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Analysis of othellos final speech
Othello summary
Analysis of othellos final speech
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Dramatic Tension in Act 4 Scene 3 of William Shakespeare's Othello
Shakespeare employs the use of dramatic devices to signify the
approaching climax of the play throughout “Othello”. With Act 4,
scene 3 being the final scene to involve Desdemona before her murder,
the use of such dramatic devices is prevalent in order to create
tension.
The scene begins with tension, as Lodovico promptly attempts to escape
Othello’s company (pg 152, line 245). This behaviour can be attributed
towards his disgusted reaction at having recently seen Othello’s
public humiliation of Desdemona. Lodovico bids Desdemona goodnight
with graciousness and reverence. Subsequent to the event that Lodovico
has just witnessed, his behaviour appears to be a deliberate defiance
of Othello’s wishes, and thus creates dramatic tension. Further
dramatic tension is created in Lodovico’s polite address towards
Desdemona being contrasted with Othello’s domineering commands (pg153,
lines1-10). Dramatic tension is also conveyed through
characterisation; in Othello’s embodiment of the attitude of a
typically patriarchal man, and Desdemona’s obedient tolerance.
Evidently, Othello takes pleasure in publicly victimising Desdemona,
who has in turn come to fear Othello. These behaviours allude towards
tension due to their dissimilarity to the accustomed conduct of
Othello and Desdemona. Desdemona’s growing fear of Othello is evident
in the precautions she takes to avoid his anger. Desdemona places the
importance of Othello’s commands above her need to confide in Emilia,
as presented in her imposing Emilia’s ordered dismissal.
Shakespeare applies foreshadowing throughout the...
... middle of paper ...
...sfully incorporates dramatic tension in
“Othello” act 4, scene 3, the presence of which remains constant
throughout the play with continuous references to themes,
characterization, foreshadowing and contrasts. This dramatic tension
surfaces during the very beginning of the scene and remains, although
only subtly detected, until the end. Shakespeare successfully reaches
various peaks of dramatic tension through different parts of the
scene, which prevents the level of dramatic tension from dissipating
and thus maintains the build up. The main source of dramatic tension
is patently the foretelling of Desdemona’s fate; a theme which one
would expect to be so prevalent in the final scenes of the play.
Shakespeare is also successful in achieving dramatic tension through
methods such as length and style of speech and irony.
Previous to Act 3 Scene 1 Romeo and Juliet marry each other. This is a
The Dramatic Effectiveness of Act III Scene I of William Shakespeare's Romeo and Juliet In this climatic central scene of the play Tybalt kills Mercutio (a close friend to Romeo.) Romeo kills Tybalt (his cousin in-law.) and is banished forever from Verona (where his wife- Juliet lives.). The audience are aware that Romeo and Juliet had fallen in love at the Capulet ball and have been married by the Friar Lawrence in the previous scene.
Dramatic Tension in Act Three, Scene One of William Shakespeare's Romeo and Juliet Although the plays of Shakespeare were written for a mixed audience, anyone watching Romeo and Juliet would appreciate the tension and drama in act three, scene one. It is unusual for two major characters to die so early on, but Shakespeare was a master playwright, and this is arguably his dramatic best. The scene opens with light humour from Mercutio and Benvolio, and follows on from the relaxed atmosphere of the previous scene, the wedding. Benvolio, however, is worried, and tries to persuade Mercutio to 'retire'. He talks of the days stirring 'the mad blood' of the family feud.
Dramatic Effect in Act Three Scene One of William Shakespeare's Romeo and Juliet. As soon as you read the opening lines of Act 3, Scene 1 you can tell. that they will soon be followed by violence and intensity although it is quite unexpected after the romantic and blissful wedding scene. Straight away, Shakespeare prepares us for conflict and brutality.
