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
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
'Cleopatra is often interpreted as the designing woman who brings down a worthy soldier and ruler, but this view is simplistic.' How do you, in the 21st century, respond to Shakespeare's dramatic presentation of Cleopatra?
'Cleopatra is often interpreted as the designing woman who brings down a worthy soldier and ruler, but this view is simplistic.' How do you, in the 21st century, respond to Shakespeare's dramatic presentation of Cleopatra? Cleopatra can only be described as 'designing' when her character is examined on an entirely superficial level. Beyond the obvious fluctuations in mood and volatile behaviour she exhibits throughout the play, there lies an intensely vulnerable and accessible woman, more so than ever to a modern audience. She is, in a sense, a woman well ahead of her times, both that of the Imperial Roman Empire and that of James I in which she was originally portrayed. Her volatility, particularly in the early stages of the play, is easily misconstrued as a Machiavellian tendency to manipulate for the satisfaction of her own whims. On first experience of the play, her request of Antony to 'tell me how much' he loves her seems foolish, even embarrassing, a public taunting of an important man. However, on subsequent re-examination, when the depth of her feeling for Antony (particularly in her anguish at his death) has been demonstrated, her 'taunting' gains another dimension. This question is more than trivial to her, however she might behave; she needs his reassurance. She is desperate to cling on to Antony's love, incredibly sensitive when it is threatened. Her first
Explore the "loving mother-son" relationship between Gertrude and Hamlet, with focus on language.
Ramya Sr. 4 D Q. Explore the "loving mother-son" relationship between Gertrude and Hamlet, with focus on language. Ans. Very evident in Hamlet is the "loving mother-son" relationship between Queen Gertrude and Prince Hamlet. Their mutual affection for each other can be seen right from the first act when they address each other as "Good Hamlet" and "good mother". This seems rather polite and formal but shows their deep underlying love for each other. However as the play progresses and Hamlet learns through the ghost of his father the truth about his uncle (whom his mother has married), the actual intensity of the mother-son relationship is brought out. This happens as Hamlet learns of his father's murder. Our first impression of Hamlet sets the tone for the whole play. Even without Shakespeare providing an elaborate description of Hamlet's features, we can imagine his pale face, tousled hair, intense, brooding eyes. Dressed totally in black, Hamlet displays all the 'forms, moods and shapes of grief'. His speech is punctuated with harsh sounding words and he repeats the 'd' sound often with words like " dead, sullied, windy, dejected, denote". This shows his extreme despair. Gertrude, as his mother, cannot help but notice Hamlet's outward appearance of mourning, but Hamlet makes it clear that the outward signs of grief do not come close to conveying how much sorrow he
Presentation of Women in Othello
The Presentation of Women in Othello Shakespeare's portrayal of Desdemona, Emilia and Bianca in Othello comes, generally, in two forms which reflect the prevailing opinion of women in Elizabethan times as mysterious and angelic or, whores, determined to cuckold their husbands. When Othello was written a patriarchal society was the norm. Women had clearly defined roles, as housewives and mothers; they were viewed as inferior, not only physically, but also emotionally. It was thought that they needed a male to protect them, if they were married this responsibility would fall to the husband and if the woman were single, it would be the duty of her father or another male relative. References to any of the three women, Desdemona, Emilia or Bianca, by the other characters, seems always either to praise them for their virtue and beauty, or else condemn them as whores that manipulate men to achieve their own ends. All three are rejected by their respective partners/husbands; they love them almost unconditionally, even when confronted with indifferent and callous behaviour. They are engaged in unbalanced partnerships: they feel more for their self-centred men than the men are capable of reciprocating. Bianca serves to represent the latter of the two opinions; she is a courtesan in Cyprus (''Tis such another fitchew' IV.i.145). She is a contrast to Emilia and Desdemona as she is not
A Modern Domestic Tragedy Is Tragic Because The Protagonist Is Working Against A Tide Of Unstoppable Changes Discuss This In Relation To A Streetcar Named Desire
'A Modern Domestic Tragedy Is Tragic Because The Protagonist Is Working Against A Tide Of Unstoppable Changes' Discuss This In Relation To 'A Streetcar Named Desire' In Tennessee Williams' 'Streetcar Named Desire', the character of the protagonist Blanche is created by Williams to be facing great change, and is facing the pull between her internal flaws and the external forces pushing this change .By showing this change in accordance within the confines of a modern domestic tragedy, it becomes inherently clear that in the context of this play, what makes it truly tragic is this unstoppable external change that the protagonist is a victim of. The continual emphasis by Williams on Blanche's weaknesses in this time of continual change adds to the tragic portrayal of the character. As early on as the first scene Blanche's refusal to face reality is shown, and begins this irrefutable burden of reality in contrast to the illusory world she has become to indulge herself within. It is symbolised by her inability to face the light. Blanche cries out in scene one to Stella to 'turn that over-light off...I won't be looked at in this merciless glare'. This loaded sentence suggests many connotations towards the character of Blanche. As on one hand this light reflects her inability to face the truth, as the light represents the purity of truth, and shows a possible domestic tragedy
To what extent does Iago contribute to the tragedy of Othello?
