Othello

Iago is one of the central characters within Shakespeare’s ‘Othello’ and is introduced extremely early in the play, Act I scene I. It is generally assumed from even this early in the play that Iago is cunning, plotting man as he converses with Rodrigo. Throughout the centuries the common opinion on Iago is that he is an insidious, misogynistic, materialistic, dissimulating character, among other things. Few critics have spoken in appraisal of Iago’s character and actions.

In act I scene III, Iago ends the scene with his first soliloquy. Soliloquies generally reveal a lot about a person’s character to the audience, but this is the first time the audience gets a taste of his thoughts. He begins by discussing Rodrigo:

‘My fool my purse’

This is particularly dissimulating as he had just been talking to Rodrigo, planning how to match make him with Desdemona. This is a running theme, Iago’s manipulating, and two-faced dealings. This links with:

‘That thinks men honest that but seem to be so’

As Rodrigo is not the only character in the play that falls for Iago’s deceptions.

The next part of the soliloquy that reveals a lot about Iago’s character is his admittance to using Rodrigo for his own benefits:

‘But for my own sport and profit’

Iago can use Rodrigo using his manipulative powers of speech, he deceives Rodrigo to gain money off him and use it for his own needs rather then on the task it was intended for. By referring to this task as a ‘sport’ it also implies that Iago receives some pleasure from deceiving people, that he finds this fun and does this for his own fun. The audience is left doubting his character and feels sympathetic for the other characters involved in Iago’s deception.

Iago then reveals a possible motive for his inexcusable behavior:

‘that ‘twixt my sheets’

Iago thought that at some point Othello had cuckolded him, led Emilia astray from their marital bed. Iago displayed the same reaction that most men would, and so felt betrayed and angry, although he did not know for sure that the act occurred. This is a good argument against Coleridge’s critical comment on his actions. He described his actions as:

‘Motiveless malignity’.

This does appear to be the case, to a certain extent. Especially for a modern day audience, we find it harder to accept that Iago would become so nasty to people so close to him, but to an Elizabethan audience it would be more believable without any motive behind him. This part of the speech may not excuse his behavior for the rest of the play, but it is a starting point, it gives the audience something to relate to, to begin to justify his actions.

‘Cassio is a proper man’ with this sense of the word, proper means handsome rather then suitable. This appears to be a compliment to Cassio, but again Iago is using him for his own means. Iago can use Cassio’s good looks and status in society to create the allusion of an affair with Desdemona. Othello only becomes jealous because there is something to be jealous of, if Cassio was not handsome and admirable Iago would have nothing to create the jealousy from. This is yet another example of Iago using people close to him to gain what he wants.

Iago appears to be a character that is trusted, by almost everyone other than Desdemona. She comes across as more suspicious character, as she questions Iago rather then just falling for every word he says. Iago knows that his fellow soldiers and people in society trust him, yet another way in which he can use manipulation as there is grounds for him to manipulate. This is shown when he says:

‘The Moor is of a free and open nature,

That thinks men honest that but seem to be so’

Iago actually admits to his deceitful nature, and ridicules Othello for being so trusting. This is the entire base for the play; if Iago weren’t so “trustworthy” then Othello would have no reason to believe his accusations of Desdemona. It is this perception that makes the play possible.

Othello is Iago’s general; therefore he should be respected, and not ridiculed, which he is in this soliloquy:

‘As asses are’.

It is disrespectful for Iago to be referring to his general as a fool, whether he is a Blackamoor or not. This shows that Iago is not a decent character; he does not even have the decency to respect his general, let alone other aspects of his character.

Towards the end of the soliloquy, Iago refers to:

‘Hell and night’

Which would have been a lot more relevant to an Elizabethan audience as it represents the devil and malicious behavior. It is ironic that he uses devilish language, as he is associated with the devil due to his evil character. To emphasize this point, he also says:

‘Monstrous birth to the world’s light’.

This also would have had a greater impact on an Elizabethan audience, and this is only the beginning of the devilish language used by Iago. It was said by William Turnbull that:

‘Iago is an unbeliever in, and a denier of, all things spiritual, who only acknowledges God, like Satan, to defy him’. (Othello: A Critical Study, 269)

This is proved throughout the play by constant references to the devil, night, dark and Iago’s actual behavior and attitude to situations.

