"I mean that as soon as Laura has got somebody to take care of her, married, a home of her own, independent-why then you'll be free to go wherever you please, on land, on sea, whichever way the wind blows you! But until that time you've got to look out for your sister. I don't say me because I'm old and don't matter! I say your sister because she's young and dependent." -iv.1253
This excerpt comes from one of the main arguments between Tom and Amanda, when Amanda essentially tells Tom he must provide for the family and help in finding Laura a husband. Tom wants to live his own independent, expressive life, but he is weighed down by his situation at home. These arguments are prime dialogue to analyze the character of Amanda however. Her concern for her daughter suggests she loves her kids very much, despite her demands on Tom. She clearly wants the best for them but does not have a way to provide for that. The beginning of the play and questions following the play describe Amanda as a character who "continues to live vitally in her allusions." These allusions are that a handsome, moral man will stumble upon Laura and marry, and that Tom will somehow make something of his life and provide for her until her death. Both situations are highly unlikely, given the reality of their situation. Amanda overlooks the fact that Laura is crippled and this angers Tom, who starts to act more like his father who left the home. I believe Amanda has the tragic trait of being overly optimistic. She wants and expects everything to fall into place, and when they do not, she pressures Tom and, in a way, Jim to make it so. This leaves at the conclusion that Amanda is mentally lazy and stuck in the past. She is from the South, where status consitutes a person's reputation. Here, men fall into women's lives naturally. However, she now lives in St. Louis in a changing time period. She doesn't recognize the need to change her approach to the difficult situation of Laura's inability to attract men, and so Tom suffers because of it.
Monday, February 27, 2012
Lights, Camera, Theatrical Elements
"The light dims out on Tom and comes up in the WInfgield living room-a delicate lemony light. It is about five on a Friday evening of late spring which comes "scattering poems in the sky." -vi.1262
Unlike its early predecessor, the Shakespearean drama, modern memory plays like "The Glass Menagerie" employ many more explicit stage directions and theatrical elements. For one, the technology from the Elizabethan era has greatly improved. Producers then and now have the ability to focus audience attention and create visual effects which further of the plot of the play. This play relies heavily on the effects of light, props, and costumes to describe the characters and setting of the play. Although unrealistic in its construction, the set mimics the layout of a typical apartment such a family would live in. The coming-of-age of material goods at this time also weighs heavily on the subject matter of the play, and appearances play a large role in the overall storyline. "The Glass Mengagerie" centers around the symbolism of an object relating to a person: the glass pieces of Laura's symbolizing her frailty. Throughout the play, there is a contrast between the dingy apartment and the importance of physical appearance. Amanda goes to great lengths to dress up Laura, because she hopes a man will find her physically attractive and one day marry her. Ultimately, the entire play is dependent on objects, and they advance the emotions of Tom and the other characters. The sullen apartment aids in understanding the argument between Tom and Amanda, as Tom despises the physical appearance of the place and wants out.
Unlike its early predecessor, the Shakespearean drama, modern memory plays like "The Glass Menagerie" employ many more explicit stage directions and theatrical elements. For one, the technology from the Elizabethan era has greatly improved. Producers then and now have the ability to focus audience attention and create visual effects which further of the plot of the play. This play relies heavily on the effects of light, props, and costumes to describe the characters and setting of the play. Although unrealistic in its construction, the set mimics the layout of a typical apartment such a family would live in. The coming-of-age of material goods at this time also weighs heavily on the subject matter of the play, and appearances play a large role in the overall storyline. "The Glass Mengagerie" centers around the symbolism of an object relating to a person: the glass pieces of Laura's symbolizing her frailty. Throughout the play, there is a contrast between the dingy apartment and the importance of physical appearance. Amanda goes to great lengths to dress up Laura, because she hopes a man will find her physically attractive and one day marry her. Ultimately, the entire play is dependent on objects, and they advance the emotions of Tom and the other characters. The sullen apartment aids in understanding the argument between Tom and Amanda, as Tom despises the physical appearance of the place and wants out.
