"My mistress' eyes"
William Shakespeare
After all of these exaggerated love poems, it's almost refreshing reading a more realistic description of a lover. In fact, the speaker references such poems and expresses that his lover does not live up to passionate metaphors, similes, and imagery. Nevertheless, the speaker claims that his love is all the stronger because he is able to say such average things about his mistress.
The speaker's mistress is entirely average. Her eyes don't shine, she has little color, her hair isn't pleasant to stroke, she has no sweet fragrance, and her voice doesn't evoke emotion like a music would. The reader might not understand the speaker's motives. Why was the poem written if there is almost no emotion about the subject?
An answer can possibly be found by examining the poem's departure from typical love poems. Perhaps the poem is a stand against the view that all women must be spectacular in every feature in order to get their own poem. Such a meaning also makes sense of the last two lines: "And yet, by heaven, I think my love as rare As any she belied with false compare," (Shakespeare, 885). The speaker claims that his lover, despite lacking the common features of beauty, is equal to the most beautiful woman in his eyes. In other words, looks don't matter to the speaker.
Thursday, February 28, 2013
Gender Unit: Barbie Doll
"Barbie Doll"
Marge Piercy
In this satirical poem, Piercy tackles the issue of female body-image. Specifically, she places blame for the recent crisis on children's toys and people who judge others solely on a few aspects. The use of synecdoche accurately sums up the tragic effect the culture of bodily perfection seemingly manifest in Barbie dolls has on girls.
Throughout the poem, diction seems not to line up. For instance, "magic" is related to "big nose and fat legs." Descriptions like "tested intelligent" are followed by the girl's "apologizing." Despite the puzzling connotations, this mismatched diction serves to highlight the dichotomy of people's perspectives of beauty and what these perspectives actually do. This girl was told explicitly that becoming a woman will be a time of happiness and development and implicitly that this time should bring about typical Barbie-like appearances in her. However, after becoming a woman, she can do nothing but seek forgiveness for fate's decision not to imbue in her what others expected.
Eventually, the failure of the descriptions of womanhood to meet up with its reality drove the girlchild to end her life. Still, her suicide was caused by only a fraction of herself: "So she cut off her nose and her legs and offered them up," (Piercy, 836). The girlchild's insecurities about her body implanted by her Barbie dolls and reinforced by her classmates grew in her mind like a tumor such that she defined herself solely by her nose and legs. Her intelligence and strength meant nothing to her because she thought they meant nothing to everyone else.
Marge Piercy
In this satirical poem, Piercy tackles the issue of female body-image. Specifically, she places blame for the recent crisis on children's toys and people who judge others solely on a few aspects. The use of synecdoche accurately sums up the tragic effect the culture of bodily perfection seemingly manifest in Barbie dolls has on girls.
Throughout the poem, diction seems not to line up. For instance, "magic" is related to "big nose and fat legs." Descriptions like "tested intelligent" are followed by the girl's "apologizing." Despite the puzzling connotations, this mismatched diction serves to highlight the dichotomy of people's perspectives of beauty and what these perspectives actually do. This girl was told explicitly that becoming a woman will be a time of happiness and development and implicitly that this time should bring about typical Barbie-like appearances in her. However, after becoming a woman, she can do nothing but seek forgiveness for fate's decision not to imbue in her what others expected.
Eventually, the failure of the descriptions of womanhood to meet up with its reality drove the girlchild to end her life. Still, her suicide was caused by only a fraction of herself: "So she cut off her nose and her legs and offered them up," (Piercy, 836). The girlchild's insecurities about her body implanted by her Barbie dolls and reinforced by her classmates grew in her mind like a tumor such that she defined herself solely by her nose and legs. Her intelligence and strength meant nothing to her because she thought they meant nothing to everyone else.
Gender Unit: A Jury of Her Peers
"A Jury of Her Peers"
Susan Glaspell
Mrs. Wright almost certainly strangled her husband in the night, yet characters and perhaps the reader feel sympathy for her. In fact, the women who visit her house before her trial with the sheriff uncover the extenuating circumstances surrounding the murder. Moreover, the situational irony of the men's prejudices against the women's ability to solve a murder case hints at the unhappiness of women married to misogynists.
