Thematic Concepts:
1) Identity
2) Race
3) Love/Loyalty
4) Gender roles/expectations
5) Hate/Jealousy/Manipulation
6.) Appearances vs. Reality
Your primary post should be at least 200 words. You should also comment on the post of one of your peers.
One of the themes that are explored in Othello Act 3 is the treatment and roles of women in relation to men through the disrespectful interactions between Emilia and Iago, and Bianca and Cassio. Emilia is a smart woman; in fact, she meets many of Iago’s description of a perfect wife because she is loyal and subservient. However, Iago doesn’t treat Emilia very well, especially when he demands that she hand over Desdemona’s handkerchief “A good wench! Give it me,” (Shakespeare, Act 3, Sc 3, Ln 359). Iago expects his wife to be completely obedient to him even if he disrespects them and shows that women often endure a lot of abuse especially in marriages. The theme of loyalty is also tied to this scene because women are expected to be loyal even to unkind partners and endure the temptation of meeting with a kinder man.
ReplyDeleteOn the other hand, Bianca and Cassio are in a relationship and not married, which changes the expectations for a woman of Bianca’s status. While Iago is able to interact with Emilia in front of Othello, Cassio claims “I do attend here on the General, And think it no addition, nor my wish, To have him see me womaned,” (Shakespeare, Act 3, Sc 4, Ln 221 - 223). Since Cassio is of a high class, he respects women of even higher status than himself, such as Desdemona, but he finds no fault in disrespecting those under him, especially to reinforce his status. Cassio expects Bianca to obey him and stay out of sight when he is attending on Othello which is similar to Iago’s expectation that women be subservient to their husbands. The only difference between Bianca and Emilia is that Emilia is bound in a marriage to the man who is controlling her and Bianca can still have a bit of freedom.
The treatment of Emilia and Bianca represents how the disrespectful treatment of women is independent of their status or rank and may even foreshadow Othello’s treatment of Desdemona when he believes she has been disloyal to him.
The author of this analysis has made some very valid points about the concept of gender roles in the Shakespearean tragedy, Othello. She uses the characterization of the three main female characters in the story as a method of describing how that time period treated women. Her analysis of how the males in the play treat the women also portrays that. Her theme, that women are supposed to be loyal despite how their partners are, also touch on the thematic concept of loyalty by tying both subject matters together. One aspect of the author’s analysis which I found interesting was the analysis of how Cassio treats women and what that says about his own morals. It opened my eyes on how class and rank also plays a key role in determining how a certain woman would be treated. It made me wonder whether Emilia and Desdemona would have been treated the same men if they weren’t married to men of high status. Likewise, if Bianca had been married to Cassio, would other men still consider her of low status?
DeleteI do agree with you that in this play, the gender roles thematic concept is definitely prevalent especially in the marriage and relationship dynamic of Cassio and Iago, but also in Desdemona and Othello's relationship. Their relationship serves as a contrast to the previous two, and really highlights the dysfunctionality of Iago and Cassio's relationships, but also shows the nature of love because of how easily Othello is willing to go against Desdemona when he thinks she has betrayed him. Love is a powerful emotion but it seems to be less so than jealousy, another prevailing concept in this novel. it is interesting you highlighted Cassio, because he also shows favoritism to girls of high stature unlike Bianca, and this shows the other side of Cassio apart from the charming man the audience thinks him to be.
DeleteIn Othello, a thematic concept that is heavily developed thus far in ACT I-III, is love. Love, in Othello, is prevalent in all characters, as all respond to the action or word “love” with variations of reactions. The word itself holds a different definition to the characters as, not only revealed by their reactions, but also their relationships with fellow characters. For example, the most obvious relationship pertaining to love is Othello’s and Desdemona’s relationship. Both are passionate for each other, prescribing to the cliché ideology of love. The two, until ACT III, are madly in love with each other and are perfectly happy with their marriage. This is the text-book definition of love. However, when other relationships, involving the theme of love, intermingle with the two, problems arise.
ReplyDeleteAnother relationship pertaining to love is the relationship between Brabantio and Desdemona. A father-daughter relationship that was initially based off of trust and love for once another. When it is apparent that Desdemona will trade in this fond relationship with her father for her relationship with Othello, Brabantio states that “he bears both the sentence and the sorrow that, to pay grief, must of poor patience borrow” (Shakespeare ACT I, Scene 3, ln 213) implying that he has lost his daughter and their loving relationship, and for that he will mourn in his heart. Throughout the play all relationships amongst the characters are thoroughly examined through conversational routes, displaying the true meaning in the dialogue. As the characters converse amongst each other, it revealed that in various forms love is prevalent in each heart, possibly with the exception of Iago.
I agree completely and would go so far as to say that for most of the characters it is their primary motivation in some derived form. The love that Desdemona feels for Othello seems to be greater that for her father, which her father can't believe, making him accuse Othello of witchcraft. Othello also loves Cassio and Iago which makes him vulnerable to Iago's plots which not only help move the plot line but helps to provide an excuse for the dramatic irony of his Iago's manipulation, and it helps thicken the plot by keeping Cassio around instead of just firing him and moving on with his life. Cassio's motivation, though somewhat out of his lust for power, is more fueled by his love of Othello and that he doesn't want to lose favor with him because he's his friend and someone he loves. Iago's motivation is the only one that does not seem to be some kind of love, though it could be derived from love saying that the accusations of Othello sleeping with his wife and his loss of love push him to do what he does.
DeleteI agree that love is a powerful thematic concept throughout Othello, especially the interferences and untrustworthiness of love with many of our characters, including Othello and Desdemona and Iago and Emilia. Othello and Desdemona do both seem passionate about each other, but as the play goes on, Othello’s faith and trust in Desdemona is diminishing, which is a direct result of Iago and his lies, showing how love can be torn apart. I do not feel that Iago and Emilia are passionate about each other at all; Iago is just very protective, making sure that Emilia is reserved just for himself and his selfish reasons. You also brought up a very good point about the love between the father-daughter relationship that I did not think of. Even the first known relationship in the book was interfered upon another relationship, resulting in more problems ahead.
DeleteI agree that the thematic concept of love is portrayed in Acts I-III of Othello, and I also liked how you included the relationship between Desdemona and her father because that is an important element to the plot when dealing with love. Towards the beginning of act I we see that even though Desdemona and her father have a strong bond, her love for Othello over powers that leading her to elope behind Brabantio’s back. “I am hitherto your daughter. But here’s my husband.And so much duty as my mother showed to you, preferring you before her father, so much I challenge that I may profess due to the Moor my lord.” Is a quote from Act 1, scene 3 where Desdemona explain that even though she loves her father, she must give all her love to Othello now that he’s her husband, just like her mother did to Brabantio. Also, love doesn’t just apply to family in Othello. Othello trusts and loves Iago, so when Iago tells him lies about Cassio, it’s not hard for Othello to believe them because of how trusting he is. It’s also very hard for him to believe that Cassio would do the things Iago says because he does think of Cassio as a great general and friend.
DeleteIn the tragedy, Othello, Shakespeare displays the thematic concept of hate/jealousy/manipulation many times throughout the play. The main character involved with this concept is Iago. Iago is a very deceptive man who is out for revenge on many people, including Cassio and Othello. His hate for Cassio comes from (1) Cassio, the lesser experienced of the two, getting the position over Iago and (2) the possibility that Cassio slept with Emilia (Iago’s wife). Iago also shows some jealousy towards Cassio as he says multiple times, “Cassio’s a proper man (Shakespeare, 1.3.435).”
ReplyDeleteIago also hopes to get revenge on Othello for (1) giving the position to Cassio, instead of Iago and (2) the possibility that he also slept with Emilia. In the beginning, Iago told us that his reason was just that he did not get the position, but later, in Act II, we find out, in one of his soliloquys, that his true motive for revenge is his thought that Othello slept with his wife, Emilia. “For that I do suspect the lusty Moor hath leaped into my seat-the thought whereof doth, like a poisonous mineral, gnaw my inwards, and nothing can or shall content my soul till I am evened with him, wife for wife (Shakespeare, 2.1.317).”
He wants the true “monsters” of Cassio and Othello to be exposed to the public, as revenge for what they have supposedly done to him. Iago says, “It is engendered. Hell and night must bring this monstrous birth to the world’s light (Shakespeare, 1.3.446).” This helps to show how Iago is looking for revenge and is ruled by his emotions, especially those of hatred and jealousy.