Tom's Narrative
"And while the other boys in the warehouse regarded me with suspicious hostility, Jim took a humorous attitude toward me. Gradually his attitude affected the other, their hostility wore off and they also began to smile at me as people smile at an oddly fashioned dog who trots across their paths at some distance."-vi.1262
The play "The Glass Menagerie" by Tennessee Williams portrays the life of Tom, Amanda, and Laura, a broken family struggling in St. Louis. As is common in portrayals of societal dilemmas, the family must struggle not only with finances but also the social expectations of their society. An important distinciton in the play recognizes Tom, the lowly warehouse worker and sole breadwinner for the family, as the narrator. The narration by Tom sets "The Glass Menagerie" apart from Shakespearean plays, but does not fully reveal the portrayal of characters and settings, as the dialogue continues to serve that purpose. When narrating the play, Tom speaks in educated prose, which is a contrast to his normal dialogue with Amanda. The contrast is made through the diction and descriptors Tom utilizes in his prose speaking. Tom goes to great lengths to describe Laura, Jim, and his mother, and he does so with his own historical context in mind. Outside influences such their jobs and finances play heavily into his recollections of life with Amanda and Laura. I believe Tom's narration has a calculated purpose, however. This play bases its action on the firsthand account of Tennesse Williams. He is in fact Tom, and he therefore writes this play with many wrapped emotions. Perhaps Williams included Tom's narratives to temper the memory of his real emotions from this time in his life. Memory tends to intensify emotions humans recollect from significant points in their lives, and Williams seems to acknowlege this trend. Besides, the play would have been overly emotional and less understandable without Tom's descriptions.
The play "The Glass Menagerie" by Tennessee Williams portrays the life of Tom, Amanda, and Laura, a broken family struggling in St. Louis. As is common in portrayals of societal dilemmas, the family must struggle not only with finances but also the social expectations of their society. An important distinciton in the play recognizes Tom, the lowly warehouse worker and sole breadwinner for the family, as the narrator. The narration by Tom sets "The Glass Menagerie" apart from Shakespearean plays, but does not fully reveal the portrayal of characters and settings, as the dialogue continues to serve that purpose. When narrating the play, Tom speaks in educated prose, which is a contrast to his normal dialogue with Amanda. The contrast is made through the diction and descriptors Tom utilizes in his prose speaking. Tom goes to great lengths to describe Laura, Jim, and his mother, and he does so with his own historical context in mind. Outside influences such their jobs and finances play heavily into his recollections of life with Amanda and Laura. I believe Tom's narration has a calculated purpose, however. This play bases its action on the firsthand account of Tennesse Williams. He is in fact Tom, and he therefore writes this play with many wrapped emotions. Perhaps Williams included Tom's narratives to temper the memory of his real emotions from this time in his life. Memory tends to intensify emotions humans recollect from significant points in their lives, and Williams seems to acknowlege this trend. Besides, the play would have been overly emotional and less understandable without Tom's descriptions.
Thursday, February 16, 2012
"A fool! A fool! I met a fool i' the forest, A motley foot; a miserable world! As I do live by food, I met a fool;" II.vii.28
I chose the above quote because it encompasses two characters who do not play major roles but add some comic relief to the plot. Touchstone, a clown and the companion to Celia and Rosalind, gets embroiled in a small feud with Jaques. Jaques is described as a melancholy fellow who takes delight in the macabre and somber elements of life rather than the delights most other people in the forest enjoy. As the play progressed, I found myself growing less fond of these two characters. They seem like people who seek out the petty conflicts that entangle the less ambitious individuals of the play. Touchstone becomes much too full of himself, insulting his eventual wife and giving Corin lessons about the merits of court life. Jaques makes some degrading comments about the lovers int he play, essentially going against their decisions. In a sense, these two characters act as quasi-villians in the absence of tragic drama antogonists. Shakespeare puts these characters in the play to temper the constant happiness which proceeds from the constant love stories.
