The Power Of Language Devices In Othello

   In Othello, Shakespeare explores the relationship between words and events. Spoken thought, in the play, has all the power of action; speaking about an event will make that event become reality for those who hear - it will affect reality as if that event had taken place. Shakespeare demonstrates the power of words poignantly through Othello's monologues. Othello struggles with the reality that Iago creates for him. When Othello speaks, he reveals that he is unable to stop himself from carrying out acts that Iago's and his own words have prophesied and initiated. Othello's monologues further demonstrate that even the knowledge of the power of words cannot protect the characters from the

Through using powerful words in, “Othello”, the human behaviour of the characters is either positively or negatively influenced, and their characteristics and destinies are created. In the following essay “the power of words” in “Othello” will be discussed. Firstly, an introduction paragraph will be given about the power of language devices. Secondly, the language device, “words as power”, will be discussed. Thirdly, the language device, “words as character”, will be elaborated upon. Lastly, the

The film ‘O’ directed by Tim Blake Nelson is a recognised contemporary interpretation of Shakespeare’s classic tragedy Othello, which addresses a number of issues that are relevant to a modern day audience compared to that of the past. The director of the film has changed crucial parts of the play which makes the play such a classic, which has essentially ruined the literary value of Othello. This is evident for a number of concepts including, the overt links between the play and film, the power of words and language and Iago and his motives

Once a seed of suspicion or doubt is planted in a person’s mind, the noxious effect of jealousy is soon to ensue. Jealousy and suspicion are Othello’s flaws hubris throughout the play and foreshadow to the audience his imminent downfall. He believes what Iago tells him so strongly that he compromises his close relationship with his best friend and his love for his wife. Iago manipulates Othello through the use of extortion, literary techniques, and his keen judge of character. His syntax and diction are so simple yet so powerful because he uses the correct rhetorical questions and addresses Othello with respectful terms such as “my lord.” He allows Othello do most of the talking

Words are all around us. Words define the way we describe the way we articulate, one such example being this very paper, the way we interact with others, and most importantly, the way we feel or think. Adjectives: the words that give our world emotional meaning beyond the literal definition; that is connotation. Connotation is most evident in words to which we associate our most extreme emotions. Whether it is witnessing the greatest of fireworks, an elaborate collection of lights and sounds, or seeing truckfuls of babies being dumped into a blistering hot fire, the word we would use to describe these two events, fire, will forever be emotionally seen differently by whomever witnesses it. A word can develop in meaning, once meaning one thing to then mean something completely different. In fact, In Elie Wiesel’s “Night”, Elie’s definition of the word ‘fire’ changes from that of a danger to one’s self to that of destruction and revenge.

“Friends, countrymen, lend me your ears.” This line is said by Mark Antony to garner the attention of his countrymen in arguably one of Shakespeare’s more popular plays, Julius Caesar. The iconic line is one of Shakespeare’s better known addresses. In his plays repetition functions as an indicator of something to which the audience should pay particular attention. Specifically, in the play Othello, the repetition of the word “friend” is relevant and draws the audience’s attention to relationships of a superficial or forced nature, as the relationship between Othello and Iago, Cassio and Bianca, and as a rhetorical device. Through close reading of the play, one sees that “friend” functions as a versatile device used for manipulation.

Iago also uses language to create the desired effect he wants to be perceived, when he talks to Brabantio about Desdemona and Othello, he does not merely say that they are in love and are sleeping together, he uses crude, insulting language to describe Othello, ‘making the beast with two backs’(I,I,107-108) with his daughter.

Firstly, the patriarchal representation of women and sexuality throughout “Othello” effectively demonstrates the movement of cultural values through historical contexts. Desdemona and Emilia are character foils of weak and strong, and Desdemona is often subject to objectification. Desdemona’s husband, Othello, stated, “I won his [Brabantio’s] daughter” (1.2.94), which metaphorically objectifies Desdemona as an object to be “won”. Bianca, a Venetian mistress, is also degraded through her speech. She is often regarded as a “whore”, with no consequence for the men who say it. For the entire play, Bianca speaks in prose whereby there is an absence of iambic pentameter, separating her from the nobility who speak in verse. Bianca and Desdemona effectively reflect female isolation and dismissal within society simply because of their gender, thus emphasising the state of women in 16th century society.

