Act i. sc. i. ADMIRABLE is the preparation‚ so truly and peculiarly Shakspearian‚ in the introduction of Roderigo‚ as the dupe on whom Iago shall first exercise his art‚ and in so doing display his own character. Roderigo‚ without any fixed principle‚ but not without the moral notions and sympathies with honour‚ which his rank and connections had hung upon him‚ is already well fitted and predisposed for the purpose; for very want of character and strength of passion‚ like wind loudest in an empty
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Jealousy in Othello "O‚ Beware‚ my lord‚ of jealousy! It is the green-eyed monster (3.3.195-96)..." If a monster with green eyes were coming at an individual‚ what would one do? The answer of course‚ depends on the circumstances of that particular person. Would one permit the green-eyed monster to destroy his or her own mind‚ and control his or her every move? In this case the green-eyed monster would indeed be jealousy. so lets use Iago for example. He was prejudice towards the African American
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through his works for the first time‚ Shakespeare crafted dynamic paradigms for the average downtrodden woman to aspire up to. He conveyed profound statements about the backwards nature of the shibboleths that were commonly held. In his tragedy Othello‚ Shakespeare upheaves the status quo through the strong female character Emilia. His disapproval of the traditional stance is indicated by the creation
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important characters. A literary foil is a character who serves to highlight the character traits of one or more other characters by presenting a contrast. In the play Othello‚ the author‚ William Shakespeare‚ presents Emilia‚ the antagonist Iago’s wife‚ as a literary foil to Desdemona‚ the protagonist Othello’s wife. In Act 4 Scene 3 of Othello‚ Emilia and Desdemona discuss the morality (or immorality) of infidelity. While Emilia says she would sleep with other men if she‚ in return‚ receives power‚ Desdemona
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Shakespeare’s play‚ ’Othello’ and in Mike Nichols film‚ ’Primary Colours‚ present the Art of Deception through the characters of Iago and Jack Stanton. The era in which both texts are presented gives off a different reason why both characters use deception to gain what they are looking for‚ thus context plays an important role in how deception is presented‚ and affects both the meaning and values of each text. Whilst both texts portray deception as the driving force in their plots‚ the motives‚ methods
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The tragedy Othello is filled with a complex web of separate conflicts that are connected with each other. The external conflicts are very obvious‚ such as Iago trying to replace Cassio as lieutenant and Othello’s belief in Desdemona’s affair. In addition to these conflicts‚ however‚ many characters in the play also face their own internal conflicts in which they have to make a choice between two opposing forces. An excellent example of this internal conflict can be found in analyzing Roderigo. Roderigo’s
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This last show that we currently produced here at Hutchinson Community College which was Othello was a show that I wasn’t used too for different reasons. The first one was that I have never seen a production of Othello at all so I had no clue of what to expect with not only the acting but the design aspects of it as well. There were four design aspects that were different to me which were set‚ sound‚ costume and lights. None of these aspects are really my forte‚ these past two years is where I have
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Act 2 1. Three Questions What is Iago telling Rodrigo to do? And Why is Rodrigo doing everything he is told? Iago is using Rodrigo as part of his plan to ruin Othello‚ he is told to anger Cassio and persuade a fight with him so Othello could see how unfit he is for his position. The reason Rodrigo is doing all this so he could get more time and a better chance to get Desdemona. (II‚ i) Why did Iago so forcefully encourage Cassio to drink more wine? It was all part of Iago’s plan‚ he would
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when passion supersedes reason. In his play Othello‚ Shakespeare illustrates this same predicament in an altogether different fashion. Three characters—Roderigo‚ Othello‚ and Iago—let passion override reason‚ with disastrous results. Roderigo’s infatuation with Desdemona prevails over his common sense. At the onset of the play‚ Roderigo is a wealthy young Venetian who had previously failed to woo Desdemona. When he learns of her marriage to Othello‚ Roderigo is heartbroken‚ and he irrationally
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Point Two: Iago suspects Othello to be sleeping with his wife. Proof: Point Three: Iago accuses Othello of being a thief to Brabantio Proof: Concluding Sentence: Second Body Paragraph Introductory Sentence: Point One: Roderigo is jealous of Othello as he is obsessed with Desdemona‚ and that is Othello’s wife. Proof: Point Two: Othello is jealous as Desdemona shares her love with someone else. Proof: Point Three: Iago engineers himself to become jealous of Othello for apparently sleeping
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