I do agree that the thematic concept of hate/jealousy/manipulation is very prevalent in Othello. Iago is the epitome of evil. Perhaps what makes his revenge even more heinous is his skill deception. His evil is not evidently seen but rather subtle, turning all the characters into his puppets without their knowing. I also agree that Iago is primarily guided by his emotions. I believe it goes to show how powerful our impulsiveness and emotions can be. Hatred and jealousy are shown to be all-consuming and deadly. The juxtaposition of Iago's outward reasoning and his inner emotions is very interesting. Whereas all his plans are elaborately planned and reasoned and Iago stresses to Roderigo the importance of patience, Iago is only driven by his irrational emotions, seeking reasons to justify his hatred and revenge towards Othello. I find this paradox that Shakespeare presents speaks to the nature of human kind. We are guided by emotions yet we seek to rationalize them with some form of logic.
DeleteI agree with the "monsters" aspect of Othello and Cassio. Iago is manipulating Othello's insecurities into jealousy and Cassio's flirtatious character against him. We've seen the results of intoxicated Cassio (off of one glass of wine) in Act two and the enraged Othello in Act 3 which have contradicted the type of characters they were said to be.
DeleteIn the tragic play Othello, William Shakespeare explores the treatment of women in a patriarchal society. Through the characterization of the three female characters (Desdemona, Emilia, and Bianca) and the resentment the male characters feel towards women, Shakespeare portrays how an ideal woman would be one who is submissive, loyal, and restrained in her free will and sexuality.
ReplyDeleteIn Act I, Shakespeare first introduces the thematic concept of gender roles/expectations by showing women to be property of the men in their lives. In this Act, Barbantio is furious that Desdemona would defy him and marry the Moor, Othello. He reasons that Desdemona would never do anything like willingly eloping to hurt him because she is a fair and virtuous women. Barbantio’s attitude towards his daughter is one that is demeaning and controlling. He objectifies her, making her into an asset that can be stolen from him. “She is abused, stol’n from me, and corrupted…” He even indirectly threatens her in front of the Duke, stating that she must either choose whether she wants to belong to him as a faithful daughter to her husband. “Do you perceive in all this noble company where most you owe obedience?” When Desdemona chooses Othello, Barbantio automatically disowns, renouncing his rights to her. “God be with you. I have done.” In this scene, Desdemona becomes a mere object, discarded at the whim of her father. Interestingly, Desdemona also internalizes this view. When pressed, she states that even though she belonged to her father, according to the virtue of the women, she must choose Othello because after marriage, a woman belongs fully to her husband. “And so much duty as my mother showed to you, preferring you before her father…” In the first act, we see Desdemona not as a human but as an object that is passed from the hands of her father to the hands of her husband.
In Act II, Shakespeare further develops his theme by portraying society’s attitude towards women through Iago’s sexist speech. In Othello, Iago can be seen as the representation of misogyny in society. Through his point-of-view, we see the strict expectations placed on women and the overwhelming belief that they can amount to nothing. When Desdemona presses him, asking him what he would consider the most ideal women, Iago goes on a whole monologue about all his requirements. She must exhibit self-control, dress nicely, not be gaudy, must be submissive, and etc. Even if she meets all his qualifications, she could only amount to being a mother and taking care of the household expenses. “She was a wight (if ever such wights were)… to suckle fools and chronicle small beer.” Even his own wife, Emilia, is not good enough for him. The narrow-minded view Iago holds is a perfect example of how women are expected to be submissive and obedient.
Finally Act III, Shakespeare goes a step further to explore ideals of female purity. Throughout Othello, Iago seeks to ruin Othello by convincing him that Desdemona is cheating on him. When his poisonous words manages to strike Othello, Othello feels disgraced and humiliated. “I had been happy if the general camp Pioneers and all, had tasted her sweet body, so I had nothing known. O now, forever farewell the tranquil mind…”The kind and fair Desdemona becomes nothing more than a whore once Othello believes Iago’s rumor. Here we see the double-standard applied against women. Men can cheat with no consequences, but when women do, they are disgraceful. Bianca, a prostitute, is looked down upon because of the resentment the male characters hold toward female sexuality.
I agree with this post. I hadn’t thought of the objectification of women as detailed in the theme analysis of Act 1. The fact that Barbantio and Desdemona both treat Desdemona as a possession really highlights how women are supposed to perfectly obedient to whoever ‘owns’ them. It was especially interesting to hear about Iago’s view of women and how he expects them to conform to his definition of perfection. If even Emilia doesn’t please him (and she seems to be the only character in the book to even come close to fulfilling his definition) then does such a perfect woman exist? Furthermore, there is a double standard not only of men and women, but also of class. Cassio and his interactions with Desdemona and Bianca make this evident. Perhaps this view was shared by many people around the time Othello was written.
DeleteThis comment has been removed by the author.
DeleteYou bring up some good points. It was quite perceptive of you to notice how Desdemona is treated like a possession in Act 1, similar to how slaves were treated -- as property, not people. That being said, Desdemona is not treated like a slave, but more like a trophy; because she wis beautiful, she is more desirable that she would have, had she been any less attractive. Regarding your analysis of Act 3, I find it interesting how Othello immediately believes Iago wholeheartedly and adamantly turns his back on Desdemona. I think this could also be an example of how women are treated as possessions that are not supposed to have opinions or essentially do anything but look pretty. In addition, you mentioned in the beginning that Shakespeare is trying to portray a submissive ideal for women. What if he did not actually believe in that ideal? Nathaniel Hawthorne, who wrote The Scarlet Letter, used the objectification of women in his writing to point out the unfairness of sexism and to sympathize with the plight of women. I feel like Shakespeare could also have been trying to draw attention to how wrong it is to treat women like possessions.
DeleteI agree with your points, I hadn’t thought to bring up the idea of purity pertaining to the women in the play. I also think that Desdemona is put on such a high pedestal that when Iago convinces Othello that Desdemona has been unfaithful, it becomes an even more crushing blow to Othello’s pride. The idea that Desdemona internalizes her father’s objectification of her is an interesting thought as well, I had not seen that Desdemona had even been convinced herself that she was only an object to be passed from man to man without any thought of what she may want.
DeleteIn Shakespeare’s Othello, two thematic concepts which discuss throughout the play are those of hate and jealousy. This leads to the conception of the play’s theme that hate becomes a direct resultant of jealousy. This theme has been shown by Iago, the play’s antagonist, Brabantio, Desdemona’s father, and Othello, the play’s protagonist.
ReplyDeleteIn the beginning of the play Act one, Scene 1, the audience gets an introduction of both the plays antagonist, Iago, as well as the plays theme, that hate is a direct resultant of jealousy. In one of his opening lines, Iago states that he is jealous of a man named Michael Cassio for taking his position in the armed forces, stating, “Forsooth, a great arithmetician, One Michael Cassio, a Florentine (A fellow almost damned in a fair wife) that never set a squadron in the field, nor the division of a battle knows “. Iago begins to have an intense hatred for both Othello for giving what Iago believed should have been his and for Cassio, who took Iago’s position. This hatred is what the play revolves around as Iago plans to ruin Othello by ruining Cassio in Act three.
In Act one, Scene 3, Brabantio claims that Othello had stolen her daughter, Desdemona, from her through tricks and charms when he states “She is abused, stol'n from me, and corrupted by spells and medicines bought of mountebanks. For nature so prepost'rously to err, being not deficient, blind, or lame of sense, sans witchcraft could not.” This showed that he couldn’t believe that her daughter would leave her without her approval. However, when asked who she would stay with, Desdemona chooses her husband rather than her father which makes Brabantio jealous that Desdemona didn’t pick him. This causes him to hate both Othello and his own daughter by stating, ” For your sake, jewel, I am glad at soul I have no other child. For thy escape would teach me tyranny, to hang clogs on them”.
In Act three, Scene 3, Iago causes Othello to believe that Cassio will steal his wife, Desdemona. While the evidence that Iago offers Othello is minimal, his jealousy gets the best of him and he becomes enraged at his wife stating, “Damn her, lewd minx! Oh, damn her, damn her! Come, go with me apart. I will withdraw to furnish me with some swift means of death for the fair devil” This causes him to accuse his wife on cheating on him and making Iago his lieutenant. This further displays the theme of the play that hatred is a direct resultant of jealousy.
