Othello

Othello Words of Power December 12, 2011 The famous saying, “The pen is mightier than the sword” means that with words and brains, it can become a greater weapon than a sword. If such a person was to have this power with words, then one shall lead to great things, if the person wishes to do so. In the play Othello by William Shakespeare, Iago uses his skills with persuasion and words to captivate the minds around him in reaching desired outcomes. Iago definitely demonstrates his powers with his words in the play on many occasions. He firstly captivates Roderigo in doing whatever he chose him to do.

The simple minded Roderigo was not the only one, as Cassio is set up into Iago’s traps next. Lastly the great Othello is wrapped up by Iago’s tongue and is tossed around as Iago’s will. To catch a fish, bait and a hook is required, in the drama Iago plots, Cassio is the bait. Cassio is the man who provokes Othello and unknowingly kills Othello. Iago’s intentions were to take Cassio’s position in the ranks, because Othello gave the position to Cassio instead of him. Iago does this by exploiting Cassio’s biggest flaw, his lack of drinking. Iago uses his fancy speech and talents in song, “King Stephen was a worthy peer… ith that he called the tailor lown. ” (II. iii 89-92) ,to encourage Cassio to drink multiple doses. This causes Cassio to get in a fight which results in Othello removing his position. “Reputation, reputation, reputation! Oh, I have lost my reputation! I have lost the immortal part of myself, and what remains is bestial. ” (II. iii 262-265) After being de-ranked by Othello, Cassio is haunted by the fact that he lost his reputation, but Iago convinces him reputation is worth nothing. Later on however, he tells Othello that reputation to him is everything. This is just another example of Iago’s way of manipulating people’s thoughts of him.

Post being de-ranked by Othello, Iago convinces Cassio to talk to Desdemona about getting his rank back. Iago tells Cassio, if he can get Desdemona to sweet talk to Othello about you, then you will get your position back for sure. Cassio agrees with Iago having no clue this is just to make Othello jealous. Iago chooses Cassio to be used as bait because Othello already thinks Cassio is more suitable than himself for Desdemona. Cassio fails to recognize any of the jealousy by Othello so he continues to try and get on the good side of Desdemona, which just leads to more jealousy by Othello.

Iago trapped Othello and Cassio in a predicament that they cannot escape. Roderigo, a simple man with a simple mind, a man who lets himself trust others more than his own judgment at times, is completely clouded by Iago’s words. From the first pages of the play, Roderigo is seen doing what Iago chooses and obeying willingly. “Were I the Moor I would not be Iago. In following him I follow but myself… For daws to peck at. I am not what I am. ” (I. i. 57–65) Here Iago clearly states his motives and expresses that he is not who he appears to be. He is letting everyone know the nice, kind Iago is not the true self.

Despite all this, Roderigo is still wrapped up in Iago’s lies and continues to do as Iago wishes. Roderigo spends all his money on Iago to hope that Iago can work his “magic” and make Desdemona his. Iago is constantly letting Roderigo know that Desdemona will soon be his, he tells Roderigo Desdemona will soon come to her senses and run to him: “It is merely lust of the blood… and go without her. ” (Shakespeare, I. iii. 377-404). Even when Roderigo was on the verge of killing Iago because the promises are not coming true, he is still convinced by Iago to do one more task.

This ultimately leads Roderigo to his death, because Roderigo never stopped to think everything through. When Roderigo fails to accomplish what Iago planned for him, Iago backstabs him and kills him. The dramatist Iago, is willing to do anything to keep things running smoothly for him. Iago uses Roderigo to set off his drama show, and Roderigo is played by Iago wonderfully. The general of Cyprus, the man who has won countless wars, and the hero of the city, Othello. Despite all these winning characteristics, he still lost to the twisted words of Iago. Othello, an honest black man who falls in love with Desdemona, and she him.

At the beginning of the play, Othello had full trust in Desdemona and was happily married to her. As Iago steps in however, that all changes. “I’ll have our Michael Cassio on the hip, abuse him to the Moor in the rank garb. For I fear Cassio with my night-cap too. Make the Moor thank me, love me and reward me. “(II. i. 305-308) Iago says his plans to gain Othello’s trust, just to betray him in the end. Othello treats Iago like a brother, and is constantly calling him “Honest Iago”. Iago’s plan to destroy Othello is to destroy his love with Desdemona. He does this by making Othello think Desdemona is unfaithful.

