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The Character of Iago in Two Plays, 2002.
A comparison of the similarities and differences of the character of Iago in Shakespeare's great tragedy "Othello" and in Ann-Marie McDonald's 1988 minor comedy "Goodnight Desdemona (Good Morning Juliet)".
1,125 words (approx. 4.5 pages), 2 sources, $ 39.95
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Abstract
Compares similarities & differences of the character of Iago in Shakespeare's great tragedy OTHELLO & in Ann-Marie McDonald's 1988 minor comedy GOODNIGHT DESDEMONA (GOOD MORNING JULIET). Common themes of intrigue & love. Brief description of each play. Symbols & style of each. Iago's motivations; his villainy.
From the Paper
"This research paper compares the character of Iago in William Shakespeare's tragedy "Othello" and in Ann-Marie MacDonald's 1988 comedy "Goodnight Desdemona (Good Morning Juliet)." To better understand the similarities and differences in both plays, a brief description of each needs to be given. There is no doubt that "Othello" is a tragedy of intrigue in spite of the fact that it contains many of the elements of Shakespearean comedies -- the central theme of love, the conflicts between men and women, and the handkerchief, of course, may be seen as a comedic prop.
During the course of Shakespeare's play, Iago commits a series of wicked and deceitful acts that culminate in violence. Iago is an ensign to the general Othello, a black Moor who is serving under the Venetian Senate. He becomes jealous when///"
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"Othello's" And Iago's Character, 2002.
A look at the character of Othello as revealed in Act 3 Scene 3 of the play.
650 words (approx. 2.6 pages), 1 source, $ 26.95
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Abstract
This three-page undergraduate paper examines the character of Othello as revealed in Act 3 Scene 3 of this famous tragedy by William Shakespeare. The hero of the play is driven by jealously and in a fit of rage orders murder of his best friend Cassio and kills his wife Desdemona whom he suspects of infidelity.
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Iago's Character in "Othello", 2004.
Examines the speech delivered to Rodrigo by Iago in "Othello".
1,024 words (approx. 4.1 pages), 1 source, MLA, $ 36.95
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Abstract
This paper introduces, discusses, and analyzes Iago's speech to Roderigo in "Othello" by William Shakespeare. Specifically, it discusses what the speech reveals about Iago's character.
From the Paper
"Iago could be one of Shakespeare's most evil and frightening villains. He has no remorse, and is totally consumed with his own hatred of Othello. It colors everything he does in the play, and has clearly turned him into a bitter and spiteful man. In his speech to Roderigo in the First Act, Third Scene of the play, he reveals quite a bit about his own personality and psychology. It is clear he is not a kindly, romantic, or loving man. (A man that kills his own wife is none of these things). He says, "our bodies are gardens," (Shakespeare 1:3:315) which at first seems a bit romantic and earthy, but then compares the garden's fruitfulness with our own wills. This makes sense, because we are responsible for our own wills, and our own bodies, and so, we are responsible for what "grows" there, but he is really showing his cynicism and negative outlook. He is clearly a pessimist when he says, "the blood and baseness of our natures would conduct us to most preposterous conclusions:" (Shakespeare 1:3:322). He feels we are nothing more than base humans, who are led by our emotions and our sexuality."
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Plays within Plays, 2004.
A discussion of the concept of a play-within-the-play in "The Spanish Tragedy" by Thomas Kyd and Shakespeare's "The Tempest".
1,728 words (approx. 6.9 pages), 5 sources, MLA, $ 55.95
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Abstract
This paper discusses the plays "The Spanish Tragedy" by Thomas Kyd and Shakespeare's "The Tempest". The paper explains that these two plays present a demonstration of the use of the play-within-the-play device as a representation of human themes and cultural messages. The paper contends that while the play-within-the-play contributes to the denouement of plot, it also draws attention to the relative power of theater in society.
From the Paper
"Themes of the human condition repeat themselves almost continually through the art of drama and through the realm of the real. Themes of human circumstances, moral and amoral influence the cultural representation of right and wrong, but strangely change very little over time. Things that are "wrong" in Shakespeare and Kyd's England similar to those which are "wrong" today. Betrayal and revenge flow together as a stream through the human soul and repeatedly show their influence upon art and humanity. Messages of revenge, a constant fascination of the Elizabethan period (1558-1603) and that of the England that followed her reign, often follow the form of the play-within-the-play dramatic technique and this is true of both the works discussed here."
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Iago in "Othello", 2002.
A character analysis of Iago in William Shakespeare's play, "Othello".