In the play, I would agree with you that jealousy takes a critical role into developing hatred. This could be seen throughout Act 1-Act 3 as you have stated with the given examples. I agree with you that jealousy takes a toll into Iago’s life as Michael Cassio takes away the military position that Iago hoped for based on a decision from Othello. That jealousy has turned into a bitter hatred toward Othello who has casted the decision to promote Cassio. I also agree with you in the aspect that Othello’s jealousy toward Cassio has impacted Othello’s life as Othello begins to believe that his loved wife, Desdemona, has been unfaithful to him. That falsely developed jealousy that Othello possessed has turned into a hatred toward his wife and Cassio as Othello believes he has been betrayed by the people he had trusted most whereas the real treachery is being done by the one feeding him this information, Iago. I would disagree with you on one essence of what you have written. I would argue that Brabantio, in Act 1, Scene 3, is not jealous of his daughter but rather shocked at the idea that she, the white daughter of a Venetian Senator, has chosen to fall in love with Othello, a black military general. I would add on to your commentary that Iago is jealous of Othello which is another reason for his hatred toward Othello. Othello, a well-developed military general is in a loving relationship with the daughter of a Venetian Senator whereas Iago is only a mere officer in the military who is in a dry, insipid relationship with his wife Emilia. Although Iago never directly states that he is even a little jealous of Othello, it can be assumed based off of a pure juxtaposition between Othello and Iago.
DeleteIn Othello, one of Shakespeare’s most famous tragedies, a commonly explored theme is that of appearance vs. reality. This most emphasized with Iago, one of the main characters. Iago is the antagonist throughout the play. One thing that is most clear to the reader is that Iago hates Othello and is willing to do whatever it takes in order to ruin him. From the very beginning of the play, Iago uses other characters to his advantage, manipulating them. These characters go on the believe that Iago is their friend and on their side as this is what Iago appears to be doing. His motives however as quite the opposite. Iago tells Rodrigo how much he hates Othello, yet later on tells Othello how much he loves him. “My Lord, you know I love you. (3.3.123)” Iago claims to be Othello’s friend, and Othello believes him to be his friend. The reality Othello does not see is the fact that Iago is lying to him in order to convince him that Desdemona is having an affair.
ReplyDeleteIago also uses Rodrigo as his back up for his revenge. Rodrigo is not the brightest character and is easily manipulated. Iago uses his lack of wit and love for Desdemona to convince him to sell all his land and go after Desdemona in Cyprus. Then, in Cyprus he convinces him to stay and pursue her even after he loses all his money and can see that she is a dead end.
I agree with the theme of appearance vs. reality being commonly displayed. Iago plays a definitive role is that theme as he is known for being a bit two faces, which applies perfectly to appearance vs. reality. Iago is able to easily advance in his plot to destroy Othello by manipulating other characters. It is clear from the first introduction the reader has to Iago that he is a devious man with dishonorable intentions. In Iago's first soliloquy, he reveals parts of his plan to his fellow "companion" Roderigo, another manipulated character, and then reveals another partial to the audience. By Shakespeare creating a character so devious that it makes the audience/reader question if Iago is even fully honest to them, easily applies to the theme of appearance vs. reality.
DeleteIago is a very two faced person. He manipulative and is very smart about it in that he is quite sneaky and can get people to think something without even saying it directly. Like when he made Othello believe that Desdemona was cheating on him, Iago only gave subtle hints and let Othello's mind do the rest.
DeleteIts quite brilliant how Iago is able to keep all of his lies and stories straight when he is manipulating multiple people with different stories at once. One slip up could definitely give him away.
What interests me the most is how we as an audience don't even really know much about who Iago is. We don't know his true motives for hating Othello and Iago because he changes them throughout the play. We also can't rely on his dialog because he contradicts himself by saying one thing to one person and another to a different person. All we really do know is that he is manipulative, smart, and two faced. We are also able to maybe infer that through all of this manipulation and lies, he is starting to believe his own lies. This sort of gives off a fantasy vs. reality theme inside of Iago's head.
This comment has been removed by the author.
ReplyDeleteThe thematic concepts of hate, jealousy, and manipulation are displayed throughout Shakespeare's tragic play Othello. Emphasis is put on the destruction that can come from these concepts and the play is centered around Iago's want for revenge.
ReplyDeleteIn the beginning Iago is consumed with jealousy and hatred of Cassio and Othello when Othello chooses Cassio for the position of lieutenant instead of Iago. The reader, however, is led to be unclear of Iago's true motives because he changes his story.
" I hate the Moor:
And it is thought abroad, that 'twixt my sheets
He has done my office: I know not if't be true;
But I, for mere suspicion in that kind,
Will do as if for surety. (Shakespeare, 1.3.12)"
Here Iago states that he hates Othello for sleeping with his wife when earlier in the play he said he hated Othello for giving his position to Cassio. We can however see that his hate is a result of jealousy and will stop at no cost to get revenge on these men by betraying and manipulating characters of the play.
Iago manipulates the characters by misleading them to get the reaction he wants. He persuades Othello into thinking his wife Desdemona is cheating on him by discreetly saying that he thinks something is up and makes Othello want to know rather than just telling him. Iago only hints at Desdemona having an affair with Cassio with solely cicumstancial evidence and lets Othello make the accusation on his own with Iago's faulty evidence (here we can see jealousy in Othello as he believes Desdemona is cheating on him even though he has no real evidence).
Iago also manipulates Rodrigo into helping him with his plot to get Cassio fired by pretending to be Rodrigo's friend. Iago is trying to help Rodrigo be with Desdemona (he is in love with her) so he tells Rodrigo that Desdemona is in love with Cassio and that they need to get him fired so that when Desdemona is bored of Othello, she won't be able to fall back on her "second choice" Cassio.
As a part of his plan, Iago manipulates Cassio into getting drunk. Cassio had politely refused more wine, but Othello gives him no choice but to drink more when he invites others over to celebrate. Cassio gets drunk to the point that he gets in a fight. He looks very bad because he was drunk while on guard duty and is dropped of his position as lieutenant and Othello gives the position to Iago.
so it wouldn't let me do more than 4000 characters, so here is the rest:
DeleteIago is very smart with his manipulation. He is getting what he wants and nobody really suspects that he is up to anything. This manipulation and revenge is really just causing destruction though. Iago is destroying Othello's relationship with Desdemona and destroyed Cassio's reputation and career. Iago is also destroying his own life. He seems to be manipulating and plotting against everybody and will probably be left with nobody in the end. Iago even says:
"O, beware, my lord, of jealousy;
It is the green-eyed monster which doth mock
The meat it feeds on" (Shakespeare, 3.3.15)
He is telling Othello not to be jealous because jealousy will end up destroying a man. This is very ironic because Iago's whole purpose with Othello is rooted from jealousy. Iago's jealousy and revenge has also made him think of some pretty sick things.
"Now, I do love her too;
Not out of absolute lust, though peradventure
I stand accountant for as great a sin,
But partly led to diet my revenge,
For that I do suspect the lusty Moor
Hath leap'd into my seat; the thought whereof
Doth, like a poisonous mineral, gnaw my inwards;
And nothing can or shall content my soul
Till I am even'd with him, wife for wife,
Or failing so, yet that I put the Moor
At least into a jealousy so strong
That judgment cannot cure. Which thing to do,
If this poor trash of Venice, whom I trash
For his quick hunting, stand the putting on,
I'll have our Michael Cassio on the hip,
Abuse him to the Moor in the rank garb—
For I fear Cassio with my night-cap too—" (Shakespeare, 2.1.280-291)
We can see here that revenge brings out the bad in people. Here Iago states that he loves Desdemona too, not in the way of actual love, but in that if he sleeps with her, he will have revenge on Othello for supposedly sleeping with his wife ("wife for wife"). He never would have wanted to partake in such a sick action if he just accepted the events that had happened and never wanted revenge.
In his state of revenge, Iago parallels Chilingworth from The Scarlet Letter. They both devote their lives to revenge and they are both sneakily manipulative. Dimmesdale didn't suspect Chillingworth for the longest time, and Othello doesn't suspect Iago. The enemies were also so close to the victim. Chillingworth acted as Dimmesdales doctor and lived with him and Iago is serving as Othello's Lieutenant.
The thematic concepts will continue to play out though the rest of the play, as it is a tragedy and someone will likely die due to a characters hate and manipulation.
I agree with your concept, Lago is a very unique and varying character whose true inner motives are not clearly seen by one line or scene. This makes it hard to identify if he is a revenge character or just an evil character. Though his motives are unknown, throughout the story Lago has showed a deep sense of hate and angry toward Othello which is not clearly explained in the story. I did like your comparison of Othello to Scarlet Letter, especially how you stated on Chillingworth to Lago manipulation was realized so late by the manipulated character. It is also weird that though these two books are from drastically different locations and settings, but both main characters are portrayed as great images in their town, but seems to become emotionally unstable from some very little manipulation.
