The play Othello, written by Shakespeare deals with many elements that contribute to the unique culture present within the scene setting. In regards to this singularity, language can be attributed as well. Shakespeare’s language can be considered one of its own; allusions could cause multiple interpretations of one idea to be made. Archaic and obsolete words also add to the prominence of the discourse seen. Lies connecting to trust, and women each greatly contribute and add shape to this oneness present.
The time period in which Othello takes place an individual’s word was heavily relied on, due to the lack of technology and evidence available. “ I am not what I am.” (1.165), in this statement made by Iago, an understanding can be
In Shakespeare's tragedy, Othello, Iago is uncharacteristically honest when he says "I am not what I am". However, he is not the only character whose appearance differs from the reality. Nonetheless, he is possibly the only person who intends this duplicity. Unfortunately everyone is under the impression that Iago is "honest and just". Once alone, Iago reveals "when devils will the blackest sins put on, they do suggest at first with heavenly shows as I do now". Iago is two-faced in his relationships, even in the language he uses. After referring to Othello as a "black ram", he then tells him "my lord, you know I love you". Iago has no shame in appealing to heaven and godly images in
Othello has been described as one of William Shakespeare’s most popular plays because the play focuses on its themes of good and evil, military, politics, love and marriage, religion, racial prejudice, gender conflict, and sexuality; but the controversy and debate surrounding Othello is “Why is Othello a qualification for a tragedy?”
The language and literary techniques used in William Shakespeare's Othello enrich the settings, plot, characters, and themes. Othello is a complex tragedy about good versus evil, loyalty, love, sexual jealousy, appearance versus reality, and intrigue, told in a first person point of view. The play takes place during the Renaissance in Venice, Italy and in Cyprus over three days. It is written in blank verse, usually unrhymed iambic pentameter. The protagonist, Othello, is a Moor well respected by senators for his valiant service in war and married to Desdemona, a Venetian woman. The play is entitled Othello and the plot and action encompass him, thus supporting his position of
Allusions are popular literary devices used in writing to help readers draw personal parallels to what they’re reading. Such devices provide a prettier, more “flowery” language and enrich dialogue. Famous playwright William Shakespeare used many allusions while writing his plays and sonnets. They remove the necessity of a long explanation and illustrate images in the readers’ minds. Shakespeare alluded to a popular character from mythology named Hero during Romeo and Juliet in Act 2 Scene 4.
Shakespeare was very specific, in 1603, about his choice of words when he wrote the play, “Othello”. The three language devices – “words as power”, “words as character” and “words as conversation” with the audience – are used to create characters’ identities and fates, and also to drive the plot of the play (Krieger, 2012).
Throughout the length of Shakespeare’s tragedy Othello there is a steady undercurrent of sexism. It is originating from not one, but rather various male characters in the play, who manifest prejudicial, discriminatory attitudes toward women.
Othello represents a prime example of Shakespeare's ability to develop relationships between the sexes so as to demonstrate those relationships' weaknesses. In Othello, the sexes are divided by misconceptions and ego- centric views of the opposite gender. The men of the play, in particular Othello, maintain a patriarchal, chivalric notion of the sexes, while the women of the play yearn for more involvement in their husbands' affairs. So it is that the thrust of the play emerges from "the opposition of attitudes, viewpoints, and sexes." (Neely 214)
am’. It is not very clear on what Iago means as he does not make it
He had the weapon of knowledge. Since IAgo seemed to answer to Othello, nobody thought he was a threat, however the reader, who could see the big picture, could recognize what IAgo was capable of. Iago used his weapon of knowledge to manipulate those around him into trusting him and subconsciously destroying themselves. Another weapon Iago possessed was motive. In act 1, scene 1, Iago expresses his disapproval of cassio being chosen for the promotion over himself. IAgo begins to list Cassio's faults: “That never set a squadron in the field, Nor the division of a battle knows More than a spinster; unless the bookish theoric, Wherein the toged consuls can propose As masterly as he: mere prattle, without practise, Is all his soldiership. But he, sir, had the election: And I, whom his eyes had seen the proof”. Iago seems to get angrier in each line, giving reason to sabotage his surrounding personnel. In act 1, scene 3, Iago explains how he is to carry out his destruction: “To get his place and to plume up my will In double knavery -- How, how Let’s see:-- After some time, to abuse Othello's ear That he is too familiar with his wife. He hath a person and a smooth dispose TO be suspected, framed to make women false. The Moor is of free and open nature, That thinks men honest that but seem to be so, And will as tenderly be led by the nose As asses are.” Not only does Iago seem to get increasingly bitter, but the audience can
Contextually it is important to understand how women are presented as tragic victims of men in ‘Othello’. Contemporary views of women were, according to Sir Thomas Elyot “to be mild, timorous, tractable, benign, of sure remembrance, and shamefast.” Conversely men were seen to be “fierce, strong in opinion, covetous of glory, desirous of knowledge, appetiting by generation to bring for his semblable.” Elyot’s views of the contemporary man, though much grander than those of women, could prove to be their downfall in ‘Othello’. Shakespeare’s protagonist’s downfall could be based on the fact that he is desirous of knowledge, and Iago’s manipulation of Othello’s trustworthy nature suggests that not only are women the tragic victims of men, but it is men who are also victims of men.
Othello, by William Shakespeare is well known for its richness in literary content and elements pertinent to societal ideas. Moreover, women are portrayed in Othello in ways that confirm, but also contradict their treatment in Shakespeare’s time. Both female action and language represent these ideas such as expectations for a wife and expectations for how a woman is to act. That said, there are many other lines spoken by these characters that defy the expectations placed on women at time. Overall, the feminist critical lens allows a reader to understand Othello and the manner in which it is slightly sexist and controversial. This lens allows the reader to observe both discrepancies of how women are treated, and common characteristics found
Shakespeare’s tragic drama Othello features sexism as regular fare – initially from Brabantio and Iago, and finally from Othello. Let us in this essay explore the occurrences and severity of sexism in the drama.
The Shakespearean tragedy Othello contains a number of themes; their relative importance and priority is debated by literary critics. In this essay let us examine the various themes and determine which are dominant and which subordinate.
Othello is the character with whom most of Iago's methods have success. His weakness as a jealous lover is apparent early on, but only after Iago’s has planted the seeds of doubt within his mind. Such is Othello’s trust for Iago that he uses the misnomer of describing Iago as ‘honest Iago’ and irony considering the action held within the play. The trust is obvious and implicit and thoroughly entrenched within the language. Othello surmises on the aforementioned doubts during the last act of the play when he says;
Iago plants ideas in Othello’s head, uses the innocent actions of others as his proof; and Othello, who is not practiced in worldly matters, believes his the misnomer of the “honest Iago”, and eventually is consumed by the lie.