Finally, this soliloquy shows a great deal in its length. Within twenty-two lines, Iago has explained his actions, had no plan and conceived a plan and becomes anxious to begin. This shows his ability to improvise quickly and leaves the audience wondering how often he uses this ability, when he was with Rodrigo? Othello? Cassio?

To conclude, Shakespeare uses this particular soliloquy to allow the audience to see what we believe to be Iago’s true personality. We learn that he is definitely dissimulating, manipulative, deceitful, and disrespectful, a slanderer and cunning. Before this the audience could only speculate on this and the remainder of his personality as he shows different sides to different people, he has been referred to as ‘an onion’ and ‘Janus, the Roman god’ because of his multiple personalities.

Furthermore, the tragedy of the play is Othello hubris forcing him to murder his wife – the action which proves his Inability to Integrate with Venetian society. Shakespeare presents the relationship between Desman and Othello in a deeply Immersed way by defining it both in terms of their personal interaction, and the reaction and interference of the characters in the play. Most importantly, the antagonist of the play, Ago, uses Adhesion’s “goodness” as the net to “enmesh” Othello, In addition to his other victims Including Cassia and Ordering. Gags Machiavellian plot to be evened with Othello, “wife for wife” depends heavily on his ability to destroy his marriage – thus confirming the importance of Desman. The status of Desman and Toothless relationship as a major point of conflict is clear from the very beginning of the play – where Ago and Ordering attempt to “poison the delight” of Abrogation by revealing that Desman had secretly married Othello. In terms of context, the concept of marriage without parental consent was taboo in Jacobean society, and would’ve been controversial even in Venetian society – which was considered much more relaxed than Jacobean Britain.

It Is also Interesting to note the use of the word “poison”, which Is a strong theme throughout the play -? ND foreshadows Toothless eventual request that Ago “get me some poison” in order to murder Desman. Foreshadowing is further utilizes by Shakespeare in Act II Scene l, where he has Barbarian warn Othello to “look to her Moor, she has deceived her Father and may thee”. This effect Is heightened by Toothless claim that he places “my life upon her faith”, a moment of great irony which perfectly complements the claim that ‘in losing [Desman], he loses himself.

It is important to note the great trust Othello places in Desman In this scene and how it coincides with his nonevent, eloquent speech which prompts the Duke to acknowledge “this tale would win my daughter too”. The poetic blank verse which Othello speaks, and has led some critics such as A C Bradley to describe him as “the most romantic among Shakespearean heroes” is in stark contrast to the clumsy, monosyllabic prose which he speaks later In the play – by which point his confidence In Desman, and therefore himself, has been destroyed by Ago.

There is some element of truth in Othello claim that he “loved too well” and it is this resolute nature which ultimately dooms him. His rashness, which would have been praised as decisiveness on the battlefield, forces him to dismiss Cassia perhaps too swiftly – and place too much trust in “honest Ago’, whose role as “ensign” should be confined to military affairs – not his general’s private life. It could also be argued that Othello was doomed by his race, in the words of Anta Lomb the inflict of the play derives from “the threat of a black man and a white woman” to the “patriarchal” Venetian society.

The racist semantic field used in the opening scene, “thick lips”, “old black ram” and simply “the moor” sets a precedent for the rest of the play, and Othello final speech where he acknowledges he is an outsider, “circumcised dog” is evidence that Lagos manipulation has forced him to question himself and become the stereotype Ago depicted him as. Ultimately, the relationship of Desman and Othello is integral to the play, and Othello descent into barbarism is facilitated by his loss of faith in Desman.

Othello himself placed his “life upon her faith” – and as a resolute man he was left with no choice but to destroy himself when he felt she had betrayed him. Lagos malignant, calculating intelligence led him to the conclusion that the moor he hated could be destroyed by his love for his wife – Just as Ordering could be destroyed by his lust, and Cassia by his arrogant, flirtatious nature. Lagos ability to detect the weaknesses of those around him is the characteristic which defines the tragedy of ‘Othello’, and thus the knowledge that Desman is Vital to her Husband’ allowed him to exact his Machiavellian plot with tragic consequences.