Iago acts very smoothly, directing the actions of others without them knowing his true intentions. Iago would often be reluctant to speak, seeming innocent. When he does this to Othello, it gets Othello’s curiosity to set off. “I prithee, speak to me as to thy thinkings, as thou dost ruminate, and give thy worst of thoughts, the worst of words. ” (III. iii. 131-133) Othello begs for Iago to speak here, because he cannot bare not knowing what Iago knows. With the speaking abilities of Iago, he is able to lie with such perfection that Othello has no choice but worry about his words, worry if Desdemona is really being unfaithful.

Even when Othello would put this idea in the back of his mind, Iago would constantly remind him of it. The cleverness of Iago is demonstrated when he would look like he is helping a person, but the truth is otherwise. “O, beware, my lord, of jealousy; It is the green-eyed monster which doth mock the meat it feeds on; that cuckold lives in bliss. “(III. iii. 165-167) Iago seems like he is trying to warn Othello about jealousy, but by saying this he is actually getting Othello more jealous. Othello is unaware the entire time of Iago’s plot to get what he wants.

As Iago’s lies dig deeper into Othello’s mind, Othello is forced into an incurable sense of hopelessness about Desdemona, and Othello makes the grave mistake of killing her. Othello’s trust in Iago left him listening to no one else, even when he’s wife pleaded she is telling the truth. This is the effectiveness of Iago’s way with words, and how he uses that to set up his drama, plotting everyone against each other to his benefits. Language, the human’s way of communication, a necessity amongst the population, a tool and occasionally, a weapon.

Iago’s way of speech gives him the advantage over others. In the book Othello by William Shakespeare, Iago uses his way of words to create situations that will lead to a result that favours himself. He manipulates Othello, Cassio, and Roderigo in ways that destroy each other but benefiting him at the same time. Iago expresses this characteristic throughout the play and he turns what would be a fairy tale ending story, into a drama with a tragic ending. Work Cited: Shakespeare, William, and Roma Gill. Othello. Oxford: Oxford UP, 1993. Print.

Discuss the Techniques Used by Shakespeare to Present Othello’s Transformation The transforming of Othello is perhaps one of the most important parts to the play. Shakespeare uses a number of techniques to get across the monumental change in Othello and to dramatically present both the characters and the story. Perhaps the most climatic of all the approaches is Othello’s given state of mind. To begin with, he is calm, reserved and commanding, knowing what he wants and how he is to get it.

Shakespeare consigned Othello short, impressive imperatives like ‘stand there’ to demonstrate his amount of control. Othello continues to use majestic language throughout the beginning of the play: ‘but look’ and ‘keep up’. As most of his orders are realized, again it indicates Othello’s ability to obtain all he desires and his assertive stride. Othello’s vocalization style immediately evokes a loud and proud man, standing before us with great authority, whilst also holding his own and without revealing his purpose.

He says ‘most potent, grave, and reverend signiors’ to display the amount of respect he has for those above him, lavishing them in glorifying adjectives: ‘noble and approved good masters’ and ‘gracious patience’, flattering them to acquire all he wishes. Othello continues to appear humble and reserved, ‘rude am I in my speech… little bless’d with the soft phrase of peace’, when covertly he knows and understands he has an ulterior motive, and understands how to proceed to succeed in this motive.

Othello has been given an ability to be sycophantic, in order for those listening to be taken in by his sweet flattery, so he can get in their head, and make them conceive to his demands. Othello does, after all, still remain with his confident and unflappable manner: ‘I have ta’en away this old man’s daughter’, is just one is the few examples of the audacious and defiant demeanour he pronounces us with. Othello’s character is not distressed when clarifying the obvious, and is not afraid to express it in such a style that could be portrayed as abrupt and ungracious.

However, due to the earlier honeying of his words, Othello can get away with saying such things in a comparable scheme. Essentially, he knows what he is doing. Othello displays an ability to use staggering poetic images: ‘Keep up your bright swords, for the dew will rust them. ’ This shows a lyrical side to him and is just another way he expresses his assurance. It is delicate language, and is said in a dignified fashion, flaunting his unobtrusive authority and his dexterity to remain unruffled.

