The Tempest By William Shakespeare

Shakespeare 's complex play Othello holds numerous pressing issues within its intricate layers that seem to leap out to modern society. One such issue seen by many is the representation of women. Women within the play can be characterized as submissive possessions and temptresses. This ideology, though commonplace in this time period, appears controversial to the modern eye as we deconstruct the characters of this play. This dominate patriarchal society present within the setting merely conditions this belief further as it is prevalent within the characters dialogue.

William Shakespeare’s 16th century play Othello is a duplicitous and fraudulent tale set alternatingly between Venice in act 1, and the island of Cyprus thereafter. The play follows the scandalous marriage between protagonist Othello, a Christian moore and the general of the army of Venice, and Desdemona, a respected and intelligent woman who also happens to be the daughter of the Venetian Senator Brabantio. Shakespeare undoubtedly positions the marriage to be viewed as heroic and noble, despite Othello’s hamartia and subsequent downfall that inevitably occurs. Their marriage is then sabotaged by the jealous Iago, Othello’s ensign and villain of the play. While Iago’s ostensible justification for instigating Othello’s demise was his failure to acquire Othello’s position as lieutenant, Iago’s motives are rarely directly articulated and seem to derive from an obsessive, almost aesthetic pleasure in manipulation and destruction. Through the genre of the play, being a Shakespearean tragedy, and the structural devices employed by Shakespeare such as plot development, exposition, foreshadowing, dénouement, dramatic excitement, and catharsis, the key ideas of jealousy, appearance vs. reality and pride are developed and explored.

Love is complicated due to the fact that there is a difference of opinion and perception and it is complicated because people see stuff in different ways and interpret things differently as well. In the 3 texts dissatisfaction or complication is shown. Firstly in Othello love is presented as ephemeral and transient while atonement love is presented as unrequited and finally in cat on a hot tin roof love is presented as painful and troublesome due to unreciprocated feelings.

In Césaire’s A Tempest one of the main characters, Prospero, decides to remain on the island with Caliban and live out the rest of his life there. He remains there because he thinks the island needs him to be its ruler. As time continues, we see the deterioration of his mind and body. He becomes feeble and weak. He appears to see opossums overrunning the island and he attacks them to "protect civilization". Prospero seems to be hallucinating, and because of this can be seen as a crazy old man who has reached the end of his life. However, in this paper, I will argue that the opossums and other things he experiences aren’t just hallucinations he creates from being in a weakened state, but actually the realization of what he 's done in the

Tragically, this pure, innocent love obsession more often than not, develops into a bitter and resentful obsession that will spite one or both parties. This is clear in Shakespeare’s Othello. Desdemona’s and Othello’s harmonious marriage is warped by the Machiavellian villain Iago, who is insanely jealous and obsessed himself. Othello finds true contentment in Desdemona; she truly comprises his ‘other half’, as a spousal cliché states. She provides serenity in the life of a soldier who has known war since the age of seven. Unfortunately, this serenity and this union is what Iago seeks to undo. Expert in his understanding, he seizes upon lines previously spoken: “Look to her, Moor, if thou hast eyes to see:/ She has deceived her father, and

William Shakespeare’s The Tempest is an audacious play focused on the developing interrelationship between a group of stranded noblemen (and other lesser privileged benefactors). We are introduced to the patronizing father named Prospero who happens to be the Duke of Milan (and possesses magical powers), his innocent young daughter Miranda who wishes to marry the son of the King of Naples, his evil usurping brother Antonio, who slyly stole his position as the Duke, and a ragtag band of crewmembers who have more to them than meets the eye (not to mention Prospero’s loyal spirit servant Ariel, who plays a significant part in the events that transpire throughout the

Throughout Othello by William Shakespeare, Othello makes numerous poor decisions due to his jealousy. Hitting Desdemona, trusting Iago, and killing Desdemona are among a few of the poor decisions that he makes. The word jealous can be defined as feeling or showing suspicion of someone's unfaithfulness in a relationship. Othello feels suspicious of Desdemona’s and Cassio’s relationship because of the lies that Iago tells him. Many people try to tell Othello the truth but he only believes the words of Iago. Even Emilia, Iago’s wife, tells Othello that Desdemona and Cassio are not having an affair and their interaction is business only, however; he does not trust her. Without Othello’s jealousy he would not have made these horrible decisions.

In Tempest, Caliban and Prospero are of contradictory natures. Their characteristics are notably different as well as other characters have different opinions and attitudes to them. However, both of them have the same master and savior Prospero.