DeleteIn Othello by William Shakespeare, Shakespeare utilized the thematic concepts of hate, jealousy, and manipulation as he demonstrates the intermingled relationship between the protagonist Othello and the antagonist Iago. Shakespeare turns these thematic concepts into a theme exemplifying that when people have a certain hatred or jealousy toward others, they will take whatever measures necessary to achieve their goals. In this case, Shakespeare’s antagonist, Iago, uses the measure of manipulation to try to achieve his goal of taking revenge on Othello. The audience knows that Iago has developed a certain hatred to Othello when Iago explicitly states “I hate the Moor.” (Shakespeare, Act 1, Scene 3, Line 429) The audience directly understands that Iago has developed this hatred towards Othello for two direct reasons, the first for promoting a lower ranked soldier over him when Iago makes the claim that Cassio is “a fellow almost damn’d in a fair wife; that never set a squadron in the field, nor the division of a battle knows more than a spinster; unless the bookish theoric wherein the toged consuls can propose as masterly as he: mere prattle, without practice, is all his soldiership,” (Shakespeare, Act 1, Scene 1, Lines 22-28) and the other for supposedly sleeping with his wife when he says “I hate the Moor: and it is though abroad, that ‘twixt my sheets he has done my office: I know not if’t be true; but I, for mere suspicion in that kind, will do as if for surety.” (Shakespeare, Act 1, Scene 3, Line 429)
ReplyDeleteTo achieve his plot to bring Othello down, Iago takes any measure necessary to achieve that goal even if it means manipulating others. Iago uses the characters throughout the play to accomplish his task. The audience recognizes that Iago schemes to get Cassio drunk to use him as a pawn when Iago states “If I can fasten but one cup upon him, with that which he hath drunk to-night already, he’ll be as full of quarrel and offence as my young mistress’ dog.” (Shakespeare, Act 2, Scene 3, Lines 50-52) After getting Cassio drunk as part of his ploy to attack Othello, he tells the former governor of Cyprus, Montano, that “I fear the trust Othello puts him in on some odd time of his infirmity will shake this island.” (Shakespeare, Act 2, Scene 3, Lines 130-132) The audience also can recognizes his tactics of manipulation by building his trust with Othello before he stabs his back when Iago tells Othello “Why, say they are vile and false, as where’s that palace whereinto foul things sometimes intrude not?” (Shakespeare, Act 3, Scene 3, Lines 159-162) Iago’s extensive use of manipulation on the other characters in the play demonstrates that Iago will take any means necessary to achieve the task to bring down Othello which relates back to the theme that people will take any measure necessary to achieve a goal if they have been played by hatred or jealousy.
It could be true that Iago is also really jealous of Othello as he, as a black man, is happily in love and is the general of the military. However since Iago never directly states that, the audience up to Act 3 can only assume. Through Iago’s manipulative play and multiple sided faces, the audience can establish from Act 1-Act 3 that Shakespeare is portraying that the thematic concepts of hate, jealousy, and manipulation can really possess one’s character and put them on the track to commit crimes of tremendous measures
I agree, Iago is a prime example of one who is simply consumed by a senseless hatred, driven only by their desire to inflict pain and suffering upon others. I believe that Iago doesn’t truly believe that Emilia slept with Othello, and nor is he truly jealous of Cassio. For one, Iago purposely enhances his anger of Cassio by making himself think that he slept with Emilia as well. Also, Iago seems a bit meandering in his motivations, always coming up with excuses to continue his heinous acts. At his core, Iago is nothing more than a broken man who looks to others whom are happy with disgust and jealousy, and yet has a penchant for figuring people out, and understanding how to manipulate them to his own means. This combination of pure hate and a talent for trickery come together to create the character of Iago. He very well may have no other reason to hate Othello than simply the fact that Othello is happy, as you stated in your post. Iago feels no stability in life, and thus wishes to inflict the pain of entropy upon those around him; those who call him friend, wise, and loyal.
DeleteWithin Othello, one of the overarching themes of the story is the role of women in society and what is expected of them. In Othello, from the beginning we are introduced to what is expected of women, as shown by Brabantio’s reaction to hearing that Desdemona had married Othello. “It is too true an evil. Gone she is. And what’s to come of my despised time is naught but bitterness.” Brabantio never really thought that Desdemona would leave him, and that she would always be the daughter by his side. In Act 2, Iago reveals his true feelings about women through the guise of a joke. “She that was ever fair and never proud…She could think and ne’er disclose her mind.” Iago wants a women who is subservient and who never speaks her mind. He wants complete loyalty because he is paranoid and fears that Emilia is not being faithful. By the third Act, even Othello begins to feel as if women are dishonest and abusive people. Iago tells Othello that Desdemona is having an affair with Cassio, and Othello, believing all that Iago tells him, begins to spout degrading things about women as well. Women in the Othello’s society are supposed to be totally dependent upon their husbands and/or fathers, and the mere idea of a women have a semblance of independence or self-rule makes men suspicious and angry. Othello too lacks faith, as the seed of doubt germinates in his mind, growing, proliferating into hatred, anger, and a thirst for vengeance.
ReplyDeleteI agree with your views that the societal view on women during that time period was that women should be subservient and totally dependent on the men in their lives. However, when you stated that Iago was paranoid about Emilia cheating on him, I thought that he had already decided in his mind that Emilia was cheating on him, and that was also why he was intent on getting his revenge. It seemed that he was not acting on fear, but that the idea had already been planted in his mind. Also, when you said that the women in this story, lacked faith, I think it could also be said that it wasn't only the women, for you also stated that Othello too lacks faith. Iago also lacks faith to Othello and the other characters that he is deceiving. Therefore I believe it is not only the women that are unfaithful, also the males in this story.
DeleteIn the tragedy, Othello, Shakespeare clearly shows the thematic concept of appearances vs. reality mainly through the characterization of one of the main characters: Iago. His intensively manipulative actions towards almost every character in the book illustrate his deceptive nature, and how he is not what people think he is. It is mainly Iago who is not who he appears to be. In Iago’s conversations, he states that “I am not what I am,” (Shakespeare Act 1, Scene 1, ln 64). Iago appears as a friend to others while in reality, he is a selfish person who is only intent on achieving his revenge.
ReplyDeleteOne of Iago’s main instances of not being who he appears to be is evident in his relationship with Roderigo. Roderigo is an easily manipulated individual who will do whatever it takes in hopes of getting closer to Desdemona, Othello’s wife. Choosing to trust Iago, Roderigo follows his advice when he says “Go to, farewell. Put money enough in your purse” (Shakespeare Act 1, Scene 3, ln 423)”. Iago appears as such a close friend to Roderigo that Roderigo trusts him enough to sell all of his own land to pursue his love. Iago gives the appearance that he is a loyal friend to Roderigo and instead, Iago is really just using Roderigo to get his money.
Another deceptive relationship involving Iago is his interaction with Cassio. After Cassio took Iago’s position aside Othello, Iago was solely focused on getting his revenge. After framing Cassio and causing him to lose his position, Iago was able to manipulate Cassio into believing that Iago was there for him, shown by Cassio saying “you advise me well” (Shakespeare Act 2, Scene 3, ln 346). Iago is able to fool many of the characters into believing that he is there to help, when in reality he is serving his own self-interests of revenge.
I agree that Iago's nature is Machiavellian, he uses the plight of those around him in order to further his own goals. He is not upfront about who he really is and this becomes a large part of his act. It is when Iago seems like he is doing the most good, is when he is actually being very manipulative and evil. His fake sense of benevolence is what allows him to inflict a great deal of damage to those around him without them being able to tell until it is already too late. I also agree that Iago is extremely selfish, he seems to manipulate and screw over anyone with no regard, only keeping revenge in his mind. This is seen by how he treats Roderigo, pretending to be his friend, while he is only using him for his money and as a pawn in the grander scheme of revenge.