Othello could be powerful, persuasive and emphatic, simply by becoming a profitable raconteur, and drawing his listeners into the tale. and Desdemona’s love (act 1, scene 3), was told so one could see how impressive Othello could be; he could stand in front of a court, confidently and surely, divulge an account, and use elaborate images, captivating all around him completely, when the person he is challenging is one of higher authority. To the audience we view him as an intimidating person, making us quiver in our seats and look to him as one that can hold himself no matter what.

Later on, however, Othello changes the manner in which he speaks ‘– Handkerchief — confessions’. He changes to prose, signifying numerous things. Perhaps it is announcing to us that he is now a puppet, a minion, rather than a high general; also that he has lost all his earlier fluency and rhythm. His language is broken and erratic, much like the way he is thinking. When once Othello used the imperatives, by the end of the play, he is succumbing to the orders given by others. ‘Do it not with poison, strangle her’ Iago tells Othello, and Othello is very easily swayed: becoming the passive one.

He not only has no control over those around him, but cannot even control his own actions and his own mind. Previously, Othello could stand in front of the Venetian Court and persuade them to listen to his version of events, giving him extravagant respect, whereas the later on in the play one reads, we see him transformed to the afore mentioned minion characteristics. If one was respected by others, they would not say ‘Damn her, lewd minx! ’ and ‘O damn her! ’ It is aggressive and emotive, bordering out of control, and is a complete contrast to his previous, calm self.

Othello would not return to that sturdy, serene and placid man he once was. When he uses base language (‘damn’ and ‘lewd’), this again, shows us his metamorphosis to one who has become far more moronic, and lower in the hierarchy. ‘Keep up your bright swords, for the dew will rust them’ is a demonstration of the imagery that Shakespeare presents Othello with. The majority of his imagery is fairly theatrical, establishing his assurance, as he can execute such extravagant mental images, and carry them off.

It also shows that his mind is in a harmonious situation, and is not poisoned, giving him the ability to elect images that would be effective in the circumstances: ‘of moving accidents by flood and field, of hair-breadth escapes ‘ the imminent deadly breach’. Thereafter, we see all his images transforming to become grotesque and incongruous, ‘rather be a toad’. Toads are slimy, unbecoming animals, and Shakespeare is giving us perception to what Othello has been corrupted to adorn. ‘Vapour of a dungeon’ is just another example of the putrid imagery Othello is given.

His change in images (both what we acknowledge, and the thoughts of Othello) is monumental, and therefore disturbing. When Othello is speaking to others, we can observe his reaction to what is said. At the beginning, this would not help us perceive much, as he may be thinking one thing, but say another in an entirely believable manner. This was when Othello’s soliquies mattered. Nearer the end, however, Othello was in such a predicament that he always said what he was thinking, and all his emotions were displayed.

He is ruled now by what he feels, not by what is right, not what would make sense to the man he once was. In one soliquy he says ‘for I am black’ which indicates insecurity, something that would not have bothered him before. Othello is also feeling sexually insecure, ‘I am abused’, thus feeling sorry for himself. However the earlier Othello would have no reason to be, because he had everything he wanted: ‘boasting is an honour’. Not only is he insecure, he also starts to hold an inability to keep his anger under control.

This, in turn, represents a lack of power. ‘Think, my lord! ’ shows his frustration, and the passage that follows unveils a simmering exasperation. This creates tension, as we are waiting for Othello to pronounce us with an unleashed fury. In contrast, when Othello would get angry beforehand, a dignified response was ensued, ‘Good signoir, you shall more command with years than with your weapons’. Even in the face of danger, Othello used to manage keeping control of both himself, and the situation.

