Her influence over her husband reveals his weaknesses and the weaknesses of men. Iago on the other hand is consumed with envy and seeks revenge over Othello. His consistent deceit and ease of manipulation allows us to see his amoral nature. Shakespeare allows the audience a connection to Iago, one finds themselves intrigued by his evil actions. Pointing to the evil we all have within us Shakespeare allows his audience to live through Iago.
Iago uses his cleverness and his patience to achieve his goals in the play. Othello becomes a dynamic character after getting convinced by Iago, that he began to perceive everyone differently. There are many ways in which characters in “Othello” perceive themselves and others differently. Othello changed his perception very significantly throughout the play. In the beginning of the play Othello loved Desdemona, but as the play went on Othello hated Desdemona so much he wanted to kill her.
In Much Ado About Nothing Claudio begins the play with a tendency to be very gullible and paranoid about everything, and he continues to show his immaturity by seeking revenge when he is upset; Claudio finally matures when he accepts that he was wrong and is willing to take the punishment that goes with his mistakes. The beginning of the play shows Claudio, on numerous occasions, as gullible and paranoid that everyone is against him. When Don John tells Claudio that Don Pedro has wooed Hero for himself he responds by saying, ““But hear these ill news with the ears of Claudio. Tis’ certain so. The Prince woos for himself” (Shakespeare 24.)
Iago is consumed with envy and plots to steal the Position he feels he most justly deserves. Throughout Othello Iago is seen to be scheming something. As the story unfolds, we see that Iago manipulates the people around him, by helping them in hope and confidence to achieve the success of his plans to bring down Cassio and use all efforts to make himself Lieutenant. The first person that we can see Iago uses is Rodrigo. At the start of the play, we see two characters, Iago and Rodrigo talking about something outside Brabantio’s house.
In his version of the beloved tale, Sophocles concentrates his attention on the events directly leading to Oedipus' destruction, portraying Oedipus as a helpless pawn of fate. The most prominent literary device is dramatic irony, primarily of the spoken word, through which--especially in the Prologue--Sophocles captures audience attention, illuminates Oedipus' arrogant personality, and foreshadows the events of the final scenes. It is not difficult to understand why Sophocles resorts to dramatic irony in the construction of his play. He is working with much the same problem a modern-day playwright would face in fashioning a play around the Cinderella motif: audience familiarity, leading to a lack of suspense. It is difficult to maintain audience interest when the conclusion and the events leading up to it are obvious to everyone.
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 answer falls first in his failure at receiving a promotion to lieutenant. Beyond this, we can find a deeper thought into Iago's mind of a possible suspicion that Emilia, his wife, was having an affair with Othello. Lastly, we all can see that Iago, though serious, enjoys the anger he exhibits. Iago is a troubled man with one mission, to destroy everyone, and he uses his immense hate from the wrongs against him to establish this. Before anything, we must address that Iago was disappointed that he was passed over for the position of lieutenant.
We watch Richard's bravado with wicked glee and delight in each boasting comment sent our direction. Once the bad guy becomes seductive, even amusing, in his blatant cruelty, the playwright must intervene to counterbalance his own brilliant wit. But how can this devil Richard be brought to his knees with the appropriate high style demanded by the script's momentum? Shakespeare leaves us the briefest of stage direction: "Alarum. Enter Richard and Richmond; they fight; Richard is slain" (V.v.).
There is something about Shakespeare that entices people to feel venomous towards his work. When reading or viewing adaptations of his work, the audience is compulsively drawn into the story. Especially in his early works, Shakespeare is blatant with violence, which is disturbing to the audience. Yet, the audience is entranced even more as they try to find out how Shakespeare creates his plays to be so tyrannical. Shakespeare is an effective playwright because of one simple fact: he is a tyrant.
Parker’s interpretation of the play not only appeals to a larger audience but it conveys a new depth of Iago’s emotions and portrays a heightened sense of conflict caused by Iago’s manipulations Iago's frequent and direct soliloquies where he is staring directly into the camera exaggerate his Machiavellian intentions to destroy Othello by giving deeper meaning to his actions. By not sharing his true feelings with absolutely anyone in the film, he is able to be the soul manipulator, painting Iago as even more manipulative than the play. In the text, Roderigo says “Thou toldst me thou didst hold him in they hate” to which Iago replies “Despise me if I do not.” (I.1.7-9) However, this dialogue is left out of Parker’s adaptation. Instead, Iago simply says, “I hate the Moor,” when he is alone, referring to Othello. By only admitting this in priva... ... middle of paper ... ...ision for Iago to accept his impending fate nurtures the idea that he has no emotions or feeling such as pain, adding to his dehumanization.