Jealousy In Othello

In Othello Iago has a plan to get the job of lieutenant and this he can only do with the help of lying and deception. He manipulates Cassio into drinking too much at one of their parties and this gets Cassio fired. In the play it says, “...Cassio, I love thee, but nevermore be officer of mine”(Act 2 Scene 3 Line 265). Iago wants the job of lieutenant that Cassio

In the play A Midsummer’s Night Dream by William Shakespeare, many of the characters relentlessly pursue their goals in the face of illogical decisions, and, while fictional items such as the “love-in-idleness” flower are used to explain the character’s sudden love for each other, the play does illustrate how love and ambition can lead to unforeseen consequences. For example, when Puck accidently anointed Lysander’s eyes with the “love-in-idleness” juice, he started a chain of events leading to Lysander and Demetrius fighting over Helena while Hermia is treated as though she is worthless. Moreover, at one point, Lysander and Demetrius even threatened to duel each other when Lysander awoke after being anointed with the flower 's juice and said, "Where is Demetrius? O, how fit a word is that vile name to perish on my sword" (61). This shows how the character’s love for certain other characters, and their ambition to pursue said love, can lead to the destruction of previous relationships and lead them to make dangerous decisions.

He watches Helena’s humiliation as she confesses her unwanted love for Demetrius,“thou shalt fly him, and he shall seek thy love,” (2.1.246). Out of pity, Oberon tells Puck to put love potion on Demetrius’ eyes, forcing Demetrius to fall in love with Helena- if all goes as planned. He plans for Demetrius to beg for Helena’s love even though Demetrius is in love with Hermia (3.2.87-91). Once again, Oberon’s careless thinking manages to put him in a pickle, leading to more drama. He reverses the love potion on Lysander’s eyes, but Oberon still gets his way by keeping it on Demetrius’s.

New components are spontaneously introduced in the plot through gossip and hearsay, and are capable of changing the outcome of the play due to the power of words over characters. Gossip and hearsay are employed in Much Ado to deceive characters into revealing their true selves in order to promote social peace or breed conflict, to validate or vilify love, and to challenge the reputation and authority of characters. Patricia Meyer Spacks’ Gossip reflects on the use of gossip and hearsay in literature to impel plots by illuminating the psychological and social dynamics of love. Spacks discusses the two main forms of gossip as having “malicious intent” or simply being “idle talk” (Spacks, 1985).

In Shakespeare’s Othello, Iago is a spurious, manipulative character that fabricates a scheming plan to use Michael Cassio as a scapegoat in ruining Othello’s life. Once again, Iago addresses the crowd with a soliloquy to formulate his plan. Iago seemingly takes on the role of a ringleader, pawning the rest of the characters throughout his act. Earlier in the play, Cassio and Desdemona share a friendly gesture of holding hands, after Desdemona’s debate with Iago.

Hamlet questions if his revenge is worth the agony of his sanity or if he should take a stand against Claudius. This question is manifested in the popular phrase: “to be or not to be, that is the question.” (Act 3 Scene 1, Line 56) How Hamlet’s revenge is affecting the interactions between individuals is clearly indicated by the conversations Polonius has with Claudius. Polonius spews all of his suspicions concerning Hamlet such as his stealing of Ophelia’s heart and his alleged “madness” to Claudius. Polonius falsely believes that “the origin and commencement of Hamlet’s grief sprung from neglected love.”

Their subsequent report provokes the interest of the royal couple, who send Rosencrantz and Guildenstern to learn more. Hamlet then ups the ante, persisting in his act around Polonius himself. This only serves to heighten the concerns of the king, so much so that he devises a plot to discern the cause of the prince’s madness for himself. Taken aback by the weirdness of Hamlet’s following actions, Claudius remarks, “Madness in great ones must not (unwatched) go” (3.2. 203) . It is in these words that Hamlet’s aim seems to be fulfilled.

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.

His ultimate choice is choosing between trusting Desdemona or Iago. Iago’s influence on Othello is so great that he is transformed into a man that no one recognizes. His jealousy is terrifying because of the noble way he originally held himself. Othello does not even recognize the man he becomes and refers to himself as “he that was Othello” (“Othello.” Shakespeare A-Z 471).

He verbalizes that his motivation for getting revenge on Othello is because Othello gives Cassio, rather than Iago, the position Iago thinks he deserved, but it goes much deeper than that. Iago is driven by jealousy to seek revenge because Othello has more power, a better marriage, and Othello has more achievements and gets more recognition for them. After Iago becomes Othello’s lieutenant, he chooses not to end his revenge at this point, even though he could have, because of his envy of Othello. Iago is very envious of the power Othello has. Othello is a foreigner in Venice, and the amount of power and respect he has acquired as a foreigner is much more than what Iago has acquired and this angers Iago very much because he thinks Othello is

Don Jon was at fault for disrupting the marriage and causing confusion due to his unnecessary plan to cause disputes between Hero and Claudio. In the event of happiness,

It Says I Say And So “Zounds, sir, you're robbed. For shame, put on your gown!