I chose the above quote because it encompasses two characters who do not play major roles but add some comic relief to the plot. Touchstone, a clown and the companion to Celia and Rosalind, gets embroiled in a small feud with Jaques. Jaques is described as a melancholy fellow who takes delight in the macabre and somber elements of life rather than the delights most other people in the forest enjoy. As the play progressed, I found myself growing less fond of these two characters. They seem like people who seek out the petty conflicts that entangle the less ambitious individuals of the play. Touchstone becomes much too full of himself, insulting his eventual wife and giving Corin lessons about the merits of court life. Jaques makes some degrading comments about the lovers int he play, essentially going against their decisions. In a sense, these two characters act as quasi-villians in the absence of tragic drama antogonists. Shakespeare puts these characters in the play to temper the constant happiness which proceeds from the constant love stories.
And the Winner Is: The Forest
"...that the propterty of rain is to wet and fire to burn; that good pasture makes fat sheep, and that a great cause of the night is lack of the sun; that he that hath learned no wit by nature nor art may complain of good breeding or comes of a very dull kindred." -III.i.35
A common theme throughout the play was the contradiction, and sometimes battle as exemplified above, between the forest and the court. In this quote above, Corin argues on behalf of forest life and Touchstone argues for court life. Honestly, I never really thought this argument was worth discussion until the last two pages, when Duke Frederick meets a religious man of the forest and is converted from his power-hungry ways. Up until this point, Touchstone and Corin were the only ones who seemed to care much about their respective living habits. When I read this dialogue between the two, I found it somewhat funny. Touchstone is talking about the refined and dignified court life when his purpose in Duke Frederick's court was as a clown. I truly bought more into Corin's argument, simply because he seemed more knowledgable and experienced based on his profession. When I reflect on the play as a whole, the fact of Duke Frederick's conversion and the eventual merriment in the forest show that forest life has more merit than city life. I believe this parallels the entire Shakesperean comedy genre as a whole. Comedy is supposed to be more lighthearted and fun. The characters, such as Rosalind and Orlando, would probably get wrapped up in more tragic plots if they were set in the city. For this reason, I declare the forest the winner in the country vs. court theme.
A common theme throughout the play was the contradiction, and sometimes battle as exemplified above, between the forest and the court. In this quote above, Corin argues on behalf of forest life and Touchstone argues for court life. Honestly, I never really thought this argument was worth discussion until the last two pages, when Duke Frederick meets a religious man of the forest and is converted from his power-hungry ways. Up until this point, Touchstone and Corin were the only ones who seemed to care much about their respective living habits. When I read this dialogue between the two, I found it somewhat funny. Touchstone is talking about the refined and dignified court life when his purpose in Duke Frederick's court was as a clown. I truly bought more into Corin's argument, simply because he seemed more knowledgable and experienced based on his profession. When I reflect on the play as a whole, the fact of Duke Frederick's conversion and the eventual merriment in the forest show that forest life has more merit than city life. I believe this parallels the entire Shakesperean comedy genre as a whole. Comedy is supposed to be more lighthearted and fun. The characters, such as Rosalind and Orlando, would probably get wrapped up in more tragic plots if they were set in the city. For this reason, I declare the forest the winner in the country vs. court theme.
The Convolutions of Comedy
"Duke Frederick, hearing how that every day Men of great worth resorted to this forest, Address'd a mighty power; which were on foot, In his own conduct, purposely to take His brother here and put him to the sword: And to the skirts of this wild wood he came Where meeting with an old religious man, After some question with him, was converted Both from his enterprise and from the world;" -V.iv.78
One of my first reflections upon finishing "As You Like It" was the complicated and somewhat confusing twists and jumps in the plot. Apparently, such an element is characteristic of Shakespearean comedy. Now that I think about the reason and purpose behind mixing multiple characters with their own agendas, I realize that the constant diversions to the characters of the play serves to lessen the intensity and suspense of the play. The above quote is a representation of the quick and unexpected plot twists that have a significant effect on the play as a whole. This excerpt comes from a point in the play, the end, when the plot elements are being concluded. Although it is brief and unexpected, the dialogue that takes place here is instrumental to the resolution of the play. I believe that this trend throughout the play serves to emphasize the many storylines. Because they are brief, the reader is able to better remember the advancement of the plot through these scenes. However, the scenes which involve more complicated characters like Orlando, Rosalind, and Jaques are usually longer, which indicates that these characters may be more important.