To what extent does Iago n contribute to the tragedy of Othello? Joe Stanford Iago explains in Act 1, Scene 3, how 'Virtue' is 'A fig!' and ''Tis in ourselves that we are thus, or thus'; he believes how 'Our bodies are gardens' and 'our wills are gardeners'. This demonstrates Iago's profound understanding of human nature, and his belief that one's 'will' or strength of character is a powerful tool to control oneself. Iago uses his knowledge of 'will' advantageously; using it to manipulate characters' minds. Underpinning his manipulation lies what Coleridge cited as 'motiveless malignity', yet one might say his chief motives are clear. In Act 1, Scene 1, Iago is angered by Othello 'already cho[osing] [his] officer', Michael Cassio. Iago failed to attain the promotion, especially by a man who has 'never set a squadron in the field' of war. Not only does Iago strive for the position of lieutenant, but Cassio's advancement renders a hatred for Cassio. It is revealed in Act 5, Scene 1, that Cassio owns 'a daily beauty...which makes me [Iago] ugly'. Another motive charged by jealousy. In Act 1, Scene 3, Iago states 'I hate the Moor' as he believes Othello has slept with Emilia - 'done my office'. This motive reinforces Coleridge's view of 'motiveless malignity' for Iago 'know[s] not if't be true'. Seemingly, however, Iago has a drive fuelled by jealousy and greed. Iago's
Is lord Capulet a good father?
Is lord Capulet a good father? The ideas of what makes a good father have changed somewhat since the days of Shakespeare. Then, a good father was someone who provide their daughter with as much luxury as they could afford whilst they were young and found them a good husband when they were of age. This was usually around 14-15 years old. Today however, a good father would be someone who is there when they are needed and provides well for his daughter until she is ready for the world and to make her own decisions. Lord Capulet clearly loves his daughter very much but this love is contrasted to his great temper. In my essay I am going to argue the good points of Lord Capulet as a father as well as the bad. We can see that Capulet loves Juliet very much from the way he speaks about her to Paris in act 2 scene 2 'stranger in the world.' This shows he is protective of her. He wants her to be happy and shows his affection, 'she's the hopeful lady of my earth.' 'Woo her, gentle Paris, get her heart.' This shows that he wants her to be loved, as he loves her. Caplulet is very able to provide for Juliet as he is the head of a very wealthy family and has an army of servants and holds impressive parties. She is thought noble enough to marry Paris who is a relative of the prince who is very rich. 'I tell you, he that can lay hold of her/shall have the chinks.' This means whoever
What Issues Of Communication Are Raised In The Play 'Translations'?
What Issues Of Communication Are Raised In The Play 'Translations'? The play 'Translations' by Brian Friel is in many respects an intelligent and enlightening metaphor for the situation in Northern Ireland. Throughout the play Friel uses his satirical twists and mixes of tragedy with comedy to express the vulgarity and hypocrisy in Ireland. Friel introduces a variety of extremely heavy topics dealing with societal problems such as generation gaps, communication and cultural difference. The play centres mostly on the tragedy of English imperialism as well as Irish nationalism. The themes that run through Translations are only an indication of the subject matter Friel begins to base his writings on. Translations may be located both temporally and spatially to a fixed point in Irish history. The characters hail from Baile Beag, renamed with the anglicised title of Ballybeg. The action of the play occurs over a number of days towards the end of August 1833. Before delving into the play it is clear, from these most general of points, that the main plot of Translations is a period of great significance in the colonial relationship between Ireland and England. The issue of communication in particular takes a significant central point in the play 'Translations'. The problems of translations between the languages are a metaphor for the problems of communication between England and
How significant are Iagos soliloquies to the development of tragedy in Othello?
How significant are Iago's soliloquies to the development of tragedy in 'Othello'? Tragedy is constantly evolving, with differing key aspects defining how tragedians have constructed their plays. Stoppard believed tragedy should be defined as: "Wheels [that] have been set in motion and they have their own pace, to which we are . . . condemned. Each move is dictated by the previous one - that is the meaning of order". Shakespeare uses Iago to orchestrate Othello's tragic downfall and has him 'set the wheels in motion' by using a dramatic device usually associated with a tragic hero, rather than the antagonist, in soliloquies. Shakespeare has Iago use his soliloquies to foreshadow everything we see throughout the play, showing his careful consideration to how he will engineer Othello's downfall. During Iago's soliloquies, Shakespeare ensures his plots are made blatant as he hopes 'to get his place and to plume up my will in double knavery' and will do so by having 'our Michael Cassio on the hip'. The vivid imagery of Cassio being powerless at Iago's mercy is used by Shakespeare early on in the play to heighten the audience's fear when Iago eventually 'wounds Cassio in the leg'. Shakespeare has Iago share key details to his plot as he plans to 'question Cassio of Bianca' after 'I will in Cassio's lodging lose this napkin'. Shakespeare does this to trigger a feeling of