The entire purpose of the visit to the Wright residence was for the men to gather evidence that would ensure Mrs. Wright's conviction. The women only tagged along to collect a few of Mrs. Wright's household possessions and provide support for each other in the scary crime scene. The mere of idea that the women could provide some insight relevant to the case would be greeted with disbelief by the men: "'But would the women know a clue if they did come upon it?'" (Glaspell, 413). The men provide ample reason for the readers to feel sympathy for the wives.
However, the women prove their husbands and the lawyer utterly wrong. Not only did they find evidence pointing to possible motives for the murder, they almost completely solved the mystery surrounding the motives. Using their experiences as housewives, Mrs. Hale and Mrs. Peters found several indicators of an unhappy home: unfinished chores, a tattered quilt, and a dead bird. Eventually, the investigators surmise that Mr. Wright's murder of the bird, the only source of cheerful song and life in the house, finally pushed Mrs. wright over the edge. Instead of barring them from any meaningful discoveries, being women was almost the prerequisite for solving the mystery.
Silent homes, ignorantly insulting husbands, and a doting patriarchy conspire to put men on trial instead of Mrs. Wright in this story.
Susan Glaspell
Mrs. Wright almost certainly strangled her husband in the night, yet characters and perhaps the reader feel sympathy for her. In fact, the women who visit her house before her trial with the sheriff uncover the extenuating circumstances surrounding the murder. Moreover, the situational irony of the men's prejudices against the women's ability to solve a murder case hints at the unhappiness of women married to misogynists.
The entire purpose of the visit to the Wright residence was for the men to gather evidence that would ensure Mrs. Wright's conviction. The women only tagged along to collect a few of Mrs. Wright's household possessions and provide support for each other in the scary crime scene. The mere of idea that the women could provide some insight relevant to the case would be greeted with disbelief by the men: "'But would the women know a clue if they did come upon it?'" (Glaspell, 413). The men provide ample reason for the readers to feel sympathy for the wives.
However, the women prove their husbands and the lawyer utterly wrong. Not only did they find evidence pointing to possible motives for the murder, they almost completely solved the mystery surrounding the motives. Using their experiences as housewives, Mrs. Hale and Mrs. Peters found several indicators of an unhappy home: unfinished chores, a tattered quilt, and a dead bird. Eventually, the investigators surmise that Mr. Wright's murder of the bird, the only source of cheerful song and life in the house, finally pushed Mrs. wright over the edge. Instead of barring them from any meaningful discoveries, being women was almost the prerequisite for solving the mystery.
Silent homes, ignorantly insulting husbands, and a doting patriarchy conspire to put men on trial instead of Mrs. Wright in this story.
Gender Unit: Hunters in the Snow
"Hunters in the Snow"
Tobias Wolff
Three men display their manliness through the manliest of outdoors activities: hunting. However, they neither bag a deer nor live up to the stereotypes surrounding the male gender. Through the characterization of Kenny, Frank, and Tub, Wolff illustrates that not all that grows facial hair is man.
In Kenny's case, his inability to be direct about any serious matters ends up getting him shot. First, he briefly mentions the babysitter Frank plans on running off with without explicitly telling Tub his plans. Then, he fails to tell the other two hunters that the property owner asked him to kill the aging dog. Upon turning his gun at Tub, Tub preemptively puts a bullet in Kenny's side. If Kenny had been direct with his friends, Tub would not have felt the need to defend himself.
In Frank's case, his inability to be serious about life will most likely ruin his marriage and perhaps Kenny's death. As Kenny referenced, Frank reveals to Tub that he plans to leave his wife and kids for a 15-year-old babysitter. Because he has no regard for his obligations to his family (and the law), he is sure to leave his children without a father for a relationship that will be unstable at best. Also, when Tub leaves the directions to the hospital behind, Frank chooses to keep going, justifying his decision only with: "I remember them pretty well," (Wolff, 199). Had he seriously questioned his memory, Frank would have realized he had taken a wrong turn and possible doomed Kenny.
Finally, Tub's imperfections lie in his inability to control himself. Most noticeably, Tub has some sort of eating disorder; he is overweight and feels the need to beguile people into thinking he has a hormone problem. More significantly, his wild impulse forces him to shoot Kenny. If he had more confidence, Tub would have not felt that the other two hunters were literally out to kill him.
Tobias Wolff
Three men display their manliness through the manliest of outdoors activities: hunting. However, they neither bag a deer nor live up to the stereotypes surrounding the male gender. Through the characterization of Kenny, Frank, and Tub, Wolff illustrates that not all that grows facial hair is man.