One of my first reflections upon finishing "As You Like It" was the complicated and somewhat confusing twists and jumps in the plot. Apparently, such an element is characteristic of Shakespearean comedy. Now that I think about the reason and purpose behind mixing multiple characters with their own agendas, I realize that the constant diversions to the characters of the play serves to lessen the intensity and suspense of the play. The above quote is a representation of the quick and unexpected plot twists that have a significant effect on the play as a whole. This excerpt comes from a point in the play, the end, when the plot elements are being concluded. Although it is brief and unexpected, the dialogue that takes place here is instrumental to the resolution of the play. I believe that this trend throughout the play serves to emphasize the many storylines. Because they are brief, the reader is able to better remember the advancement of the plot through these scenes. However, the scenes which involve more complicated characters like Orlando, Rosalind, and Jaques are usually longer, which indicates that these characters may be more important.
Monday, February 13, 2012
The Universality of Foolish Loyalty
Bibliophiles and students studying literature recognize and affirm the claim constantly: the themes and actions contained in Shakespearean drama present indelible, universal truths. Shakespeare composed dialogue which was intended to psychologically relate to the common mindset, across a broad spectrum of generations. Although no Shakespearean setting, action, or motive applies to every contemporary situation, individuals frequently find themselves contemplating the very cerebral habits a sixteenth-century man used to delight his audiences. Not surprisingly then, one can easily find facsimiles of Shakespearean themes strewn throughout modern-day literature and media. The drama “Othello” illustrates several of these timeless themes, not the least of which notes the foolish loyalty and trust of unsuspecting characters towards their close colleagues. Iago, the antagonist and possibly most notable Shakespearean villain cultivates and subsequently exploits this loyalty to gain revenge on his superior, Othello. Modern equivalents of “Othello” present a similar topic. Tyler Durden of the film “Fight Club” uses his cult-like leadership skills to coerce his corporate friend into management of an underground brotherhood. Much of the same blind obedience and manipulation can be found in the literary classic Lord of the Flies. A lack of parental supervision leads to discord and chaos among highly impressionable young boys who ultimately follow their savage leader into the killings of their innocent peers. The tendencies of man to blindly trust his friends, captured in fiction and film, perpetuate Shakespearean texts such as “Othello.”
The eccentrically based but widely popular film “Fight Club” introduces two main characters whose influence on each other mirrors the relationship between Othello and Iago. Much like Iago’s suggestion and inference techniques when he says to Othello, “Receive it from me. I speak not yet of proof. Look to your wife. Observe her well with Cassio. Wear your eye thus, not jealous nor secure,” Tyler Durden plays to the weakness of the narrator’s mind (III.iii.197-199). Although the idea of a club to relieve angst and frustration through physical beating appears psychotic, Tyler recognizes the relief Edward Norton’s character feels from releasing his disdain towards established institutions through violence. He convinces the narrator to organize acts of rebellion against businesses and government and eventually becomes his alter ego (Fincher). The same can be said of Iago’s recognizing Othello’s weakness, although in a differing context. He exploits the trust Othello holds in his lieutenant and indulges in Othello’s apparent downfalls: his rashness and jealousy. Consequently, Othello maddens himself to a murderous level, falsely accusing Desdemona of infidelity and killing her (V.ii.83). Although Othello himself dies, both instances of command ultimately lead to the deaths of the men pulling the strings, Iago and Tyler Durden.
