Othello The audience is aware of Iago's nefarious nature from the opening scene of Othello. During his conversation with Roderigo, Iago confesses his hatred of both Cassio and of Othello, his commanding officer of whom he says, "I follow him to serve my turn upon him," (I.1.42). Iago's rage and vengefulness drive the play's plot forward, leading to the death and downfall of many of its main characters. Thoroughly humiliated by his being passed over for a promotion by Cassio, Iago sets forth to plan the destruction of Othello and Cassio, and along the way has no qualms about killing Desdemonda, Roderigo, and even his own wife, Emilia. Never once does Iago show the slightest hint of humanity, sadness, or remorse. He never catches himself or comes to terms with the core feelings that drive his murderous scheming. Therefore, Iago embodies a character of true evil, a man who premeditates murder and manipulates others for no other reason than to inflict pain. Like a classical tragic hero, Othello does exhibit the...
Yet more than his personal pride, Othello's trust of Iago led to his downfall. Were it not for Iago's machinations and manipulations, Othello never would have reached the level of madness that he did.
Othello Costumes Designing costumes for Othello, in whatever form -- play, ballet or opera, presents a few problems from the outset. First, of course, is the necessity for the costume to enhance the feeling of paranoia of Othello, a Moor in a Caucasian society. Second, Iago needs to be malevolent without being evil personified; he is, perhaps, simply overly worldly and overly ambitious, as is his wife, Emily. And third, Desdemona
Thesis Statement Shakespeare’s Othello is a tragic hero according to the definition of Aristotle. First, he is a man of noble stature. Second, he is good—but not perfect—and his fall is directly attributable to his own guilty actions. Third, his fall is tragic—the combination of his greatness and his own responsibility in causing his own fall. Fourth, the misfortune Othello suffers is enormous and due to the fact that he himself
Othello, The Moor of Venice There are a number of very specific literary conventions that a dramatic work must have to adhere to Aristotle's multi-faceted definition of a tragedy. One of the principle components of this definition is that a tragedy chronicles the downfall of a tragic hero. Tragic heroes are well-renowned individual with a wonderful set of virtues descended from decidedly noble lineages who are plagued by one (and only
Othello as Tragic Hero While Othello is not Greek and Shakespeare is not a Greek playwright, Othello embodies many characteristics of a tragic hero as outlined by Aristotle. What is a tragic hero? Person who is neither perfect in virtue and justice, nor someone who falls into misfortune through vice and depravity, but rather, one who succumbs through some miscalculation. Othello is manipulated by Iago to murder Desdemona Iago uses Othello's trusting nature against him Hero
Othello: The Tragedy of Internalized Racism William Shakespeare's tragedy of the Moor Othello is the only major drama of the great playwright in which race plays a major role. The title character begins the play a great and esteemed general, despite the fact that he is a member of an 'othered,' despised race against which some whites have great prejudice. Othello's apparent nobleness, his military prowess, and his eloquence (despite his
Othello as Tragic Hero Othello, the Moor of Venice is a Shakespearean tragedy that focuses on the great war hero Othello and the lengths to which Iago goes to in order to strip Othello of his power. Iago's thirst for power commences when he is passed up for promotion and Michael Cassio is instead award the position of lieutenant. Although it would appear to be more logical that Iago target Cassio,
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