Theme Of Manipulation In Othello

However strong Othello's and Desdemona's marriage seems, it begins to deteriorate as a result of Othello's self-pride. At first, Iago convinces Othello that Desdemona is unfaithful. Iago suggests to Othello that Desdemona slept with Cassio. Iago uses a handkerchief given by Othello to Desdemona that he got Emilia to get for him as his proof against

The basis of Shakespeare’s plays appears to focus mainly around the dominant male character and his conflicts, which tend to deal with a woman. There are only three women in the play Othello; Desdemona, Emilia and Bianca. The way in which these women behave and present themselves strongly reflects the ideological expectations of women within Shakespeare’s imagined Venetian society as well as the Elizabethan society in which he lived. This patriarchal Venetian society presented in the play depicts women as possessions of men who should remain submissive and meek at all times. The women are expected to unselfishly and unreservedly devote their lives to serve their fathers until they are of age to do so, their husbands. All three women love

     Iago told Othello that he would discuss Desdemona with Cassio, and that he would talk about the affair. Iago does not do this, and instead he talks about Bianca with Cassio, and Cassio laughs at things Iago says. Othello sees Cassio laughing and just assumes he is laughing at Desdemona, which in return upsets him very much. Iago used several tactics to set up Othello for deception in this case.

In “Sweat” adoration and hatred continuously go back and forth and Delia even “attempted friendliness, but she was repulsed each time” (1092). The despair and isolation Delia felt in the end of the story, perhaps even more than the straightforward and steadily building anger, is what caused her to allow him to die in the end.

    In William Shakespeare’s tragic drama Othello, the wife of the protagonist, Desdemona, is the main female character. Secondly, there is the ancient’s wife, Emilia, who is morally ambivalent. Thirdly, there is the girlfriend of Michael Cassio, Bianca, who makes her appearance later in the drama. This essay will analyze the roles of these three women.

He believes that by isolating Cassio, he will have a higher chance to win Cassio’s love. The first target is Bianca, who Iago most alerted to, because she is a suitor of Cassio and that she is known by most people as Cassio’s girl friend or fiancee. It is obvious that Iago will be cautious regarding Bianca. To Iago, love rivals are obstacles he has to overcome in order to receive Cassio’s love. Hence, Iago will have to confirm Bianca’s position in Cassio’s heart which he has ask about, “She gave it out that you shall marry her/

There is one person in the play able to overcome this divorce of intimacy between the sexes: Cassio. However, his two relationships in the play--his entreatment of Desdemona for help to regain Othello's favor and his lusty, physical intimacy with Bianca--contrast two wildly different views of women. On the one hand is his

He references a handkerchief that is owned by Desdimona, given to her by Othello. Iago mentions that he “…did today/See Cassio wipe his beard with” (3.3. 129-130). Using this cherished symbol of love between Othello and Desdemona, Iago convinces Othello that Desdemona’s love for him has passed to Cassio and that Desdemona is no longer faithful towards him. Iago creates an image of Cassio and himself sleeping together, and throughout the night Cassio had been talking in his sleep, saying “Sweet Desdemona,/ Let us be wary, let us hid our loves”,/ And then, sir, would he gripe and wring my/ hand;/ Cry, “O sweet creature!” then kiss me hard,/ As if he pluck’d up kisses by the roots/that grew upon my lips; then laid his leg/ Over my thigh, and sigh’d, and kiss’d, and then/ Cried, “Cursed fate that gave thee to the Moor”” (3.3. 103-111). Creating this image of unchecked lust, Iago makes Othello confident in his suspicions about Cassio and

Now that Michael Cassio is in distraught, he has no one to turn to, but Desdemona, Othello’s wife. Iago’s ultimate destruction is put into full motion. Michael Cassio and Desdemona spend a lot of secretive time together trying to figure out how to convince Othello to reinstate Cassio’s lieutenant position. The only person that knows their time together is Iago, since he is considered a trustworthy friend. This makes Iago’s plan

Lucentio's treatment of Tranio is reflected in his treatment of Bianca and their role as man and woman. Lucentio never hits Bianca or mistreats her in anyway, but spends the play wooing her and showing her his love. However, Bianca does not completely mimic Tranio's obedience in her role as wife to Lucentio. Though Bianca is not as stubborn willed and shrewish as her sister, Katherine, she does not obey her husband when he calls her to him. Biondello comes back to Lucentio to report: "Sir, my mistress sends you word that she is busy and she cannot come." [7] This action is in direct contradiction with An Homily on the State of Matrimony which states: "Let not therefore the woman be too busy to call for the duty of her husband where she should be ready to perform her own, for that is not worthy any great commendation." [8] Though Lucentio is consistent with his role as master and husband. His relationship with Tranio differs slightly from Bianca, Tranio's servant hood more apparent and selfless.

n Shakespeare's play Othello many issues are undertaken and explored. The three women play a vital role in this. Only one of the women in this play survives. All the women have no separate identity within the play; all three are married or associated with a male character. Bianca is the mistress of Cassio, Emilia is married to Iago and Desdemona is married with Othello. According to the time that the play was written in and the general hierarchy within Venetian society men hold all the power and women are considered to be of low intellect. Yet it is the women that speak the most sense throughout the play and it is also the women that are able to trust other characters in the play. Each woman represents a different social level, Desdemona

Undoubtedly a stronger character, Emilia has also accepted her role in society. At the end of the play while revealing Iago's plan she states 'Tis proper I obey him, but not now' (V.2.195). Although she has just betrayed Iago,she still feels the need to explains her reasoning for not obeying him. Bianca is also a victim of the role society has set for women. She feels obligated by the standards of society to be circumstanced or to' put up with'. It was natural for women to be feminine and to obey the men of the society and it was unnatural for them to do anything of the contrary. this concept was widely believed and understood by Shakespeare's audience. Modern feminist disagree and say it is not natural for a woman to be feminine, however the women in Othello are pre-feminism and only seem to compound the ideologies of 'feminism' through their actions and behavior.

When Bianca walks in on Cassio and Iago's conversation, which Othello is spying on, she is holding the handkerchief, which thus causes Othello's ravenous thirst for revenge. Thus, it plays an important part in leading to the tragedy of the Moor and to Desdemona;s death. In Act 5 Emilia revelas that she stole the

Lucentio is discovered by affection for Bianca at first perception, says that "he will die if he cannot win her heart", and thusly puts into movement a sentimental and capricious arrangement to do as such. Though cherish in the play is frequently moderated by monetary and entertaining concerns, Lucentio is cleared up in a dream of dignified affection that does exclude the useful contemplations of men like Petruchio. All through a great part of the play, then, Lucentio and Bianca's relationship seems, by all accounts, to be invigorating and unadulterated in contrast with the relationship amongst Petruchio and Katherine. Petruchio's choice to depends on his self-declared yearning to win a fortune, while Lucentio's depends on sentimental affection.

Bianca was described as sweet and quiet. She never spoke out of turn, and was always obedient, qualities that men desired in their future wives. For the majority of the book, this is how Bianca acts, but the audience watching the play is able to see small parts where there is another side of Bianca a side that she keeps hidden from the males in her society. One clear example of this is in Act 1 Scene 1 when Bianca whispers to her sister Katherine so that no one else can hear her;