The change in punctuation is significant to the change in Othello, as it gives us an insight as to how he is reacting, and his state of mind. In the first instance, Shakespeare does not render Othello with too many questions or exclamations, revealing his capacity to remain unruffled and collected. The lack of questions signifies that Othello knows all, and does not question situations or people. Later on, we see the transformation, as Othello is seen to use many more exclamations: ‘not their appetites! ’, ‘the tranquil mind! ’, ‘content! , ‘ambition virtue! ’, ‘glorious war! ’… The list goes on. This implies excitement, anger and perturbation. Before he may not have needed to become animated; if he did, he could keep it under control; perhaps so he could manipulate others. Now, however, he is emotive and dramatic, contrasting his earlier emotions. The new use of question marks expresses Othello’s stupidity and confusion: ‘what didst not like? ’ Not only does this verify his turmoil, but he is also questioning himself. It’s another example of his new found insecurity: ‘is’t possible? Shakespeare has made it as such Othello cannot understand what is going on around him, making him an easier target to wield. Othello’s ‘Love’ for Desdemona was so powerful and passionate, ‘that I love the gentle Desdemona’. Othello wished to marry her, even though it will cause an inimitable eruption. ‘I loved her’ again shows that is his Love was influential (much like him). Othello loves Desdemona so much that he was prepared to ruin his hard-earned career for her, ‘I would not my un-housed free condition put into circumscription and confine for the sea’s worth’.

He talks about her countless times throughout the first part of the play and it demonstrates how dominant she has been in his life. Then, however, he goes on to describe her as ‘lewd minx’ disclosing to us that he holds an unaccustomed hatred toward her; he uses ‘fair devil’ at one point, an oxymoron, establishing two things: he is confused, and he loves Desdemona, but hates her also. Moreover, Othello rarely uses her name, when nearing the end of the play: ‘with her, lest her body’, ‘lie with her’ etc, which shows us that he cannot bear to say it.

To begin with, however, he would use ‘Desdemona’ regularly, as though by saying her name, it would bring him closer to her, and that’s all he wanted. ‘If I do prove’ discloses the fact that he doth endeavour to believe that Desdemona still Loves him, perhaps because he couldn’t imagine it any other way. Not merely this, but again it is demonstrates his freshly found insecurity and vacillation. Perhaps the most dramatic of the changes presented when looking at Othello’s bestowed behaviour towards Desdemona, is when he hits her.

He strikes her accompanied with ‘devil’. Desdemona is simply perplexed, and responds, ‘I have not deserved this’. Her retort explains that what he has done is unconventional for him, and that there is no reason behind the attack. Lodovico plays a vital part when noticing the change between the lovers. He saw how in love they were since the rudiments of the play, and how that has modified. He goes from one extreme to the next, so we see the monumental adaptation between their love through Lodovico’s eyes.

He reacts to Othello hitting Desdemona as such: ‘would not have been believed in Venice’, whereas earlier he could see that they were in love. Cassio used to be Othello’s lieutenant, and was when Othello had his own state of mind, his own sense of morals, indicating Cassio was of the correct calibre when it comes to his job. After Othello had been poisoned, however, ‘now art thou my lieutenant’, Othello promotes Iago. It demonstrates his conversion in trust, and reveals that he has almost been twisted to the maximum. It is as though he must have Iago there to endure ‘if thou dost love me, show me thy thought’.

He is insecure and paranoid, and must know what Iago is thinking. Dramatic irony also comes into the equation here, as we know Cassio is the one that Othello should accredit, but Iago is the one he believes. Ultimately, this creates tension in the audience. Again, Othello’s soliquies elucidate a great deal when it comes to how he is thinking. ‘O curse of marriage’ tells us that Othello no longer appreciates the idea of marriage, and ‘had rather be a toad, and live upon a vapour of a dungeon, than keep a corner in the thing I love’.

Before, we knew that he held certain adoration for marriage, as he decided to espouse Desdemona although it would cause havoc. This soliquy also deduces a great deal about his sentiments, as we see him with pessimistic view-points: ‘Tis destiny unshunnable, like death: even then this forked plague is fated to us’. Finally, Othello returns to his imperturbable self, opening with imperatives on his last speech: ‘soft you’. He is confident again ‘I have done the state some service, and they know’t’. Othello goes on to realise he has been ‘wrought’ by Iago, and ‘perplex’d in the extreme’.

He describes Desdemona as a ‘pearl, richer than all his tribe’ and discerns that he threw away something beautiful and vulnerable, due to Iago’s cunningness. Othello finishes with ‘I took by the throat the circumcised dog, and smote him, thus’ indirectly calling himself the enemy, as he stabs himself after the last word. Othello’s veil that was put there by Iago was ripped away and he must have feel satisfaction from realising the truth; however we know he loves Desdemona, as he ends his life because of what he has done, and what he believed to be true.