DeleteIn the tragedy, Othello, Shakespeare developed the concept of appearances vs. reality through the characterization of Iago in terms of his contradiction of dialogue and actions in the first act as opposed to the second and third. In Act one, the author shows us Iago is angry by having him distinctly speak out against Othello saying to Rodrigo at the beginning of the act, “Three great ones of the city, in personal suit to make me his lieutenant, off-capped to him; and by the faith of man, I know my price, I am worth no worse a place. But he, as loving his own pride and purposes, evades them with a bombast circumstance, horribly stuffed with epithets of war (and in conclusion,) nonsuits my mediators (Shakespeare, 1.1.9-17), and by saying in his soliloquy, “Let me see now; to get his place and to plume up my will in double knavery-How? How?- Let’s see. After some time, to abuse Othello’s (ear) that he’s too familiar with his wife…. Hell and night must bring this monstrous birth to the world’s light (Shakespeare, 1.3.435-447). After this though, his actions do not reflect his dialogue truly, despite the fact that he manipulates Cassio, Othello, Desdemona, and even Emilia into thinking that his dialogue and actions are motivated by the same thing. In as little as his next appearance in the play when he arrives at Cyprus his words become ambiguous when he talks of women and their real motivations because despite what seems like witty bantering, “Sir, would she give you so much of her lips of her tongue she oft bestows on me, you would have enough (Shakespeare, 2.1.112-114), and, “She that was ever fair and never proud, had tongue at will and yet was never loud, never lacked gold and yet went never gay, fled from her wish, and yet said ‘Now I may,’ she that being angered, her revenge being nigh, bade her wrong stay and her displeasure fly, she tat in wisdom never was so frail to change the cod’s head for the salmon’s tail, she that could think and ne’er disclose her mind, [See suitors following and not look behind,] she was a wight, if ever such (wight) were-…. To suckle fools and chronicle small beer (Shakespeare, 2.1. 163-175), Iago really means it validated when Emilia tells him she has the handkerchief and he says, “A good wench! Give it me,” (Shakespeare, 3.3.359). All while this is going on, Iago now distorts the appearance to everyone around him to muddle the reality.
ReplyDeleteConnor, outstanding response. This is a great way to show how appearance vs. reality develops the characterization of Iago throughout the three acts. I think it was a good use of textual evidence when you used the quote showing how Iago is angry because he speaks out against Othello in a hateful and angry manner. I think that this is a good comparison when you match it up with describing the hankerchief as a representation of Iago's love for Emilia, and how you can tell that she is sleeping with Othello by the way she embraces having the hankerchief, which is in the way the Iago hoped wouldn't happen. The hankerchief ultimately becomes a representation of the two separating and i think you did a really good job of representing that through textual support. The only criticism I have is that there could have potentially been another quote to support the reality factor of your comparison, which would have evened the comparison out, but other than that great job on your response.
DeleteIn the tragedy Othello, William Shakespeare displays the thematic concepts of hate, jealousy, and manipulation numerous times throughout the play. These concepts center around the character of Iago, who seeks revenge against Othello, and is willing to do it by any means necessary. In Act 1 we discover that Iago is jealous because he has been passed up for a promotion by Cassio, who Iago believes is a lesser soldier. Also Iago suspects Othello of sleeping with his wife and making him a cuckold.
ReplyDeleteIn Act 2, Iago manipulates Cassio into drinking more than he should so that he becomes belligerent and tries to fight Roderigo. Montano see's Cassio in this state and immediately informs Othello who strips Cassio of his position. We see that while Iago seemed like he meant well, he fulfilled his true intentions by manipulating Cassio and getting him stripped of his rank. After this happens, he is already setting up his next play and getting Cassio to talk to Desdemona in Act 3.
In Act 3, Cassio speaks with Desdemona about getting his rank back. Iago tell Cassio that if he talks to Desdemona, then she will convince Othello to give him his position back. Yet Iago also plays on the other side and plants the seed in Othello's head and tells him that Cassio might be sleeping with his wife. Othello promotes Iago to lieutenant, which brings Iago one step closer to fulfilling his revenge on Othello. As we can see due to the events in Act 3, Iago is not afraid of manipulating both sides, he uses the hate and distrust that Cassio and Othello have gained for each other to play both sides while furthering his own cause.
Hence, Iago's actions are Machiavellian in nature and he has no regard for his actions, with only vengeance on his mind. He is blinded by revenge, and he believes that the ends justify the means and is willing to do whatever it takes. It will be interesting to see the thematic concepts of hate, jealousy, and manipulation grow as the play continues and the story becomes more developed.
I agree with your views on how Iago is the main antagonist and uses Manipulation fueled with Jealousy and Hate in order to get what he wants. The example used was very good because it showed that even as Cassio and Othello look upon him as a trusted friend he is playing both sides against each other in order to obtain his goals, regardless of damage done to others.
DeleteI agree with your claims of Iago being driven by resentment for Othello due to many of his actions, such as the promotion of Cassio and the possibility that Othello slept with Emilia. However, could Iago's hatred be more deep-rooted than a simple resentment of some of Othello's actions? I believe that much of Iago's hate and manipulation is a result of jealousy. It is not just a jealousy of Othello's rank or position, but more of a jealousy of the true love between him and his wife. A contrast is shown between how Iago and Emilia treat each other and how Othello and Desdemona treat each other. In act 2, we see how the marriage of Othello and Desdemona initially seems flawless as each of them love and support the other. Later on in act 3, the exchanges between Iago and Emilia show that the two distrust each other at times and do not show the unequivocal love which is characteristic of Othello and Desdemona. Since Iago understands this and has other reasons to dislike Othello, he is determined to destroy the general's seemingly perfect marriage in an attempt at emotional revenge for his poor situation in life.
DeleteThis post does a great job of proving its case for Iago's determination to seek his ultimate revenge "by any means necessary" by including plenty of examples by which Iago goes to great lengths to reach that revenge.
DeleteThe author discusses that Iago is willing to manipulate others, even simultaneously against each other when discussing his plot to make Desdemona appear unprecedentedly sympathetic toward Cassio while convincing Othello that the two are infidels at the same time.
He also discusses Iago's exploitation of Cassio's career and of the Othello/Desdemona romantic relationship, further solidifying his argument that Iago will pursue his revenge with whatever it takes. I can add that Iago manipulated Roderigo similarly by convincing him to brawl with Cassio while under the influence, putting multiple lives in danger in the name of his goal.
Lastly, I want to say that I appreciate the reference to Machiavelli's philosophy that "the ends justify the means". That idea brought character to the argument.
One of the most prevailing themes throughout Shakespeare’s Othello is Gender Roles and how men believe women should act and “owe” their obedience towards. One of the best examples of this comes from the conversation between Barbantio and Desdemonia in the presence of The Duke of Venice, it says (Barbantio) “Come hither, gentle mistress: Do you perceive in all this noble company Where most you owe obedience? (Desdemonia) My noble father,I do perceive here a divided duty: To you I am bound for life and education; My life and education both do learn me How to respect you; you are the lord of duty; I am hitherto your daughter: but here's my husband, And so much duty as my mother show'd To you, preferring you before her father, So much I challenge that I may profess Due to the Moor my lord.” (William Shakespeare’s Othello Act 1, Scene 3, Lines 525-537). This conversation begins with Barbantio asking his daughter “Where most you owe obedience?”, this question shows that he expects her to choose him as the man that deserves her obedience the most, and this would be true if she was unmarried. However, she was recently wed and responds as such, stating that just like her mother favored him instead of her father, she must do the same. Desdemonia doesn’t leave it at that however, and says that it is her “duty” to her husband, this choice of diction from Shakespeare hints at the underlying gender roles and how females were subservient to different men depending on their marital status. Regardless of who though, women were always considered beneath men and were often looked down upon and expected to be 100% obedient.
ReplyDeleteI agree with you in that in the novel women are considered as objects of sheer obedience. In Othello, the male characters see obedience as a prized quality of women; they do not want a stubborn or independent wife but rather one who will follow their commands like a blind dog. This is most likely due to the fact the novel was written in a time period where women were in fact subservient, so Shakespeare hints at women's roles as you mentioned. Iago describes the perfect female as one who, "Had tongue at will and yet was never loud… To suckle fools and chronicle small beer" (Shakespeare's Othello Act 2. Scene 1 page 71). Thus, Iago hints that women should not have a voice, possibly hinting that women's opinions do not matter, and that they are only good for child-bearing and performing household duties. In conclusion, Shakespeare illustrates the gender roles of the time by highlighting the opinions of the major male characters throughout the novel.
DeleteIn Othello by William Shakespeare, a prominent thematic concept that encompasses Acts I-III is "appearance vs. reality", which is portrayed primarily through Iago's characterization, actions, and evil intentions. While Iago appears to be an extremely honest and trustworthy friend to many, he actually is a mastermind who hungers for revenge. He creates a whole evil scheme, which is followed through by setting Roderigo and Emilia up as his puppets and lying to create an impeccable reputation as "Mr.Good Guy".