Fear and Tension in Act IV Scene 3 of William Shakespeare's Romeo and Juliet "Romeo and Juliet" was first performed around 1595 on a bare stage without any sets, with only a trap door and discovery room. The fact that there were no sets meant that Shakespeare had to create fear and tension in what the characters would say, not through decorative sets. The audience would stand in front of the uncovered stage. The play is set in Verona in Italy, where two families of equal class lived: the Capulets and the Montagues. These two families were strong
Dramatic Tension in William Shakespeare's Romeo and Juliet William Shakespeare's, 'Romeo and Juliet', tells us the story of two feuding families, the Capulets and the Montagues; whose children fall in love with each other and eventually take their lives. The prologue is a brief description of the play. As the play was written in the 16th Century, a time when many people who attended the theatre were inattentive, they needed help with the context and meaning of the play; this is what the prologue is for. The prologue also makes the audience want to know what happened in between the beginning and ending; which they already know. Dramatic irony is introduced this way.
The Significance of Act 3 Scene 3 of William Shakespeare's Othello Othello was written by Shakespeare around 1602 and was set 35 years previously to that time (around 1571) during the Elizabethan era. Shakespeare got the idea for the play from the Italian Novella 'Gli. Hecatommithi and only changed minor details slightly. He kept the same plot but some of the characters and themes in the play were very different.
Desdemona is a stunning, youthful, white, Venetian debutante. She is her father's pride and joy, but she refuses to marry any of the rich, handsome Venetian men that her surroundings expects her to spend the rest of her life with. Instead, she elopes with Othello – an older black man, an outsider to Venetian society. Turns out, this is a pretty intrepid move – Desdemona not only defies her father's expectations (that she marry a white man of his choosing), she also thumbs her nose at a society that largely disapproves of interracial marriages. In this way, Desdemona's relationship with Othello speaks to the play's concerns with Sixteenth Century attitudes about sex, gender, and race. Desdemona withholds many attributes to the play Othello by Shakespeare. She leads on a perfect life, as the perfect woman, but will it last forever?
As Iago subtly plants these suspicions of Desdemona, Othello jumps to conclusions. He immediately questions himself, “Why did I marry?” (III.iii.66) This instant doubtfulness towards Desdemona is a huge mistake made my Othello. If he were able to think rationally and consider Desdemona’s innocence before jumping to conclusions, then all of this could have been avoided. However his inability to trust his own wife increases his anger towards her tremendously and the desire to kill begins to build up inside him. Later on, when Lodovico arrives at Cyprus in Act 4, Desdemona and him discuss Cassio and Othello’s situation. Othello is irritated by Desdemona’s friendly comments about Cassio and lashes out, striking her and calling her a devil. Afterwards, Lodovico is shocked, questioning, “Is this the noble Moor whom our full senate call all in all sufficient?” (IV.i.93) Referring to him as a once “noble Moor” explains how worthy Othello’s reputation was before coming to Cyprus. However, Lodovico can no longer imagine this is the same Othello he once knew, proving that Othello has changed quite a bit since his arrival at Cyprus. Before Cyprus, Othello would have never struck his wife in public, but Iago’s manipulation has caused his anger to finally break out. Othello does not have the confidence within himself to believe in Desdemona. Therefore,
As stated throughout the essay, Shakespeare exaggerates how much our actions are affected by major emotions in the play Othello. When consumed by love, the characters? actions are amplified, when consumed by jealousy, their actions become more extreme, and when consumed by despair, their actions are exaggerated. Although emotions do have some control over our actions, they aren?t the only factor that affects what we do.
Othello is a man of romantic nature. He fell in love with the beautiful Desdemona. He was accused of stealing her away from her father. Othello was of a different race and did not fit in with her family. Othello makes a plea for Desdemona and tells his story which wooed her to begin with. Othello tells of the love that her father showed him since his boyish days. This was like a match made in heaven that overcame many obstacles which got in their way. Othello could not understand why he was good enough to work and fight alongside of her father, but was not good enough for his daughter.