One of the key messages that Shakespeare conveys in this story, is that the language people use indicates their character and that the words people use often say more about themselves than the people of which they are speaking. In the play, Othello speech is consistently eloquent which adds to the idea that he is a dignified man with impressive etiquette. Contrariwise, Ago is fluent in the language of profanity and refers to Othello as a “Barbara horse” and a “Moor”.

Ordering is also abrasive to Othello, calling him “thick lips. ” It is only appropriate that they use such hateful and oftentimes annalistic language, as it truly reflects their nature. The words the antagonists use are typically shallow and superficial ND do not say anything about Othello personality, whilst the positive words – said by Desman and the Duke – used to describe Othello grant a superior indication of the type of person he is, as they speak of his behavior and overall temperament.

In the story, Desman is the epitome of fairness and goodwill: a polar opposite to Ago and Ordering. She sees “Othello visage in his mind,” which entails that she looks beyond his physical appearance and Its connotations and sees his “honors and valiant parts”. Similarly, the Duke believes Othello to be a noble man, and confronts Barbarian of his prejudging: “If virtue no delighted beauty lack, your son-in- law is more fair than black”.

These words prove that Othello is much more than the color of his skin, and that any judgments based on his appearance should be deemed invalid, as race is a social construct and people’s attributes are in no way related to the color of their skin. Shakespearean tale of Othello shows the injustice behind racial prejudice and how the entire concept is flawed. Sago’s and Rodeo’s animosity tells us more about them than it does about Othello, as the vulgarity of their words reflects their true persona.

Ago calls Othello a “devil” however there is no reasoning or proof behind this cruel statement, thus rendering it baseless. Oppositely, we know Adhesion’s kind words to be true, as they are inspired by her time spent with Othello. Shakespeare has used the political and social views of the sixteenth century Venetian people, to comment on the unfairness of discrimination on the bases of race, and how appearance doesn’t define character. Othello is proof that one can be elegant, respectable and well-mannered in spite Of the negative connotations that race tends to allow.

Depending on cultural differences and upbringing a text will have different impacts on the audience. Like any great piece of literature, William Shakespearean plays deal with timeless concerns that have the ability to be adapted and presented to remain relevant for modern audiences. Shakespearean Othello Is a Jacobean play written In a time of racist attitudes towards foreigners and sexist attitudes to women. This follows the protagonist Othello, a black army general who Is manipulated by his ensign Ago.

For me the way that race and color is presented in entrant to the stereotypical portrayal highlights the prejudice apparent in not only the Jacobean society but our own as well. This is portrayed through Sago’s racist depiction of Othello and the opposing imagery of black and white. The play can also be viewed as having a strong feminist theme. The two heroines are portrayed as capable and steadfast individuals. Both women are the only characters that remain justified throughout in their loyalty to their husbands. My Interest In Othello Is drawn to the way that race and color is presented.

Shakespeare was revolutionary in his casting of a black man to be the tragic hero and white man to be the villain. In Jacobean society and even In many societies toddy, the audience would of expected to see a black man as the felon. The setting In Cyprus Is dramatically significant as it is isolated in the wild frontiers of war. Away from the structured society of Venice social norms and hierarchy are not relevant allowing Shakespeare to place a Moor in a position of authority. This daring theme of a black man in power has remained controversial ever since and it wasn’t until 1833 that a black man actually played the part.

The issue of mixed race relationships was specially an issue in segregated America up until the twentieth century with Othello being played with blackjack till 1940. The unnatural war setting also enables Sago’s passion to be unmasked, unregulated by the usual constraints of society. In the exposition our first Impression of this revolutionary character Is from Ago when he disrespectfully describes Othello as “the devil”, Glenn the Impression of a beastly, barbaric man. This Is quickly contradicted when the audience Is presented with the confident and calm Othello who is clearly respected by his peers and is able to speak with grace.