In the absence of true leadership, individuals tend to idolize the voices of their most passionate, promising contemporaries. Such is a popular and historically accurate truth. This truth continues in the William Golding work Lord of the Flies. Young boys stranded on a tropical island find themselves battling disorder in the absence of true government. Ralph, a senior child among the boys and their most likely counsel for intelligent action, attempts to organize the children to build fires, hunt, and mend shelters. Soon however, a challenger named Jack rises to popularity among the boys, mostly for his preoccupation with hunting and bloodshed. Jack commands his doting followers into tracking down food and eventually killing Piggy, another boy on the island (Golding). Due to the fragile nature of their minds, the boys cannot mentally or physically manage the notion of remaining civil while also staying alive with no superiors. They listen to the message of anarchy Jack promotes solely because it alleviates the stress they are under. While Iago manages to manipulate Othello, he also serves as a refreshing voice of counsel to Roderigo, much like Jack to the other boys. Roderigo acts much like the boys in Lord of the Flies in that he desires the love of Desdemona that is outside his reach. He desperately searches for a way to her bed, and finds hope in Iago’s false promises. Even when he raises credible suspicion, Iago quells his concern and pampers his desires with, “-I mean purpose, courage, and valor-this night show it. If thou the next night following enjoy not Desdemona, take me from this world with treachery and devise engines for my life” (IV. ii. 207-211). Much like the boys, Roderigo seeks out a person who will satiate his wants and ease his burden. Both Iago and Jack misuse their foolish loyalty for their own devices: Jack to satisfy his need for power and Iago to avenge Othello and earn some money on the side.
Perrine, Lawrence. “Othello.” Perrine’s Literature: Structure, Sound, and Sense. Forth Worth.
Harcourt College. 2002. 1361-1462. Print
Fight Club. Dir. David Fincher. Perf. Brad Pitt and Edward Norton. Regency Enterprises, 1999.
DVD
Golding, William. Lord of the Flies. Perigree, 1954. Print.
Monday, February 6, 2012
"How to Save a Life"
"How to Save a Life" by The Fray
Played out in tragic events over the course of the last scenes of the final act, the conflict of rumor versus truth takes a deadly turn when Othello definitively determines death as a fitting recompense for her sins. However, Desdemona displays devotion to her husband through the moment of her death. Othello's resolution to murder his wife could be described as the true tragedy of the play, because his decision is based on speculation and false evidence. I found connections within the song during the refrain. Desdemona's devotion is unquestioned. She would die for the man she loves. Nevertheless, she lost her man "somewhere along in the bitterness."The bitterness is the chaos, confusion, and tumult resulting from Iago stirring Cassio and Roderigo into acts which make them seem dishonorable and licentious."He will do one of two things. He will admit to everything, or he'll say he's just not the same." This lyrical quote portrays the tragic flaw present in Othello to go into a blind rage when sensing treachery. Othello is urged by Desdemona to stop and realize his irrationality, but he pays no heed to the numerous warning he receives from her and others. One might think that Desdemona would be the life needing saving, but if taken in context with the lyrics of the song, Othello clearly becomes the individual in need of salvation. Desdemona accepts her unfortunate fate readily; however, Othello cannot accept and acknowledge the "things you've told him all along." Desdeomona would have stayed up with him all night, if she had known how to save his life.