Ago then plans to backstab Othello and ruin his love with Desman. Based on Shakespearean focus on the character and his actions that developed the plot, it is shown he believes that freewill directs our lives. He does so by using development of the antagonist and sequencing of events. Shakespeare starts off with the story with the development of direct characterization of Ago as the antagonist who seeks revenge on Othello.

In Act 1, Scene 1, lines 54-56; we have Ago start off speaking and Introducing his evil plan to sabotage Othello for not promoting him, yet instead promoting some new kid. Ago states, “These fellows have some soul, and such a one do I profess myself. For, sir, It is as sure as you are Ordering, Were I the Moor, I would not be Ago. In following him, I follow myself; Heaven is my judge, not I for love and duty. ” From this quote, we see that Shakespeare directly develops Ago as an antagonist character.

After reading what Ago has said, we learn exactly that he’s actually doing everything for his own benefits and that he could really care less about others. Ago does not try to curve or seem to attempt to hide anything from the audience, so the sense of selfishness peaks out to the audience and the message Is conveyed pretty clearly that he will do anything In his will to be In the position of higher power as well as take over those who are In the way. In Act 1, Scene 3, and line 12; we have Ago complaining and speaking towards the audience again.

This time he says, “Cassia’s a proper man: let me see how: To get his place and to plume up to my will. In double-knowing?How, how? Let’s see?after some time, to abuse Othello ear, that he is too familiar with his wife. After some time, to abuse Toeholds ear. ” Ago shares his plot to destroy Othello tit the audience. Since Othello is so gullible, Ago manipulates that fact and will make him believe that Desman is having an affair with Cassia. This is all happening due to a result of lagans choice to sabotage Othello and get him back.

The direct characterization of Ago as an antagonist is showing how he plans on using one of Toeholds weak point?such as his love shared with Desman?to help revenge Othello and ruin him due to the fact that he did not promote him but instead, promoted Cassia. He also gets back at Cassia as well, by Incorporating Cassia Into his Lana to make It seem Like Desman Is cheating on Othello. Shakespeare then continues to use direct characterization as a development of Ago is thinking of another one of his mini plans to help get back at Othello.

He is thinking of using the handkerchief that Othello had gave to Desman and place it in the hands of Cassia in order to convince Othello that Desman has truly been cheating. “Trifles light as air, Are to the Jealous confirmations strong, as proof of holy writ: this may do something. ” Shakespeare develops Ago as an antagonist using erect characterization by having him purposely plan out this evil plan of killing Adhesion’s and Othello love life and having Ago saying exactly to the audience what he believes shows a direct characterization.

Another example that supports the idea that Shakespeare uses direct characterization to help support the idea of freewill is in ACTA, scene 3, line 12. Here, he is specifically saying what he truly feels towards the Moor (Othello), “l hate the Moor: And it is thought abroad, that twixt my sheets, He has done my office: I know not fit be true;” With Ago directly saying that e hates the Moor shows a direct characterization that he is the antagonist because with him directly announcing that he hates the Moor, we can Just tell from that statement that he is our antagonist.

This supports the idea of free will, because this quote also shows that although he hates the more, he is purposely going to play nice to him in order to get back at Othello. Shakespeare then uses sequencing of events to help support the idea of freewill. In the beginning of story, Shakespeare starts off with Ago planning to purposely tell on Desman and Othello and how they have ran off.

In ACTA scene 1 and line 5 Ago says, “Call up her father, Rose him: make after him, poison his delight, Proclaim him in the streets; incense her kinsmen,” With Ago purposely putting himself out there as the person whose responsible for telling on Othello and Adhesion’s relationship, and agreeing to Adhesion’s father that he will bring back Desman we see that with the book beginning with Ago depicted as being a 2-faced person that this is only the beginning and that his characteristics as an antagonist will strengthen as we progress through the story.

Because he was one of Othello men, and by him being unload and running to tell about their relationship shows that he Just wants to sabotage Othello and isn’t being faithful to Othello at all. At the end of the book, where it is the last time Ago speaks in the play, his freewill is yet still emphasized. Othello has captured him as a prisoner after he found out what Ago had did to him and demands that Ago tells him why he did what he did. Ago says, “Demand me nothing: what you know, you know: From this time forth I never will speak word. (5. 2. 1) Lagos intentions was to completely revenge and ruin Othello life and make him feel the pain and disappointment that he has gone through when he was not promoted. By having Othello still not knowing why Ago did what he did, even at the end of the story shows how the freewill of Ago was really meant to Just put Othello in great pain. Even though there were many events that supported the idea that Shakespeare believes in freewill, fate on the other hand can also play a role in directing our lives.