In Kenny's case, his inability to be direct about any serious matters ends up getting him shot. First, he briefly mentions the babysitter Frank plans on running off with without explicitly telling Tub his plans. Then, he fails to tell the other two hunters that the property owner asked him to kill the aging dog. Upon turning his gun at Tub, Tub preemptively puts a bullet in Kenny's side. If Kenny had been direct with his friends, Tub would not have felt the need to defend himself.
In Frank's case, his inability to be serious about life will most likely ruin his marriage and perhaps Kenny's death. As Kenny referenced, Frank reveals to Tub that he plans to leave his wife and kids for a 15-year-old babysitter. Because he has no regard for his obligations to his family (and the law), he is sure to leave his children without a father for a relationship that will be unstable at best. Also, when Tub leaves the directions to the hospital behind, Frank chooses to keep going, justifying his decision only with: "I remember them pretty well," (Wolff, 199). Had he seriously questioned his memory, Frank would have realized he had taken a wrong turn and possible doomed Kenny.
Finally, Tub's imperfections lie in his inability to control himself. Most noticeably, Tub has some sort of eating disorder; he is overweight and feels the need to beguile people into thinking he has a hormone problem. More significantly, his wild impulse forces him to shoot Kenny. If he had more confidence, Tub would have not felt that the other two hunters were literally out to kill him.
Wednesday, February 13, 2013
Othello: Act V, scene ii
Othello: the Moor of Venice
William Shakespeare
Alas, another Shakespearean tragedy comes to a close. The final death count includes Roderigo, Desdemona, Emilia, and Othello. In reviewing this particular tragedy, several similarities between it and Julius Caesar, another Shakespearean tragedy, emerge.
In Othello, the tragic hero, Othello, succumbs to suicide following a rash decision to murder his love. Several times in the play, Othello claims his hubris to be that he loved too much. "Then must you speak Of one that loved not wisely but too well..." (V.ii.342-343). His love for Desdemona never turned to hate; instead, his intense love forced him to ensure that no other man could ever soil his sweet Desdemona. Of course, this love should never have been tested, but others corrupted his mind. Overall, the message from this play is to approach suspicions suspiciously and with calm thought
Similarly, in Julius Caesar, the tragic hero, Brutus, commits suicide because of inevitable defeat in a civil war following his decision to stab the Consul Julius Caesar. Like Othello, Brutus' hubris was intense love (in his case for his Republic). He could not bear to see his Republic fall to the despotism of a king. However, the suspicions that Caesar would destroy the Republic were founded solely in speculation; in fact, Caesar had rejected the crown. Like Othello's, Brutus' story instructs the reader to avoid mere suspicion and impassioned decisions.
William Shakespeare
Alas, another Shakespearean tragedy comes to a close. The final death count includes Roderigo, Desdemona, Emilia, and Othello. In reviewing this particular tragedy, several similarities between it and Julius Caesar, another Shakespearean tragedy, emerge.
In Othello, the tragic hero, Othello, succumbs to suicide following a rash decision to murder his love. Several times in the play, Othello claims his hubris to be that he loved too much. "Then must you speak Of one that loved not wisely but too well..." (V.ii.342-343). His love for Desdemona never turned to hate; instead, his intense love forced him to ensure that no other man could ever soil his sweet Desdemona. Of course, this love should never have been tested, but others corrupted his mind. Overall, the message from this play is to approach suspicions suspiciously and with calm thought
Similarly, in Julius Caesar, the tragic hero, Brutus, commits suicide because of inevitable defeat in a civil war following his decision to stab the Consul Julius Caesar. Like Othello, Brutus' hubris was intense love (in his case for his Republic). He could not bear to see his Republic fall to the despotism of a king. However, the suspicions that Caesar would destroy the Republic were founded solely in speculation; in fact, Caesar had rejected the crown. Like Othello's, Brutus' story instructs the reader to avoid mere suspicion and impassioned decisions.
Othello: Act V, scene i
Othello: the Moor of Venice
William Shakespeare
Once again, Iago puts his schemes to work and makes life hell for all. Specifically, Iago dispatches Roderigo who attempted to kill Cassio on Iago's behalf. This treachery characterizes Iago finally as a liar and opportunistic traitor.