Othello is seen as “far more fair than black”, challenging the prejudice of the audience by demonstrating the opposite to what they expect. On the other hand Ago is a “hellish villain” portraying the stereotypical qualities that a Jacobean audience would expect from a black man. Shakespeare creates dramatic effect and reinforces the audience’s perceptions of evil being dark through the opposing imagery of black verses white. Lags evil work is performed In the duologue’s with Othello, which always occur at night. It is In this darkness that Othello Jealousy Is stirred and he Is taken away from the pure and white Desman.

Ago Is using Adhesion’s goodness, which Is portrayed as light, to be the evil and darkness that destroys them all. Unmasking himself In a soliloquy I turn her virtue into pitch, That shall enmesh them all”. This reinforces the continuing theme of light opposing dark. Lags inherent racism takes its toll on Othello and gradually he acts according to this stereotype. As the play reaches the catastrophe the noble language of Othello reverts to that of the swearing Ago. Othello becomes like his enemy, a destructive avenger. Evil has won but has to triumphed as Othello finally recognizes Lags black heart, “l… Emend that deem- devil why he has thus ensnared my soul”. The struggle between light and dark, despite the tragic catastrophe, resolves and light prevails. A common feminist valuation of the play focuses on how the play portrays the strength of women. In the dominant patriarchy of Jacobean culture women were not free to make their own decisions. Desman is portrayed as a strong heroine with an uncommon verbal dexterity, not normally portrayed in Jacobean plays. She asserts her independence and challenges the patriarchy by scandalously eloping with

Othello. Her father Abrogation is quick to pass Judgment and disown his daughter as “dead? ” “Ay to me! ” even before he has even seen her. A Jacobean audience would have understood the father’s treatment of his daughter whereas viewers today would see this as an inherently sexist act. Ago presents the misogynistic view that a Jacobean audience would relate to, believing that a women is only meant to enhance a man’s image and bring children into the would. “she that was ever fair, and never proud Had tongue at will, and yet never loud… Though Sago’s beliefs are extreme they represent society’s expectation of the role of omen in contrast to the actions of the strong women in the play. The strength of these women can be seen through the solidity of both wives loyalty to their husbands. In the two women’s duologue they talk of adultery “l would not do such a thing… But for the whole world”. The only reason that they would sleep with another man would be if they were given the world so that their husbands could rule it. Adhesion’s strength also amplified by the way that the play is structured.

Her purity and character is Juxtaposed against how easily Othello fell under Lags malignant manipulation. She remains faithful to Othello till her last breath, not blaming her husband for her murder but “l myself”. Even though Emilie holds a very cynical view of how men portray her, most likely from her experience with Ago, “they are all but stomachs; and we all but food”. She also remains loyal to her husband stealing the handkerchief “but to please his fantasy”. Although both women are murdered and the masculine power is restored the misogynistic men do not triumph. It is only the women who remain Justified.

In conclusion there are as many views of Othello as there are responders. For me the play highlights the way that a black man is portrayed in society throughout the ages. I see this through setting, dramatic structure and the opposing imagery of light verses dark. Another common interpretation of the play is the way that the play presents women. Shakespeare creates strong, individual women who are loyal and stable throughout. Their strength is emphasized through Juxtaposition and metaphor. Like would have been revolutionary for a Jacobean audience but sadly they are still relevant today in a world still fighting for social Justice.

Jealousy and Manipulation in Othello He, who loves his wife for the lust, can run away from the situation that haunts him. But, he who loves his wife like he loves his god, loves to the death. Othello loved his wife so much, that if someone like Iago would plant seeds of lies and misjudgments into Othello, him and any other would go to the extreme as to kill her just to stop the pain. Jealousy itself it self is like a predator searching for the weak. Othello quotes, “O! beware, my lord, of jealousy; It is the green-eyed monster which doth mock.

The meat it feeds on. ~William Shakespeare, Othello. Iago, the predator, purposely imbedding jealous images into Othello’s head. Othello had no choice but to recognize how close his wifes relationship with Cassio really was. In his mind his closest friend is using their friendship to manipulate him into thinking they are friends just to get closer to Desdemona. “ Get me some poison, Iago; this night! I’ll not expostulate with her, lest her body and beauty unprovid my mind again. ” Iago’s manipulation is so great that Othello would kill the one he loved so much.

