Iago's Jealousy And Figurative Language In Othello

In the distinguished play Antigone, there is argument over who the tragic hero is, Antigone, or King Creon. A tragic hero must meet certain specifications, which include having a great influence, being essentially good with good intentions, having a weakness in them that leads to their fall, they must commit great sin which leads to conflict, that their story begins in relative happiness and ends in utter disaster, and that the hero commits their actions of their own free will. In this play, I believe that Creon is the real tragic hero and that Antigone sparks the reaction to his downfall. Creon’s position as king gives him great influence over the people of Thebes, allowing him to create laws to restrain, abstain, and assist the citizens.

Ophelia suspecting the cause of Hamlet’s madness to be his love for her is a clear example of dramatic irony as it shows her not grasping what is the real reason for him acting in that way. The conversation between Ophelia with Laertes and later on Polonius in Act 2 scene 1, leaves the audience with tension as Polonius says “This is the very ecstasy of love, / Whose violent property fordoes itself / And leads the will to desperate undertakings / As oft as any passion under heaven / That does afflict our natures.” (2.1. 102-106) The audience knows that the real reason of his madness is to distract attention from his investigation of the murder by leaving everyone concerned about his mental state. Shakespeare’s use of dramatic irony in this case

However, positive or negative factors may influence the development of someone’s character. Throughout the play, Iago portrays himself as malicious, while Othello portrays himself as affectionate through his own use of diction, but everything changes as Othello is baited by Iago’s lies and begins to mirror, in his actions and words, the evil Iago embodies. Toward the beginning of the play, Iago and Othello appear to be complete opposites. In terms of good and evil, Iago depicted himself as evil through his harsh word choices, while with sentimental word choices Othello conveyed the good. Immediately, Iago reveals his monstrous character, full of hatred, without a drop of shame as he declares, “I hate the Moor” (1.3.386).

Genghis Khan once said “an action committed in anger is an action doomed to failure”, thus ultimately leaving those with malicious intentions to wallow in their collapsed dreams. These wise words of advice apply to many circumstances in Othello, by William Shakespeare, where one man’s desperate thirst for revenge causes him to manipulate those around him. Iago’s heinous motives drive him to fulfill the needs of his unruly God complex. In Othello, Shakespeare characterizes Iago as astute through the use of hyperbole and metaphors. We can learn from Iago that having an air of superiority results in a distorted view of reality and can eventually lead to bitterness and hate.

Iago, a hopeful lieutenant, hopes to become the moor’s first pick of who will obtain the high position of being an official. However, he is not picked and becomes quite jealous of what has occurred. He devises a sinister master plan targeting Othello and Desdemona’s boundless love. In scene one of Act II,, Iago states, “O, you are well tuned now! But I’ll set down the pegs that make this music, As honest as I am” (pg.

Who is really at fault for all the confusion and interrupted wedding of Hero and Claudio? One could easily assign Don John as the culprit of this catastrophe. Don John being the bastered (in the technical form) brother of the prince Don Pedro is characterized as the villain in Much Ado About Nothing. He devised a scheme to trick Claudio that his fiancé Hero has been unfaithful to him, which caused this fiasco. However, Claudio has as much blame as Don John for falling under the influence of the obvious villain and trickster.

“Tragic flaw… [can] be defined as a trait in a character leading to [their] downfall” (Editors). In many fictitious pieces, characters are given a flaw that leads to consequences. William Shakespeare incorporates the theme of tragic flaw in Romeo and Juliet, through his characters. Tragic flaw is demonstrated by Romeo who falls in love too easily, eventually leading to his death. It is also shown with Tybalt who is very stubborn and reckless, leading to his end.

Tybalt and Mercutio quickly start insulting each other when Tybalt starts the fight. Tybalt eventually provokes Romeo by saying that “Romeo, the love I bear thee can afford, No better term than this: thou art a villain” (Act 3.1.61-62). This quote suggests that Tybalt is telling Romeo

The function of jealousy and how it consumes other characters develops the majority of the plot within the play. It primarily serves as a way to incite the character 's psyche and lead them to being reckless and negligent. Specifically, the way jealousy affects the minds of Othello and Roderigo through the manipulation tactics of Iago. Specifically, during many of Othello and Iago’s conversations. Iago slowly makes Othello believe in false proof of Desdemona 's affair, thus Othello begins to psychologically change by gradually turning to murder through justification of Iago’s statements on Desdemona: “One is too poor, too weak for my revenge.

Savagery in Othello and Lord of The Flies In all of us lies savagery; vile and animalistic impulses, typically brought out by extreme circumstance. This truth is the essence of Othello by William Shakespeare and Lord Of The Flies by William Golding. Othello focuses on the character Iago’s manipulation of Othello, a Venetian general. He believes that Othello had an affair with his wife Emilia, and feels resentful toward him for choosing Cassio instead of him as lieutenant, when he is clearly more experienced. As a result of these perceived injustices, Iago sets out to ruin Othello.