Othello Honesty and Trust by Nicholas Panchoo on Prezi
Emilia Desdemona Relationship In the play “Othello”, by William that she has not cheated on Othello with Cassio, therefore proving to him that she is loyal. -On numerous occasions, the audience witnesses how. Othello suffers from Iago's dishonesty. in speech, and dishonesty as a loyal friend. Free Essay: Explain how Othello's and Iago's relationship leads to tragedy? Othello, is destroyed through his loyal subject's, Iago's, manipulations. his observations and his theory with the following quotes: "there are two.
She remains in love with him knowing that he is responsible for her death. In his final speech Othello claims that he was "one that loved not wisely but too well" and it is clear that his feelings regarding Desdamona were extremely passionate and overwhelming. Whether one lays all the blame for the tragedy at Iago's door, however, or holds Othello responsible is a matter for each individual audience member as they watch the play.
Cassio in Othello: Character Analysis & Quotes - Video & Lesson Transcript | jogglerwiki.info
Iago and Emilia - An Unhappy Marriage The relationship between Iago and Emilia is not that of a strong and equal tie of love which we expect to find existing between man and wife.
When she exposes his scheme he kills her without a moment's hesitation and shocks the people who witness it: She steals the handkerchief in order to make him happy and perhaps strengthen their relationship: I'll have the work ta'en out, And give't lago: Her character is somewhat tarnished by her association with Iago but she seems self-aware enough to realise that this is the case: Her remarkable courage in standing up to him to defend Desdamona in the final Act redeems her character in the eyes of the audience: I hold my peace, sir?
No I will speak as liberal as the north: Let heaven and men and devils, let them all, All, all, cry shame against me, yet I'll speak. Iago's murder of Emilia exposes his true nature to the world and proves conclusively that he had driven Othello to kill Desdamona. His character decays, and he connives with Iago to have his lieutenant murdered. Finally he decides to execute his wife with his own hands.
After killing her, he learns of her innocence, and he judges and executes himself. He became a professional soldier rising to the rank of general. He has fought many battles, skillfully leading his men and earning a reputation as a great, honorable, and level-headed warrior. He often recounted his adventures to entertain his host. At forty, Othello has never been in love and he impulsively, perhaps for the first time in his life, seizes an opportunity without mapping out an advanced strategy first.
Iago, fueled by envy and jealousy comes to the conclusion that he can thwart Othello by using his own reputation as an honest man against his general. Commitment Influence Character Counterpoint Iago is committed to destroying Othello no matter who he has to use to achieve his goal. Influence Character Thematic Conflict Responsibility vs. Commitment Because he believes he was best suited to receive the lieutenancy, Iago makes a commitment to revenge himself against Othello and Cassio.
Iago forges recklessly ahead, devising his attack on Othello as he goes along. Feeling Influence Character Problem Iago is driven by his feelings, which causes problems for others, and eventually for himself.
Iago tells Roderigo that he hates Othello because he has made Cassio his lieutenant instead of him. Iago is motivated by a love of excitement and by his perception of himself as an artist. He derives great pleasure from the successful execution of his complex and dangerous intrigues. This satisfaction of his personal drive is short-lived, however, as Iago will be executed for his crimes.
Help Influence Character Symptom Iago creates problems for Othello and others when he focuses his efforts on pretending to help. Later, Iago offers his support to Othello by swearing to kill Cassio for him, but Iago dupes Roderigo into killing Cassio.
He hinders Cassio by getting him involved in a drunken brawl that results in a demotion. He thwarts Othello by inciting him to become jealous of Cassio and Desdemona, corrupting him, and driving him to madness and murder. He is a bold and impulsive liar, turning the slightest bit of hearsay into fact, when if any two people were to compare notes at any time, Iago would be caught.
His attitude toward his wife ultimately causes his downfall when she exposes his deceit.
Conceptualizing Influence Character Benchmark As the story progresses, Iago envisions more ways to torment Othello, and use Roderigo, Cassio, and Emilia to further his scheme. For example, he imagines discrediting Cassio with Othello by having Cassio entreat Desdemona to promote his cause to the general, unwittingly leading Othello to suspect him of having an affair with his wife.
