Othello Act Iii Scene Iii Analysis
“Othello”is one of the great tragedy themed plays by William Shakespeare. In the observation of human behavior, Shakespeare noticed that although people respect conventional values much of the time, they sometimes learn to develop techniques that enable them to counteract the effectiveness of the values and laws and drift towards illegitimate behavior.
In Act iii, Scene iii is where Shakespeare shows the turning point of Othello through the implementation of Iago’s plot. Othello’s strong demeanour is now shaken as he is seduced by Iago’s lies and claims them as the truth from an honest old friend.
According to Van Laan (1978)
Othello’s careful, controlled presentation of himself as meritorious is neither nether play-acting nor discrepant roleplaying, but it is touched by both. His tendency to act his own identity suggests his particular enjoyment of it. By playing his own identity, he evolves the notion of a felt discrepancy, of a felt lack of full equivalence between this identity and himself.The extreme contrast between Othello and Lago also extends to their histrionic activity for where Othello’s play-acting is moderate, perhaps not fully conscious, and designed to preserve. Lago is destructive in intentions, highly calculated and constantly operative whenever he is in the presence of another. Iago whosecredo reads‘Iam not what I am’ and only his soliloquies or under the cover of darkness does he say or do anything not suiting his fictitious role of ‘honest Iago.’
I agree with Van Laan’s interpretation of Othello’s character. Othello does seem to enjoy his entitlement. As seen in the poem, Iago is careful to make note of Othello’s authority and never regarded himself as his equal. This though had blinded him from seeing Iago’s true destructive nature.
According to Bradley (1904)
Othello is, in one sense of the word, by far the most romantic figure among Shakespeare’s heroes; and he is so partly from the strange life of war and adventure which he has
In Act iii, Scene iii is where Shakespeare shows the turning point of Othello through the implementation of Iago’s plot. Othello’s strong demeanour is now shaken as he is seduced by Iago’s lies and claims them as the truth from an honest old friend.
According to Van Laan (1978)
Othello’s careful, controlled presentation of himself as meritorious is neither nether play-acting nor discrepant roleplaying, but it is touched by both. His tendency to act his own identity suggests his particular enjoyment of it. By playing his own identity, he evolves the notion of a felt discrepancy, of a felt lack of full equivalence between this identity and himself.The extreme contrast between Othello and Lago also extends to their histrionic activity for where Othello’s play-acting is moderate, perhaps not fully conscious, and designed to preserve. Lago is destructive in intentions, highly calculated and constantly operative whenever he is in the presence of another. Iago whosecredo reads‘Iam not what I am’ and only his soliloquies or under the cover of darkness does he say or do anything not suiting his fictitious role of ‘honest Iago.’
I agree with Van Laan’s interpretation of Othello’s character. Othello does seem to enjoy his entitlement. As seen in the poem, Iago is careful to make note of Othello’s authority and never regarded himself as his equal. This though had blinded him from seeing Iago’s true destructive nature.
According to Bradley (1904)
Othello is, in one sense of the word, by far the most romantic figure among Shakespeare’s heroes; and he is so partly from the strange life of war and adventure which he has