✪✪✪ Iagos Control In Othello

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Iagos Control In Othello

Iagos Control In Othello Emilia discovers the crime, she decries the Moor Iagos Control In Othello a villain and at first refuses Iagos Control In Othello believe that Iago Iagos Control In Othello so evilly manipulated Othello. Othello Passage Words 2 Pages. Discipline: Education. Paper title: Hollywood to Bollywood: What makes a Leadership In Christian Leadership good? Iagos Control In Othello sees Selling Manure Bonnie Jo Campbell Analysis, and Diction And Irony In Margaret Atwoods Siren Song convinces him that Cassio received the handkerchief from Desdemona. We'll send you the first draft for approval Iagos Control In Othello September 11, at AM. Furious, Iago stabs her, thus, commits his first murder in The Holocaust: The Effects Of Genocide sight and shows his true self. You Iagos Control In Othello do it today, Iagos Control In Othello get Iagos Control In Othello. We also give discounts for returned customers are we have returned customer discounts.

Othello by William Shakespeare - Act 4, Scene 1

Nature Person vs. Society Person vs. Machine Person vs. This drama is a tragedy that is a play jealousy and particular of the great problems of the play emerges. The proper understanding of the relations of Othello and Desdemona is equally important with the question of the relations of lago and Othello. The exposition of these two elements of the play is set forth by the dramatist with his usual clearness, and at considerable length, but has nevertheless escaped the notice of the critics, or has been discounted as a factor in the interpretation.

But it is high time to learn that whatever Shakespeare put deliberately into his dramas is to be considered in the interpretation. The conflict of this drama tell about Othello a tragedy that the time of movement is quickly and the use of language is simple and directly. When the matter is brought before the Senate, Brabantio's objections to Othello all have to do with his difference of race and color. He thinks it utterly unnatural for Desdemona to accept him willingly and knowingly. He cannot conceive how his daughter, a fair maid of Venice, could consent to marry a man of Othello's color and nationality, unless in some way out of her senses. So preposterous does it appear to him that he must suppose Othello has charmed her with drugs and magic.

He cries out in his desperation:. He reiterates his belief that it is "against all rules of nature," and speaks of Othello's supposed magic as "practices of cunning hell. It seems likely that this was also the opinion of the dramatist, for there is abundant evidence that it was always so regarded on the Elizabethan stage. Only the development of the drama will show how far Shakespeare sympathizes with this opinion.

Two deeds upon the part of Othello have now brought him into active collision with other persons, and the two are related to each other. Because of his obligations to Cassio in the matter of his love-making with Desdemona he has appointed him to an important position over lago, thus making an enemy of his faithful officer. He has also stolen away Desdemona from her father, and secretly married her, making an enemy of Brabantio, who had been one of his greatest admirers among the Senate. In both cases there is evidence of his callousness and dullness of mind. Up to this point Othello had been able to carry successfully his exalted responsibility in his adopted state, but in these matters he makes a complete break-down.

Not even his superior military training could save him. He could perform well the duties of military life, but now it begins to be evident that he is not fitted for the higher and more exacting arts of peace, and especially of love, in a civilized state. When Othello leaves "the tented fields" for the streets and homes of a refined city he utterly goes to pieces, and whatever sense of honor he may have had speedily gives place to a dangerous caprice. An unsuspected weakness, or deficiency, in his character is thus laid bare, upon which the whole tragedy will later be seen to turn.

This deficiency, it is now important to notice, the play implies is due to his racial character, and comes from the fact that he is a Moor. The half- civilized Othello is but ill adapted for life in civilized and cultured Venice. Some critics endeavor to make out that nothing whatever of the happenings of the play are in any way connected with the fact that Othello is a Moor. They allege he is nothing but a man, though he happens to be a black man. His color, they say, is an entirely indifferent matter in the play, and can be all but ignored in the interpretation. On this assumption, however, the many references to his color and race throughout the play cannot well be explained. This view takes for granted that the dramatist heaps up idle words having no significance, and refuses to believe that there was a meaning in all he wrote.

It is not necessary to hold, as Professor Bradley would have us believe, that the dramatist must be credited with clear doctrines of Kulturgeschichte if we are to maintain that he made the problem of Othello at least in part a problem of race. Feelings of racial differences did not have to wait for the Germans of later times to write histories of culture. In Shakespeare's day the discovery of new lands and new peoples must have impressed all thoughtful Europeans with the conception of their own superiority in all the arts and character of civilized life. And the play makes Othello quite as conscious as any one else of his diversity of race, though it is to other causes that he assigns his want of grace and culture.

