...that power will always corrupt in some way. Act 2, scene 1, line 158 demonstrates a clear example of how other character’s comments can have a significant impact on Iago internally, when Desdemona says ‘O, most lame and impotent conclusion!’ Whilst this quote is not directly describing Iago as a person, the audience are able to understand that Iago believes that this is what he is becoming and therefore decides to seek revenge on all who wrongly accuse him. The quick and somewhat spontaneous aggression in the words ‘lame’ and ‘impotent’, suggest Desdemona’s sudden vexation with Iago. These words are both synonymous with being disabled or lacking power and ability. They therefore portray a perspective of Iago’s character as being utterly powerless. This point is furthered in Act 3, Scene 3, when Iago warns Othello of Jealousy and claims that ‘it is the green eyed monster which doth mock the meat it feeds on’. Shakespeare has employed the literary device of ambiguity here to show a contrasting view to this quote. Whilst Iago is warning Othello not to become the green eyed monster, the audience can also see that this may actually be an inward reflection of his own insecurities, therefore proving and exposing Iago’s own jealous flaws. The strong consonant sounds of k,th and t show a side of aggression that Iago portrays. As we have established, this metaphor is a reflection of Iago’s inner self and therefore shows his aggression and distaste towards his own self. This point further...
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...> Compare the way writers present the forces of destructive love in Othello, Tess of the d’Urbervilles and A View from the Bridge. > > Shakespeare, Hardy and Miller present the forces destructive love in a variety of different ways, key ways include; through the use of literary terminology, representation of characters and symbolic themes of culture/society at the time. It is often portrayed within a mixture of other categories of love; patriarchal, romantic and unrequited intertwined with the most prominent themes of fate, family and tragedy. > > In terms of form, structure and context; Shakespeare has chosen the form of a play for his story of Othello therefore being divided into Acts and Scenes which develops the undertone of drama allowing for 'cliffhanger' endings, which when portrayed in the theater is positively reviewed by the audience. For example the first known performance in November 1604 at Whitehall Palace, which then created widespread delight causing the play to move across England. Perhaps the play was so greatly beloved due to the time in which it was written, as it came into the Jacobean period (when King James I ruled England) as the period of delight during Elizabethan times (due to War Victory) was over and so the tone of the play will be keeping well with the tone of the time between the reigns. It will also be coinciding with the theme of War as the play is set in the backdrop of Wars between Venice and Turkey when in reality the Spanish Armada will...
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...Exhibiting a hardy amount of female characters, Emilia, Bianca, and Desdemona, Shakespeare introduces the ‘possessions’ of the play. Two of these women were literally purchased from one man and sold to another. They are one of the things that those men own now, they are there to fulfill his wishes. Othello’s ‘loving’ words to Desdemona in Act II: ‘Come, my dear love, The purchase made, the fruits are to ensue’ . Marriage is described as an act of ‘purchase’: a woman is bought by her husband, effectively as a favor, and is expected to fulfil his sexual desires in return for the privilege. Emilia and Desdemona are possessions now, while Bianca is just the island whore. Another one of Shakespeare favorite pastimes was to portray his woman as unfaithful whores, even if they weren't. According to Showalter, “There was the old chestnut about women having only two faults: everything they say and everything they do.” The idea was that as a woman you were either chaste and all loving to a husband you didn't get to pick and most likely didn't love...
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...Chapter One A SQUAT grey building of only thirty-four stories. Over the main entrance the words, CENTRAL LONDON HATCHERY AND CONDITIONING CENTRE, and, in a shield, the World State's motto, COMMUNITY, IDENTITY, STABILITY. The enormous room on the ground floor faced towards the north. Cold for all the summer beyond the panes, for all the tropical heat of the room itself, a harsh thin light glared through the windows, hungrily seeking some draped lay figure, some pallid shape of academic gooseflesh, but finding only the glass and nickel and bleakly shining porcelain of a laboratory. Wintriness responded to wintriness. The overalls of the workers were white, their hands gloved with a pale corpse-coloured rubber. The light was frozen, dead, a ghost. Only from the yellow barrels of the microscopes did it borrow a certain rich and living substance, lying along the polished tubes like butter, streak after luscious streak in long recession down the work tables. "And this," said the Director opening the door, "is the Fertilizing Room." Bent over their instruments, three hundred Fertilizers were plunged, as the Director of Hatcheries and Conditioning entered the room, in the scarcely breathing silence, the absent-minded, soliloquizing hum or whistle, of absorbed concentration. A troop of newly arrived students, very young, pink and callow, followed nervously, rather abjectly, at the Director's heels. Each of them carried a notebook, in which, whenever the great man spoke, he desperately...
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