ReplyDeleteIn the first act, Iago's real character shines through when he bluntly states that he hates, "the Moor: And it is thought abroad, that 'twixt my sheets He has done my office: I know not if't be true; But I, for mere suspicion in that kind, Will do as if for surety." (Shakespeare 1.2.2). In this example, Iago expresses his true self through a soliloquy. He hates Othello, and strives to get revenge although he is not positive that Othello has done anything wrong; however, Iago's plain suspicion is enough. With that being said, Iago's real evil intentions are only expressed when he is alone, characterizing him as an obscure and deceitful being. Furthermore, in Act II, Iago commands Roderigo to anger drunken Cassio in order to create a scene to ruin Cassio's reputation and dissolve his rank. However, when Othello questions Iago with regards to what happened, Iago claims that he would "rather have this tongue cut from my mouth Than it should do offense to Michael Cassio"(Shakespeare 2.3.9). This is not only an exaggerated lie, but a direct contrast to Iago's true intentions; Iago could not care less whether he had hurt Cassio or not. Thus, Iago creates sort of a fake image for himself, or rather, "appearance" which causes the other characters to see him as good-hearted. Finally, in Act III Iago slyly uses Desdemonia's handkerchief as a piece of evidence for what he wants Othello to see and believe (Cassio is sleeping with Desdemonia). After toying around with Othello's mind and making himself appear like Othello's best friend, he mentions "a handkerchief-- I am sure it was your wife's-- did I today See Cassio wipe his beard with"(Shakespeare 3.3.3). In order to create palpable "proof" for Othello to see, Iago mentions the handkerchief which really makes Othello believe him. In conclusion, Iago creates these false images of which the other characters see, but in actuality, these appearances are not reality which obscured by Iago's manipulative ways. By including Iago, Shakespeare attempts to send the message that what appears to be reality may actually be a fake image caused by the evil nature of some humans to deceive.
In Shakespeare’s tragedy, “Othello,” the popular theme of jealousy/hate/manipulation can be linked to more than one character; however, this theme is more commonly applied to Iago. Iago constantly plays others off each other, trying to antagonize them. He does this out of jealousy and spite towards Othello. For example, during a conversation with Othello about Cassio and Desdemona, Iago states, “Ay, there’s the point, as (to be bold with you) not to affect many proposed matches of her own clime, complexion, and degree, whereto we see in all things nature tends- foh! One may smell in such a will most rank, foul disproportions, thought unnatural. But, pardon me, I do not in position distinctly speak of her; though I may fear her will, recoiling to her better judgment, may fall to match you with her country forms, and happily repent.” (Shakespeare Act 3, Scene 3, ln 228-238) By implying to Othello that Desdemona will soon get tired of Othello and that she will put him aside with the other men that have fallen for her, Iago implants the idea that Desdemona is unfaithful into Othello’s head. Doing this Othello begins to mistrust Desdemona which goes according to Iago’s plan to ruin Othello. Iago goes even further by taking the handkerchief that Othello gave Desdemona when he says after taking the handkerchief from Emilia, “I have use for it. Go, leave me. (Exit Emilia) I will in Cassio’s lodging lose this napkin and let him find it.” (Shakespeare Act 3, Scene 3, ln 317-319) With the handkerchief, which is an heirloom from Othello’s mother, Iago plans to make the situation look as if Desdemona is having an affair with Cassio if the handkerchief is in his possession. As a result, Othello and Cassio’s already weakened relationship would become completely tarnished when Iago’s plan succeeds. For the most part the hate and jealousy that Iago feels will surely consume him. This is foreshadowed when Iago proclaims “O, beware, my lord, of jealousy! It is green-eyed monster, which doth mock the meat it feeds on.” (Shakespeare Act 3, Scene 3, ln 165-167) Here Iago unaware, talks about how jealousy will consume you, when in fact jealousy is consuming him at that very moment.
ReplyDeleteThis post does well in discussing the ironic and mutually destructive qualities that jealousy, hate, and manipulation can have on a character. Additionally, It discusses the effect that these concepts take on their most prominent (ab)user, Iago. I agree that these concepts are best applied to Iago, as his original jealousy is the root of all of the jealousy that was created in the play and therefore arguably the strongest and most influential force of jealousy found among the play's characters.
DeleteI love that the poster included a commentary that "the hate and jealousy Iago feels will surely consume him," and that "in fact, jealousy is consuming him at that very moment." I think that examining the ironic effects that individual-enveloping jealousy has on the individual himself is an insightful, creative, and entertaining discussion of jealousy's role in the play.
This comment has been removed by the author.
ReplyDeleteIn acts one through three of the Shakespearean tragedy, Othello, the thematic concept of appearance vs. reality is demonstrated by the increasingly deceptive behavior of Iago. This theme is introduced in the opening scene of Act 1 where Rodrigo appears to be insulting Brabantio, but it is truly Iago speaking. Here, Iago distorts the appearance of Roderigo by making him seem very aggressive towards his desire for Desdemona's hand. He yells "Awake! what, ho, Brabantio! thieves! thieves! thieves! Look to your house, your daughter and your bags! Thieves! thieves!" (Shakespeare, 1.1.79-81). By giving the appearance of Roderigo's anger, Iago causes Brabantio to wake and realize Desdemona is married to Othello, thus kicking-off the entire conflict.
ReplyDeleteLater in act 1, Iago gives an appearance of wanting to help Roderigo by suggesting to him to sell his land in order to go after Desdemona. However, this appearance is deceiving as Iago explains in a soliloquy that he would "make my fool my purse" (Shakespeare, 1.3.86) and help Roderigo only for "sport and profit" (Shakespeare, 1.3.89). Furthermore, in act 2 Iago describes Othello as "of a free and open nature [...] That thinks men honest that but seem to be so" (Shakespeare, 2.1.391-392). Here, Iago is aware of how Othello judges people based on their outward appearance. From this, Iago is able to manipulate Othello due to the ability to hide the reality of his character.
In act 3, Iago shows full control over the plot as Othello is unable to discern appearance vs. reality. Iago claims "I am your own forever." (Shakespeare, 3.3.480) and warns of jealousy "the green-eyed monster which doth mock the meat it feeds on" (Shakespeare, 3.3.166-167). In appearance, Iago is pledging his support to Othello but in reality he is deceiving the general more and more. Therefore, as Roderigo and Othello begin to trust Iago more, their reality of the current situation becomes more distorted and leads to them embracing false appearances as truth.
Throughout Acts 1 through 3 of Othello, Shakespeare develops the thematic concept of appearance vs. reality. The plot of Othello revolves around Iago's scheme to bring Othello down by ruining his marriage with Desdemona. His motives for doing so, however, remain unclear. At first, he explain to Roderigo (who agrees to help Iago because he wants Desdemona for himself) that "...I hate the Moor. My cause is hearted; thine hath no less reason. Let us be conjunctive in our revenge against him. If thou canst cuckold him, though dost thyself a please, me a sport." (Shakespeare, Act 1, Scene 3, Ln 363-367) By telling Roderigo that he wants to bring Othello down simply because it is entertaining to him, Iago clears himself of any suspicion in Roderigo's eyes. However, as soon as Roderigo leaves, Iago laughs how "[t]hus do I ever make my fool a purse; For I mine own gained knowledge should profane If I would time expend with such a snipe But for my sport and profit" (Shakespeare, Act 1, Scene 3, Ln 375-378), revealing that he is only exploiting Roderigo for his money and that Iago suspects Othello to have slept with Emilia, his wife. Then in the following act, Iago mentions that "I fear Cassio with my nightcap too" (Shakespeare, Act 2, Scene 1, Ln 304), revealing another motive for his deception. Iago seems to have a plethora of motives, but one has to wonder: which one is his true motive? Does he have a true motive at all, or is he simply creating excuses to cover a raging jealousy? The audience is supposed to act as an entity that knows all, but Iago makes himself difficult to understand, as the audience can no longer be assured that Iago is telling the truth, even during his soliloquies.