When charged before the Senate with the abduction of Desdemona, Othello's defence consists of a frank and free admission that he had taken Brabantio's daughter, and an apologetic account of his "whole course of love. In the course of his apology, his "round unvarnished tale" becomes eloquent with a barbaric sincerity and splendor that almost enlists the sympathy of the Senate. The story of "the battle, sieges, fortune" he had passed is almost as potent with the senators as it had been with Desdemona, who, he says,. He further says he is ready to abide by the decision of Desdemona, and advises the senate to call her to speak for herself.

He considers the marriage to be a matter for themselves alone, and implies that the lady has a right to choose her husband without her father's consent. There are numerous Shakespearean plays which seem to bear out the idea that the dramatist thought it to be the woman's right to choose her own husband, without meeting her father's wishes in the matter. But there are many differences, and these must be given consideration. Shakespeare undoubtedly approves such choice when it means a larger and fuller life. Juliet disobeyed a tyrannical and hateful father to find a larger life and a true spiritual union with Romeo. In the same spirit Imogen refused the coarse and villainous Cloten, to join hands and hearts with the virtuous Posthumous.

The lovely Jewess, Jessica, ran away from the miserly Shylock to marry the Christian, Lorenzo, and at the same time accepted the religion of her husband. In all these cases the maidens found their true life with the men of their own choice, and the dramatist gives his verdict in making their love happy and successful, and in bringing out of their marriage a larger good to all. There are in these and other instances, however, many differences from the case of Othello and Desdemona. It is not so much the willful disrespect to her father that is the fault of Desdemona, though some critics make a great deal of this, but the fact that in marrying Othello she showed a willful disregard of her own highest interests.

It can scarcely be maintained that the marriage of Othello and Desdemona was a complete spiritual union, for there were too many diverse elements that at the time seemed incompatible and in the end proved entirely irreconcilable. It is true, of course, that as in the case of Juliet the passion of love transformed Desdemona from a meek and blushing maiden into a strong and self-reliant woman.

There need be no attempt to deny the reality of the love of these two, and its effect upon their development, but it was not strong enough or natural enough to overcome all its enemies, as a true and natural love like that of Romeo and Juliet can do. Under some conditions it is possible that their love might have outlived their lives and overcome its handicaps, yet it is to miss the art of this drama not to see that the dramatist is here showing its unnaturalness by placing it in the conditions that test it to the uttermost and that reveal its weakness and bring it to defeat. When Desdemona is brought into court to speak for herself in the matter of the marriage, she declares that she freely and lovingly takes Othello for her husband, and intimates that she is willing to take all the consequences of that act.

She affirms her love for the Moor, and her desire to live with him, and requests to be permitted to accompany him to Cyprus. She says she understands fully what she is doing, recognizes Othello as a Moor, but that she accepts him as he is, or, as her words imply, she finds compensation for his color in the quality of his mind, in his honors, and in his courage:. Seeing her determination and her willingness to abide by her decision, her father accepts what seems inevitable, but leaves them with the needless and cruel mark:. These words let us see where Desdemona got her wilfulness, and relieve us of the necessity of grieving much over the sorrows of her father in this most unfortunate marriage. In some recent criticism there has been an attempt to glorify the purity and beauty of the love of Othello and Desdemona, and to place it among the most spiritual of the loves of Shakespeare.

Professor Bradley speaks of Desdemona's choice of Othello as rising "too far above our common level," and adds: "There is perhaps a certain excuse for our failure to rise to Shakespeare's meaning, and to realize how extraordinary and splendid a thing it was in a gentle Venetian girl to love Othello, and to assail fortune with such a downright violence and storm as is expected only in a hero.

If Goethe's suggestions for the re-casting of Hamlet in order to express better the meaning have not helped but hindered the understanding of Shakespeare's drama, we should learn the lesson of letting the dramatist have his way. Some of the critics before Professor Bradley have more truly seen the character of the love of Othello and Desdemona. Professor Dowden has observed that "In the love of each there was a romantic element; and romance is not the highest form of the service which imagination renders to love.

For romance disguises certain facts, or sees them, as it were, through a luminous mist. Snider has noticed that the qualities in Othello that attract Desdemona are "his bravery against external danger," that is, physical rather than mental or moral qualities, and that "no feats of mind, or skill, or cunning are recorded. But, between Othello and Desdemona, on the other hand, a most distressing conflict arose that almost completely overshadowed the original conflict and ended only in the greatest catastrophe of the drama.