900 words (approx. 3.6 pages), 1 source, $ 35.95
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Abstract
This paper will discuss how Iago is depicted in the play, "Othello" by William Shakespeare. By showing how his actions work within the play, we can see how they relate to other minor characters in the forces that move him in this manner.
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Iago of ?Othello?, 2002.
A character analysis of Iago from William Shakespeare's "Othello".
839 words (approx. 3.4 pages), 1 source, MLA, $ 29.95
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Abstract
"Othello" is one of the four great tragedies written during Shakespeare?s period of despair when the bard seemed to be concerned with the struggle of good over evil. The paper shows that Iago, the villain in "Othello", is perhaps the most sadistic and consummately evil character in all English literature and his eventual downfall illustrates the triumph of love over hate, a key theme in many of Shakespeare?s plays. The paper traces the play act by act in order to analyze the character of Iago.
From the Paper
"In Act Two, Iago?s villainous nature is increased when Cassio, Othello?s chief of staff, is seen by Iago holding the hand of Desdemona which sets into motion another scheme highlighted by the line ?With as little a web as this will I ensnare as great a fly as Cassio? (2.1.163). Like Roderigo, Cassio submits to Iago?s every whim while under the assumption that Iago is only attempting to assist him; but in reality, it is Cassio?s downfall that attracts Iago. In addition, since Iago is a very intelligent man, he quickly realizes the advantages that come with trust which he considers as a means to further his goals. As a symbol of his true arrogance, Iago says of himself ?I am an honest man? (2.3.245) which is quickly deemed to be a false statement when he has Cassio terminated as Othello?s chief of staff."
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Iago and Othello, 2003.
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, $ 108.95
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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."
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Iago in "Othello", 2001.
The following paper explores the character of Iago in Shakespeare's "Othello" with the purpose of discovering what it is that makes him so evil.
1,730 words (approx. 6.9 pages), 6 sources, MLA, $ 55.95
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Abstract
The following paper explores Iago's character by examining his relationships with others as well as considering the nature of the other characters in the play. This paper begins with a brief summary of each of these characters with an emphasis on those attributes that combine to bring about the tragedy of the play.
From the Paper
"Of all of Shakespeare's villains, Iago is the one that we most love to hate simply because he is the most purely malignant character in Shakespeare's panoply of wrongdoers. Lear brings about terrible consequences because of his pride, but while Cordelia is sacrificed to Lear's blindness, we see that the king too suffers terribly, and he is clearly a man entangled by the arms of fate. Romeo and Juliet die tragically, of course, but there is no real villain in that play."
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The Role of Iago in "Othello", 2002.
A look at the evil character of Iago in 'Othello".
1,205 words (approx. 4.8 pages), 1 source, MLA, $ 41.95
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Abstract
This paper analyzes the role of Iago in Shakespeare's "Othello". The author examines the character's behavior throughout the play and looks at the way his character influences events in the play.
From the Paper
"In act 3, scene 3 of Shakespeare?s Othello, Iago has begun his attack on fortress Othello by planting the seeds of jealousy in his head, and by acting as nothing more than the caring friend who seems to be genuinely worried about Othello. He works up Othello to the point where Othello is interested in his thoughts, and then when asked as to what he is holding from him, Iago says ?Utter my thoughts? Why, say they are vile and false? (3.3.159-60). By this he seems to Othello as a friend who is holding back information from him, someone who is worried about Othello?s well being."
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Iago: Elusive or Illusive?, 2006.
A character analysis of the character of Iago from William Shakespeare's "Othello".
2,600 words (approx. 10.4 pages), 6 sources, MLA, $ 78.95
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Abstract
This paper examines how of all the Shakespearean villains, Othello's Iago is the most charismatic and at the same time the most puzzling. It looks at how his motives are presented to us in his soliloquies and how we are easily able to determine that he is the villain. It attempts to show that Iago never completely takes off his mask, but instead tries to convince us that he in fact has reason for what he does.
From the Paper
"Iago might appear as a manifestation of pure evil that we should be warned against. But Shakespeare goes much deeper and says that evil is a manifestation of humanity, which is a much more complicated idea and much more difficult to live with. That it is a natural ingredient of who we are. Shakespeare is writing about human pride and what it can lead a person to do. We think that our needs are more important than anything else and we drive at our needs, and then once we get what we need, we either find a new need, or are destroyed by our own desire."
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Iago in "Othello", 2005.
Examines the character of Iago as the evil genius in William Shakespeare's "Othello".
