You Go Girl (:

Just like I suspected, Emilia pulls through in the end. Taking a complete turn, Emilia is a dynamic character for her tenacity to stand up against Iago for what seems like the first and last time. Though her bold actions had a severe and deadly consequence, Emilia stood up for herself at the expense of telling of the honesty in Desdemona and the obvious lies and crimes committed. Once overly obedient to Iago (giving over Desdemona's handkerchief to Iago, even though he treated her terribly), Emilia turns on Iago calling his acts villainous. She now refuses to stay quiet even if it means her harm, for she believes the truth which she bares is relevant amidst all of the lies and corruptness her husband provoked: "'Tis proper I obey him, but not now" (V.ii.194-196). It is my understanding that Shakespeare is making point to present women as less inferior to men through the progression of Othello.

Overall, I thoroughly enjoyed Shakespeare's Othello. I was thrilled to have finished the play without help from outside sources with a fairly clear understanding; I feel like I learned the WORK, not ABOUT the work!!

Piggy Back Characters

#3 Identify the protagonists and antagonists. Are there any foil characters?

Driving the action with a negative energy, Iago serves as antagonist of the play. Othello is not only the protagonist, but the tragic hero who admits that his downfall: he was "one that loved not wisely but too well; ...one not easily jealous, but, being wrought, perplexed in the extreme" (V.ii. 341-343). The two may also be looked upon as foils due to their differences which contribute to the advancement of their character. For example, Othello, in his easy trust, believes Iago over Desdemona. This illustrates Iago's powers of persuasion and Othello's naive nature. As more of a minor character, Roderigo is a foil of Iago. He displays the control Iago had over the minds and actions of those below him. Iago uses Roderigo for financial gain and help in an attempt to kill Cassio. Through the minor characters, the personalities and motives of Othello and Iago are accentuated.

Total Casualties- FOUR

#2: Is the play a tragedy or comedy, a melodrama or a farce?

As Othello was written as yet another Shakespearean tragedy, Act IV unfolds with much question attached to it. I found myself engrossed in the plotting of deaths which Iago always seemed to propose. As the plotting continued, I began thinking about the elements of tragedy- one of which is the occurrence of deaths. The conclusion of Act IV held no deaths, but since I knew this play to be a tragedy, I anticipated deaths to come. I saw no sign of melodrama up to this point since the evil plots of Iago were still prevailing. Iago suggests Othello kill Desdemona for her supposed adulterous acts by strangling her "in her be, even the bed she hath contaminated" (IV.i.190). The audience's knowledge that the play is a tragedy is crucial because it holds the attention as one reads on for the action and deaths of characters-- yes, the human mind is that corrupt that its attention is captivated by the possibility of deaths.
Foreshadowing violence, Othello hits Desdemona after she calls him "sweet Othello" (IV.i.224). He has in his head that she is cheating on him; thus, he sees their conversation as an open confirmation from her that she has been with Cassio, driving the plot forward.
As the play concludes, melodrama cannot be usedtodescribe the play-- mainly because there is no happy ending; Othello takes his own life.

Tragic Hero Foreseen

Shakespeare has a way of psyching people out to immediately refer to "No fear Shakespeare," but all in all, his tragedies are fairly similar and moderately comprehensible. The common thread I have found throughout the four Shakespearean tragedies I've read is the existance of a tragic hero. This hero always has a downfall which either leads him to death, betrayal, or emptiness. My hypothesis is Iago will successfully tear Desdemona and Othello apart (if this is entirely wrong it's because I haven't referred to outside sources yet!). Othello in my opinion is the tragic hero, designed to be much too trusting. His leaning on people's honesty to make his decisions for him may lead to his tragic downfall. Like Brutus in Julius Caesar, Othello possesses the mind of one who sees only others' opinions to justify his own.

#8 To what extent does the play employ narration as a means of dramatic exposition? Whe effects on the audience do the expository methods have?

Iago's self-focus in his goal to obtain position of Lieutenant is obvious through his fickle personality. Iago is ironically viewed as an honest man, even pronouncing his reputation to Cassio, "As I am an honest man..." (act II scene iii line 244). There is much dramatic irony as Othello perceives Iago to be an honest man and Roderigo knows the plotting Iago, who claims to be helping Roderigo win over Desdemona. Iago exposes his two-faced personality, though only the audience is ever fully aware of it. One way Iago does this is by switching back and forth between iambic pentameter when speaking formally to Othello and the Duke and then prose when speaking informally to Cassio and Rogerigo; Iago puts on a show in front of Othello. Iago works with Roderigo, seemingly controlling Roderigo to expose any indecency of Cassio's. Manipulation is apparently Iago's number one tactic; he isn't out to follow Othello, but to seek revenge for not being chosen as Lieutenant. To the character's eye, Iago is a humble man, always at the right place at the right time, but to the audience Iago is deceivingly forming situations for his benefit.

Worthiness not based on Color

What themes does the play represent?