Throughout the play, Roderigo has complained about Iago's treatment of him. Iago has convinced him to sell all of his possessions and to get attacked by a drunk Cassio in return for no progress with Desdemona. Although Iago's ability to convince Roderigo to remain in Cyprus characterizes him as a clever manipulator, Iago's murder of Roderigo reveals him to be a sinister and unfeeling psychopath.
"(Stabs RODERIGO.) Oh, damned Iago! Oh, inhuman dog!" (V.i.63).
After all of Roderigo's blind working for Iago, Iago throws him aside to appear to be bringing Cassio's murderer to justice. To Iago, Roderigo was simply a pawn to be used only to advance his schemes. There is literally no one who Iago views as a person; all are obstacles.
Ironically, before this point, Roderigo represented the truth in the play. Even though Roderigo took part in Iago's deplorable plans, he was the only one to recognize Iago's dishonesty and pernicious behavior. In killing him, Iago revealed himself to despise truth and stifle it when at all possible.
William Shakespeare
Once again, Iago puts his schemes to work and makes life hell for all. Specifically, Iago dispatches Roderigo who attempted to kill Cassio on Iago's behalf. This treachery characterizes Iago finally as a liar and opportunistic traitor.
Throughout the play, Roderigo has complained about Iago's treatment of him. Iago has convinced him to sell all of his possessions and to get attacked by a drunk Cassio in return for no progress with Desdemona. Although Iago's ability to convince Roderigo to remain in Cyprus characterizes him as a clever manipulator, Iago's murder of Roderigo reveals him to be a sinister and unfeeling psychopath.
"(Stabs RODERIGO.) Oh, damned Iago! Oh, inhuman dog!" (V.i.63).
After all of Roderigo's blind working for Iago, Iago throws him aside to appear to be bringing Cassio's murderer to justice. To Iago, Roderigo was simply a pawn to be used only to advance his schemes. There is literally no one who Iago views as a person; all are obstacles.
Ironically, before this point, Roderigo represented the truth in the play. Even though Roderigo took part in Iago's deplorable plans, he was the only one to recognize Iago's dishonesty and pernicious behavior. In killing him, Iago revealed himself to despise truth and stifle it when at all possible.
Tuesday, February 12, 2013
Othello: Act IV, scenes ii-iii
Othello: the Moor of Venice
William Shakespeare
In these scenes of the play, the reader witnesses the aftermath of Othello's accusations against Desdemona's fidelity. Defending her innocent nature, Desdemona asks Emilia if any women could even bring themselves to commit adultery. Emilia's response provides ample situational irony and foresadowing.
Emilia declares that cheating on one's husband would be a small price to pay if much were offered in return: "...-why, who would not make her husband a cuckold to make him a monarch?" (IV.iii.72-73). Although Emilia advocates infidelity, she appears to do so for the benefit of her husband. After this entire play that has falsely called Desdemona's dedication to her husband in question because of Iago's actions, Iago's wife has admitted to having no problem with cheating on one's husband. Because of this ironic shift, it would seem to suggest that Iago will bear the grief of a cuckold.
Regardless, Emilia places the blame of cheating women on the husbands. Because Iago has treated her as an object, her defense of adultery likely suggests that she has taken revenge on Iago by cheating on him. Emilia's speech also seems to suggest that the men treating their wives as objects will soon face the fury of their wives.
William Shakespeare
In these scenes of the play, the reader witnesses the aftermath of Othello's accusations against Desdemona's fidelity. Defending her innocent nature, Desdemona asks Emilia if any women could even bring themselves to commit adultery. Emilia's response provides ample situational irony and foresadowing.
Emilia declares that cheating on one's husband would be a small price to pay if much were offered in return: "...-why, who would not make her husband a cuckold to make him a monarch?" (IV.iii.72-73). Although Emilia advocates infidelity, she appears to do so for the benefit of her husband. After this entire play that has falsely called Desdemona's dedication to her husband in question because of Iago's actions, Iago's wife has admitted to having no problem with cheating on one's husband. Because of this ironic shift, it would seem to suggest that Iago will bear the grief of a cuckold.
Regardless, Emilia places the blame of cheating women on the husbands. Because Iago has treated her as an object, her defense of adultery likely suggests that she has taken revenge on Iago by cheating on him. Emilia's speech also seems to suggest that the men treating their wives as objects will soon face the fury of their wives.
