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Character development of iago in othello
Characterisation iago from othello
Analysis of Characters in Othello
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Othello: True Love and Self-love
The William Shakespeare tragic play Othello manifests the virtue of love in all its variegated types through the assorted good and bad characters interacting with each other.
H. S. Wilson in his book of literary criticism, On the Design of Shakespearean Tragedy, discusses the love of the Moor for his beloved even at the time of her murder:
And when he comes to execute justice upon Desdemona, as he thinks, he has subdued his passion so that he is a compound of explosiveness tenderness. Utterly convinced of Desdemona’s guilt and of the necessity of killing her (“Yet she must die, else she’ll betray more men”), he yet loves her:
This sorrow’s heavenly;
It strikes where it doth love.(55)
In the volume Shakespeare and Tragedy John Bayley explains that there is both love and self-love in the play (201). Initially the play presents a very distorted type of love. Act 1 Scene 1 shows Roderigo, generous in his gifts to the ancient, questioning Iago’s love for the former, whose concern has been the wooing of Desdemona. Roderigo construes Iago’s love for him as based on the ancient’s hatred for the Moor. Thus the wealthy suitor says accusingly, “Thou told'st me thou didst hold him in thy hate.” In order to prove his love for Roderigo, Iago asserts in detail the reasons for his hatred of Othello, who has given the lieutenancy to Michael Cassio, a Florentine.
Secondly, Iago shows his love for his wealthy friend by rousing from sleep Brabantio, the father of Desdemona. Once the senator has been awakened, Iago makes a series of loud, crude, bawdy allegations against both the general and Desdemona. David Bevington in William Shakespeare: Four Tr...
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...His Carpet. N.p.: n.p., 1970.
Gardner, Helen. “Othello: A Tragedy of Beauty and Fortune.” Readings on The Tragedies. Ed. Clarice Swisher. San Diego: Greenhaven Press, 1996. Reprint from “The Noble Moor.” British Academy Lectures, no. 9, 1955.
Mack, Maynard. Everybody’s Shakespeare: Reflections Chiefly on the Tragedies. Lincoln, NB: University of Nebraska Press, 1993.
Pitt, Angela. “Women in Shakespeare’s Tragedies.” Readings on The Tragedies. Ed. Clarice Swisher. San Diego: Greenhaven Press, 1996. Reprint from Shakespeare’s Women. N.p.: n.p., 1981.
Shakespeare, William. Othello. In The Electric Shakespeare. Princeton University. 1996. http://www.eiu.edu/~multilit/studyabroad/othello/othello_all.html No line nos.
Wilson, H. S. On the Design of Shakespearean Tragedy. Canada: University of Toronto Press, 1957.
Shakespeare’s Romeo and Juliet is a play commonly viewed and known as a true love story; however, after analyzing several hints portrayed by the protagonists, it is evident that Shakespeare did not intend to make Romeo and Juliet seem like a true love story but a criticism of how superficial society’s view on love is.
Hester Prynne helps show the moral of acting upon what one truly wants by accepting her punishment and making it into a positive
Lamb, Charles. On the Tragedies of Shakespeare. N.p.: n.p.. 1811. Rpt in Shakespearean Tragedy. Bratchell, D. F. New York, NY: Routledge, 1990.
Letter while discovering that a hidden lie left to fester causes more grief and pain than he
Adultery, in almost any society is viewed in a negative manner that results in specific penalties in relation to the culture in which it is committed. In The Scarlet Letter, by Nathaniel Hawthorne, the punishments in accordance with adultery in a Puritan Society are portrayed in a less-accurate, fictional context. However, if the character of Hester Prynne, or any puritan woman, was placed in Iran, her consequences for the sin would differ. In both a 17th century Puritan society in Massachusetts and in Iran, the act of adultery has varied, yet firm consequences meant to penalize women who commit the offense.
In another instance, Dimmesdale joins Hester and Pearl on the platform during the night, and screams out in agony. Dimmesdale hides his sin in the cloak of night, as opposed to publicly accepting it. Hawthorne shows that when Dimmesdale accepts his actions, he is content, yet when he denies them, he is ravaged by guilt, which is shown when he cries out into the night. Dimmesdale can not achieve fulfillment without accepting the consequences of his previous actions.