Amazingly enough, hatred based on preconceived notions was prevalent even hundreds of years ago when Shakespeare wrote Othello. Prejudice thoughts based on race and color have prevented colored from fair treatment for much too long. Even in a fictional play, Shakespeare incorporates the universal treatment towards blacks, Othello included. Shakespeare wastes no time presenting the theme of hatred based on prejudice thoughts, in this case race. Throughout acts 1-3, Othello is generally referred to as "the Moor," stripping him of the respect of a name. Iago refers to Othello with language centered around a horse when rousing Brabantio in act I scene i lines 109-112: "...you'll have nephews neigh to you, and jennets for kinsmen." This language indicates that Iago thinks Othello animalistic. Likewise, when Brabantio learns of Othello and Desdemona's marriage, he cries, "Oh, treason of the blood!" obviously disgusted with his daughter's choice of husband. The Duke throughout the first act stands up for Othello, providing that although Othello is black, he is proven worthy which makes him beautiful (Line 203).

Warners Bros. presents "The Guilty Malady"

I must thank the sitcom "Outsourced" for inspiring me to write more about the Indian culture and expand on the theme of always wanting a direct answer to problems.

PLOT

The movie would begin in the morning of the Das family's trip with Mr. Kapasi to the Sun Temple at Konarak. In the beginning, Mrs. Das will be prepping herself for the day, unconcerned with getting the children ready. She stares blankly into the mirror, seemingly zoning out. As she turns, the camera panels over her view of three kids running around and Mr. Das sitting on the bed tying his shoe. She sighs; this whole scene envelops the hopelessness Mrs. Das feels and the disconnection towards her family. The car trip will remain the same, with Mr. Kapasi taking quick glances at Mrs. Das in the review mirror, only this time she won't say "Sounds romantic" when describing his job as translator for doctors. She will say distantly, "What a brave, strong job you have Mr. Kapasi." In this way, Mr. Kapasi takes her dreamy declaration to mean more than she means (he will of course be flattered by her brave comment, as most men are). She will take a picture with the tour guide and get his address same as in the short story. When the family stops so Mr. Das can take the children past the monkeys to take pictures, Mrs. Das immediately bursts into tears, expanding on her trapped feeling. She shares her story and sits and stares at Mr. Kapasi. He awkwardly stares back. Flicking her hand at him to talk, Mr. Kapasi realizes what is happening and he explains he cannot help this "malady" because it is not a malady to feel guilt. She then takes out his address, rips it up, throws it at his face, and trips out of the car.

POINT OF VIEW

In the film adaptation of "Interpreter of Maladies," the point of view most fitted for capturing all thoughts and motivations for actions would be third person omniscient. In this way, Kapasi's longing for Mrs. Das, or any woman outside his marriage, remains a focal point. A view that focuses in on all characters allows for direct acknowledgement of the children's treating parents as siblings. Mr. Das will easily be scene as more air-headed and disconnected to the feelings of Mrs. Das, contributing to her obvious loss of interest in her family. The story will focus on the Das family and Mr. Kapasi equally, however with more attention on Mrs. Das and Mr. Kapasi to show the longing Mr. Kapasi has for a woman and the longing Mrs. Das has for clearing of guilty conscience.

CHARACTERIZATION

The left image reflects my view of Mr. and Mrs. Das before they had children, before she committed adultery and before they lose love. The right image depicts the disconnected nature I foresee the Das's encountering as they grow old together. As far as characterization goes, Mrs. Das will remain unpleasant to her family and pleasant in the presence of Mr. Kapasi because she wants his attention in order to ask for her remedy; Mrs. Das is the using type. Mr. Das appears always off in his own little world, like one of the children. He portrays more of a big brother for the children, like in the short story, and less of a father. Mr. Kapasi shyly watches Mrs. Das for his chance to make a move; evidently, his shyness leads to shameful feelings when Mrs. Das explains he's the age of her father. Mr. Kapasi's innocent demeanor invokes sympathy for the love he does not have and the chance he is refused.

SETTING

Naturally, altering the setting too much might distract from the longing feeling conveyed. Set in India, the Das family represents a feeling of longing for new places as the venture from the US to India. India, in all its beauty, poverty, customs, and landscape, will provide much for viewers to focus on; this ill contrast greatly with Mrs.. Das's obvious lack of interest with anything even when so much culture surrounds her. The Sun Temple presents the perfect place for Mr. Kapasi to teach Mrs. Das since he focuses on love and the temple itself is embellished with figures of love in action. Again, Mrs. Das is present at the temple, but her mind seems elsewhere, leading up to the point where she shares her story with Mr. Kapasi for more answers.

THEME

"Interpreter of Maladies" focuses on the fantasy Mr. Kapasi has of Mrs. Das, only in the movie it's based on her "brave and strong" remark. Both accounts capture the longing of the heart, whether that be for love or healing. In the short story, the slip of paper containing the tour guides address blows out of Mrs. Das's bag symbolizing the evaporation of the fantasy. Unlike the short story, the movie "The Guilty Malady" encapsulates the guilt of Mrs. Das and her adulterous acts; she holds onto the potential of Mr. Kapasi providing some remedy for this guilt. Overall, the movie will suggest the only remedy for guilty conscience is providing the truth. Because Mrs. Das cannot or will not accept this notion of Mr. Kapasi, she angrily tears up his address in front of his face. Instead of the paper blowing away, the tearing of it shows the immature nature of Mrs. Das and her inability to face the anger with herself; she executes this anger through hurting Mr. Kapasi.