Othello: the Abnormal Five Works Cited William Shakespeare’s tragic drama Othello presents to the audience a very abnormal character in the person of Iago. Also can one classify the epileptic seizure of Othello as normal? Let us in this essay consider the abnormal in the play. The abnormal behavior of the ancient is partly rooted in his misogynism. In “Historical Differences: Misogyny and Othello” Valerie Wayne implicates Iago in sexism. He is one who is almost incapable of
Iago in Othello In William Shakespeare’s tragic drama Othello we see a morally depraved character, perhaps a very mentally sick individual, named Iago. His personality and development during the play is the subject of this essay. In Shakespeare’s Four Giants Blanche Coles comments on the mental illness that appears to afflict the despicable Iago: When such old time critics as H. N. Hudson, who wrote nearly a hundred years ago, saw that Iago was not acting from revenge, one is more
Othello’s Iago We find in William Shakespeare’s tragic play Othello an example of personified evil. He is the general’s ancient, Iago, and he wreaks havoc and destruction on all those under his influence. Louis B. Wright and Virginia A. LaMar in “The Engaging Qualities of Othello” comment on how the character of Iago is the wholly expected type of villain for an Elizabethan audience: Iago at once captures the attention of the spectator. He is the personification
Villainous Iago of Othello Who can compare in depth of evil to the villainous Iago in William Shakespeare’s tragic drama Othello? His villainy is incomparably destructive on all of those around him. Iago’s very language reveals the level at which his evil mind works. Francis Ferguson in “Two Worldviews Echo Each Other” describes the types of base, loathsome imagery used by the antagonist Iago when he “slips his mask aside” while awakening Brabantio: Iago is letting
Shakespeare’s Othello is the cunning Iago. He spends his life, it would seem, taking revenge on the general and destroying nearly everyone around himself. Helen Gardner in “Othello: A Tragedy of Beauty and Fortune” elaborates on Iago’s exact function and place in the play: . . . Iago ruins Othello by insinuating into his mind the question, ‘How do you know?’ The tragic experience with which this play is concerned is loss of faith, and Iago is the instrument to bring Othello to this crisis
The Lost Iago in Othello In Shakespeare’s Othello the sinister nature of the ancient casts a pall of uneasiness over the narrative of the play. How can the evil influence of one character be so pervasive? Let us in this essay probe his character and find answers to our questions. In “Historical Differences: Misogyny and Othello” Valerie Wayne exposes Iago’s inability to praise women when Desdemona asks him how he would do it: Iago’s worry that he cannot do what
particular paradox, we become fascinated. Bradley emphasizes on viewing the literary techniques used not as the basic constituents but as the expression of tragedy. Some of the major characters in Shakespeare's renowned tragedies are Hamlet, King Lear, Othello, and Macbeth. Most of these characters are individual sufferers as in reality; a single man faces the paradoxes of life. In every work of Shakespeare, irrespective of the individually unique traits, we find a shattered hope or a failed ambition as
Shakespeare’s plays give witness to his profound knowledge of human nature and psychology. This knowledge is, however, a product of his unique mind, throughout the theme of crime and punishment throughout Shakespeare’s dramatic. Hence, this study was an attempt to address the phenomenon of crime and punishment in Julius Caesar in William
Revenge in Shakespeare's The Tempest The nucleus of the plot in Shakespeare's The Tempest revolves around Prospero enacting his revenge on various characters who have wronged him in different ways. Interestingly enough, he uses the spirit of Ariel to deliver the punishments while Prospero delegates the action. Prospero is such a character that can concoct methods of revenge but hesitates to have direct involvement with disillusioning his foes. In essence, Prospero sends Ariel to do his dirty