An analysis of how the character Iago from William Shakespeare's "Othello" moves his plan forward through references to his soliloquies and exchanges with others.
4,021 words (approx. 16.1 pages), 0 sources, 2003, $ 108.95
Abstract Beginning with Iago's initial exchange with Roderigo and Brabantio, this paper works through the first 3 Acts of the play "Othello" by William Shakespeare looking at the way in which Iago moves his plan forward. The semantic fields and imagery sequences are examined in detail, with analysis and line references after each quote highlighted in bold for easy cross-referencing. All quotes are well integrated and put into context. The paper also includes character analysis of Iago and Othello.
From the Paper "Iago's next exchange with Othello shows how successful he has been - Othello makes it clear he has convinced himself of Desdemona's guilt in Iago's absence: "I swear 'tis better to be much abused / Than but to know a little." 3.3.338/9, and "What sense had I of her stolen hours of lust?" 3.3.341. One can infer that Iago is delighted by this, as it means he has been successful, and with the handkerchief in his possession he can offer proof of her 'guilt'. Emilia's deception came just at the right moment, as Othello demands "ocular proof" which Iago is now in a position to give. One may argue that he was playing things rather riskily by "abusing" Othello's ears without the proof of the handkerchief, but now things are falling into place more by luck than by his own manipulation."
Abstract This paper explores Shakespeare's plays "The Tempest" and "Othello" and focuses on the father-daughter relationships of Desdemona and Brabantio and Miranda and Prospero. Direct quotes support the comparisons and contrasts of the characters' actions, emotions, and motives towards each other, which include anger, love, possessiveness, and manipulation.
From the Paper "Prospero wants his daughter to marry Ferdinand, because he is of her status and is intelligent. Not only that, Ferdinand is looking for a wife to be Queen of Naples, and the marriage would mean Prospero could finally move back to civilization and out of isolation, and he could reclaim his title as Duke. So not only does Prospero see Miranda as his daughter and companion for the twelve years in isolation, but he sees her as a key part in his plan to get his dukedom restored. However, he wishes well for his daughter in every way possible, and is happy that love has blossomed between her and Ferdinand. "Fair encounter of two most rare affections. Heavens rain grace on that which breeds between 'em!" (Tempest, Act 3 Scene 1) "
This paper compares the character of Desdemona from William Shakespeare's tragedy, "Othello" with that of Ophelia from one of his other great tragedies, "Hamlet".
Abstract The paper looks at the female figures Desdemona and Ophelia, who appear in two of Shakespeare's greatest tragedies, "Othello" and "Hamlet". The paper focuses not only on the women, but also on the men who have the strongest influences on them; their fathers and their lovers. The paper shows how despite different personalities and dissimilar sets of circumstances, the young heroines of these unique tales share much in common. The paper portrays how they both find themselves caught up in intricate love triangles that test their alliances to their fathers and their lovers and that ultimately end in tragedy.
Outline:
Abstract
Introduction
Desdemona, Othello, and Brabantio Ophelia, Hamlet, and Polonius
Conclusion
From the Paper "Although we never see Desdemona and her father Brabantio alone together, we can determine, from things they say to other characters and from things they say to one another in public, that their relationship has not been based on open communication and trust. In fact, there is an indication, as early as the opening scene, that despite his apparent shock, Brabantio may have subconsciously expected his daughter's elopement, or at least is not completely surprised by it: upon first hearing the news from Iago and Roderigo, Branbatio responds that "This accident is not unlike my dream" (I, i, 141)."
Abstract The paper describes how Iago uses selective honesty as his persuasive tactic to dupe Roderigo into his trust and sway him to his own ends. The paper demonstrates how he pretends to be loyal to Othello while causing Roderigo and Brabantio to turn against Othello. The paper highlights Iago's clever words and deceitful persuasions.
From the Paper "At the beginning of "Othello," (Act I, Scene I), on a Venice street, Iago is introduced as a friend and trusted ally of Roderigo, and one who has his "purse" (financial trust.) Roderigo reminds Iago that Iago told him previously that he was antagonistic to Othello, and Iago assures him this is so: "Despise me, if I do not" - even giving what sounds like a plausible reason, i.e., Iago is bitter at Othello for selecting another man, Michael Cassio, over himself to serve as Othello's lieutenant, and he admits his jealousy of Cassio and his wish for vengeance against Othello. Of course, it seems that he is telling all this to Roderigo in order better to win him over and gain his trust more."
Abstract This paper focuses on the importance of the women's roles in the plays Romeo and Juliet, Hamlet, and Othello. Particularly, the relationship between the woman and their fathers is analyzed in this paper. The father-daughter relationship that this paper focuses on is the relationship between pairs of characters in the plays mentioned above: Lord Capulet and Juliet (Romeo and Juliet), Polonius and Ophelia (Hamlet), and Brabantio and Desdemona (Othello). Each character is evaluated according to their interaction not only with other people, but most importantly their interaction with each other. An analysis on the effect of woman roles in contributing to the tragedy that happened in the play is also discussed.
