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!!
Thursday, January 27, 2011
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.
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.
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.
Thursday, January 20, 2011
Tragic Hero Foreseen
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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.
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).
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).
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