Played out in tragic events over the course of the last scenes of the final act, the conflict of rumor versus truth takes a deadly turn when Othello definitively determines death as a fitting recompense for her sins. However, Desdemona displays devotion to her husband through the moment of her death. Othello's resolution to murder his wife could be described as the true tragedy of the play, because his decision is based on speculation and false evidence. I found connections within the song during the refrain. Desdemona's devotion is unquestioned. She would die for the man she loves. Nevertheless, she lost her man "somewhere along in the bitterness."The bitterness is the chaos, confusion, and tumult resulting from Iago stirring Cassio and Roderigo into acts which make them seem dishonorable and licentious."He will do one of two things. He will admit to everything, or he'll say he's just not the same." This lyrical quote portrays the tragic flaw present in Othello to go into a blind rage when sensing treachery. Othello is urged by Desdemona to stop and realize his irrationality, but he pays no heed to the numerous warning he receives from her and others. One might think that Desdemona would be the life needing saving, but if taken in context with the lyrics of the song, Othello clearly becomes the individual in need of salvation. Desdemona accepts her unfortunate fate readily; however, Othello cannot accept and acknowledge the "things you've told him all along." Desdeomona would have stayed up with him all night, if she had known how to save his life.Thursday, February 2, 2012
Unusual Response
"Talk you of killing?"
"Aye, I do."
"Then Heaven Have mercy on me!" V.ii.33-34
Throughout the play, I was fascinated by the fact that many of the characters continue to act with civility and composure before or even after a physical attack. The above quote is a prime example of this observation, and one that struck me as odd while reading Act V. Desdemona becomes aware of the fact that Othello intends to kill her but instead of overreacting, attacking Othello, or running away, she anxiously but civilly asks for his mercy and a reason for his actions. Cassio acts similarly. Instead of cursing his attacker, Cassio simply asks for medical attention and desperately tries to figure out what has transpired. For me, this served as a kind of indirect characterization. I have to admit that I was questioning of Desdemona's characters throughout the entirety of the play. She seemed to be a bit of a flirt when talking with Iago. However, the civility that was shown by these two characters show that they were truly honest and upright characters. I find it interesting that compared to Othello at the end of the play, Cassio and Desdemona seem much more faithful to their respective causes than Othello. He was blinded by scandal. Although unnatural and unusual, the responses of the attackees goes to show that certain characters are full of much more integrity than characters who the reader would expect to have it.
"Aye, I do."
"Then Heaven Have mercy on me!" V.ii.33-34
Throughout the play, I was fascinated by the fact that many of the characters continue to act with civility and composure before or even after a physical attack. The above quote is a prime example of this observation, and one that struck me as odd while reading Act V. Desdemona becomes aware of the fact that Othello intends to kill her but instead of overreacting, attacking Othello, or running away, she anxiously but civilly asks for his mercy and a reason for his actions. Cassio acts similarly. Instead of cursing his attacker, Cassio simply asks for medical attention and desperately tries to figure out what has transpired. For me, this served as a kind of indirect characterization. I have to admit that I was questioning of Desdemona's characters throughout the entirety of the play. She seemed to be a bit of a flirt when talking with Iago. However, the civility that was shown by these two characters show that they were truly honest and upright characters. I find it interesting that compared to Othello at the end of the play, Cassio and Desdemona seem much more faithful to their respective causes than Othello. He was blinded by scandal. Although unnatural and unusual, the responses of the attackees goes to show that certain characters are full of much more integrity than characters who the reader would expect to have it.
Don't Lead me On
"Dost thou hear, Iago? I will be found most cunning in my patience, But-dost thou hear?-most bloody." IV.i.87-89
Throughout the duration of "Othello," the reader is led on by the expectation that some sort of retaliation for the rumors and supposed acts of Iago and other characters will take place. Luckily for Shakespeare and readers captivated by the plot, the resolution and fulfillment of these expectations do not take place until the fifth act, when nearly everyone besides Iago and Cassio perish due to the conflict of the play. The interesting fact of the suspense created is that the information the characters possess is not far from what the audience knows. Othello is constantly told by Desdemona and Emilia that Desdemona is not sleeping with Cassio. However, there is still a substantial amount of dramatic irony that exists between what the characters know and what the audience expects. Much of this audience knowledge centers around Iago and his conspiracy against Cassio and Othello. Some of the situations seemed so ridiculous that I wondered when Iago would be found out. The irony revealed at the end of the play is that Emilia turns out to be a dynamic character who understands the entire plot of Iago. The suspense led me and, as I suspect, many readers on to speculate who would reveal Iago to Othello and how soon it would happen. Because of this suspense, the revelation of Emilia as an integral character to the resolution of the conflict carries much more weight than if an educated character would find Iago out.