From the Paper "Women in many of Shakespeare's plays establish their own identity in the story through a series of interaction with various characters in the play. Aside from their roles as a woman and a wife or lover to the main characters of Shakespearean plays, the author presents another side of the woman's character through a reflection of the existing father and daughter relationship in the story. If women were regarded as "goddess" by their husbands/lovers, their relationships with their fathers present another part of their persona, and each of them possesses unique characteristics that make their roles in the story memorable. "
Abstract This paper deals with the themes of jealousy and revenge within the drama "Othello", written by William Shakespeare. With numerous themes depicted throughout the play, that of jealousy and revenge stands out, as they are the basis of the plot and character development. Includes a number of internal documentations (quotes).
From the Paper "Othello is a romantic tragedy set in Venice during the early eighteenth century. This play portrays the author's ability to intertwine many deceiving motives of its characters, into one cohesive and interesting plot. Othello, written by William Shakespeare, is a play that possesses many different aspects of literature, ranging from descriptive imagery to deep symbolism. Of all of Othello's characteristics, though, the most significant is that of its numerous themes. Othello is strewn with a number of important themes, including love, hate, racial tensions, deception, and false appearances. Nevertheless, as considerable as these themes may be towards the overall plot, the two most influential in Othello, are those of jealousy and revenge found within the two main characters of Othello and Iago. The themes of jealousy and revenge are difficult to discuss apart from one another, as jealousy causes revenge, and jealousy is the force that motivates the actions of the main characters."
Abstract This paper critically analyzes Oliver Parker's film adaptation of Shakespeare's famous play, "Othello". The essay explores many aspects of the production including casting, cinematography and direction. It also shows how the film differs from Shakespeare's original work. The review gives the film a rating in the final paragraph.
From the Paper "Debuting at the height of the O.J. Simpson media-frenzy, Oliver Parker's modern interpretation of Shakespeare's Othello promised to be a controversial one. Othello is, after all, a play about a black man who kills his wife in a jealous fury. Coincidence or not, Parker wisely chooses to downplay the race issue. Casting Laurence Fishburne as his Moor of Venice, Parker's Othello is anything but traditional. If Shakespeare's Othello was the Elizabethan portrayal of an African warrior, then Parker's adaptation fit's the modern stereotype of a metropolitan thug. Reaching out to a modern audience that has a fickle affection for Shakespeare, Parker relies on sex and violence to sell his film where art and poetry fail."
Abstract This paper examines how dissimilation is a state that occurs when the impetus is taken for the standard and used, often, to further insidious ends. In particular, it looks at how, in "Othello", Shakespeare uses Iago as a character who represents dissimilation and brings it into the
moral and empathetic lives of the other characters to spread chaos and ruin. It shows how Iago is able to use his cleverness and malice to seek out what seems to be the root cause of a number of actions in the play.
From the Paper "In Othello, Shakespeare sets up Iago as the culmination of all of the evil, insidious tendencies and inhumane practices known to humanity. One of the first speeches we see from Iago portrays him as egging Rodrigo on to sap the joy from Brabantio: "Though that his joy be joy, Yet throw such chances of vexation on"t as it may lose some color?
(Shakespeare I,i,11). It is no wonder, therefore, that Iago is known to be more a fighter (a destructive force) than a statistician comparatively constructive) on the battlefield, and is passed up for promotion by Othello in favor of the more level-headed Cassio. But Iago is
also a character who shows a great deal of dissimilation within himself: this lack of promotion therefore rankles him, and makes him vow revenge against Othello, while at the same time pretending to be his servant."
Abstract This paper paper discusses the emotion rampant in Shakespeare's "Othello". The paper contends that many of the loving relationships in "Othello" prove to mock the very word. The paper describes the characters of the play and explains that these characters prove that love, as well as jealousy, can be a destructive force.
From the Paper "While jealousy is one of the most written about emotions in William Shakespeare's play, Othello, it is far from being the only powerful emotion in the play. Just a jealousy can be a destructive force and "mock the meat it feeds on" (Shakespeare III.iii.168), we learn from some of the characters that love can be as well. Brabantio certainly loves Desdemona but not nearly enough because he allows himself to be swayed against his true instincts. Emilia is blind to what is going on all around her and allows her loving husband to make a mockery of their love. In addition, Othello allows himself to be played as a fool because of his own insecurities. His love for Desdemona becomes nothing more than an afterthought when it too late to do anything at all. These character prove that love, as well as jealousy, is a monster that mocks the meat it feeds on."
Abstract The paper discusses Othello's and the other characters' misplaced trust due to their need for empirical evidence in Shakespeare's work, "Othello". It also analyzes Shakespeare's use of monster imagery to describe the darkness in the human heart. Finally, the paper contains an exploration of the liberal use of supposed love by the characters, which is eventually proven not to be love at all.
