Othello Rhetorical Analysis

Throughout Shakespeare’s A Midsummer Night’s Dream, magic, illusion, and enchantment maintain common themes surrounding the main characters in the play. Most simply, magic is surely in the eye of the beholder - whether they realize it or not. Inherently, love, can be viewed as a type of illusion, or better yet, magic. This being said, perspective is one of the most important elements to consider when analyzing what relation magic has to love; and in this case it is illustrated both as supernatural and natural.

As an immediate result of Marc Antony’s funeral oration, Rome is steered into a state of anarchy. With the loss of their leader leaving them vulnerable, the plebeians falls victim to Antony’s engagement of rhetoric and are greatly stirred by his speech. Despite their commendation of Brutus just moments before, they are easily pit against him through Antony’s words and feel morally compelled to revolt against the conspirators in the name of Caesar. This frenzy escalates rapidly and the anger towards the conspirators grows so large to the point where the plebeians will penalize anybody who bears a slight similarity to them. For instance, two plebeians encounter a poet and, after besieging him with a slew of questions, discover that he shares

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.

0, 11, Rhetorical Analysis (ു Persuasive speeches have been used for a long period of time, their main purpose so to make the audience do something and abide by what the speakers saying. Most famo ജി s history or famous people in general, such as MLK Jr. or Adolf Hitler, have proven that this ty” of speech is very strong and powerful, making people revolt or simply fight a peaceful” this was capable of occurring with the use of words and persuasion. In Shakespeare's The tragedy of Julius Caesar, Antony delivers a more powerful and stronger approach to Caesars death with the use of the three appeals, ethos, pathos, logos. Brutus was a very powerful speaker with the use of ethos, he was a mainly an ethical man.

If Othello were to carefully analyze the situation, and not run away with Desdemona secretly, he would not be prosecuted and could focus on his military duties. Enraged, Brabantio lets his feelings about Othello be known, saying, “O, thou foul thief, where hast thou stowed my daughter? Damned as thou art, thou hast enchanted her! For I’ll refer me to all things of sense, [If she in chains of magic were not bound,] Whether a maid so tender, fair, and happy, So opposite to marriage that she shunned The wealthy curlèd (darlings) of our nation, Would ever have t’ incur a general mock, Run from her guardage to the sooty bosom Of such a thing as thou -- to fear, not to delight!”

After Othello telling Brabantio to keep an eye out for his daughter othello answered to Brabantio's statement by saying he puts “His life upon her faith!” (I.iii.287-290). Othello chose to de-escalate the situation and calm Brabantio by asking him to name the place where he wants Othello to answer to his “crimes”; this logical demonstration of self-control by Othello shows his rational character. Brabantio present Othello the Duke with claims of Othello bewitching his daughter, but Othello calmly explained to the Duke his and Desdemona’s love story. The Duke was very understanding and even said it is no surprise that Desdemona fell for Othello; he claimed that even his own daughter would fall for Othello.

John Milton’s Paradise Lost describes Hell as social, bearable, and escapable. First, Milton makes Hell social. In Book II, all of Heaven’s fallen angels hold a meeting. The audience is so big, Milton compares their cheering to “the sound of blust’ring winds, which all night long Had rous’d the sea” (II.286-7). This social “Hell” expressly opposes Biblical truth.

Othello’s defense speech can be distinguished in two parts: the first part establishes him as a successful soldier and in the second part he describes how he won Desdemona’s love through his stories of adventures and not witchcraft. Unlike Brabantio, Othello is respectful and conscious of his words when he gives his speech. He begins with words of respect to the present members and addresses them as, “Most potent, grave, and reverend signers, my very noble and approved good masters.” (I.3.91-92) He continues to acknowledge and state the fact that he indeed has married Brabantio’s daughter Desdemona, “That I have ta’en away this old man’s daughter, it is most true; true I have married her.”

Joy flitted between Othello and Desdemona, but one problem had still remained. Othello would be sent to the front of the war, but Brabantio did not wish to live with his daughter- a suggestion turned down by both Othello and Desdemona. Instead, Desdemona said “The rites for why… [Desdemona] love him are bereft... a heavy interim shall support by his dear absence. Let… [her] go with him”. The council agrees to this, as do Brabantio and Othello, officially starting a prosperous and long lasting love.

Ahhhhh my poor head. Why that is dammed window open. *look up and out the window* - take a while like waking up The sun is much too high! I should be at work I should be looking over the ships, I need to …

There is a saying that goes “Actions speak louder than words.” Well, what if words are actions? J.L. Austin proposes that utterances have a performative component, which suggests that an utterance performs an action by saying something; his Speech Act Theory uses locutionary meaning, illocutionary force and perlocutionary effect to describe how speech works in both a descriptive and active sense (para. 6 Preliminary Isolation). Meanwhile, theatrical performances prove that words become more than just letters on a paper.

Matthys Uys 24962376 ENGE311: Assignment 8 (Improved version) 23 May 2016 --------------------------------------------------------------------------------------------------------------------- The Power of Language Devices in “Othello” Through using powerful words in “Othello”, the human behaviour of the characters is either positively or negatively influenced.

It is self-evident that there is an issue of power in Othello and in modern day society; the most indisputable one being the emotions beyond reasons and their power over us. It is a non-societal power, yet it is the catalyst for our behaviour. Shakespeare exaggerates the means of power in our emotions and the response we have to it, such as confounding them with love. Throughout the play, the actions committed by characters consumed by self-loathing are greatly amplified. Othello illustrates how jealousy forces the characters to go to greater lengths than one normally would to satisfy their desire for vengeance.

The speaker’s use of similes and extended metaphors in “Doubt” reveals her tortuous tone as she introspectively values security over potential fulfillment. By employing the use of a simile to describe her lover as “luminous,” the speaker says, “It’s like looking at a light gleaming through clear glass” (Colonna). Highlighting his incandescence, the alliteration of “luminous,” “looking,” and “light” evoke a sense of transparency and vivacity when contrasted to her later extended metaphor where she claims, “I am a shadow.” Using contrasting visual imagery of light and dark, the speaker reveals not only are her thoughts conflicting, but she also views love as impossible because her lover, is “light” and the speaker is a “shadow,”

Scene: (V.ii.1) At 7 o’clock in the morning Othello goes to his bedroom where Desdemona is sleeping to wake her. Othello: Sweetheart, it is time to wake up.