In ACTA, science, page 15 Ago eventually ended up getting caught in his own plan ND did eventually get captured as a prisoner by Othello. We see this through the stage directions, “(enter Ladylove, Montana, Cassia carried in a chair and officers with Ago, prisoner) By having Shakespeare use stage directions to clarify that Ago is now situations his ending result is still for him to fail in life again which was how he felt like he was when he wasn’t promoted. In conclusion, Shakespeare starts off the story with Ago introducing his hatred for Othello to show how his freewill will pullout later through the story.

We see how his revenge and all the situations he’s gone through in order for himself to succeed in his own plan was freewill. How he decided to ruined Adhesion’s and Othello love life was freewill. By looking at Shakespearean main emphasis on the development of the antagonist, Ago and sequencing of events it is shown how Shakespeare believes that freewill directs our lives. One lesson that can be taken by this story is to not put in too much trust and high expectations for someone, because once they slip up it’ll hurt you lox more.

Iago is the villain of the tragedy Othello but to what extent is he a tragic villain? Iago is portrayed to be an intelligent and deceptive character whom exposes his deceit within the first scene of the play. He explains to Roderigo that ‘I am not what I am’ which could be interpreted as though there are many different levels to him meaning he is a complex character and shows various sides of him to different characters. However it could also mean that no one knows the real him: including Iago himself.

This dialogue is juxtaposed right at the beginning of the play; this highlights the importance of Iago’s complex and villainous character and his attitude towards others in different situations to achieve what he wants no matter how duplicitous he has to be. It is ironic how Iago is saying this to Roderigo who could question Iago’s loyalty to him however Iago is extremely conniving and underestimates Roderigo’s intelligence. This illustrates how Iago is condescending towards others throughout the play not making him seem like a tragic villain at all.

On the contrary, the audience enjoys Iago’s twisted intelligence as he slowly cultivates a plan in Act 1, scene 3. Iago’s soliloquy intrigues the audience as it seems as though Iago is speaking directly to the audience rather than to himself. The audience is charmed as they are drawn into Iago’s plan and cannot help but be enticed as Iago slowly improvises a plan. Iago’s soliloquy reflects his thoughts and yet we cannot tell what his true feelings are as what he says varies throughout.

The scene ends with a rhyming couplet ‘I have’t. It is engendered. Hell and night Must bring this monstrous birth to the world’s light. ’ This is a powerful statement to end the scene with as he says this evil plan of his should be brought alive which leaves the audience intrigued at the end of the scene waiting for more. Shakespeare wants the audience to enjoy the cleverness of Iago which may make him seem like a tragic villain.

Iago’s soliloquy essay At the end of the first act in scene three Iago convinces Roderigo to go to Cyprus. Roderigo then exits, leaving Iago alone. This gives him the chance to express his thoughts through a soliloquy. The purpose of this soliloquy is to show that Iago is always plotting and to show what his plan is. Shakespeare ends the first act with it to put the audience on edge and go into the second act knowing that something bad is going to happen. Before, in his conversation with Roderigo, Iago was speaking in prose.

However, now, in his soliloquy, he speaks in verse. Shakespeare does this to demonstrate Iago’s intelligence and implies that Roderigo is not clever or of high intellectual status. If the audience had their doubts about Iago’s dislike of Othello then “I hate the Moor” dispels such doubts. This phrase has an immediate impact because in a soliloquy a character will not lie; in previous conversation the audience cannot be certain if the duplicitous Iago is telling the truth. So, for the first time he reveals that he hates Othello with a passion.

Or, on the contrary, Iago might be trying to convince himself that he really does hate Othello, which implies that Iago doesn’t, and has no good reason to do so. “And it is thought abroad that twixt my sheets he’s done my office. I know not if’t be true……will do as if for surety” Here Iago does not know for sure if his wife is having an affair with Othello but will believe it because it serves his purpose. Again this supports the theory that Iago is trying to convince himself that he has a good reason to hate Othello when he actually doesn’t.

