To what extent is Iago responsible for the downfall of other characters in Othello?
English Literature Coursework- Othello "To what extent is Iago responsible for the downfall of other characters in Othello?" The Shakespearean character Iago is the trusted friend and advisor of the General Othello, who plots the downfall of several characters within the play, due to a number of reasons including jealousy and a search for revenge. The play begins in Venice, one of the most culturally and economically developed cities of its time, although the majority of the story is set in Cyprus. It is important to realise that during the time of the plays creation, matters that are seen as unacceptable nowadays such as racism or sexism were common during this period. Venice was very much a white-male dominated society. In this essay I will be discussing how Iago manages to ensure the demise of a number of different characters in Othello, his possible reasons for doing so, and exactly how much of his plot is successful as a result of his scheming and how much is down to chance. One of the main characters Iago manipulates throughout the entire play is Roderigo, a man jealous of Othello because of his marriage to Desdemona. Iago manages to influence Roderigo mainly by his use of language, something that he does with other characters as well. Act 1 Scene 1 begins abruptly with an ongoing argument between Roderigo and Iago. This sudden start to the play is something
How far do we see different attitudes to love presented in Othello?
How far do we see different attitudes to love presented in Othello? Othello has always been seen as a play that has love as its primary focus. Indeed, almost every main character, not just Othello and Desdemona, is somehow involved in a love affair. Not everyone treats love the same way, however. In a play that has so many strikingly different characters, it is thus natural for us to see an accordingly vast range of conceptions of love. In the next few paragraphs, I will attempt to uncover what these various attitudes to love are, hence in the process illustrate the variety that exists in the play. In many instances, characters come very close to expressing their love in a way that is similar to that by the poets following the Petrarchan tradition. The best example of this is, of course, when Cassio engages in a paean of praise for Desdemona the moment he arrives in Cyprus (Act II, Sc. 1). To him, she is to be equated with the gods and heavens - "the divine Desdemona". Even nature, usually thought to be the most powerful, is simply inferior compared to her: "Tempests themselves, high seas, and howling winds...As having sense of beauty [Desdemona's], do omit / Their mortal natures". Indeed, the language he uses to describe her is extravagant and excessive - "our great captain's captain", having a sustained appearance of hyperboles which shows his exaltation of and admiration
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
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
Explain how you think Act 3 affects the audience(TM)s feelings about Othello.
Explain how you think Act 3 affects the audience's feelings about Othello. You might consider: * Whether you see him as a victim of Iago or not * His change from loving to loathing * Your response to his language * His plans for Desdemona and Cassio Act III is a highly significant scene among all of those in the play of Othello. Act III moves the play along and heightens the intensity, drama and tension between the characters. The plot of the play pans out as the act provides the audience with a skeleton of the time frame in the play; and hence a great sense of urgency. In my own opinion, I feel that the later two scenes (scene three and four) are the most capable of tracking the audience's feelings about Othello. Scene three is one of the longest scenes, consisting of 480 lines and entrances and exits. Shakespeare has to keep up the relentless pace to remove opportunity for questions to creep into Othello's mind. Othello can be seen as a victim of Iago in this scene, and evidently it is widely referred to as the 'temptation' scene. The scenes previous to this are almost engulfed with conversation in which Iago manipulates Othello and aggravates him by speaking of something which only Iago knows. Othello's short fuse almost reaches it's end in scene three as he is driven to madness with curiosity; he exclaims "I pr'ythee, speak to me as to thy thinkings". Critics have
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
Do you think this is how Shakespeare wanted to portray or present the character?Samuel Taylor Coleridge once wrote that Iago's soliloquies are the "motive-hunting of motiveless malignity".
Samuel Taylor Coleridge once wrote that Iago's soliloquies are the "motive-hunting of motiveless malignity". Do you think this is how Shakespeare wanted to portray or present the character? 'The Arden Shakespeare', argues that Othello is the 'third of greatest tragedies, contains arguably the best plot and two of Shakespeare's most original characters'. Originating from a tale written by Cinthio, Othello is seen as one of the Bard's most passionate and intricate tragedies. The play, originally identified as The Tragedy of Othello-the Moor of Venice, can be easily differentiated from Shakespeare's other plays as Othello explores a sense of cruelty that lacks comic relief. Moreover, Iago's character greatly emphasises on an intense theme of unity of action that is revealed as there are no subplots throughout. A structuralist approach is discovered as the signifier and signified are inversed frequently during the play. Critics have said 'Othello subverts traditional theatrical symbolism, through the presentation of characters Othello and Iago'. The drama of the play is usually driven by Iago's machination to destroy his general. Iago possesses more lines than Othello does throughout the play and moreover uses the speech of soliloquies to communicate with the audience forming a mutual relationship, as the villain reveals other dimensions to his character and schemes. Although
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
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
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