Throughout the duration of "Othello," the reader is led on by the expectation that some sort of retaliation for the rumors and supposed acts of Iago and other characters will take place. Luckily for Shakespeare and readers captivated by the plot, the resolution and fulfillment of these expectations do not take place until the fifth act, when nearly everyone besides Iago and Cassio perish due to the conflict of the play. The interesting fact of the suspense created is that the information the characters possess is not far from what the audience knows. Othello is constantly told by Desdemona and Emilia that Desdemona is not sleeping with Cassio. However, there is still a substantial amount of dramatic irony that exists between what the characters know and what the audience expects. Much of this audience knowledge centers around Iago and his conspiracy against Cassio and Othello. Some of the situations seemed so ridiculous that I wondered when Iago would be found out. The irony revealed at the end of the play is that Emilia turns out to be a dynamic character who understands the entire plot of Iago. The suspense led me and, as I suspect, many readers on to speculate who would reveal Iago to Othello and how soon it would happen. Because of this suspense, the revelation of Emilia as an integral character to the resolution of the conflict carries much more weight than if an educated character would find Iago out.
The Tragedy of Love, Revenge, Duty, etc.
"I will so. What's the matter?"
"That handkerchief which I so loved and gave thee. Thou gavest to Cassio."
No, by my life and soul! Send for the man and ask him."
"Sweet soul, take heed, take heed of perjury, thou art on thy deathbed." V.ii.47-51
One of the first and most appropriate questions to understanding the entirety of "Othello" is the format of drama the play takes. Interestingly, "Othello" incorporates elements of both tragedy and melodrama. For one who is familiar with the elements of drama such as tragedy or melodrama, the format of this play serves to varietize the expected norms of such categories of drama. The play follows the outline of tragedy in its portrayal of the protagonist, Othello, and the main motives for action throughout the play. Although concealed and purposefully hidden during the first few acts, Othello posesses a rashness that leads to the progression of Iago's scheme and the eventual death of the majority of the play's characters. He responds to the possibility of Cassio sleeping with his wife with unbridled anxiety and overreaction. Such is Othello's tragic flaw. The play also follows the outline of a tragedy in that the motivation for action throughout the play, Iago's manipulation of nearly every character, is a function of revenge, based on the rumor that Othello slept with his wife. The play also follows the elements of a melodrama in that Othello is tormented by the thought of Desdemona sleeping with Cassio for a majority of the dialogue. Iago ends up dying for his actions when Othello realizes he fabricated the entire plot.
"That handkerchief which I so loved and gave thee. Thou gavest to Cassio."
No, by my life and soul! Send for the man and ask him."
"Sweet soul, take heed, take heed of perjury, thou art on thy deathbed." V.ii.47-51
One of the first and most appropriate questions to understanding the entirety of "Othello" is the format of drama the play takes. Interestingly, "Othello" incorporates elements of both tragedy and melodrama. For one who is familiar with the elements of drama such as tragedy or melodrama, the format of this play serves to varietize the expected norms of such categories of drama. The play follows the outline of tragedy in its portrayal of the protagonist, Othello, and the main motives for action throughout the play. Although concealed and purposefully hidden during the first few acts, Othello posesses a rashness that leads to the progression of Iago's scheme and the eventual death of the majority of the play's characters. He responds to the possibility of Cassio sleeping with his wife with unbridled anxiety and overreaction. Such is Othello's tragic flaw. The play also follows the outline of a tragedy in that the motivation for action throughout the play, Iago's manipulation of nearly every character, is a function of revenge, based on the rumor that Othello slept with his wife. The play also follows the elements of a melodrama in that Othello is tormented by the thought of Desdemona sleeping with Cassio for a majority of the dialogue. Iago ends up dying for his actions when Othello realizes he fabricated the entire plot.
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