Iago thinks that Othello is not suitable for Desdemona: “Cassio’s a proper man. ” This implies that he thinks Cassio is more manly than Othello, and that people would be likely to believe in him as an adulterer. This also shows Iago to be racist because he thinks that a Moor is not a proper man. Later, he also describes Othello as gullible: “The Moor… …thinks men honest that but seem to be so, And will as tenderly be led by the nose As asses are. ” The phrase “let me see now” shows that Iago is already plotting; he creates a clever plan spontaneously, while thinking out loud.

This is evidence that Iago is clever. His character is very duplicitous, scheming and, above all, spiteful. If anyone did anything to upset him he would take it too far. Iago says Othello is foolish and easily led: “And will as tenderly be led by the nose as asses are” This shows Othello is easily led as asses can be led by merely holding a tender part of the nose. Also this insults Othello calling him an “ass. ” In Elizabethan times being compared to any kind of animal was considered insulting and rude, as then humans were considered the only proper race.

In addition asses were considered to be stupid and comical. Thus comparing Othello to one is considered an insult. Furthermore, this implies that Iago knows that what he is doing is wrong and evil and yet he still goes through with it. This shows Iago to be evil. “I hate the moor” What did Othello do to him? He didn’t give Iago the job he wanted. Thus Iago decides to plot against him. This shows that Iago is spiteful and also jealous of Cassio (the man who got the job instead of him). “That he [Cassio] is too familiar with his [Othello] wife. this demonstrates that Iago is jealous because not only is he plotting against Othello but also against Cassio. Iago’s plan involves using Cassio’s status as a womaniser in order to get revenge. This could be perceived as jealousy of Cassio’s way with women, as well as creating a sense of poetic justice. To turn Cassio’s own success with women into a tool to bring him down shows Iago’s quick wit and cunning. This is also a shrewd method of dealing with two problems at once. The final rhyming couplet shows that Iago knows what he is doing is wrong: “Hell and night must bring this onstrous birth to the world’s light” The word “monstrous” was used by Iago to show that this plan is evil therefore he knows it is wrong and he shouldn’t do it. Also “hell and night” shows that this “birth” is worthy only to be delivered by Hell and night; both of which can be associated with evil, as in every religion good is represented by light and day, but bad is symbolized by dark and night. As this could also be a reference to racism. By calling his idea a “birth” Iago is emphasising that it is his creation.

This reveals that he is not ashamed by what he is about to do and that he might even be proud to lay claim to it. The soliloquy as a whole gives us many new insights into Iago’s character, intentions and abilities. It shows him to be deceitful, devious and intelligent; while the intended outcome of his plan reveals that he will stop at nothing to gain the success that he believes he has been cheated out of. Before this soliloquy, the audience may have suspected that his character was not as good as it seemed, but by the end of the act they can be in no doubt.

Appearance verses reality is a philosophical question. We all know that what we perceive may not always be reality. Good Morning Yr 11 Students, I understand that you have been closely studying Othello, both Shakespeare and Davies’ version. In your studies, you would have discovered many links between the two, through evident themes and values, displayed by many different characters.

A theme I have discovered and would like to present to you today, is that of appearance verses reality and how it is altered due to the changing contexts of Shakespearean original Othello and Davies’ screenplay Othello. This is evident through the use of the protagonist, Desman, in the way she carries and portrays herself. Within Shakespearean play, Othello, the theme of appearance verses reality, proves to us, through Desman, that what appears may not always be. This is due to Othello outlook on his wife.

The character of Desman is seen to be quite the role model of a woman, in the 17th century England. Women in that day and age were seen to obey the most dominant male in their lives, if they were married, it be their husbands, if they were not, it be their fathers. If a woman were to disobey her husband and/or be dishonest with him, it would seem out of character, as they were seen to be innocent, and naive. In that case, women sleeping with anyone other than her husband was morally wrong, and not expected.

In Adhesion’s case, she appeared to be innocent and naive when she is asked ‘Are you not a strumpet? And replies with ‘No, as I am a Christian’. She is also shown as not knowing what Othello had been accusing her of, and had remained true to her husband, therefore she is wronged and is what she appears to be. Whereas in Davies’ screenplay version having being set three centuries later, a lot was different in the way the theme was portrayed.

