...significance of act 1 in Othello. Act 1 of ‘Othello’ by William Shakespeare is of extreme importance to the development of the play and the audiences understanding of it as a whole. Othello is introduced to the audience as calm, confident and eloquent individual who has deeply in love with Desdemona even in the face of adversity in their relationship. However, as the play progresses Othello is manipulated and warped by his ensign Iago. His mind begins to fracture until he commits an atrocity so foul; he believes death is the punishment he deserves. One of the most important points portrayed in act 1 is Othello’s personality and thought process before he is manipulated by Iago in later scenes. “From men of royal siege; and my demerits…may speak unbonneted to as proud a fortune…as this that I have reached”. Othello is portrayed here as calm and rational here despite the fact that Iago is attempting to rile him by giving false information about Roderigo. Furthermore, Othello emphasises his self-confidence by stating that his past glories will speak louder than Brabantio’s gripes about his daughter’s relationship with him. Othello emphasises this point again by speaking in verse “Were it my cue to fight I should have known it without a prompter.” This emphasises his supreme confidence and rational thinking as he states that he has done nothing wrong and has no reason to feel guilty about his marriage to Desdemona. Moreover, although Brabantio orders his guard to arrest Othello, he remains...
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...significance of act 1 in Othello. Act 1 of ‘Othello’ by William Shakespeare is of extreme importance to the development of the play and the audiences understanding of it as a whole. Othello is introduced to the audience as calm, confident and eloquent individual who has deeply in love with Desdemona even in the face of adversity in their relationship. However, as the play progresses Othello is manipulated and warped by his ensign Iago. His mind begins to fracture until he commits an atrocity so foul; he believes death is the punishment he deserves. One of the most important points portrayed in act 1 is Othello’s personality and thought process before he is manipulated by Iago in later scenes. “From men of royal siege; and my demerits…may speak unbonneted to as proud a fortune…as this that I have reached”. Othello is portrayed here as calm and rational here despite the fact that Iago is attempting to rile him by giving false information about Roderigo. Furthermore, Othello emphasises his self-confidence by stating that his past glories will speak louder than Brabantio’s gripes about his daughter’s relationship with him. Othello emphasises this point again by speaking in verse “Were it my cue to fight I should have known it without a prompter.” This emphasises his supreme confidence and rational thinking as he states that he has done nothing wrong and has no reason to feel guilty about his marriage to Desdemona. Moreover, although Brabantio orders his guard to arrest Othello, he remains...
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...There are several different takes on how the art of war should be conducted. Each idea and skill is valuable in its own way, as are the differences on war and how everything should happen. In these four texts, Othello, An Arithmetical Military Treatise, Named Stratioticos, and The Pathway to Martial Discipline each author depicts a different aspect of war and what is needed to be victorious. Each one is similar in that they want to be able to be successful in combat, and each think that their methods will get them there. In Othello it is though, in the very first act, that war is about fighting. Cassio is incredibly knowledgeable on many things, not so much in war-fare, or so Iago claims. He believes that in order to be a warrior, a soldier, they must be fighters. They should have full knowledge of war and how to go about throughout the many situations that can arise. Othello himself said that he knows nothing but fighting. Digges's take is much more evovled than that of Iago in Othello. He believes that knowledge is the key to having a better military. He knows that in educating the soldiers, it will make them better which makes the army better. Most soldiers are trained within months, Digges's believes it take more time to fully absorb the aspects of war and how to go about it because war isn't a math problem with a simple solution. People can go in thinking one way, get a few things thrown at them, and leave with a completely different understanding on how to go about certain...
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...Othello - An Aristotelian Tragedy When distinguishing the characteristics of an Aristotelian tragedy, Aristotle writes that there are certain qualities that define Othello as a tragic hero. These qualities include; 1. Must come from nobility, the protagonist must fall from power and from happiness. 2. Hamartia which is the tragic hero is fallible, and his downfall is the result. Whatever the characters' fatal weakness is that brings him to a bad end. 3.Peropeteia which is a reversal of fortune, or a sudden change of circumstances that affect the protagonist. 4. Anagnorisis which is the point in the plot which the protagonist recognizes his or some others characters true identity or discovers the true nature of his own situation. 5. Catharsis which in literature means something different. Drama can evoke powerful emotions and people who watch it and are moved leave the theater clean and refreshed and refreshed in the emotional experience. (Kennedy, p 707-08) William Shakespeare's Othello meet all five of Aristotle's criteria for being a tragic hero. Nobility can be defined as having "nobleness of mind, character, or spirit exalted moral excellence." (dictionary.com) Othello demonstrates his nobility in a number of different ways. For one when the swords are drawn, Othello tells both sides "Keep up your bright swords, for the dew will rust them. Good signior, you shall command with years than with your weapons." (Othello Act 1 Scene 2 pg 4) Here Othello is avoiding any potential...