Ruthless Iago knew that the only way to make the situation much worse was to convince Othello to murder his beloved with his bare hands. This away he could not get away with this action and he thought this would bring Othello to his own grave. So, Iago said “Do it not with poison, strangle her in the bed, even the bed she hath contaminated. ” Now, I ago had Othello’s head wrapped around 2 things that this world has always had problems with – Jealousy & Manipulation. But , the true situation that ran this whole operation was greed. This monster controlled many kings, families and any person who could not control themselves.

Iago’s greed was to become a higher ranked person than Cassio. With this he used his manipulation on Othello and Cassio unsuspectingly in the dungeon. Foolishly tricking Cassio into talking about his girlfriend, but making it seem to Othello he was talking about Desdemona. Iago could not get rid of Cassio himself. This tension was created because of Iago’s jealousy of Cassio and his rank. Getting rid of Cassio would boost his rank and get one step closer to Othello. Thinking Cassio has mated with his wife Othello cries out he wants Cassio dead. Othello becoming blind because of hatred and jealousy led him into becoming a “caotic monster. Othello’s past and current position as a soldier helped him solve how to take care of a problem and to him killing a person got rid of the problems that occurred just like in the wars before. The problem here is not war, it is his extreme love for his wife and his blindness for honesty is what led him into killing. Not knowing the truth can prevent honesty. But, to be manipulated and becoming jealous only fuels the fire. Othello’s heart for love became a wildfire. In the end greed won the battle, but the truth from Cassio and Iago’s wife set the pathway to destruction and ending the battles.

Travis Gordon ELA 30-1 October 3rd, 2012 Jealousy, the universal feeling we’ve all experienced at one time or another. Whether it be the newest piece of technology that someone has that you don’t and wish you did, or that kid on the playground that had those new light up shoes that were all the rage. Jealousy is not something that can be avoided, only controlled. It sneaks up on you, like a tree root sneaks up on concrete before it breaks to the surface.

In William Shakespeare’s tragedy Othello, jealousy is a key component used by many characters as a weapon that is twisted and manipulated to serve their own ends. Iago, a deceitful and manipulative snake or the ironic pseudonym “Honest Iago” uses jealousy as a way of getting what he wants without realizing nor caring about the backlash of repercussions his actions have on the people around him. ‘O, beware, my lord, of jealousy! It is the green-eyed monster, which doth mock The meat it feeds on.

That cuckold lives in bliss Who, certain of his fate, loves not his wronger; But O, what damned minutes tells he o’er Who dotes, yet doubts–suspects, yet strongly loves! “(III,iii,) He refers to jealousy as a “green-eyed monster”, because it is a scary thing to behold when it gets out of hand. Once it is unleashed, it is not easily contained. Once he contaminates Othello’s mind with the thoughts of Desdemona being unfaithful to him, and sneaking around behind his back with his lieutenant Cassio, it spreads like a wildfire inside Othello’s head.

He begins to doubt himself. Although he knows in his heart Desdemona to be true to him, he can’t help but think about the false accusations Iago has impregnated his mind with. Another character Iago manages to control with the raw power of jealousy is Roderigo. Iago manages to convince Roderigo that if he puts “money in thy purse”, Iago will make it so Roderigo can be together with Desdemona. This is a clear example of how easy it is to control a person once you give them a false hope of something that could never be. What should I do? I confess it is my shame to be so fond; but it is not in my virtue to amend it. ” (I,iii,317-318) Roderigo admits to Iago that he is overcome with jealousy for Desdemona, but it isn’t within his character to change the way he feels towards her. Iago sees an opportunity to make a profit from Roderigo’s misfortunes and sets him on a mad quest to be with the woman he loves. The idea’s Iago plants into Roderigo, once they are rooted deep inside him, start to teem like weeds in an unkempt garden.

It is a dream that in the end costs Rodrigo more than just his wealth. He pays the iron price, with his life. Jealousy, when set upon a person who has already harboured inside them, it spreads. Once it spreads, it is no easy task to eliminate or control. We see this in Othello, as it costs many of the characters their lives, because of a feeling false hope and manipulation, in the hope that what they wanted would be theirs.

Turning point in “The Truman Show” In the film The Truman Show directed by Peter Weir, Weir brings out messages about how reality TV is perceived by the world and what it really is through the final scene in the movie where Truman goes out to sea and finally escapes from Seahaven. I think it was a turning point of this film because it reveals a system of a reality TV, which manipulates and controls everything possible but the only ones that belong to it. In the final scene, Truman goes out to sea to get out of Seahaven.

