Iago also displayed how easily envy can take a hold of person, and drive them to do to extreme things. Just the slightest doubt created immense envy in Iago, and he wants to make Othello suffer by experiencing the same emotion. Iago knows that in order for his plan to work he must plant... ... middle of paper ... ...ot even great valiant men such as Othello are free from the hands of envy and jealousy. From here on Iago uses jealously and envy as his tools of destruction, and jealously from this point on drives the play forward. Throughout the play the characters of Othello struggle with the power of envy.
The author cleverly draws the reader into Omelas’ city limits then abruptly exposes them to the widely known atrocity that is the abused and malnourished child beneath. Le Guins’ skillful exposition of Omelas and its residents is an excellent illustration of mankind’s abandonment of morality and human compassion of mankind in exchange for the unrelenting pursuit of happiness. As the reader becomes ensnared in the thematic web of this “joyous” society the narrator even invites them to participate in its evolution and asks “What else, what else belongs in the joyous city?” all while cunningly attempting to make them complicit with the cities dubious acts (3). Driven by personal happiness an d devoid of morals and values the residents’ willingness to inhumanely sacrifice the life of an innocent child simply to fulfill their own selfish desires of freedom, p... ... middle of paper ... ...nt to maintain the luxury and comfort of the masses and the other that escapes the city in pursuit of their own happiness. Throughout this compelling journey the author aptly illuminates the struggle between choosing what is morally and ethically right and pursing personal happiness.
Although Iago's plan does not change throughout the play, his motives, which obviously influence his actions do. Iago's initial motive in destroying the protagonist is hatred. "I hate the Moor." This shifts to jealousy, "He's done my office", to just sheer malignant motives. "If Cassio do remain he hath a daily beauty in his life that makes me ugly."
No matter how beautiful you are. My sexiness will always over shine you with its glorious sexiness. People may say I'm ugly, but they're just jealous.My sexiness cannot be outdone. No matter how beautiful you are. My sexiness will always over shine you with its glorious sexiness.
Describing the world as “a dungeon dank” (661) like he does in Spleen LXXXI can be connected to his view of the world full of “infatuation, sadism, lust, [and] avarice” (656) in To the Reader; the world is hopeless, full of vulgarity, and beyond salvation. Boredom, being the root of all sins in To the Reader is revisited in Spleen LXXXI even though it isn’t explicitly stated. The first three stanzas start with the same word giving this poem a boring feeling and flow to it. It is this boredom, bought about by the loathsome state of the world, which allows grief to plant “his black banner on” his “drooping skull” (661).
When Iago begins poisoning Othello’s mind with false suspicion of Desdemona’s fidelity, the mood is extremely frustrating. The reader is aware of Iago’s lies, yet Othello is being easily led to believe them. This also evokes anger towards Iago, he is evil in his constant lying, yet he is referred to by Othello as kind and honest. This irony is painful to the reader because it is so blatant. Othello’s extreme jealousy causes the reader a combination of emotions.
The destructiveness of the monster is self-created and “feeds on” Othello’s heart. Simultaneously, Othello feels guilty for being jealous of Cassio (without a concrete reason) and that shame that builds up in Othello will eventually be unleashed in the form of anger. Without having to doing much Iago, must wait as the insatiab... ... middle of paper ... ... does with the handkerchief. Good in Othello is defined as forgiving, innocent, unsuspecting and honest, while evil is defined as deceitful, manipulating, cunning and dishonest. Iago is the epitome of evil.
Nevertheless, Lawrence is realistic enough to acknowledge the difficulties of such restraint, and admits within the story that sin can often be unstoppable, and can reach even the most devout of worshipers. ?The Rocking-Horse Winner? is a strong message about the nature of greed, the evils of self-gratification, and the dangers of gambling: all three are sinful acts that lead to devastating consequences, such as madness, ruin, and in this most extreme of cases, death. Works Cited: Lawrence, D.H. ?The Rocking-Horse Winner? A Pocketful of Prose: Vintage Short Fiction.
Behind his façade as a trustworthy ensign and friend, Iago is a multilayered, deceptive and manipulative villain, concocting chaos and causing mishaps toother characters for revenge. Iago uses his deft and astute strategic acts of manipulation to undermine each character‟s weaknesses. He exploits Roderigo‟s love for Desdemona, cajolesCassio under
Maybe it was to show how different women really were from men. By starting out with this completely unconventional opening sentence she was already showing that the rules could be broken. Woolf starts her essay by explaining to her audience what she could have talked about and what other things her topic might mean, she is letting the audience be drawn in to her consciousness. Woolf wants them to know why she decided to use this topic instead of some less meaningful one, that may have made for a good speech but would not have really covered the full scope of the problem. Woolf said: They just might mean simply a few remarks about Fanny Burney; a few more about Jane Austen; a tribute to the Brontes and a sketch of Haworth Parsonage under snow; some witticisms if possible about Miss Mitford; a respectful allusion to George Eliot; a reference to Mrs. Gaskell and one would have done.