From the Paper "Shakespeare's exploration of the concept of jealousy leads to the theme of the human mind's predisposition to favor the "monstrous." Monsters of the human psyche are self-generating, even without the prodding of an evil manipulator such as Iago. He feeds this compulsion by encouraging Othello to "behold," in his mind's eye, his wife being "topped" by Cassio (3. 3. 412). When jealousy is labeled as a monster in the play, it is used to suggest how one can be overtaken by a passion. Iago defines jealousy as "the green-eyed monster, which doth mock the meat it feeds on" (3. 3. 179-80), a foul parasite that torments its host. When Emilia explains jealousy to be a "monster begot upon itself, born on itself" (3. 4. 157), she underscores its self-generating nature. "Jealous souls" do not need real events to fuel their suspicions because, Emilia explains, they are "not ever jealous for the cause" (3. 4. 154-55)."
Abstract The character of Desdemona in William Shakespeare's tragedy "Othello" reflects an ideal woman in the eyes of men. Desdemona acts in a gentle manner at all times, even though with men she uses her sexual prowess and strong will to achieve her ambitions. The paper shows that Desdemona remains both virtuous and dutiful to her husband, Othello, while slanderous comments about her chaste result in her final death. Therefore, Desdemona's sincerity and faithfulness to Othello become ill spent. Although Desdemona acquires Othello as a husband by her own devices by enabling her femininity to get what she wants, Othello ironically ends up murdering her. The paper shows that Desdemona depicts the male concept of the ideal feminine role of a woman.
From the Paper "In the tragedy of Othello, Desdemona uses her sexual appeal to men in order to achieve her ambitions. At the beginning of the play, Desdemona manages to seduce Othello through her gentle and passive use of words which men find attractive. When Othello relates the story of their elopement, he comments on how Desdemona professed her love for him. "She wish'd she had not heard it, yet she wish'd / That heaven had made her such a man; she thank'd me, / And bade me, if I had a friend that lov'd her, / I should but teach him how to tell my story, / And that would woo her. / Upon this hint I spake." (I,iii,162-166). Obviously, this quote shows that Desdemona's main motive includes the acquisition of Othello as her husband which she achieves through her use of gentle words, passiveness, and apparent fascination in Othello's life which the male character of Othello finds as an attractive trait in the female character Desdemona."
Abstract Most, if not all, of Shakespeare's plays carry a theme where the relationship of the main father and daughter has an important role in the climax and outcome of the stories. By examining the relationship between King Lear and Cordelia in Shakespeare's "King Lear", this paper presents the opinion that the play has the most significant father and daughter relationship out of all Shakespeare's works. The paper also examines "The Tempest" and "Othello".
From the Paper "In King Lear, Cordelia, the youngest daughter of Lear, refused to go overboard in her statement of love towards her father. When asked for her testimony, she simply replied, "Unhappy that I am, I cannot heave my heart into my mouth. I love your Majesty according to my bond, no more no less." Lear became enraged and casted her off saying, "Here I disclaim all my paternal care, propinquity and property of blood, and as a stranger to my heart and me hold this from thee for ever." Some think that Cordelia was prideful, or even a fool in her response, but I believe she was simply being honest and true."
Abstract It is often wondered by Shakespeare's readers as to why Iago acts the way he does in "Othello." This essay explores specific instances of racist motivation for Iago's actions. The paper shows that racist attitudes allow the characters of "Othello" to elevate even the smallest feelings of animosity to complete hatred.
From the Paper "One of the first instances where Iago uses Othello's race to attempt to rally supporters to his cause is when he and Roderigo attempt to convince Brabantio, the father of Desdemona that Desdemona and Othello are having sex while they have yet to be married. Iago tells Brabantio that "Even now, now, very now, an old black ram/is tupping your white ewe" (Shakespeare I.i.88-89). This quote is said with the intention to scare Brabantio into believing that his daughter is having sex out of wedlock with a black man. "
Abstract "Othello" by William Shakespeare is a unique tragedy in that it focuses on the destruction of love through sexual jealousy. The paper describes how Othello is plagued with his ego and pride, which contributes to his demise. Othello is, however, a truly romantic character because he is very passionate and full of deep feelings. The paper examines what brought the sweet Desdemona to be his wife.
From the Paper "However, Iago is sure to be the devil's advocate if occasion shall arise. Desdemona just happens to be there to give him the leverage he needs. She plays right into his hands by defending Cassio. Again she works as a tool to Othello's demise by losing the handkerchief. Emilia here also loads the gun of deception by handing her mistress's handkerchief to her husband. Desdemona is apparently unaware that she is destroying her husband by being herself. Her actions coupled with Iago's twisted desire for power bring Othello to his knees."