ReplyDeleteIt was also interesting how Iago's entire plan is somewhat based on the appearance, rather than the reality, of things. For example, In Act 1, Iago targets Cassio to frame as Desdemona's lover because Othello "holds me well; The better shall my purpose work on him. Cassio's a proper man." (Shakespeare, Act 1, Scene 3, Ln 382-384) Iago knows that he will easily be able to manipulate Othello because Iago always appears to be so kind and caring of his commander -- ironic, seeing as how his true personality is the exact opposite. Later, Iago begins to plant suspicion in Othello's mind by remarking how Cassio "sneak[ed] away looking so guilty when he saw you coming," (Shakespeare, Act 3, Scene 3, Ln 39-40) then proceeds to fester that suspicion by telling Othello of the supposed interactions between Desdemona and Cassio. Even though Othello has no tangible proof of Desdemona's infidelity, Iago's manipulation of the appearances of certain situations puts the most minute details in a different light. For example, Desdemona relentlessly pleads Othello to restore Cassio to his position because she is kind-hearted, but because Iago planted his manipulative ideas in Othello's thoughts, he misinterprets her persistence as a manifestation of her love for Cassio. With his knowledge of the power of appearances , Iago bends reality into a situation that spirals out of control for his victims. In a way, one could even say that Iago acts as his own foil character by creating a facade of a noble friend to all while plotting as the mastermind behind the main characters' downfalls.
In Shakespeare's tragedy Othello, the thematic concept of hate and jealousy is one demonstrated in almost every character, and has grown as the play has moved forward. It began with Brabantio, Desdemona's father, who begins to hate Othello as he learns he has taken his daughter and married her. This was the opening scene of the play, and though not a major character, Brabantio's hate set the stage for this thematic concept to be developed. Throughout the course of Acts I-III, Shakespeare shows the audience how jealousy and hate are all consuming, and even more powerful emotions than love through the development of Iago in constructing is plan, and Othello in his discovery that Desdemona may be cheating on him.
ReplyDeleteIago’s motivation for the destruction of Othello’s life is his hatred for him. In Act I, the audience is presented with why Iago hates Othello. He hates him because he passed him up for a position that he was more qualified for, but at the end of Act I, he goes even deeper. “I Hate the Moor, and it is thought abroad that ‘twixt my sheets ‘has done my office.” (1.3.429-31) There is rumour that Othello has slept with Iago’s wife Emilia has slept with Othello, and Iago hates him for the shame that this has brought him. In this time, it was not good to be a cuckhold, and Iago thinking that he has taken his honor as well as his position was the last straw. For Iago, this fiery hatred he has for Othello is one that consumes his entire life. He employs Emilia and Roderigo to help enact his plan of vengeance as well, and has no purpose in this work than to be a force of hate and revenge. This hate grows stronger as the play continues, and Iago probably will not be satisfied until he successfully manipulates Othello to do his bidding.
Othello’s love for Desdemona at the beginning of this play was all-consuming, but as soon as Iago exerts his influence, Othello’s jealousy becomes even more powerful than the love he feels for his wife. At the beginning of Act I, they were irrevocably in love, but by Act III, Othello’s jealousy takes over. Once Othello is convinced of her promiscuity he exclaims, “Damn her, lewd minx! O, damn her, damn her!” (3.4.541-2) In this scene, Othello’s love is quickly replaced with a jealous rage brought on by Iago’s manipulation. Othello and Desdemona’s love seemed so powerful, but Othello’s sense of pride is far more important to him, so that causes him to become “the green eyed monstor which doth mock the meat it feeds on.” (3.3.195-6) that Iago had ironically warned Othello about just a scene prior. In Othello, the thematic concepts of jealousy and hate were developed to create a theme of how these emotions can be even more powerful than love, and that hate will cause a person to do almost anything. Iago and Othello demonstrate this in how quickly they were able to turn on people they once cared about, once their honor is in question.
In Shakespeare’s tragic tale, Othello, one of the most governing themes is appearance. Vs reality. This thematic concept is shown throughout act 1-3 heavily in the main character Lago, whose main goal is to destroy Othello physiologically for entrainment and other unknown motives. This starts from Act 1 itself when Lago portrays the appearance of Roderigo. In this scene he uses this hidden appearance and promotes to a very harsh and aggressive force toward when he yells "Awake! What, ho, Brabantio! thieves! thieves! thieves! Look to your house, your daughter and your bags! Thieves! thieves!" (Shakespeare Act1, Scene 1, line 79-81). This aggressive shouting emphasizes the importance and seriousness of the Desdemona leaving indirectly, showing her importance to Barbantio and Lago. Also from this scene onwards shows his manipulative actions towards all of the major characters illustrating his deceptive nature, and how he is not what people think he is though other characters, like Cassio and Othello, also has shown a difference between their outward appearance and their inner realities, Lago seems to be the Master mind between all the deceptiveness throughout the story. He also the only character who truly has never has shown his true reality and also completely portrayed himself as a false personality and character, never really showing his true character to the star’s characters or the reader. In Iago’s conversations, he states that “I am not what I am,” (Shakespeare Act 1, Scene 1, line 64). Though most readers can conclude ago appears as a friend to others while in reality; he is a selfish person who is only intent on achieving his unknown motives.
ReplyDeleteIn the tragic story, "Othello", written by Shakespeare, the most strong and prominent thematic concept throughout the book is without a doubt jealousy. This thematic concept is heavily developed throughout the three acts, but in the first act there is an excessive amount of evidence that proves jealousy to be a major thematic concept. Whether its Iago hating Othello or Iago believing that Othello is sleeping with Emilia, jealousy proves to be the the main point of conflict as the major theme.
ReplyDeleteIago hates Othello because Othello gave the promotion to Casio instead of Iago, who deserved it more. But later on in the act, Iago hears a rumor that Othello is also sleeping with his wife, and Iago says,"I hate the Moor:
And it is thought abroad, that 'twixt my sheets He has done my office: I know not if't be true; But I, for mere suspicion in that kind, Will do as if for surety." (1.3.12) Iago at the current moment just has hatred towards Othello mainly because he thinks that the rumor about Othello sleeping with his life is just a rumor.
Iago really becomes jealous when it becomes more clear that Othello has been sleeping with Emilia. To get back at Othello, Iago is trying to make Othello believe that his wife is having an affair with Casio, "Casio's a proper man: let me see now:To get his place and to plume up my will In double knavery--How, how? Let's see:-- After some time, to abuse Othello's ear That he is too familiar with his wife. He hath a person and a smooth dispose To be suspected, framed to make women false. The Moor is of a free and open nature, That thinks men honest that but seem to be so, And will as tenderly be led by the nose As asses are. I have't. It is engender'd. Hell and night Must bring this monstrous birth to the world's light." (1.3.12) This shows Iago's jealousy is apparent by his attempts to essentially set up Othello.
In conclusion, it is clear that the most strong and prominent thematic concept throughout the book is jealousy.
I agree with what you said in that jealousy is a prominent thematic concept within the play, though I don't agree with it being the strongest and most prominent. I like your analysis of the intermingled relationships and the coherence between characters. You make it apparent with your textual support that your argument is logical and abides by the story, showing the reader the repercussions of jealousy and how it has not only affected character development but also plot development. You had a well-thought out and thorough analysis, though less summary and more insight would have been appropriate.
DeleteI agree that jealousy is an extremely important thematic concept throughout the first 3 Acts. I believe that will continue as Othello will deteriorate from the inside because of this scam by Iago and he will end up like Dimmesdale. I also agree that Iago did this whole scheme because of jealousy of Cassio and that is why he wants to mess with Othello and Cassio. I believe that jealousy will be the downfall of Othello and Iago at the end of the story.
DeleteIn the play “Othello", a Shakespearian tragedy, the thematic concept of appearances vs. reality is expressed all throughout the story, exercising its meaning in a multitude of forms--the positive and negative aspects of what appears to be versus what lives to be. A recurring example of this two-sided thematic concept is embodied in one antagonist of the story; Iago. Iago is a man comprised of spite; one who lost his aspired position to one he felt was less qualified (Cassio). This position of leadership was assignment by Othello, the superior. Iago surfaces an appearance that would appeal to Othello, one presenting loyalty and trust, in an effort to claim what Iago wanted in the first place. However, in the midst of doing so, Iago’s true character, time, and motives becomes consumed by this fake and makeshift alias “My lord, you know I love you.” (3.3.1213). Iago reveals different personalities to different people, all of which are dependent on his motives and what he wants for himself, even for those who appear to be close. Iago even fakes a close bond with someone of a lower intelligence—Roderigo. He manipulates and changes the behavior of Roderigo, asking him to act in ways that only benefit Iago himself. “Thou art sure of me. Go, make money. I have told thee often, and I re-tell thee again and again, I hate the Moor. My cause is hearted, thine hath no less reason. Let us be conjunctive in our revenge against him.” (1.3.1193). Iago creates the appearance of an appreaciative and heartfelt person towards Cassio with the intent of carrying out a plot. He intends on scoring revenge to those he doesn’t appreciate or wants to bring down, but does so by following the cliché “keep your friends close but your enemies closer”. “come, you are too severe a moraller. As the time, the place, and the condition of the country stands, I could heartily wish that had not befallen; but since it is as it is, mend it for your own good.” (2.2.1207). As the story develops, the thematic concept of appearance battling reality is embodied by Iago himself. He resembles the negative consequences of changing appearance and skewing the look of what’s real.
