are many types of power one can hold in society, these all vary in influence. Such is the case in Othello for the most part, since we see examples of authorial, military, sexual and oratory power to different degrees. However, although many of us would consider the former to be the most important within the play, due to the malevolent nature of Iago this turns out to be otherwise. The authorial power of Othello stems from his position in Venice as a military commander. This in itself is also an important power; without Othello's skill in warfare he would never have any influence in Venice at all because of his skin colour, seeing as Moorish mercenaries were a common sight even in Italy. As a result Othello is able to take command in Cyprus and be shown a lot of respect, such as when he disciplines Cassio in Act II Scene iii for his drunken behaviour: '...Cassio, I love thee/But never more be officer of mine/...I'll make thee an example' (229-30, 32) . Cassio is extremely shocked and appalled with his demotion, for it has resulted in the loss of his reputation - 'the immortal part of myself, and what remains is bestial'- which indicates that he holds his superior in high regard to the point of hiring a clown and musicians to seek Othello's mercy. If Othello did not have clear authority over Cassio, then the latter