781 words (approx. 3.1 pages), 1 source, MLA, $ 27.95
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Abstract
One of the most popular characters to illustrate the theme of evil is Iago from William Shakespeare's play, "Othello". Iago is the definition of true evil genius. By observing his character and actions, this paper shows that we can understand his philosophy of life, which includes no regard for others. In fact, the more pain and destruction he can cause, the happier he seems to be. The paper shows that, through Iago, Shakespeare has painted the portrait of evil in human flesh.
From the Paper
"Iago also demonstrates his capacity for evil when he tricks Othello. He uses what he knows about Othello against him. In fact, he can manipulate him so easily because he knows him so well. For example, he convinces Othello that he actually cares for him and that he is concerned about his future. He cautions him that being jealous might lead to ruin by telling him, "O, beware, my lord of jealousy!/It is the green-eyed monster, which doth mock/The meat it feeds on" (III.iii.166-9)."
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Plays of August Strindberg, 1976.
This paper compares the "dream" plays and the "reality" plays of August Strindberg.
1,350 words (approx. 5.4 pages), 4 sources, $ 47.95
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From the Paper
"The purpose of this research is to compare the "dream" plays
and the "reality" plays of August Strindberg. The paper will be specifically concerned with "A Dream Play" and "The Ghost Sonata" ("dream" plays), and "The Father" and "Miss Julie" ("reality" plays).
The first important point to be developed in such research is that the dividing line between the two "types" of plays becomes less clear the more deeply one examines the plays themselves. Indeed the very application of the terms "dream" and "reality" must be questioned.
In writings on Strindberg and his dramatic work, the word "naturalistic" is as often used as "realistic" in describing such plays as "The Father" and "Miss Julie." And, in this regard, more critical energy is spent on separating such plays from the ... "
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Clowns in Shakespeare's Plays, 2002.
Compares the role and appearance of clowns in three plays by William Shakespeare - "Hamlet", "Macbeth" and "As You Like It".
1,650 words (approx. 6.6 pages), 5 sources, $ 62.95
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Abstract
By comparing the clowns that appear in the plays "Hamlet", "Macbeth", and "As You Like It", the role of the clown is elaborated as something greater than comedic relief. In all instances, the clowns play a double role that works to appeal to a particular audience of Elizabethan England, a wider social and cultural group of theatre-goers than typically present at play performances. In doing so, the clowns work to participate within the play itself, and within the audience as well. This is achieved through humour that speaks outside the context of the play and towards immediate cultural knowledge of the audience. The clown also uses this same kind of humour within the play, as a way to clarify what is happening within the story itself. The clown acts as a mediator between characters and as a mediator between the play itself and the audience. The clowns of the dramatic plays, such as "King Lear", "Hamlet", or Macbeth, the clowns' role serves to provide the audience a break from the tension and violence of the narratives as well as to address the audiences own cultural understandings of these plays. In the comedies and the dramas, the clown is always more knowledgeable about what is happening and so acts as the interpreter for the characters, and for the audience.
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Honest Iago, 2002.
An analysis of the character of Iago in Shakespeare's play "Othello".
910 words (approx. 3.6 pages), 1 source, MLA, $ 32.95
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Abstract
An examination of how Iago's character changes and develops through different sections of the play. The writer claims that Iago is the main driving force in this play, pushing Othello and everyone else towards their tragic end.
From the Paper
"Perhaps the most interesting and exotic character in the tragic play "Othello," by William Shakespeare, is "Honest" Iago. ?Iago in external appearance or in his characteristic traits, he is the man who deceived and betrayed Desdemona, Cassio, and Othello? (White 203). Through some carefully thought-out words and actions, Iago is able to manipulate others to do things in a way that benefits him and moves him closer toward his goals. "
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Plays Compared, 2005.
A comparison of two plays, Racine's version of "Phaedra" and Lillian Hellman's play, "The Children's Hour".
1,421 words (approx. 5.7 pages), 2 sources, MLA, $ 47.95
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Abstract
Two plays written far apart in time and place are Racine's version of "Phaedra" and Lillian Hellman's play "The Children's Hour," which show certain similarities in terms of moral themes. It discusses how both plays reflect on issues of good and evil, guilt and innocence, atonement and forgiveness, and, in both cases, center on a case of what society deems to be a "perverted" love that leads to tragedy.
From the Paper
"The myth of Phaedra, which serves as the starting point for Racine, tells of how Phaedra, the wife of King Theseus, fell in love with Hippolytus, her stepson. She makes her passion known to the young man, and he rejects her. She then revenges herself on him by accusing him of dishonoring her, and this leads to the death of both the young man and Phaedra. Racine uses most of the story from the myth, though he gives that story a somewhat different emphasis as he explores the tragedy of Phaedra and her personality and her obsession."
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