ReplyDeleteThis comment has been removed by the author.
ReplyDeleteIn the tragedy Othello, Iago is the master of manipulation and that is one of the most prominent thematic concepts in the story. The plot of the story was only due to Iago's manipulation of all the characters and fabricating the story in his way. In Act 1, Iago convinces Brabantio that his daughter had been kidnapped by Othello and that is where the plot twisting all began. Iago said, "An old black ram is tupping your white ewe."This enraged Brabantio and they went after Othello and showed that Iago really wanted to ruin Othello. In Act 2, Iago tried to set up Cassio and Desdemona to make Othello jealous. Iago told the audience, "That Cassio loves her, I do well Believe't that she loves him, 'tis apt and of great credit." In Act 3, Iago continues the scheme about convincing the reality of the relationship between Desdemona and Cassio to Othello and Othello continues to be gullible. Iago told Othello, "O, beware, my lord, of jealousy! It is the green-eyed monster which doth mock the meat it feeds on. That cuckold lives in bliss." This is basically saying that Cassio is having his way with your wife and you are not doing anything about it. Iago will continue to scheme throughout the story and this will be a very important thematic concept throughout the story.
ReplyDeleteIn the tragic play "Othello", by William Shakespeare, the deceptive Iago reveals how hate and jealousy can drive people to believe whatever they perceive to be even if it is not true. By knowing how to manipulate the truth, Iago can use his cunning cleverness to force people to believe what he wants them to by attacking their weak points.
ReplyDeleteIn Act 1, Scene 3 (pg. 14), Iago said "I’ve never been more useful to you than I will be now. Here’s what you’ll do. Sell all your assets and your land, and turn it into cash. Desdemona can’t continue loving the Moor any more than he can continue loving her. She fell in love with him very suddenly, and they’ll break up just as suddenly. Moors are moody people.—So sell your lands and raise a lot of cash. What seems sweet to him now will soon turn bitter. She’ll dump Othello for a younger man. When she’s had enough of the Moor’s body, she’ll realize her mistake. She’ll need to have a new lover. She’ll have to have it. So have your money ready." It is evident that Iago is using Rodrigo for personal reasons to get back at Othello by splitting Othello and Desdemona up. Out of jealousy for Othello, Rodrigo does whatever Iago tells him because he genuinely thinks that Iago is trying to help be in the position that Othello is currently in. This blinds Rodrigo from what is really going on.
In Act 2, Scene 3 (pg. 3), Iago had a soliloquy that said "If I can just get him to drink one more glass after what he’s drunk already, he’ll be as argumentative and eager to fight as a little dog. That fool Roderigo, all twisted up inside with love, has been drinking toasts to Desdemona by the gallon, and he’s on guard duty.I’ve gotten the rest of the guards drunk, as well as several gentlemen from Cyprus who are quick to take offense. Now I’ll get Cassio to do something in front of all these drunkards that will offend everyone on the island. Here they come. If the future turns out as I hope it will, I’m all set for success.", which informs us on his plans and intentions. By getting everyone drunk, specifically Cassio, so that he will act belligerently so that his reputation and image can be manipulated to how Iago wants so that he can seek revenge on Othello.
In Act 3, Scene 3 (pg. 9), Iago say "Watch how she is with Cassio. Just watch—don’t be either completely suspicious or completely trustful. I wouldn't want to see you taken advantage of because you’re such an open and trusting guy. Watch out!". In order to try and sabotage Othello, Iago uses the jealousy and suspicion that Othello might have of Desdemona. Iago uses this to his advantage so that he can extended the truth and carry out his plan.
To Jackson Funke,
ReplyDeleteI do agree that jealousy is one of the thematic concepts in the play, Othello. From the very first acts there hate and jealousy in the characters demeanor and diction. The thematic concept of hate and jealousy is further developed as the story progresses. It seems as if it thickens a bit as the plot begins to get more climactic. I think as the story goes on that the hate people have for each will be revealed in some way and everyone's' true feelings or opinions are exposed. With all of the low key hate and jealousy, it embraces manipulation and deception to occur, which is another thematic concept in the story.
Throughout the tragedy of Othello, by William Shakespeare, the thematic concept of hate/jealousy/manipulation is shown many times. Iago, the antagonist, of the play sets out for revenge on his friend, Othello, after not getting promotes for the job he believed he was qualified for. Iago, at the end of Act 1, scene 3 says, “And it is thought abroad that ’twixt my sheets he’s done my office. I know not if ’t be true, but I, for mere suspicion in that kind, will do as if for surety” showing us that he relies merely on feelings rather than facts.
ReplyDeleteIaog’s plan is to brainwash Othello into thinking Cassio is sleeping with Othello’s wife, Desdemona. He hopes Othello with degrade Cassio and upgrade Iago, by bringing a “monstrous birth to the world’s light” (Act 1, scene 3) and to maybe even kill them, or whoever stands in his was, in the process. His intentions are to expose the true characters of Cassio and Othello publicly. Iago believe that he can use Cassio’s “flirtatious” personality against him and Othello will be more likely to believe that he’s sleeping with Desdemona.
Brabantio is also another character filled with hatred after Desdemona went behind his back t marry Othello. He thought his relationship with his daughter was stronger but realizes she must now love her husband more, he feels betrayed. We know this because when Othello asks Desdemona to accompany him in Cyprus, the duke says in act 1, scene 3, “Why, at her father’s house” Brabantio says, “I’ll have it not so” showing us he is hurt and filled with hatred towards Othello.
In William Shakespeare's tragedy, Othello, the roles of jealousy and manipulation dictate the actions of many characters in the play. As thematic concepts, jealousy and manipulation transition in function between Acts I and III from motivation for petty revenge to an all-consuming, universally destructive force.
ReplyDeleteBeginning with Iago's jealousy of Cassio for the position of Lieutenant, the standard for Jealousy's role in the play is set as a catalyst for childish revenge. In fact, Iago pledges to enact many juvenile and less-than-life-threatening acts upon Othello as revenge, including to "Rouse him, make after him, poison his delight, proclaim him in the streets; Plague him with flies," (Act I, Scene I). Here, Iago's threats carry a playful, boyish tone. Though he discusses that he'll "poison" Othello's delight, it functions figuratively, in the same manner as it would to plague him with flies. In the beginning of this play, the thematic concept of jealousy influences characters to wish mere inconvenience on one another.
By the third act of the play, however, this thematic concept's role in vengeful action becomes much more severe. It motivates manipulation, physical altercations, and declarations of meditated murder between characters; in heavy contrast with the lighterhearted jealousy-motivated deeds of before. The most magnitudal influence of jealousy within the play occurs here, when Othello's jealousy inspires him to kill his wife, Desdemona, and he declares, "I will withdraw to furnish me with some swift means of death for the fair devil," (Act III, Scene III). Nearing the end of Act III, the thematic concept of jealousy has grown into a motivation for the most destructive act that man can commit.
Between the first and third acts of William Shakespeare's tragic Othello, the functionality of jealousy grows from a rationale for hazing to a license to kill.
In Acts I-III of the tragic play Othello by William Shakespeare, the ideas presented through gender roles and expectations develop within the characters of Emilia and Desdemona. Emilia so far is only subservient to her husband, expected to exist only for the sole purpose of doing things for him and making him happy. But, because of the culture at the time, Emilia does not rebel against this expectation but wholly embraces it because there isn’t much else that she can do. As a middle class woman in that time, there were only a few career options for her and the most common one was to be a wife. Because of these expectations, Emilia doesn’t question Iago when he asks her to do questionable things, she does everything she is told just so she can please her husband. Desdemona has a similar predicament to Emilia in that she is limited in the things that she can accomplish. Desdemona is the perfect example of how women were objectified during that time because her father sees her only as a possession that he must keep. The only man in the play that doesn’t outwardly see her as a possession is Othello. He does see Desdemona as his and his alone, but he never treats her as an object to be won or handled. Desdemona also expresses intense loyalty to Othello but only due to her love for him, not because she feels obligated to.
ReplyDelete