Influence Character Throughline Synopsis When Othello promotes Cassio to lieutenant, Iago feels slighted and plots revenge against them both. He manipulates Cassio into discrediting himself. By telling one lie after another Iago drives Othello mad with jealousy, causing him to murder Desdemona. Iago gets his wish when Othello makes him his lieutenant after he vows to kill Cassio. Iago convinces his dupe, Roderigo, to slay Cassio. When the plot fails, he kills Roderigo to keep from being exposed.
Iago murders his own wife when she reveals that he lied to Othello about Desdemona. He has learned the position of lieutenant has been bestowed upon Michael Cassio, a young, educated Florentine who has seen little battle. Iago feels slighted and vows to take revenge against Othello and Cassio. Now Iago is ready to bedevil Othello, having learned that the general has eloped with Desdemona, the young daughter of a Venetian senator.
He relies solely upon his comrade-in-arms, Iago, for the truth. He thinks it utterly unnatural for Desdemona to accept him willingly and knowingly. He cannot conceive how his daughter, a fair maid of Venice, could consent to marry a man of Othello's color and nationality, unless in some way out of her senses.
- The Next Chapter in Story Development
- Introducing Cassio
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So preposterous does it appear to him that he must suppose Othello has charmed her with drugs and magic. He cries out in his desperation: He reiterates his belief that it is "against all rules of nature," and speaks of Othello's supposed magic as "practices of cunning hell.
It seems likely that this was also the opinion of the dramatist, for there is abundant evidence that it was always so regarded on the Elizabethan stage. Only the development of the drama will show how far Shakespeare sympathizes with this opinion.Othello (Shakespeare) – Thug Notes Summary & Analysis
Two deeds upon the part of Othello have now brought him into active collision with other persons, and the two are related to each other. Because of his obligations to Cassio in the matter of his love-making with Desdemona he has appointed him to an important position over lago, thus making an enemy of his faithful officer. He has also stolen away Desdemona from her father, and secretly married her, making an enemy of Brabantio, who had been one of his greatest admirers among the Senate.
In both cases there is evidence of his callousness and dullness of mind. Up to this point Othello had been able to carry successfully his exalted responsibility in his adopted state, but in these matters he makes a complete break-down. Not even his superior military training could save him.
Cassio in Othello: Character Analysis & Quotes
He could perform well the duties of military life, but now it begins to be evident that he is not fitted for the higher and more exacting arts of peace, and especially of love, in a civilized state. When Othello leaves "the tented fields" for the streets and homes of a refined city he utterly goes to pieces, and whatever sense of honor he may have had speedily gives place to a dangerous caprice.
An unsuspected weakness, or deficiency, in his character is thus laid bare, upon which the whole tragedy will later be seen to turn. This deficiency, it is now important to notice, the play implies is due to his racial character, and comes from the fact that he is a Moor.
The half- civilized Othello is but ill adapted for life in civilized and cultured Venice.
Some critics endeavor to make out that nothing whatever of the happenings of the play are in any way connected with the fact that Othello is a Moor. They allege he is nothing but a man, though he happens to be a black man. His color, they say, is an entirely indifferent matter in the play, and can be all but ignored in the interpretation. On this assumption, however, the many references to his color and race throughout the play cannot well be explained.
This view takes for granted that the dramatist heaps up idle words having no significance, and refuses to believe that there was a meaning in all he wrote. It is not necessary to hold, as Professor Bradley would have us believe, that the dramatist must be credited with clear doctrines of Kulturgeschichte if we are to maintain that he made the problem of Othello at least in part a problem of race.
Feelings of racial differences did not have to wait for the Germans of later times to write histories of culture. In Shakespeare's day the discovery of new lands and new peoples must have impressed all thoughtful Europeans with the conception of their own superiority in all the arts and character of civilized life. And the play makes Othello quite as conscious as any one else of his diversity of race, though it is to other causes that he assigns his want of grace and culture.
When charged before the Senate with the abduction of Desdemona, Othello's defence consists of a frank and free admission that he had taken Brabantio's daughter, and an apologetic account of his "whole course of love. In the course of his apology, his "round unvarnished tale" becomes eloquent with a barbaric sincerity and splendor that almost enlists the sympathy of the Senate.
The story of "the battle, sieges, fortune" he had passed is almost as potent with the senators as it had been with Desdemona, who, he says, "lov'd me for the dangers I had passed, And I lov'd her, that she did pity them.