For example, when Iago states “And what’s he that says I play the villain” (II.iii.338). This line shows how fool-proof Iago’s plan to destroy Othello is. He can further it by helping people. This furthers the plot because it adds dramatic irony that the audience knows that he is bad, but none of the characters do. Another passage that adds tension through dramatic irony is when Iago says, “When devils will the blackest sins put on, they do suggest at first with heavenly shows” (II.iii.353-4). In other words, Iago is recognizing that he knows that he is an evil person. He even compares himself to a devil. Lastly, he said, “I’ll pour this pestilence in his ear” (II.iii.357). This does two things: sets the mood and furthers the plot. It sets a tense mood and the audience now knows that Iago is going to lie to Othello in order to convince him that Desdemona is cheating on him with
“I asked her to wear something revealing, so she showed up in a prophet's toga.”(CITE) Jarod Kintz’s words are an example of miscommunication, or failure to comprehend meaning. In this case, it is implied that one person misunderstood the message of another, but incomprehension also applies to problems other than falsely interpreted requests. Incomprehension can occur when people misinterpret another’s words or intentions, or when a person misreads situations or events. The outcome described in Kintz’s quote is unexpected and unintended, but there are instances of incomprehension that have consequences of greater severity. Perhaps a classic tragedy with a high body count falls under these parameters.
William Shakespeare’s Romeo and Juliet is a tragic story about two lovers who are from two disputing families, and their eventual suicides. Shakespeare uses dramatic irony throughout the play to create tension for the audience and foreshadow the ending. Dramatic irony is when the words or actions of characters in a story have a different meaning to the reader than to the characters. This is because the reader knows something that the characters do not. Romeo and Juliet’s death could have been prevented if the characters in the story weren’t so ignorant of their situations, and often times the reader recognizes this.
William Shakespeare masterfully crafted Othello, the Moor of Venice as an Aristotelian tragedy play. The main protagonist of the play, Othello, is the perfect example of a tragic hero. Shakespeare was influenced by Aristotle’s concept of a tragic hero and used Aristotle’s principles to create Othello. William Shakespeare attempted to create an Aristotelian tragedy play with a tragic hero and succeeded in Othello, the Moor of Venice by weaving in pity and fear into each line and action. The power of pity and fear creates the upmost tragic situation and follows in accordance of Aristotle’s definition of tragedy. Othello makes the ultimate act as a tragic hero by killing himself at the end of the play. “Othello, more than any play in the canon, has a fascinating and contentious performance and reception history,”
Dramatic irony can really get the audiences attention and make the play more interesting; because the audience knows something the characters do not. The dramatic irony is quite obvious in this play. The main piece of dramatic irony is the fact that the reader knows that Desdemona is innocent, from the time that Iago devises his plan. Also, until the end, Othello thought Iago was his trusted ensign. In reality, the audience knows that Iago is actually a terrible person. Othello is unaware of any of this. “Iago most honest” says Othello in Act 2 Scene 3, believing that he can trust his friend Iago of the things he is telling him (2.3.6). Othello is completely unaware of the evil plans Iago has and this is ironic because Iago is simply the furthest thing from “most honest”. There are also a few more bits of dramatic irony that show up as the characters are thinking aloud to the audience; this allows the audience to know what is happening when most of the characters do not. These instances of dramatic irony really keep the reader invested in the play and it helps make it more
Language and imagination are among the most dangerous weapons Iago has at his disposal in Othello. Jealous and angered by Othello’s - his commanding officer - passing over him for a promotion, Iago develops a fierce, antagonistic perspective the aforementioned character; this sentiment quickly corrupts his volition, and he subsequently concocts a plot bent on destroying Othello. He renders this revenge scheme credible by concealing his true feelings behind a facade of loyalty and trustworthiness, and fabricating a fictitious story concerning the infidelity of Desdemona, Othello’s wife. Until the play concludes, Iago utilizes purposeful rhetoric to drive his agenda, and also a mastery of deception to mislead the minds of his targets.
The tragedy of Othello by William Shakespeare shows what a person, like Iago, with great intellect and wit uses these talents to cause pain in love and terror to those around him. Iago holds physiological power over Othello thoughts by lying to him and giving him false evidence of his wife Desdemona. In the process of Iago’s plan, Desdemona becomes the victim of pain and sorrow from Othello. Although Iago possess great intellect, he also feels threat of jeopardy towards his plan of bringing down Othello by, Cassio, Roderigo, and Emilie. Iago uses his intellect as a weapon by overwhelming the other characters with derogatory language.
The play Othello by the late William Shakespeare follows the story of a black army general who is blinded by jealousy for his wife, Desdemona. Throughout the play, every major character who played a significant role in the development in the plot experienced a downfall of some sort. These characters initially possessed positive values that ended up playing a role in their defeat or loss. Iago, the antagonist of the play who sought out revenge against Othello, possessed the value of power to prove he was a leader which later resulted in the corruption of his morals. His value of pride demonstrated his confidence which later resulted in his egotistical personality. Also, Iago’s value of ambition towards succeeding in his ruthless plan against Othello helped portray Iago’s trait of devotion towards achieving his goals. However, this ambition overtook his priorities. Othello’ ancient, Iago, may have succeeded in taking away the lives whom he wanted to get revenge against, however, due to his actions in play, Iago’s positive values of power, pride, and ambition turned against him in the end.
...y of the truth and stabbning of Iago only hints at the justice Iago truly deserves. He manipulated Othello and his peers and used the people around him—including his own wife, who he also kills—to enact a vengeful, jealous whim and ruin Othello, who is only guilty of being successful and having a pretty wife who loves him. Throughout the play Iago made it clear to a modern-day audience that Othello only acts the way he does as a result of the manipulation he has been through—he is a product of Iago’s actions, not his own. The not-so-subtle racism throughout the play betrays Shakespeare’s thoughts on this subject, as well as the thoughts of the audience of the play when it was originally performed. However, in a more modern context, Othello is a tragedy not just because of the events that unfold, but also because of the treatment and manipulation of Othello himself.
What is perhaps the leading cause for the downfall of the characters in the play is Iago’s hypocritical nature that comes with an undeniable desire for fame, and wanting to receive attention from others. To begin, the audience can develop the idea that Iago greatly appreciates all the compliments that others give to him. Noteworthy evidence that shows how much people admire Iago includes when Cassio “humbly [thanks Iago] for’t, [never knowing] a Florentine more kind and honest (3.1.27-28), and Othello stating that he knows [Iago is] full of love and honesty (3.3.118). The significance behind what Othello, Iago, and others thought about Iago’s qualities is that they all share one thing in common – these