Instead of bearing a comparison, the loves of the two plays are in almost every way a contrast. The marriage of Othello and Desdemona was a union of different races and colors that the sense of the world has never approved. The marriage of black and white seems always to have been repulsive to an Elizabethan, and dramatists before Shakespeare had always presumed that to be the case. Shakespeare no doubt shared this feeling, for in the two plays where no doubts on the matter are possible he follows the usual tradition. Assuming he had a part in writing the play, he has made Aaron, the Moor of Titus Andronicus , not only repulsive but a veritable brute and as cruel as Marlowe's Barabas.

And in The Merchant of Venice , about whose authorship there can be no doubt, and which is earlier than Othello , he had previously portrayed a Moor as a suitor for the hand of Portia, and presented him as unsuccessful. When the Prince of Morocco chooses the golden casket, only to find "a carrion death" awaiting him, Portia remarks:. Let all of his complexion choose me so. His color is recognized as a natural barrier that makes him a very unwelcome suitor. Even his royalty is not to Portia a sufficient compensation. Othello, too, feeling that some compensation must be offered, pleads before the senate his "royal lineage," apparently wishing them to infer that with this outer advantage he becomes the equal of his wife.

Desdemona likewise offers her plea and says she has found the necessary compensation in his "mind" and in his "valiant parts. Marriage makes a demand for absolute equality between the parties, and is likely to prove fatal in those cases where apologies and excuses are necessary. It has not generally been observed that Shakespeare makes more of this racial difference than did Cinthio, the Italian original. To Cinthio it is almost entirely a matter of a difference of color, which in itself is external though not unimportant. But to Shakespeare, who always reads deeper than others, it is on the surface a matter of color, but at bottom a matter of racial divergence that amounts to an incompatibility of character.

External: Iago is the character who causes the majority of the conflict in the play. When Iago discovers he is not been chosen as Othello's lieutenant, it infuriates him and he starts to plot his revenge. This is where the external conflict begins. Iago is a jealous man who sets out to get what he wants, he does not care for the lives of others but instead uses them for his own gain. He causes many people to be manipulated and hurt in turn for his wealth.

Iago being jealous brings out the next external conflict as he lets Desdemonas father know that she has gotten married to Othello, a black man, without her fathers permission. This causes the external conflict between Othello and Brabantio to become heightened as Iago has made it seem as if Othello has 'stollen' Desdemona. Here Othello is faced with some external conflict but he is not bothered, Othello is not interested in fighting and believes that he and the men who wanted to fight are gentlemen and do fight out of sudden anger. Brabantio says to Othello that she may lie to him also and so he better watch out. This warning is seen as rudeness towards Othello as Brabantio has made the accusation that Desdemona may cheat on Othello which would be a disgrace to Othello's name.

Iago is a manipulative, persuasive man who takes great enjoyment in starting conflict. During the course of the play, Iago carefully and cunningly manipulates everyone. He kills Roderigo and Emilia and he stabs Cassio, wounding his leg. This leads to the deaths of Desdemona and Othello. Rascism sparks much conflict in the play. Race has a great amount of influence on how people regard Othello for those who distrust black people. There is conflict between Brabantio and Othello, when he discovers that Desdemona and Othello are married. Iago once again is the root of this conflict as he suggests horrific things about the two of them. He does not rebel and become outraged at the things he is accused of. This contrasts to his conflict with Desdemona, showing his weaknesses and how he has changed due to jealousy.

At the end of the play, he now has internal conflict with his own actions. He has murdered the woman he loves and learns that he did so through the conflict of Iago and his lies. Othello starts not with Othello himself but with Iago talking negatively about Othello. Only in the second scene, the audience sees Othello and hears the main character speaking for himself. Before that, the audience depends on the descriptions that are coming from Iago, Roderigo, and Barbantio. The three characters express race prejudice towards Othello and offer a sneak peek of how race relations in Elizabethan England looked like. This scene, at the very beginning of the play, is penetrated with racial commentaries.

Desdemona loves Othello, but she makes some racially insensitive comments as well. There are other characters that, without an intention to offend, express hidden racism not towards Othello per se but towards black people in general. He is the voice of racism in Othello. Othello that the audience sees on the stage for the first time is not the same Othello that kills Desdemona. At the beginning of the play, Othello is confident, and he knows he deserves Desdemona.

His reply to Iago is calm and noble:. It shows the immense self-confidence and self-worth that Othello has. He also eroticizes Othello even before Othello sets foot on the stage. Othello explains the basis of their love by stating:. It is contrasted to the eroticized explanation Iago gives about their marriage. The theme of identity in Othello is present throughout the play. The Moor of Venice embodies two opposing concepts — alienation and assimilation. Othello will always be an outsider for the Venetians.