Christof tracks Truman down in the sea and makes an attempt to make Truman get back to the island by creating a lethal artificial storm. Despite the storm, Truman is determined to continue his voyage, but then gets surrounded by the painted sky. Christof gives a last try by talking to Truman nevertheless Truman stays steadfast and exits the stage. In this scene, there are many elements and techniques that turn Truman into our hero. In this scene, Truman is always filmed by using low angle shots, making the audience feel that they are looking up to him.

Also, the boat that he was on is called “Santa Maria” (the bless Virgin Mary). Furthermore, a flag on the boat had a symbol of an eagle, which represents freedom, power, and victory to Truman. Later when he hits the painted sky he walks on false water, which resembles one of Jesus’s ability to walk on water referring Truman as God who we admire. This final scene is considered to be a turning point, because many change occurs due to Truman’s strong will. Changes that occurred are: Truman himself, mood, and the nature of the show. First of al the most noticeable change was a change in Truman himself.

He breaks free from the obstacles that block him from getting out of Seahaven by overcoming his fear of water (aqua phobia) and misleads everyone else involved in his show. The mood of the scene changes. The scene starts off with sunny and calm weather where the sky is blue and creates a happy and relaxing mood. However, as Chistof creates a storm towards Truman, the tone goes down somber by using grey clouds, the Sun disappearing, with a lot of loud banging noises, and leads to Truman’s distorted face due to his grief after knowing all the truth.

Nonetheless as the film approaches its very end Truman reveals the real nature of the show by differentiating himself from the rest still involved in the show, and exits out the door. It is followed by a shock and pity on Christof’s face, audience in the cafeteria, and the security guards finding “something else to watch” showing that they were all exploiting Truman by deceiving him, contrasting with Truman’s genuineness. Furthermore, the final scene is a turning point because it reveals a true system of a reality TV, contrasted to what we thought it was.

Christof keeps on boasting that the show is the most genuine and pure as it could be, however, that is inconsistent with the unreality of the reality show. Throughout the film everything is controlled, his powers, his wife, and his friends are all fake, his parents and family, friends are all actors reading out the lines, which limits the possibility of Truman contacting with the outside of Seahaven, the reality. However Truman’s Genuineness stems from who he is inside. Christof sees himself as having created an ideal paradise for Truman, which is a digital garden of Eden in which Truman can be forever innocent, forever pure.

His delusions of Godhood lead him to believe that he has created who Truman is. The falsity of Christof’s anticipation to Truman leaving the world is a message that controlling the memories doesn’t mean controlling the soul. Truman’s liberation of the soul comes from embracing the love for the woman he once saw, Sylvia. His request for her using the simple tools of photos of women in fashion magazines cropped and rearranged into her face represents his triumph of his desire for his love over his physical barrier, which surrounds him.

Truman thinks freedom is more important than safety, and would rather take a huge risk to get it. As an example, Truman is holding a finished photo of a resemblance to Sylvia on the boat. Increasingly, we live in a Truman universe as well, saturated by advertisements and we are manipulated by basic film techniques they use. In the film Truman struggles to get out of the show whereas we struggle to be a part of the show, we go for popularity. Truman freed himself from the imprisonment, but the other havent’, and proves that Truman wasn’t the creation of Chrsitof.

Reality TV is a highly dramatized structure and attificial life. It bridges the gap between fiction and life by fusing two, creating verite performances surrounded by scripted elements. The Truman Show feeds a script to everyone but Truman, but the script is invisible, by managing everyone else’s dialogue to minimize Truman’s interactions with every other human being in his life, except the two people who go off the script, his dad and Sylvia. His thoughts cannot be controlled.

Reality TV pulls strings of our instincts and by refusing to choose a world that may be dangerous and threatening, but also real, Truman chooses the reality and freedom over the enslavement of entertainment. When he leaves, Truman has found freedom, those viewers still watching have not. In conclusion, via the final scene, which is considered as a turning point due to its exposure of a true system of a reality show in order to prove that reality TV shows can only manipulate the ones that belong to it.