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...Marcus Green English 4090 Mr. Michael Parker November 29, 2004 Deconstruction the Discourse of Black and White in Shakespeare’s Othello The complex and confusing values of “black” and “white” are used to reinforce the theme of man’s tragic blindness of good and evil in Shakespeare’s Othello. Thus, one will exam the use of the binary opposition “black” and “white” and the “différance” of these words within the content of the play. Therefore, the “absence” of the meaning of words is what makes a word differ from itself, and opens discourse to its true meaning within the content of the text. Within Othello, the repeated use of the terms “black” and “white,” has various polarized meanings. Hence, the relationship of these terms within the play requires a full explication of Shakespeare’s use of binary opposition in Othello. Deconstruction is a method of textual analysis and philosophical argument involving the close reading of works within literature. Therefore, a deconstructive reading examines the use of binary opposition within the content of a text. Binary oppositions focus on the words of the text; thus, reveal the meaning of the words that are hidden within the content of the language. As a result, words within the structural discourse of language can be used to displace and reassert meaning within the relationship of “différance” (Douglas 185). According to Derrida: différance is what makes the movement of signification possible only if each element is...
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...Othello Notes Reputation/Honour Importance of the theme of Reputation / Honour in Othello: The significant theme of reputation and honour is portrayed frequently throughout the novel Othello. Many of the characters in the novel carefully consider the consequences of their thoughts and actions in regards to their reputation and honour, making sure that they appear noble even when their actions are irrational and selfish. Such an example is shown when Iago appears to be simply stating the obvious about Desdemona, instead of manipulating Othello to believe his own fears. Othello is dictated by his desire to live up to his reputation, achieved through years of being a general in Venice. Reputation, used in conjunction with jealousy and trust, provide the key elements which provoke Othello’s mental disintegration shown predominantly by language techniques, into a world of mistrust and assumption. It is logical to assume that Othello’s suicide was a consequence of his need to preserve any traces of reputation left from his dedicated work as a general; from the characteristics portrayed of Othello it is implied that the act of imprisonment would crush Othello – he would no longer be an honourable citizen. In a similar way to Othello’s suicide, Iago’s sudden and unpredicted vow of silence could be assumed to also be a form of self-preservation, manipulating other characters by preventing any more damage to his reputation by not accidentally admitting details of his ignobility. ...
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...Othello the Moor of Venice: Race and Jealousy Questions for Study and Discussion Act 1 1. How does Shakespeare present the world of Venice in the first act, and how does he construct the interactions of his central characters (Iago, Othello, and Desdemona) with that Venetian world and with each other?How are these interactions complicated by the fact that Othello is a Moor, (and we'll have to puzzle out what exactly that means) and that Desdemona is a young woman? 2. What sort of person is Iago, as he appears in act 1? Are you satisfied by the reasons he gives for hating Othello? What is Iago's relationship with Roderigo? 3. What sort of language does Iago use? What sort of language does Othello use? What might be the significance of this difference? Act 2 1. What sort of person is Cassio? What happens to him, and how does Iago plan to use the situation in his plan against Othello? 2. What more do we learn about the nature of Iago in act 2? What is the effect of having him share his thoughts and plans with us through his soliloquies? Pay attention to the language used in Iago's soliloquies. What sorts of descriptive language does he use? How does it contribute to the picture of Iago that Shakespeare is drawing? Act 3 1. At the beginning of 3.3 Othello is completely in love with Desdemona. By the end of that scene, 480 lines later, Othello is ready to murder her for having an affair with Cassio. How have we gone from the first position to the second position so...
