"I hate the Moor, and it is thought abroad that 'twixt my sheets, He's done my office." (I.iii.366-368)
As I begin my journey through Othello, I have come to find that the common conflict in many of Shakespeare's works includes the difficulty of married couples to preserve their love in the face of the lusts of other characters. The issue seems so ubiquitous that it gives a double meaning to the term tragedy. The dilemma leaves me questioning the reason behind such a widespread theme throughout a host of Shakespeare tragedies. When I think about the issue, I am exceedingly convinced that Shakespeare was a highly skilled satirist. He expertly points out common conflicts society finds itself facing. Why would Shakespeare most frequently point out the entrapments of love then? I believe Shakespeare saw directly into the downfalls in which love leaves individuals. He creates Iago to express this knowledge. Iago's main mission is to break up the marriage of Othello and assert his authority because he feels disrespected. Iago possesses an uncanny wit. Shakespeare must then value intelligence much more than the romantic ideal of love. He crafts a story around the superiority of such an intelligence.
Thursday, January 26, 2012
Contrast of Characters
"To suckle fools and chronicle beer." (II.i.159)
"He speaks home, madam. You may relish him more in the soldier than in the scholar." (II.i.163-164)
As the story progresses and characters show increased personality and tendencies, the reader gets a glimpse at the contrasting nature of some of the major characters. Because the reader experiences the asides and soliloquies unaware to the other characters, they can fully realize the intrinsic motivations of the main characters, frequently including Iago. Two major foil characters emerge from the dialogue of the second act. Cassio emerges as a an upright man highly conscious of his honor, while Iago, outwardly a moral character, conducts his actions in mischievous and comdemnable ways. Minor charactes like Desdemona and Emilia also contribute to the minor character theme. Characters such as Iago and Desdemona alike certainly advance the plot of the story by fabricating situations that would not regulary occur. Through Iago's rhetoric and urging, Roderigo is convinced to stay the course of Iago's plan and win Desdemona's heart. At the same time, Cassio trusts Iago to keep his honor despite his embarassing show of drunkenness. These minor characters are like pawns, in that they are manipulated by the puppet master-Iago. They also embody many of the themes stated in the previous post. Desdemona prompts Cassio, through her unbeknownst flirtatious responses, to court her more. This advances the theme of intercession in the love affairs of suspect relationships. Similarly, Roderigo prompts Cassio to attack him, further preparing the seeming separation of Othello and Desdemona.
"He speaks home, madam. You may relish him more in the soldier than in the scholar." (II.i.163-164)
As the story progresses and characters show increased personality and tendencies, the reader gets a glimpse at the contrasting nature of some of the major characters. Because the reader experiences the asides and soliloquies unaware to the other characters, they can fully realize the intrinsic motivations of the main characters, frequently including Iago. Two major foil characters emerge from the dialogue of the second act. Cassio emerges as a an upright man highly conscious of his honor, while Iago, outwardly a moral character, conducts his actions in mischievous and comdemnable ways. Minor charactes like Desdemona and Emilia also contribute to the minor character theme. Characters such as Iago and Desdemona alike certainly advance the plot of the story by fabricating situations that would not regulary occur. Through Iago's rhetoric and urging, Roderigo is convinced to stay the course of Iago's plan and win Desdemona's heart. At the same time, Cassio trusts Iago to keep his honor despite his embarassing show of drunkenness. These minor characters are like pawns, in that they are manipulated by the puppet master-Iago. They also embody many of the themes stated in the previous post. Desdemona prompts Cassio, through her unbeknownst flirtatious responses, to court her more. This advances the theme of intercession in the love affairs of suspect relationships. Similarly, Roderigo prompts Cassio to attack him, further preparing the seeming separation of Othello and Desdemona.
Lust all Around
"Three great ones of the city, In personal suit to make me his Lieutenant, Off-capped to him. And, by the faith of man, I know my price, I am worth no worse a place. But her, as loving his own pride and purposes, Evades them, with a bombast circumstance. Horribly stuffed with epithets of war." I.i.8-14
With the opening act of the story, the main plot details, characters, and conflicts are introduced to the reader. The reader also gets a glimpse of the themes which will dictate the subsequent actions of the characters. Several undeniable themes emerge when glancing over Act I. First is the struggle to keep honor and reputation while advancing one's status. Othello finds this increasingly difficult when he is questioned about his marriage to Desdemona soon after returning from war. However, Iago demonstrates that a character may appear honorable and upright when he is in fact a villanous manipulator. Iago's intention is the same as Othello's and Cassio's: he wishes to be held in high regard but hopes to advance his status. One other theme introduced and prominent throughout the latter half the act was the multiple interests in the love of one person. This is shown when Roderigo lusts after Desdemona, a married woman, to the point of saying, "It is silliness to live when to live istorment, and then have we a prescrpition to die when death is our physician."( I.iii.305-306) These thematic elements are the prime motivation for a majority of the play's action. In fact, they often increase the suspense of the plot and lead to dramatic irony, such as when Iago begins to plot Othello and Desdemona's separation. They are hardly didactic, because most of the unfortunate outcomes so far have been unjust and unexpected.
With the opening act of the story, the main plot details, characters, and conflicts are introduced to the reader. The reader also gets a glimpse of the themes which will dictate the subsequent actions of the characters. Several undeniable themes emerge when glancing over Act I. First is the struggle to keep honor and reputation while advancing one's status. Othello finds this increasingly difficult when he is questioned about his marriage to Desdemona soon after returning from war. However, Iago demonstrates that a character may appear honorable and upright when he is in fact a villanous manipulator. Iago's intention is the same as Othello's and Cassio's: he wishes to be held in high regard but hopes to advance his status. One other theme introduced and prominent throughout the latter half the act was the multiple interests in the love of one person. This is shown when Roderigo lusts after Desdemona, a married woman, to the point of saying, "It is silliness to live when to live istorment, and then have we a prescrpition to die when death is our physician."( I.iii.305-306) These thematic elements are the prime motivation for a majority of the play's action. In fact, they often increase the suspense of the plot and lead to dramatic irony, such as when Iago begins to plot Othello and Desdemona's separation. They are hardly didactic, because most of the unfortunate outcomes so far have been unjust and unexpected.
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