The following passage is significant to the play ‘Othello’ in retrospect to the plot progression, as it reiterates themes and introduces important facets to the plot development. Through Iago’s cunning manipulation and Shakespeare’s crafting of language, this passage is constructed as a pivotal point of the play, marking the transition of Othello’s personality and revealing his deepest insecurities that eventually lead to his downfall and tragic ending. Iago wields a lot of power over all the characters throughout the play, but in this passage in particular he is presented at his most powerful. The passage is riddled with subtle suggestions and insinuations by Iago to raise Othello’s suspicions of his wife’s fidelity, opening with the admonition to “beware, my lord, of jealousy! / It is the green-eyed monster, which doth mock / The meat it feeds on.” This metaphor not only is a symbol representing Othello’s dark feelings of inadequacy – pointing out Othello’s hamartia, which is root of his tragedy, but it also highlights the central theme of this play: Jealousy and the terrible consequences it holds on those who …show more content…
Iago uses very clever methods of persuasion and manipulation aimed to use Othello’s hamartia against him, pointing out that “ “She (Desdemona) did deceive her father, marrying you,” so much so that Brabantio “thought ’twas witchcraft”. Through this, Iago is subtly raising the issues of Othello’s cultural differences with Desdemona; a root cause behind Othello’s insecurities with his wife – along with inadequacy due to race, degree of sophistication and age. As Iago prompts Othello to think the worst, his utterances are short and uneasy, revealing the beginning to his downfall, whilst Iago’s dialogue is at length highlighting his growing power of
Essay that I did not finish….”I promise I knew this beforehand”!!! Just didn't have enough time to type it. I guess I just took too long on the quotes.. :( Discuss the use of Biblical allusions throughout the play.
Othello: A Close Reading This is an analysis of the lines 260-279 of the third scene of the third act of Shakespeare’s Othello. In an attempt to fulfill the incessant need for comfortable dichotomies, societies tend to be divided into two groups: the ‘in-crowd’ and the ‘others’. These strict dualities, constructed upon the inherent need for adversaries, are often as arbitrary as they are false and based on nothing but fear.
This illustrates Othello’s marginalization by Iago, as a result of Othello’s lack of understanding of the women in Cyprus. Throughout the conversation, Othello becomes increasingly worried about Desdemona’s infidelity and this also accelerates his downfall. Lastly, marginalization makes Othello the dominated individual, which contributes to his demise. Othello says to Iago that: Ay, let her rot and perish …
In Shakespeare's play, Othello, the cynical story underlines the depth of jealousy and resentment through the use of many characters. The play is set in Venice and Cyprus during the sixteenth century and commences with the paranoiac character of Iago, betraying Othello thus making him victim of harsh lies and rumours. His fair Desdemona portrays her love unconditionally, although due to Othello’s credulous nature and Iago’s conniving ways, she is held accountable for false pretences. Desdemona is blamed for having an affair with Cassio, which causes hers and Othello’s tragic deaths. Through the eponymous character and many secondary characters, including the manipulative Iago, Shakespeare portrays the “green-eyed monster” of jealousy and its harmful consequences.
William Shakespeare wrote “Othello the Moor of Venice” in 1604. Jealousy is fundamentally how the characters’ lives in Othello from the commencement, when Roderigo is envious of Othello because he longs to be with Desdemona, and to the finale of the play, when Othello is filled with envy because he believes Cassio and Desdemona have been engaging in an affair. For the most part the characters’ jealousy is engendered by other characters. Iago is involved in much of this, telling prevarications and engendering alluding situations. He is directly consumed with jealousy of that of Cassio and filled with detestation of Othello because he was not culled as lieutenant, in which Cassio was.
His method of manipulation is comfort and reassurance which makes Iago an even more dangerous character. Iago uses his tone to manipulate and calm Desdemona of her worries. Iago looks at her and tells her to be happy and that Othello is not serious about what he is saying and that he is just being funny (IIII.ii.194). Desdemona then relaxes and is content for sometime. Iago’s success in manipulating Desdemona creates tension and further problems.