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...Othello – Summary of Act I. Shakespeare's famous play of love turned bad by unfounded jealousy, begins in Venice with Iago, a soldier under Othello's command arguing with Roderigo, a wealthy Venetian. Roderigo has paid Iago a considerable sum of money to spy on Othello for him, since he wishes to take Othello's girlfriend, Desdemona as his own. Roderigo fears that Iago has not been telling him enough about Desdemona and that this proves Iago's real loyalty is to Othello not him. Iago explains his hatred of Othello for choosing Cassio as his officer or lieutenant and not him as he expected. To regain Roderigo's trust, Iago and Roderigo inform Brabantio, Desdemona's father of her relationship with Othello, the "Moor" which enrages Brabantio into sending parties out at night to apprehend Othello for what must obviously be in Brabantio's eyes, an abuse of his daughter by Othello... Iago lies that Roderigo and not himself, was responsible for angering Brabantio against Othello, Iago telling Othello that he should watch out for Brabantio's men who are looking for him. Othello decides not to hide, since he believes his good name will stand him in good stead. We learn that Othello has married Desdemona. Brabantio and Roderigo arrive, Brabantio accusing Othello of using magic on his daughter. Othello stops a fight before it can happen but Othello is called away to discuss a crisis in Cypress, much to the anger of Brabantio who wants justice for what he believes Othello has done...
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...Othello as a Tragic Hero William Shakespeare's famous tragedy Othello, the Moor of is arguably one of the finest, if not the finest, tragedies in the literary history of Western civilization. This paper discusses Othello as a tragic hero and compares him to Aristotle's concept of what a tragic hero actually is. First, we need to understand the characteristics of a so-called tragic hero as defined by the Greek critic, Aristotle. He indicates that a tragic hero must have these characteristics: (1) Be a nobleman, prince, or person of high estate; (2) Have a tragic flaw, and a weakness in judgment; and (3) Fall from high to low estate. Using Aristotle’s criteria, we can easily classify Othello, the Moor, as a tragic hero. At the time, it was common practice for the Italian city-states to have a foreigner, with proven military capabilities, serving as the head of their Army. Othello, an African Moor of noble birth, is just such a character and held the highest ranking military position as Governor-General of Cyprus. The city of Cyprus was a city-state in the great state of Venice. His title alone, Governor-General, exudes an air of nobility, confidence, and strength. It defines someone who is held in tremendously high esteem by the people of Venice. During Act 1, Scene 3, the Duke and a few Senators are discussing issues around a table when Othello enters the room. It's clear that Othello is held in high esteem when, as he enters, one of the senators states “Here comes Barbantio...
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...playwrights of all time. Macbeth and Othello are two of Shakespeare’s most popular dramas still to this day. Like all Shakespearean heroes, Othello and Macbeth possess a tragic flaw that eventually leads to their downfall. Othello kills out of jealousy, while Macbeth kills out of ambition. In both of these dramas, Othello and Macbeth possess human characteristics that drive them to commit evil acts. Although their tragic flaws are entirely different, they share in remorse for their actions, which allows the audience to sympathize with them. In the story of Othello, Shakespeare portrays a tale of how a man’s trust is betrayed, ultimately leading to a tragic ending. Othello, the main character, is a...
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...often associated with virtue, courage and valour. Within Othello, Shakespeare questions the meaning behind heroism and admirability in the context of a Venetian society, in which the play is set. Through the tragic descent of Othello’s composure and his actions, the audience is left to wonder whether or not his virtue and presentation as an admirable general and hero, actually exists. Act 1 of the play presents Othello's decisions and behaviour as the epitome of virtue and valour, showing him as a high statured character - the definition of a tragic hero in Aristotelian methods, as it demands a character of greatness to suffer the greatest downfall. Although not necessarily presented as high born, he is deemed to be virtuous through his military prowess and well articulated speech; this however may be argued by the drastic change of fate within act 3 where Othello’s so called ‘valiant’ image is challenged by Iago’s ‘pestilence’ whispered with his own mind which can be seen through his brash actions and broken language, additionally it can be argued that Othello can be deemed dishonourable in his own actions in the first act of the play by his unblessed marriage to Desdemona; therefore the overall presentation and view over Othello is left to debate. Through Shakespeare’s use of dramatic methods, we as the audience are thrown straight into the action of scene 1,in the form of in media res; it is Iago that announces Othello to the audience as a ‘black ram’ and a ‘devil’, casting...
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...Othello and Desdemona * Othello is a play about opposites and opposition – many of which are embodied in the tragic, eponymous hero, Othello and his wife, Desdemona. Act 1, Scene 1 * Presented through Iago: * Iago’s language is different from the other two male characters which have been introduced – it is one of a crude and mocking nature. * She is a ‘white ewe’ while Othello is the ‘black ram’ – together they create a ‘beast with two backs’. This comparison both reinforces the idea that Desdemona has made an ‘unnatural’ choice and casts Othello in a repugnant role to the audience as a ‘lustful’ predator – even before having met him. The reduction of the Desdemona-Othello match to, through the unpleasant animal imagery, one of bestial sexuality, renders their relationship as one of alien in the eyes of audience – even before having met them. HOWEVER COULD BE ALTERNATIVE INTERPRETATION – The animal imagery Iago employs when speaking of Desdemona’s sexual union with Othello is keeping in with his earlier sneering reference to Cassio being ‘damned in a fair wife’. Shakespeare perhaps suggest Iago is crude and unable to understand love, or loving relationships – to him woman are a possession which ‘must be locked safe in [one’s] house’. Therefore to a contemporary audience: distrust any former view of Othello and Desdemona’s relationship which Iago has portrayed. Jacobean audience: further the ‘revolt’ of the Desdemona-Othello match. * Presented through...