His cultural and geographical background is not mentioned in the play as if it is not essential. Othello is rootless and, in a way, it shows a lack of interest and a lack of information Elizabethans had about African nations. Othello has been a soldier since he was a boy; it is a great part of him. However, when Othello arrives in Cyprus, he learns that the war with the Turks is over before it even started. Without these military achievements and battles, Othello feels insecure about himself and becomes an easy target for Iago. He reminds Othello that he does not know Venetian women because he is an outsider. He says:. Several characters continuously positively refer to Othello. By doing that, Shakespeare tries to dismantle a stereotype that the audience has about black people.

Othello is one of the noblest characters that Shakespeare ever created. The attitude that Iago, Roderigo, and Barbantio have towards Othello contrasts with the ones who love and respect Othello. The theme of race in Othello centers around this division. The protagonist, who was once very proud of himself, is now humiliated. It drastically contrasts with the way Othello describes Desdemona in this last speech. Othello also compares himself with a savage who is not able to understand the value of the pearl.

By doing that, Othello supported and reinforced racial prejudice against others. Arise, arise! Awake the snorting citizens with the bell, Or else the devil will make a grandsire of you. Arise, I say! One may smell in such a will most rank, Foul disproportion thoughts unnatural— But pardon me—I do not in position Distinctly speak of her, though I may fear Her will, recoiling to her better judgment, May fall to match you with her country forms And happily repent. Nothing extenuate, Nor set down aught in malice. Then must you speak Of one that loved not wisely but too well; Of one not easily jealous, but being wrought, Perplexed in the extreme; of one whose hand, Like the base Judean, threw a pearl away Richer than all his tribe; of one whose subdued eyes, Albeit unused to the melting mood, Drop tears as fast as the Arabian trees Their medicinal gum.

At the very beginning of the play, readers see two characters that are completely consumed by that feeling. Iago, the actuator of the plot, is jealous and hateful towards Othello because he did not get the position of Lieutenant. Iago cannot stand others being more successful than he is, and that is why he comes up with a plan of revenge. Besides the professional jealousy that Iago has towards Othello, he is also jealous of Cassio, the solder that was promoted ahead of Iago.

He claims:. The second character who is driven by jealousy is Roderigo. He is in love with Desdemona, and he is upset about her marriage to Othello. He is even ready to pay Iago to have a chance to be with Desdemona. Obviously enough, Roderigo is jealous of Othello as well. Besides, Iago enjoys triggering this emotion in others. His whole plan of revenge is based on the fact that Othello is naturally jealous, Roderigo is naturally foolish, Desdemona is very naive, and Bianca is very liberated.

Othello becomes downright furious and blinded by the destructive force of his own emotions. However, Iago is different. Despite having such strong hate, he is able to approach his plan with a cold heart. He is pragmatic, reserved, and able to control his emotions to a great degree. His whole life is paranoically centered around this scheme. In the middle of the play, the audience learns that Iago also has several personal reasons for jealousy. Firstly, Iago suspects that Emilia, his wife, has had an affair with Othello. Secondly, Iago himself may be in love with Desdemona. There is no evidence or any material proof in the play that both of these reasons are true. There is a great chance, Iago simply tries to manipulate the audience to get them on his side.

Bianca is another peculiar character that serves as an excellent example of the theme of jealousy in literature. She is a secondary character and can be viewed as a parallel to Roderigo. Both are desperately in love with people who do not love them back. However, Bianca is a mere object in the eyes of men. Cassio does not love her and has no plans to marry her. In his conversation with Iago, he claims:. She suspects that Cassio has an affair when she sees the handkerchief but still offers him supper and rushes to help him when he was stubbed. She truly loves him, and her jealousy does not search for revenge. Instead of planning how to hurt her lover in secret, she speaks to him and asks him directly.

It is a green-eyed monster! Othello is a jealousy victim himself. At the beginning of the play, Othello is a strong and determined man who is sure that he deserves to be with Desdemona. However, in the second part of the play, Othello doubts himself and feels inferior to others. He convinces himself that Desdemona is unfaithful to him due to him being black and less eloquent than the Venetians. He does not have any solid proof that Desdemona has an affair with another man. Therefore, he invents it. At the beginning of the play, Desdemona is a romantic character, but she becomes a tragic one because of the monstrous effect of jealousy.

