Brabantio is Desdemona 's father. A Venetian senator, he is a magnifico, a prominent citizen and landowner in Venice. He charges Othello with bewitching his daughter and dies after Desdemona leaves for Cyprus with Othello and the Venetian forces. When the play opens, Brabantio 's household is being disrupted by Iago and Roderigo, who are crying out to Brabantio that he has been robbed. Brabantio says, "What tell 'st thou me of robbing?
Here, Iago and Roderigo tell Brabantio, after waking him as if he is being robbed in the night, of his daughter marriage. Then to see another similarity would be to look into the envy of power and tragedies within, Othello and Richard II. Iago thinks, Othello granted Cassio a lieutenant position he deserved and he feels both betray him with his wife. He sits out for revenge of all with his jealous envy and ultimately ends the play in multiple tragic deaths. With this Iago has convenience Othello of the fake affair, thus sealing the faith of the innocent Desdemona.
Their ignorant decisions, including my own, caused their unfortunate deaths. I believed Romeo and Juliet’s love had the power to end the quarrel between the two houses. My quest to end the feud blinded my judgment and morality. On Monday night, Lord Capulet, unknowing of Juliet's marriage with Romeo, engaged her with the Count Paris. When Juliet tried to convince her father to cancel the wedding, Lord Capulet threatened to disown her.
These thoughts trouble him, and strip him of his acquired Venetian traits and leave him with his base Moorish ones. Othello becomes violent, and begins to grow violent towards Desdemona. He threatens to “chop her into messes” (Shakespeare, 4.1.219), and while “striking her,” calls her the “devil” (Shakespeare, 2.1.268). Othello’s physical and mental abuse of Desdemona starkly contrasts the intense love he feels for her at the beginning of the play, and only begins after Iago makes him aware of the implications of his race upon his actions. The cunning manipulator makes Othello aware of his race, and incessantly reminds the general of his blackness
He is overcome with jealousy when Iago tells him of Desdemona's unfaithfulness. Othello falls right into Iago's trap when he hears this news. Othello trusts Iago too much and becomes easily convinced of this accusation. All he can think about is getting revenge on Desdemona. Because of his jealousy, Othello is easily swayed into believing Iago's flimsy evidence.
This hatred helps move the plot along, which classifies Tybalt as a static. Since he is an unchanging character, his motives are the same throughout the play. Tybalt is quick to anger and is emotionally driven, which can be seen during the Capulet Ball and his fight with Mercutio. Because of his hatred for the Montagues and the fact that he is emotionally driven his motivation is to protect the Capulet name at any given
This racism towards Othello is indicative of Shakespeare is having Iago lash out so early in the novel when he is the person who starts the killing and destruction. Shakespeare brilliantly uses the race of othello to gain power for Iago the the beginning of the novel. Ruth Nevo writes “The entire presentation of othello in the first act is geared to this perception of him, and it is in this light that both Iago’s contemptuous references to black rams and the barbary horses and othello’s exotic evocation of antres vast and deserts idle, his free unhoused condition and his descent from men or royal singe, become fully operative in the dramatic scheme.” (1) This statement perfectly describes the mood of the first act as this is when othello really becomes affected by his race and the racist comments that he receives even though he seems to not let them get to him the comments affect him a great deal. It may also be perceived as Othello believed everyone who told him wrong things, did he do this while he was coming to power in the military? And if he did how did he get to power by doing that.
Throughout most of the play, Romeo portrays himself as “a man who approves of his emotions and revels in them” (Eckhoff 471). He allows himself to be vulnerable to emotions such as “headlong fury and blind despair” (Dickey 469) and lets these feelings take control of him. This rage is shown after the death of Mercutio, when Romeo allows his inner rage to build up and lets “fury be [his] conduct” (3.1.129). Since he does not know how to control and use his emotions, Romeo unleashes by dueling Tybalt and killing him. Despair is another emotion of which he lacks control of; Romeo states, "[i]n what vile part of this anatomy / [d]oth my name lodge?
Iago had a great deal of influence in shaping Othello’s identity. He could almost be considered the main character simply due to the amount of lines he has. Iago “employs his comic verve to try to destroy his virtuous antagonist and whose colloquial intimacy with the audience often half-succeeds in winning the audience over” (Greenblatt 427). Although, Iago’s devious actions transform his character into a villain his style of speaking help spectators and readers to easily identify with him. Iago provides the first description of Othello before the protagonist is even seen.
Romeo states his vengeance when he states, “Either thou or I, or both, must go with him” (III.i.122). This forces Romeo to take the revenge of Mercutio. The audience understands his vengeful call by describing it as one of us dies or we both do, and that Mercutio is watching above and whomever passes will join him. This is just another way that Mercutio highly influences the play. So, Mercutio becomes even more important than when he is being first speculated.