Othello’s love for Desdemona was so deep he could not bear the thought of another being with her; “If she be false, O! Then heaven mocks itself. I’ll not believe’t.” Iago uses the characters of Cassio and the obsessive Roderigo as his weapons in his cunning plan. Iago drives the idea into Othello’s mind that Desdemona has been unfaithful, inciting him into a state of jealousy. “Excellent wretch! Perdition catch my soul, but I do love thee; and when I love thee not, chaos is come again.” Othello growing insecurities about his wife’s faithfulness only adds to his psychological suffering which in turn acts as a catalyst towards the suffering of other characters involved in the play.Iago tells these lies with the intention of driving Othello insane as well as establish his dominance and influence the situations of those characters close to Othello. Evidence of this comes in one of Iago’s soliloquies from act two, scene one; “That Cassio loves her, I do well Believe’t: That she loves him, ‘tis apt and of great credit.” This section shows that he is trying to convince himself that his own manipulative lies are true and is trying to reassure his motives by justifying his own actions. By convincing Othello

The relationship of the characters in Othello are shaped by the theme of truth and lies. Othello has trouble believing in his relationship with Desdemona because he considers too many outside opinions. Iago is the center of creating manipulations to alter the truth of the actual information. Therefore, Othello questions his fidelity with Desdemona because Iago plants different information to manipulate Othello’s mind and ultimately disrupt his relationship. According to Samuel Taylor Coleridge, “Othello wishes to excuse himself—to excuse himself by accusing” (151). Othello has others easily influence his decisions, in which he is incapable of trusting himself. Needless to say, Othello finds it easier to accuse Desdemona of her wrongdoings and for being unfaithful; he does not question Iago’s creditability. In addition, the theme of truth and lies arise from Othello’s inability to understand himself, so Othello initially has Iago dictate. For that reason, Iago is able to tell Othello anything, knowing that Othello does not question him. However, Othello does not see that Iago manipulates him, and Iago’s lies are perceived as the truth, as it contradicts what Desdemona says.

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

However the textual integrity of the play can be questioned. In terms of its pacing, Othello’s transition from a love that overcame social boundaries to murderous hate is almost too abrupt, to the point that it is unconvincing and unrealistic. The fact that Othello blindly follows the words of Iago, without once consulting Desdemona, takes away the play’s realism. On the other hand, this can be attributed to the gender system of the time, and Othello’s insecurities about his race and age. Stage directions instruct Othello and Iago to kneel, and to modern audiences this symbolises that the bond between the two men is stronger than marriage representative of the patriarchal society of Shakespeare’s time.

   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.

The male characters of the play view women in varied ways. Cassio often idealizes Desdemona, praising her positive characteristics, even believing that she is "perfection" (2.3.25). Iago's attitude towards women is largely critical and negative. He tells Emilia that women are "pictures out of doors, Bells in your parlors, wildcats in your kitchens, Saints in your injuries, devils being offended, Players in your huswifery, and huswives in your beds" (2.1.111-114), meaning that women are often deceptive. He later says, "She never yet was foolish that was fair, For even her folly helped her to an heir" (2.1.137-138). Iago's cynical attitude towards women continues throughout the play, as he talks of women as being foolish and unfaithful creatures. Othello's views on women are more complex than Iago's. Othello loves and praises Desdemona often in the play. He tells Iago, "But that I love the gentle Desdemona, I would not my unhoused free condition Put into circumscription and

Iago’s relationship with Othello becomes a power struggle where Iago attempts to degrade Desdemona in order to position himself so he can ‘poison’ Othello. Here Shakespeare is showing how powerful and manipulative Iago can be with his use of words, and how powerful they can be. This power struggles is exemplified