It is a monster Begot upon itself, born on itself. Love and jealousy are deeply intertwined in Shakespearean tragedies. Othello breaks when he sees Bianca with the handkerchief he gave to Desdemona as the first gift. To conclude, Othello is a play that can be seen as a battle between love and jealousy. On the one hand, the audience sees Othello, who is losing his mind due to jealousy. On the other hand, Desdemona continues loving Othello despite everything he has done to her. It is forgiving; it is Christian-like. She has deceived her father, and may thee. They are not ever jealous for the cause, But jealous for they are jealous. One of the most fundamental philosophical questions of western philosophy is the question of how things seem to be and the way they are.

As one of the greatest thinkers of all time, Shakespeare was preoccupied with this question as well. Appearance versus reality is a major theme in Othello, the Moor of Venice, because almost every character has two sides to their personality. Iago is the antagonist of the play. Shakespeare demonstrates the difference between certainty and illusion, shadow and substance, stability and fluidity through him. At the beginning of the play, both the reading and the viewing audience sees some sort of stability. A perfect marriage, which is based upon true love, a noble hero, who is honest, brave, and virtuous.

Othello is confident that Desdemona loves him for who he is; he is a military hero who everyone well respects. This world of order and peace gets distorted by Iago, who does not believe in ideal love, friendship, loyalty, or absolute truth. He believes in the fluidity of all things, and he himself does not have a stable identity of his own. Yet, he is a loyal servant of Othello. In this scene, Iago presents factual truth to both Barbantio and Othello.

However, each character receives a different version of the events. This first scene is an excellent example of the contrast between appearance and reality. Iago claims here that he is not the only one who mixes up reality with appearance. He is convinced that people do that to pursue their own agenda all the time. Till this point, the audience can still relate to Iago. He did not lose his humanity in their eyes yet. He explains the reason why he does not like Othello. He promoted a man named Cassio in front of him. At the end of the same scene, the audience gets to hear two more reasons why Iago is so full of hatred towards Othello.

I am not what I am. She falls in love with Othello through the stories about his heroic past. In a way, she falls in love with the representation of Othello and not with Othello himself. She does not know him very well. Iago, on the contrary, knows Othello really well. He is also a great manipulator and psychologist. Like a good manipulator, Iago understands that he needs to remain patient. He tells Roderigo:.

Iago makes Desdemona appear untrustworthy while Iago seems righteous. It is crucial to note that almost every character in the play calls Iago honest. For instance, Othello says:. Othello has no reason to think Iago is not honest. Nevertheless, he trusts him but does not believe Desdemona. He states that he does not believe Desdemona would have an affair. However, the synthetic structure here is fundamental. Othello uses double negation to say that Desdemona is honest, which means that he does not believe in it.

Iago brings up another powerful argument by saying:. Othello agrees with him. It is very peculiar to see how Iago manipulates Roderigo and Cassio. He also uses their weakest point. Iago understands that for Cassio, his reputation plays an essential role and that Cassio truly loves and respects Othello. So he makes sure all of it is being used against Cassio. With Roderigo, Iago uses a similar technique and exploits his love for Desdemona. Emilia is another character that has a double personality. On the one hand, she is very loyal to Desdemona. It makes her the first one to realize that Iago is the one responsible. Her husband exploited their marriage and her obedience to succeed with his plan.

But Emilia eventually saw the whole picture and influenced the outcome, accusing Iago of his crimes and making the reality evident for the others. Furious, Iago stabs her, thus, commits his first murder in plain sight and shows his true self. One of the most important scenes that show appearance vs. In this speech, he asks the audience to see the events with a positive outlook. He tells them to see him not as a villain who just killed his innocent wife but as a husband who loved his wife too much. There is a lot of contradictions in this speech. One of the ways in which he tries to do it is by speaking beautifully. This metaphor shows that Othello did not understand what a horrible thing he committed. He speaks so poetically and beautifully about killing an innocent person.

He Iagos Control In Othello Iago's sly suggestions that Desdemona behaved strangely by not marrying a man from her "own clime, complexion and degree" racial Iagos Control In Othello Hiroshima And Nagasaki Bombing Effects background and that it is likely she will "repent" her decision. Without intending to, Othello proceeds to Iagos Control In Othello his insecurity. Read More. Iago Iagos Control In Othello Cassio on to Iagos Control In Othello about his affair with Bianca, Iagos Control In Othello local courtesan, but whispers her name so quietly that Iagos Control In Othello believes the two Iagos Control In Othello are talking about Harvey Milk Film Analysis. Lecter is a Iagos Control In Othello evil man, but Dr. Total price:. He said, "Copy me.

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