Perhaps the most interesting and exotic character in the tragic play "Othello," by William Shakespeare, is "Honest" Iago. Through some carefully thought-out words and actions, Iago is able to manipulate others to do things in a way that benefits him and moves him closer toward his goals. He is the main driving force in this play, pushing Othello and everyone else towards their tragic end. Iago is not your ordinary villain. The role he plays is rather unique and complex, far from what one might expect. Iago is smart.

Love is probably the most important factor in today 's society. That Love can drive us forward, love can drive us back. In Shakespeare 's Othello, the villainous character Iago maintains a well diverse, and deceptive character in the play. Using only his words, we see how he puts magic into the play, to help it move forward and evolve. That we get to see his true identity as he has homoerotic feelings towards Othello. We see Iago try to use his power of speech to try to pursue Othello, but we see him never have gotten close as Othello ignore his advances. That his very own words prevent him from ever be one with Othello. Iago getting rejected for Lieutenancy and at the same time Desdemona being Othello 's closes advisor fuels his rage and drive his vengeance to end Cassio, Desdemona and Othello for all the pain they caused him. Throughout the play we see Iago uses the power of his tongue, the words that roll off of it to seek revenge on them. At the same time he uses words to mask his true feelings towards Othello. That His very words will show his homosexual desire more evident, as he plants sexual scenes into Othello 's head in an effort to pursue him through speech and conversation.

William Shakespeare’s play of tragedy, Othello, has an abundant bulk of dynamic characters throughout the duration of the play. The eventuality of the grievous end in Othello could have transpired contrastingly different, assuming a particular character procured a bit of empathy. The antagonist, Iago, and ancient of Othello could have shown a little deeper empathy towards his wife Emilia, from the start to finish of the play. If Iago had shown empathy he would not have suffered a crushing defeat and instead would acquire the revenge he so furtively devised without anybody at all gleaning his traitorous behavior. The first chance Iago missed, in using a little empathy towards his wife, was when Emilia found Desdemona’s handkerchief on the floor.

Othello is a tragedy by William Shakespeare, believed to have been written in 1603. It is based on the story Un Capitano Moro by Cinthio, a disciple of Boccaccio, first published in 1565. This tightly constructed work revolves around four central characters: Othello, a Moorish general in the Venetian army; his beloved wife, Desdemona; his loyal lieutenant, Cassio; and his trusted but ultimately unfaithful ensign, Iago. Given its varied and enduring themes of racism, love, jealousy, betrayal, revenge and repentance, Othello is still often performed in professional and community theatre alike, and has been the source for numerous operatic, film, and literary adaptations.

Although King Alonso and Antonio unfairly banish Prospero from Milan, he still wrongfully overtakes the island he discovers and the few inhabitants on it. Not only does Prospero take control over Caliban, he also becomes Ariel’s master after saving him from his entrapment, but unlike the favored Ariel, Prospero treats Caliban horribly like a slave rather than a humble servant. Later in the play as Stephano encounters Caliban, he too takes advantage of him because of his gullibility and his fascination with liquor. Overall, Prospero along with Stephano, play the role of usurping European colonizers who make both Caliban and Ariel their deprived colonial subjects in William Shakespeare’s The Tempest.

As stated by Deborah Willis in her article Shakespeare's Tempest and the Discourse of Colonialism, “Prospero dominates this play in a way few Shakespearean characters do in others” (279), though with that being said the play does not favor him nor does it endorse his treatment and abuse of the Islands natives, but simply accepts it as is. Prospero does this through his overall power seen continually throughout the play, and it is this idea of power that divides the colonizer from the colonized or in this case Prospero from Caliban and Ariel. Furthermore, an example of this abused use of power can be seen in act 1 scene 2, when Prospero reminds Ariel of the kindness he has shown, “Dost thou forget/From what a torment I did free thee?” (1.2.299-300) in saying this Prospero reminds Ariel that he owes his freedom to Prospero and therefore his servitude. Furthermore, the relationship struggle for dominance between Prospero and Caliban is highly apparent in Act 3 Scene 2, when Caliban the original ruler of the island, explains that Prospero is an intruder and has betrayed his trust and initial welcome by enslaving him, in order to rule the Island himself, “I say by sorcery he got this isle;/From me he got it. If thy greatness will, /Revenge it on him, for I know thou dar'st,/But this thing dare not.” (3.2.59-62).

Prospero, Trinculo and Stephano seek power assuming that no one will be able to triumph over them.  Prospero later supports the theme of colonialism when he introduces the idea for Miranda and Ferdinand to go back to Europe and rule.  This relates to the external influence that Europe had on the colonized areas although some leaders withdrew from the island.  This adds to the controversy of colonization in The Tempest.