Othello: Act IV, scene i
Othello: the Moor of Venice
William Shakespeare
In this Act, Othello and Iago get to work seeking vengeance for Desdemona's "infidelity". Although Cassio and Bianca come complaining about each other, Iago cleverly makes sure Othello thinks that Cassio simply is sleeping with both Bianca and Desdemona rather than that Iago is lying. While hiding, in an aside, Othello again mentions his position as a foreigner in an allusion to the Roman Empire.
While Othello is hiding and Cassio is discussing Bianca with Iago, Othello compares Cassio to a Roman general returning to a Triumph: "Do you triumph, Roman? Do you triumph?" (IV.i.116). Once again, Othello is implicitly labeled a slave to his Venetian peers. Since Triumphs were thrown for victorious generals, Othello claims that Cassio has achieved great success at his expense. Furthermore, Roman generals specifically received Triumphs for victories in Africa in which they displayed their African slaves. Thus, Othello states that Cassio has taken everything from him through conflict; he has taken Othello's wife and holds Othello himself captive.
Through this allusion, two motifs are reintroduced to the play. Othello's insinuation that Cassio has robbed him objectifies Desdemona a reveals a degree of misogyny that could turn out to be his hubris. Additionally, referring to Cassio as a victor and an Italian reveals a cultural rift caused by xenophobia that could turn out to be the hubris of several characters, including Othello and Iago.
Wednesday, February 6, 2013
Othello: Act III, scene iv
Othello: the Moor of Venice
William Shakespeare
Finally, Iago's plans start to wedge their way in between Othello and Desdemona. As wine made Cassio quick to anger, Iago's doubts planted into Othello's mind made the Moor quicker. Though Desdemona is the focal point of the scene because of Othello's demands of the stolen handkerchief, Emilia provides an insight to marriage that characterizes Iago and his marriage.
"'Tis not a year or two shows us a man. They are all but stomachs and we all but food. They eat us hungerly, and when they are full They belch us," (III.iv.97-100). Though not unprecedented in Shakespearean plays, Emilia suggests an unsettling theory that, in marriage, men inevitably use and discard women. Emilia's metaphor may have been intended to be humor, but it provides an invaluable insight into the character and motives of Iago.
Since Emilia's views of marriage were undoubtedly influenced by her own marriage with Iago, their descriptions of the husband's role also describe Iago from a perspective he wants others not to know.
Apparently, Iago holds an objectifying opinion on women; Emilia describes men as simply consuming women then discarding them instead of savoring them. This chauvinistic tendency reinforces the assertion that Iago treats others as pawns in his schemes against Othello. Othello is not meant to be a partner in the army, but an enemy in the way of success; Roderigo is not meant to be a partner in a symbiotic scheme, but a money purse. This much can be surmised through superficial analysis, but perhaps deeper insights can be gleaned from Emilia's opinions. Perhaps Iago's unpleasantness stems from his imperial persona; perhaps his character got in the way of his love and his professional schemes are all he has left in the world after all companions are consumed.
William Shakespeare
Finally, Iago's plans start to wedge their way in between Othello and Desdemona. As wine made Cassio quick to anger, Iago's doubts planted into Othello's mind made the Moor quicker. Though Desdemona is the focal point of the scene because of Othello's demands of the stolen handkerchief, Emilia provides an insight to marriage that characterizes Iago and his marriage.
"'Tis not a year or two shows us a man. They are all but stomachs and we all but food. They eat us hungerly, and when they are full They belch us," (III.iv.97-100). Though not unprecedented in Shakespearean plays, Emilia suggests an unsettling theory that, in marriage, men inevitably use and discard women. Emilia's metaphor may have been intended to be humor, but it provides an invaluable insight into the character and motives of Iago.
Since Emilia's views of marriage were undoubtedly influenced by her own marriage with Iago, their descriptions of the husband's role also describe Iago from a perspective he wants others not to know.
Apparently, Iago holds an objectifying opinion on women; Emilia describes men as simply consuming women then discarding them instead of savoring them. This chauvinistic tendency reinforces the assertion that Iago treats others as pawns in his schemes against Othello. Othello is not meant to be a partner in the army, but an enemy in the way of success; Roderigo is not meant to be a partner in a symbiotic scheme, but a money purse. This much can be surmised through superficial analysis, but perhaps deeper insights can be gleaned from Emilia's opinions. Perhaps Iago's unpleasantness stems from his imperial persona; perhaps his character got in the way of his love and his professional schemes are all he has left in the world after all companions are consumed.
