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Themes and literary devices in othello
Analysis of othello character
Analysis of characters in othello
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white have created conflict between the members of the play. Since the 16th century dictates that black people, or Moors, are inferior to white people, Othello is stuck in the darkness as an outsider; thus suggesting that interlopers are alone, not part of a community. Within these contrasting worlds, outsiders, like Othello, try to integrate into society, but can’t. For instance, this ingrained mindset portraying the inferiority of black people is further shown when Othello exclaims, “Her name, that was as fresh as Dian’s visage, is now begrimed and black / As mine own face.”
Othello is the General of the Cyprus army with honest Iago by his side. During this time racism was happening and Othello was a part of it. Othello tried his best for everybody to like him; people would talk behind his back, call him names, and would eventually ruin his life. Iago was an ensign in the army, and his “good” friend, who would put lies into Othello's head, which eventually, he took control of Othello. In this essay Othello will display cultural criticism and how it displays him as a person in the story.
Othello is a blend of significance and faintness, in his own words "an honorable murderer" (V.2, 295). He was a defense general, and although he was a foreigner from Africa, Othello achieved his status by his skillfulness in the war. He was a man of intelligence and courage who, under pressure, could make an inspiring speech. Othello could have been considered a self-assured outsider who was intellectual in military matters but was somewhat socially insecure. He lead an intense life, wavering between success and fear.
Othello: A Close Reading This is an analysis of the lines 260-279 of the third scene of the third act of Shakespeare’s Othello. In an attempt to fulfill the incessant need for comfortable dichotomies, societies tend to be divided into two groups: the ‘in-crowd’ and the ‘others’. These strict dualities, constructed upon the inherent need for adversaries, are often as arbitrary as they are false and based on nothing but fear.
Deception always has many perspectives; the truth, the fabrication, and how it is interpreted. An individual’s ability to deceive defines their effectiveness as a perpetrator. Within Julia Alvarez’s In the Time of the Butterflies and William Shakespeare’s Othello, the antagonists of each convey themselves as divine, therefore attempting to distract from their misconduct and represent themselves sincerely.
By Iago’s own admission “I play the villain” (Shakespeare, 1310), and his internal feelings of evil are well founded as shown through his destruction of the lives of nearly everyone in the play, but he has his reasoning. Iago has grown up as a privileged white Christian male in a society that favors white Christian males and, notably, has the favor of at least three senators who would have been quite influential in Venetian society (Kiernan, Print). The catalyst for all this is the admission of Cassio to the position of second in command, which Iago had too been vying for. Iago believes this is taken from him by a Black, possibly Muslim, man, Othello. Thereby allowing Iago to use what influence and power he has retained to ruin Othello’s life and power dynamic.
He expresses his jealousy for Cassio when he says that Othello “already chose [his] officer” who he calls “One Michael Cassio, a Florentine” who “never set a squadron in the field.” Iago believes he should have gotten the promotion because he had more military experience and training. After he gets Cassio drunk and dismissed from service, he devises a plan to manipulate Othello into believing he is cheating with Desdemona in order that Cassio never gets his position again or even killed. Iago also hears a rumor that Othello slept with his
(III.iii.230-234). Thus he reminded Othello that possibly he was not considered suitable for her love. Knowing that his blackness placed him in society as an outsider, Othello began to suspect that his personality and accomplishments could never overcome his inferior background. He questioned his confidence in the reputation and social standing he thought he had gained, and he failed to notice the presence of evil and dishonesty in others. Iago’s appearance, as a
In the play Othello, William Shakespeare creates an elaborate tragedy with various in depth characters, enhancing the story with powerful characterization. Iago, the main antagonist of Othello, exemplifies Shakespeare’s use of characterization to create in depth and complex characters. Using his manipulative nature, intellectual mind, egotistical attitude, and dishonesty, Iago controls the other characters in order to achieve his goal, leading Othello to succumb to an overwhelming jealousy causing his downfall. In order for Iago to gain control of the characters in the play, he manipulates Othello, Roderigo, Cassio, and more to believe false information and turn on one another.
For Shakespeare’s plays to contain enduring ideas, it must illustrate concepts that still remain relevant today, in modern society. Shakespeare utilises his tragic play Othello, to make an important social commentary on the common gender stereotypes. During early modern England, Shakespeare had to comply to the strict social expectations where women were viewed as tools, platonic and mellow, and where men were displayed as masculine, powerful, tempered, violent and manipulative. As distinct as this context is to the 21st century, the play exposes how women were victimised by the men who hold primary power in the community in which they compelled women to conform to the ideal world of a perfect wife or confront an appalling destiny for challenging the system. Moreover, Shakespeare utilises the main antagonist, Iago, to portray how men are desperate to achieve what they want and to indirectly fulfil the stereotype of masculinity and power through manipulation.
Title Some of Shakespeare’s most memorable characters are the outsiders; these characters deviate from societal norms, and are often ridiculed or overlooked. Characters such as Edmund who is an illegitimate child and Iago who is a foreigner are typically looked down upon. One might view this as a disadvantage, however these shortcomings become greatly beneficial for Shakespeare’s outsiders. Beneficial in a sense that Iago and Edmund become some of the most determined and ambitious characters in the play.
Othello starts to believe Iago’s lies about his friends and wife, leading Othello to change his behavior towards his closest allies. Iago instigates a fight between Cassio and Montano, and Othello must take charge of his soldiers, he says: Thy honesty and love doth mince this matter, Making it light to Cassio. Cassio, I love thee But never more be officer of mine. (2.3.210-213) Othello makes the decision to fire Cassio, and things get worse when Iago makes his wife, Emilia, steal Desdemona 's handkerchief.
Iago also manipulates Othello with jealousy. When Othello is gone at war, Iago tells him that Cassio and Desdemona were getting too close. At first Othello does not believe him, but by Iago saying “nothing,my lord; or if- I know not what” Othello starts to question if it is true (III. III. 39). Iago constantly uses his “innocence” to make Othello jealous and start to assume that it is true. These actions eventually lead to a tragic event.
Manipulation of the African Race in Othello In William Shakespeare’s Othello, racism is a principal theme that drives the plot of the entire play. An outlier in Venice, Othello the moor or African, is targeted by his ensign Iago because Cassio who seems to be unqualified, was promoted to a lieutenant before he was. Iago is driven by envy and jealousy and creates a confusing and elaborate plan to deprive Cassio of his position. Iago also shares these envious motives with Roderigo, a man lusting over Othello’s wife.
Iago’s powerfully disruptive insinuations torment Othello to fall precipitously into his intricate trap, believing in the prospect of Cassio and Desdemona’s fictitious affair. Through the use of linguistic techniques such as elliptical speech, subservient vocative choices and a hesitant tone, Iago is able to construct artful innuendoes to deceive and manipulate Othello. Supplementary to linguistic techniques, dramatic techniques such as dramatic irony reinforces Iago’s role as a two-faced villain, who is making a pretence of being Othello’s loyal ensign. Eventually, Iago’s villainy nature sows a seed of doubt in Othello that germinates into the murder of Desdemona. Through the characterisation of Iago as a notorious villain, Shakespeare is able to hold Iago’s actions accountable for the play’s tragic downfall, establishing a sense of powerlessness amongst the