Women in the 20th century London, had more equal rights than woman previously did, so it was common for them to have their own freedom. Due to this new found equality, it meant it was not a surprise if they slept around. Therefore Desman seems less innocent in this version, as it was a more common thing, to sleep around. Desman is portrayed as secretive, giving the signs she may have done wrong and is not what she appears to be. The fact that she has interest in Cassia in this version, also plants a seed of doubt in our minds about who she might be.

Ago is also very persuasive in what he says to Othello about Desman sleeping around in her younger years, painting her out to be different to what we initially think. The context of this film does not suggest it is uncommon for people to sleep around, leading us and Othello to believe that Deities is dishonest. In this version, Deities being shown as secretive, is portrayed through a close up shot of Deities, revealing her mischievous facial expression, when Othello suggests the idea of Deities sleeping tit Cassia, she immediately pushes it away and attempts to distract him through flirting.

In comparison to Shakespearean play, Deities is not seen to be as pure and innocent and thus in this screenplay version we, as an audience, are unsure of whether Deities is what she seems. From both these versions of Othello, we draw the conclusion that the theme of appearance verses reality, has been changed to manipulate the audience’s perception of certain characters. I have presented this to you today, through the character Desman. We now see that what appears to be, may or may not be in reality.

The story “Three Century Woman” is about a woman who has lived in three centuries and is now at her old folks home being interviewed by the TV. I think that the round character in this story Meghan and the flat character is Grandma Breckenridge .

In the book, ‘Three Century Woman”, Meghan is considered a round character. I know this because she changes during the story. In the beginning of the story she said “can’t I just stay in the car and do my homework?” (page 10) instead of walking inside to see her great grandma. Towards the end of the book her character did change. She kissed her on the cheek and said that she will come back to visit her again. This tells me that she had changed a lot during the course of the book. At first she wasn’t too thrilled about seeing her great grandma, but by the end she was very open and positive about it .The story “Three Century Woman” is about a woman who has lived in three centuries and is now at her old folks home being interviewed by the TV. I think that the round character in this story Meghan and the flat character is Grandma Breckenridge.

In the book, ‘Three Century Woman”, Meghan is considered a round character. I know this because she changes during the story. In the beginning of the story she said “can’t I just stay in the car and do my homework?” (page 10) instead of walking inside to see her great grandma. Towards the end of the book her character did change. She kissed her on the cheek and said that she will come back to visit her again. This tells me that she had changed a lot during the course of the book. At first she wasn’t too thrilled about seeing her great grandma, but by the end she was very open and positive about it.

The flat character in the story “Three Century Woman” is Grandma Breckenridge. She is a flat character because she never changes and does not really affect the story at all. I know this because her personality never changed, she was just a little crazy and sassy the whole time. This makes me think that she would be a flat character.

In the story “Three Century Woman” I think that the flat character is Great grandma Breakenridge and the round character is Meghan. The story “Three Century Woman” is about a woman who has lived in three centuries and is now at her old folks home being interviewed by the TV. I think that the round character in this story Meghan and the flat character is Grandma Breckenridge.

In the book, ‘Three Century Woman”, Meghan is considered a round character. I know this because she changes during the story. In the beginning of the story she said “can’t I just stay in the car and do my homework?” (page 10) instead of walking inside to see her great grandma. Towards the end of the book her character did change. She kissed her on the cheek and said that she will come back to visit her again. This tells me that she had changed a lot during the course of the book. At first she wasn’t too thrilled about seeing her great grandma, but by the end, she was very open and positive about it.

The flat character in the story “Three Century Woman” is Grandma Breckenridge. She is a flat character because she never changes and does not really affect the story at all. I know this because her personality never changed, she was just a little crazy and sassy the whole time. This makes me think that she would be a flat character.

In the story “Three Century Woman” I think that the flat character is Great grandma Breakenridge and the round character is Meghan.

The flat character in the story “Three Century Woman” is Grandma Breckenridge. She is a flat character because she never changes and does not really affect the story at all. I know this because her personality never changed, she was just a little crazy and sassy the whole time. This makes me think that she would be a flat character.

In the story “Three Century Woman” I think that the flat character is Great grandma Breakenridge and the round character is Meghan.