Jealousy and envy are not only two very powerful emotions but can also be seen as two influential forces that can dictate the actions of an individual. These emotions assist in igniting and fanning the fire that motivates people to seek out their desires. In the Shakespearean tragedy, Othello written by William Shakespeare, Iago utilizes his emotions of jealousy and envy as a catalyst to commence his plan of achieving the highest level of military and political influence while also destroying Othello’s social reputation. The development of the character, Iago throughout the play, happens very seamlessly and in a very gradual fashion, with the help of the writing and rhetorical strategies of bestial imagery, dramatic irony, and pathos. Furthermore,
The Jacobean play Othello, written by William Shakespeare effectively explores the power of manipulation. The audience is exposed to Iago’s revenge-fuelled tactics when encouraged to look beyond superficial appearance to underlying reality. Iago, Othello’s “ancient” manipulates him due to his outsider insecurities in the Venetian society. Iago’s dissembling and resulting jealousy ultimately leads Othello, to “farewell the tranquil mind.” Othello’s outsider status and ethnic difference is an important factor in Iago’s manipulation as it encourages Othello’s insecurities and is thus a flaw which Iago uses in his manipulation.
Othello shows the two types throughout the story and the play, envy and fear, and how they can claw and chew away the the fragile human psyche, like a monster, trying to claw out of a deep dark hole that has had a trap on it for days without end. Othello is one of the great examples of how jealousy can teach us not to be overcome by dark things, to always stay strong and believe in our own thoughts, and that the poison known as jealousy, can make or break even the best of people a slow killing venom that makes the weak sick and twisted. This play teaches us that jealousy has no good outcomes, only horrid and how it shows no mercy to anyone. Jealousy is a card no one should or ever want to play with a deck full of
Corruption within a human’s heart breeds malevolent inhumanity, thirsting for personal desire - the embodiment of jealousy. In the play Othello: Tragedy of the Moor of Venice authored by William Shakespeare, consequences unravel as a result of the rupture among characters and their beliefs. Othello and Iago are present under the art of jealousy as the play escalates to its conclusion. Jealousy invokes properties of distasteful attractions upon the possession of others, and dismay of possessive deprivation under anger, in the presence of an individual.
It is the green eyed monster doth mock, The meat it feeds on.” Shakespeare uses this to give the emotion a sense of being devoured or devouring. This fits in extremely well with Iago’s description of Othello as being “eaten up with passion”. This suggests how strong Othello’s jealousy really is, once Othello becomes convinced that his wife is unfaithful Iago continues to feed his jealousy which causes Othello to behave like a monster. However it is extremely ironic that Iago says this to Othello as the audience knows that Iago is the one “eaten up”, with jealousy and Othello is none the wiser to this.
Iago’s powerfully disruptive insinuations torment Othello to fall precipitously into his intricate trap, believing in the prospect of Cassio and Desdemona’s fictitious affair. Through the use of linguistic techniques such as elliptical speech, subservient vocative choices and a hesitant tone, Iago is able to construct artful innuendoes to deceive and manipulate Othello. Supplementary to linguistic techniques, dramatic techniques such as dramatic irony reinforces Iago’s role as a two-faced villain, who is making a pretence of being Othello’s loyal ensign. Eventually, Iago’s villainy nature sows a seed of doubt in Othello that germinates into the murder of Desdemona. Through the characterisation of Iago as a notorious villain, Shakespeare is able to hold Iago’s actions accountable for the play’s tragic downfall, establishing a sense of powerlessness amongst the
Comparing Othello to an “old black ram” introduces animalistic imagery, and puts him at a level below humans on the Great Chain of Being. The coming together of an animal and a human would disrupt the chain, and was thought to also disrupt the laws of nature and cause bizarre events to occur. The descriptive word, “black” highlighted that in the Renaissance times, black stood for sin and evilness. Emilia’s views on men are discovered through the metaphor comparing men to “stomachs” and women to “food”. Men “eat us hungrily, and when they are full they belch us”, implies men get rid of women as soon as they have had enough of them, and therefore should not be trusted.
It is a play that feels very close to the audiences, it also focuses on feelings and addresses the theme of Love, death as well as jealousy, hate and finally treachery... The title of the play suggests that the tragedy belongs primarily to Othello; however, Iago plays an important role in the plot. For this reason, we have different opinions and critics concerning Iago’s role in this tragedy. For one thing, Bradley (1904) believes that
This paper highlights the justification as to why this play qualifies to be a tragedy. To begin with Othello, the key character is held in high esteem by the society as a leader after showing his prowess in war as a soldier. His downfall thus brings about a lot of pity and fear, more so because it was the making of another character, Iago,