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...follows the same basic story line with a fatal tendency, and Othello is no exception. Shakespeare stories are often about one hero, and the story builds up to the eventual death of this character. The hero often starts the story with happiness and no obvious problems, and as the story develops the character’s life begins to crumble and eventually leads to their death after everything has been lost. Othello is a prime example of this Shakespearian story line, where we see everything Othello has at the start of the story fall to pieces and end in tragedy with the character’s suicide. Jealousy and deception are central themes in many of Shakespeare’s plays, and are often what leads to the hero’s downfall. There are a number of key scenes in Othello that represent these themes of jealousy, deception and tragedy throughout the play. In Act 2 Scene 3 Iago uses different techniques in order to deceive Othello and change his opinions of Cassio. Iago says: ‘I would rather have this tongue cut from my mouth, then it should do offense to Michael Cassio.’ Iago is setting up his later deception, as he is tricking Othello into thinking that he likes Cassio and would never speak ill of him, which enables him to seem more believable when he later deceives Othello about Desdemona’s affair. This deception is confirmed when Othello says ‘I know Iago, thy honesty, and love doth mince this matter, making it light to Cassio.’ Othello is suggesting that Iago may not tell the whole truth as he wants...
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...Senoria Mitchell Timothy Crowley ENG 315 April 29, 2015 Essay 2: The Tragedy of Othello the Moor of Venice William Shakespeare’s play entitled Othello contained many striking scenes that contributed to the play’s climax and its relevance as a whole. The climax was Othello killing his wife over his jealousy. Othello’s jealousy stemmed in part from his own insecurities and also from Iago continuing to plant more doubt in him. These things collectively caused Othello to murder his wife, Desdemona. To get Othello to the point of murdering someone he loved so dearly, Iago conjured up accusations of infidelity against Desdemona. Certain scenes play different roles in leading up to Desdemona’s death. This paper will discuss the scenes and prove that they directly lead to the death of Desdemona. In act 5 Scene 2, Othello commits murder against his wife Desdemona as part of a bond he made with Iago, the deal was that Iago would kill Cassio and then Othello in turn would have to murder Desdemona. In this scene, Othello has an intimate conversation with himself and then speaks to his wife when she awakes. With himself, he talks about how fair and pure she looks. She is beautiful and seemingly untainted to him he is hesitant to kill her. He talks to her about praying that Heaven have mercy on her soul for her sins. He does not want to kill her soul as well as her body. It is obvious that he does not want to do anything to hurt Desdemona at all, but he feels that it is his duty as an...
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...June 2014 Act IV Questions IAGO The lethargy must have his quiet course. 55 If not, he foams at mouth, and by and by Breaks out to savage madness. Look, he stirs. Do you withdraw yourself a little while. He will recover straight. When he is gone, I would on great occasion speak with you. 60 1) What type of rhetorical device does Iago use in Act IV Scene I lines 55-60? a. Personification b. Ethos c. Logos d. Parallel e. Anaphora Iago Now will I question Cassio of Bianca, 95 A huswife that by selling her desires Buys herself bread and clothes. It is a creature That dotes on Cassio—as ’tis the strumpet’s plague To beguile many and be beguiled by one. He, when he hears of her, cannot restrain 100 From the excess of laughter. Here he comes. Enter Cassio. As he shall smile, Othello shall go mad, And his unbookish jealousy must construe Poor Cassio’s smiles, gestures, and light behaviors Quite in the wrong.—How do you, lieutenant? 105 2) Iago explains how he will fool Othello into thinking that Cassio is sleeping with Desdemona in Act IV Scene I lines 95-105 using a. Repetition b. Antithesis c. Polysydeton d. Parallelism e. Simile OTHELLO Hang her, I do but say what she is! So 189 delicate with her needle, an admirable musician— O, she will sing the savageness out of a bear! Of so high and plenteous wit and invention! 192 3) In act IV Scene I lines 189-192, Othello uses a metaphor...
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