Clark, W. G. and Wright, W. Aldis , ed. The Complete Works of William Shakespeare. Vol. 1. New York: Nelson-Doubleday
"First, it needs to be acknowledged that romance is notoriously difficult to define, in part because it appears in so many different forms" (Britton). Romance in the play Othello allows the reading to realize that tragedy does not always have to have a tragic ending. The tragedy in Othello is combined
In stark contrast to the dark and tragic "Othello," is one of Shakespeare’s lightest and funniest comedies, "Twelfth Night." The theme of love is presented in a highly comical manner. Shakespeare, however, once again proves himself a master by interweaving serious elements into humorous situations. "Twelfth Night" consists of many love triangles, however many of the characters who are tangled up in the web of love are blind to see that their emotions and feelings toward other characters are untrue. They are being deceived by themselves and/or the others around them.
Dimmesdale's health becomes more sickly and weak as the guilt of his sin eats away at him, while Chillingworth acts as a sort of diabolical counselor, digging deep into Dimmesdale's soul to torture him ruthlessly. In the second scaffold scene, Dimmesdale makes a feeble attempt to confess his sin. He stands upon the scaffold bearing the “A” craved into his bare chest and he Hester and Pearl pass on their way home from the governor calls them up to stand with him on the scaffold in the dead of night. Critics say “this episode of Gothic horror forms the pivot of the novel, a mockery of confession in which the characters are utterly isolated from their society” (Bloom 1). The only one to witness this act of penance from Dimmesdale is Chillingworth; of whose suspicions of Dimmesdale’s guilt are confirmed, and can use this information to continue his plan of
Neely, Carol. "Women and Men in Othello" Critical Essays on Shakespeare's Othello. Ed. Anthony G. Barthelemy Pub. Macmillan New York, NY 1994. (page 68-90)
A.C. Bradley describes Othello as "by far the most romantic figure among Shakespeare's heroes"(Shakespearean Tragedy, 1). This is an unusual description of a man who murders his own wife. However, Othello's feelings of hate for Desdemona started as an overwhelming love for her when their relationship began. This transformation from love to hate also inflicted the characters Iago and Roderigo and like Othello their hatred resulted in the murder of innocent people. Roderigo's love for Desdemona was transformed into hate towards any man that he thought was loved by her. Iago's love for his job and his wife, Emilia changed into a destructive hatred of Cassio and Othello. As a result of their hatred Cassio, Emilia, and at the end themselves were killed. The connection between love and hate in William Shakespeare's "Othello" is the ugly feeling of jealousy that caused such transformations. Jealousy can be described as a fear of losing something or someone that is valuable (Godfrey 2). As minor as this feeling appears to be by that definition, it can take on varying degrees of damaging behavior. Othello, Roderigo, and Iago became paralyzed by jealousy. Their thoughts, actions, and behaviors were ruled by it. Jealousy caused their inability to the act rationally. They became paranoid and unable to love. This paper will examine the jealousy that caused love to turn into hate for Roderigo, Othello, and Iago.
During the encounter between Dimmesdale and Chillingworth minutes before they mount the scaffold, Hawthorne states, “‘Ha, tempter! Methinks thou art too late!’ answered the minister, encountering his eye, fearfully, but firmly. ‘Thy power is not what it was! With God's help, I shall escape thee now!’” Through referring to Chillingworth as a “tempter”, Dimmesdale gives a reference to Satan and feels as though he has been set free from the devil’s chains. Pride, one of the seven deadly sins, keeps him off the scaffold, while his humility lets him mount the scaffold. While the overall tone of his death is not very uplifting, humility, which the scaffold symbolizes, is what allows him to die in peace. Through accepting his weakness, Dimmesdale allows himself to accept Hester's love as a pure love, as opposed to carnal lust. In his endeavor to confess, “It seemed, at this point, as if the minister must leave the remainder of his secret undisclosed. But he fought back the bodily weakness--and, still more, the faintness of heart--that was striving for the mastery with him. He threw off all assistance, and stepped passionately forward a pace before the woman and the children.” The passage suggests a last-minute struggle with his pride. Newfound humility is what lets him win that battle and die with peace and a
Hester’s role in the story is described as sleeping with a priest and got accused of committing adultery and got punished by having to wear a scarlet letter “A” on the breast of her gown (Hawthorne 71). Hester Prynne’s punishment is to go to prison and then with her child, Pearl, go and stand out on the platform in front of everybody wearing her scarlet letter on the breast of her gown (Howells). Hester...
Shakespeare’s famous play Othello is a play of love that has turned bad by the unfounded jealousy of the protagonist character Othello. Arguably the contribution of Othello’s susceptibility to manipulation, his weaknesses and the manipulation of other characters tactics such as Iago each contribute to the downfall of Othello. However, to the extent of which each is more significant varies and this is what will be analysed in this essay.