Iago brings about the downfall of several characters, breaks Brabantio's heart with words, poisons Othello's delight, turns Desdemona's virtue to pitch and still feels not the slightest trace of remorse, instead all he feels is pleasure at others pain. Shakespeare's managed to turn Cinthio's "scorned lover" character into an evil, twisted and unfeeling sadist. He is hugely disturbing towards Jacobean audiences of the time for the crooked manipulation and the faults of the human character he personifies. We can all identify certain aspects of his character in varying degrees in out own personalities, hopefully this can lead us to change our ways when we see how wretched this character is, he has an insatiable appetite for suffering and no matter how much he causes, he is still unhappy.
never tell me; I take it much unkindly / That thou, Iago, who hast had my purse / As if the strings were thine, shouldst know of this.” The "this" broadcasts the departure of Othello and Desdemona. Roderigo loves Desdemona, and wants her so bad that he’s using Iago as a wing man to deliver gifts and messages to Desdemona. He also subsidizes Iago money for his trouble. Iago portrays Roderigo's opposite; self-possessed, cynical, and very smart. Iago becomes one of Shakespeare's most frightening villains, because he can look at someones eyes, lie through his teeth, and make a person believe he possesses good intentions.
This is an attempt to bridge the gap between the audience and the characters. He talks about his plans and hints at his motives (he claims to Roderigo that Othello has slept with Emilia, his wife) but, most interestingly of all, he constantly tries to justify his evil actions. 'And what's he then that says I play the villain, When this advice is free I give and honest?' He brings into question the audience's core morality. The audience, for our part, seems to lap up his words and enjoy with some sort of sadistic pleasure his extremely talented actions.
Only when he hides under the table and hears Tartuffe's advances toward Elmire, does reality finally confront Orgon's idealism and Tartuffe is unmasked. Moliere was a moderate and against excess and obsession in all things. In Tartuffe, he has used Orgon as an example of how the obsessive need to believe can cause man to be taken in by those who would cloak themselves in, and manipulate with, those beliefs. The play is comic because Moliere shows how silly Orgon looks when his sincere belief is contrasted
Lying is a string that ties together a great part of the plot in Arthur Miller's Death of a Salesman. The Lomans are all greatly self-deceptive, and in their particular fancies and delusions to reality, they fuel and nourish off of each other. Willy convinces himself that he is effective, overall loved, and that his children are bound for significance. Unable to adapt to reality, he totally forsakes it through his vivid dreams and eventually through suicide. Linda and Happy also accept that the Lomans are going to become showbiz royalty.
His mask is very unique in that he is dependable and informative, yet he will stab you in the back the moment it becomes convenient for him. No man can be more two-faced when he has incredibly selfish desires, hidden under a veil of well-meaning intentions. The falsehoods of Iago are the driving force throughout the story, and his mask never changes because it serves a double-purpose. Roderigo, an initially well-intentioned man who is lovestruck for Desdemona, is corrupted by Iago’s deceptive lies. His mask portrays his sadness and melancholy behavior, seeking sympathy from the manipulative Iago.
However, he is urged by his helpers to “prick his guts,” which the temperate Peregrine rejects. Like a satirist, Per... ... middle of paper ... ...at a successful and enjoyable drama should follow. They are the unity of action, the unity of place and the unity of time. Jonson’s Volpone, however, states in the prologue that “As best critics have designed; the laws of time, place, persons he observeth, from no needful rule he swerveth.” He omits the mentioning of the laws of action and hence does not obey it. Namely, the subplot involving only Peregrine and Sir Pol deviates from the rule that a play should only have one main action.
Scene 1 offers us a good preview as to what Iago is going to do for the rest of the Act and ultimately the rest of the play. Our first view of Iago is of a hard deceitful man who says « Sblood » as opposed to Roderigo’s « Tush! », we see already his powers of deception as he explains how he is even worse off than Roderigo, his furious language: « A fellow almost damned in a fair wife » manages to convince the intellectual Roderigo who is presented along with Cassio in contrast to Iago. They are polite, educated, fairly wealthy and can not imagine that something as evil and motiveless as Iago exits. Iago has not only lost his promotion but also his hero in Othello.
When Feste tries to cheer Olivia up, she turns to Malvolio and she asks, "What you think of this fool Malvolio? Doth he not mend?" and he coldly replies, "Yes, and shall do till the pangs of death shake him." This is a cruel and envious dig at Feste, whom thinks is beneath him and also seems to be jealous of Feste's easy and relaxing relationship with Olivia. Malvolio also "marvels" that Olivia "takes a delight in such a barren rascal."
The jokes of the Fool serve to lighten the gloom and to relieve the tension and the stress which are generated by the cruel treatment delivered to Lear by his own daughters and by the storm, fury and violence which he faces of which are too great to bear by the aged king. The Fool only speaks to Lear himself, and his words are generally of a nature to ‘rub in’ the mistakes of Lear. The sarcastic remarks of the Fool intensify the sufferings of Lear and actually become a contributory cause of his madness. The Fool is essential to Lear’s character development. The Fool represents the conscience of Lear, maybe a reason why there is no more of the Fool when Lear loses his mind.