The tone of the story is tragic and serious. Meanwhile, there isn't any point of view because this is a play and a play doesn't normally have a narrator. Shakespeare lets the reader make up his/her own imagination with the characters' words and behavior. Since Othello is the protagonist, he is explained in more detail. Although Othello is a brave warrior, he is a jealous person; his jealousy also prevails over his good sense. The whole play depicts the fact that jealousy causes corruption. There are many conflicts found in Othello, and person vs. person is one of them. An example is when Iago seeks revenge against Othello and Cassio because of his anger and jealousy. Person vs. society appears when Desdemona's father Brabantio, disapproves her marriage to Othello because he is several years older than Desdemona, from a different class, and a different race. An internal conflict of person vs. himself is found when Othello is in a dilemma about whether or not should he believe that Desdemona is being unfaithful to him. Othello loves and trusts Desdemona until his jealousy is aroused by the cruel manipulations of Iago. Iago's intention was to persuade Othello to believe that Desdemona is having an affair with Cassio. As Iago succeeds in convincing Othello that Desdemona is guilty of adultery, it leads to the climax of the play. And so Othello must face emotions he can't deal with. His jealousy drives him insane, and his judgment is replaced with anger and hate. At this time, the reader notices that the death of Desdemona is inevitable. Othello smothers her, and he eventually kills himself when he knows that Iago falsely accused Desdemona. This also represents the tragedy of the play.
Desdemona is a victim of both Othello’s jealousy (the ‘green-eyed monster’) and Iago’s malevolence. However, as a literary construct, she is unable to prevent herself from falling victim to the hamartia of Othello and his hubris, an essential flaw in the tragic hero according to Aristotle. His pride is wounded by the idea that society would consider him emasculate due to having been cuckolded – in this sense, her fate was inevitable. Another of Aristotle’s theories purports that catharsis (often experienced following the death of the tragic victim) is a vital component of tragedy; as a great tragedy, catharsis must certainly be felt by the audience of Othello. However, the purging of emotions should surely only be felt towards characters which are genuinely liked, demonstrating the intricate link between pity and likability and highlighting the paradox in Auden’s statement: the audience must like Desdemona to some extent for her death to have a dramatic effect. Regardless of personal opinions on Desdemona, it is an upsetting final thought for the audience that there seems to be little hope for their own lives if evil can prevail over someone so good and taint something as beautiful as Othello and Desdemona’s love.
From this point on, Othello insecurity manifests into a seemingly irrational fear of being cuckolded, and his self-perceived worth diminishes exponentially. Othello comments on the likelihood of Desdemona cheating, by explaining how it may be “for [he is] black / And have not those soft parts of conversation / That chamberers have…” (3.3.280-282) Othello’s frustration with the threat of being cuckolded puts strain on his relationship with Desdemona, and she quickly becomes a victim of domestic abuse. For example, Othello acts as an interrogator, demanding to see the handkerchief which he gave her that symbolizes faithfulness and commitment towards Othello. (Quotation) When she is unable to produce their symbol of trust, Othello’s anger manifests inside him. The audience is shown a stark contrast to Othello’s typically cool, collected and composted nature. This abrupt and irrational change in behaviour is emphasized when Othello strikes Desdemona in front of Lordovico, (4.1.245) Othello’s
In Shakespeare’s Othello, dramatic intensity is and dramatic tension is felt throughout the entire drama from the first scene to the last. As you read Othello you get a feeling as if you are in the play from all of the dramatic intensity and conflict that is presented to the reader throughout the drama. We are introduced to some of that dramatic intensity you feel as we read act I scene III 128 - 220. This is one off the many great dramatic points of this play letting us see the true feelings of Othello toward Desdemona, and how it gives Iagos a plot to plan against Othello to bring him down. This drama we see that the internal drama tension is from mainly Iago without him there would be no conflicts really throughout the play. We see inside of Iagos dastardly plan in Act II, Scene I, and Lines 211 – 292 were he is planning with Roderigo to get Desdemona away from Othello so that Roderigo could court her. We then from this scene see that at the end when Roderigo leaves that this is just a big plot to bring down Othello and get back at Cassio out of pure jealousy of him for being named by Othello his military understudy. Iago plotting the way he does in this part of the drama it’s only a mere prelude to the intensity and tension felt throughout the play. It makes us realize that the problem isn’t anything to do with Desdemona and Othello’s conflict of being together as in act I scene III lines 128 - 220. Iago in act II scene I lines 211 – 292 sets the entire plot and scheme of the drama out for us to see, and showing us that Othello’s and Desdemona’s confess to love in act I scene III lines 128 - 220 is no longer the dramatic conflict.