Othello: Act III, scenes i-iii
Othello: the Moor of Venice
William Shakespeare
Iago once again proves himself to be the master of manipulation. For once in the play, Othello approaches the truth that Iago is a compulsive liar and his wife is true her husband. Regardless, Iago manages to deflect accusations of falsehood and lament the fate of his good intentions: "Take note, take note, O world, To be direct and honest is not safe. I thank you for this profit, and from hence I'll love no friend, sith love breeds such offense," (III.iii.378-381).
Although the confrontation between Othello and Iago is brief, it contains several complexities. On the surface, Iago's speaker utilizes a paradox to present an image of the world. Although people labor to bring the truth, and Iago's speaker certainly showed hesitance in suggesting an affair to Othello, the truth is met with wrath. How it pained Iago to question Desdemona's fidelity out of concern for Othello, yet the Moor lashes out at Iago and demands proof. Once again, although the reader knows Othello's doubts about Iago's accusations to be rooted in truth, Iago's paradoxical claim holds some truth in the story.
Despite Iago's verbal irony, the roles of honest friend and ungrateful menace are indeed present in the story, though not as Iago's speaker suggested. In reality, Othello is the face of honesty; he courageously exposes his marriage to Brabantio and even heeds Iago's words as though they were infallible truth. Iago has a benevolent superior and dedicated friend. Yet, even though Othello is a paragon of friendship, Iago repays him with deceit and cunning. He has threatened Othello's marriage by revealing it to Brabantio and by making Othello himself question the marriage's ties all while convinced Othello that Iago is his loyal and trustworthy subordinate.
When the reader investigates the paradox further, he realizes that, though from an untrustworthy origin, the account holds true.
William Shakespeare
Iago once again proves himself to be the master of manipulation. For once in the play, Othello approaches the truth that Iago is a compulsive liar and his wife is true her husband. Regardless, Iago manages to deflect accusations of falsehood and lament the fate of his good intentions: "Take note, take note, O world, To be direct and honest is not safe. I thank you for this profit, and from hence I'll love no friend, sith love breeds such offense," (III.iii.378-381).
Although the confrontation between Othello and Iago is brief, it contains several complexities. On the surface, Iago's speaker utilizes a paradox to present an image of the world. Although people labor to bring the truth, and Iago's speaker certainly showed hesitance in suggesting an affair to Othello, the truth is met with wrath. How it pained Iago to question Desdemona's fidelity out of concern for Othello, yet the Moor lashes out at Iago and demands proof. Once again, although the reader knows Othello's doubts about Iago's accusations to be rooted in truth, Iago's paradoxical claim holds some truth in the story.
Despite Iago's verbal irony, the roles of honest friend and ungrateful menace are indeed present in the story, though not as Iago's speaker suggested. In reality, Othello is the face of honesty; he courageously exposes his marriage to Brabantio and even heeds Iago's words as though they were infallible truth. Iago has a benevolent superior and dedicated friend. Yet, even though Othello is a paragon of friendship, Iago repays him with deceit and cunning. He has threatened Othello's marriage by revealing it to Brabantio and by making Othello himself question the marriage's ties all while convinced Othello that Iago is his loyal and trustworthy subordinate.
When the reader investigates the paradox further, he realizes that, though from an untrustworthy origin, the account holds true.
Othello: Act II
Othello: the Moor of Venice
William Shakespeare
Again, the cunning of Iago becomes even more complex. In this instance, Iago once again manipulates others to create a conflict in which Othello's relationship would be threatened. Dramatic irony highlights the manner in which Iago manipulated Cassio and Montano.
The barbaric Turk has been beaten back at sea back to Turkeyland (it's not offensive; that's what Europeans used to call Turkey). It is time to celebrate! However, Cassio knows celebratory drinking will invariably lead to a brawl ending celebration in punishment. Nevertheless, Iago pressures him into compromising his position in the military by taking a drink. One instance of dramatic irony comes in Iago's commission of Roderigo to pick a fight with Cassio which further reinforces Iago's habit of setting traps for others to fall into.
However, the more significant instance of dramatic irony comes when Iago tells Montano of Cassio's supposed alcoholism. Again, Cassio does indeed have a problem with drinking, but drinking habitually is not a factor. Iago's scheme comes to fruition when Cassio brawls with Roderigo and stabs Montano. Then, when Othello interrogates Iago, he once again ingratiates himself to the party he recently jeopardized: "I had rather have this tongue cut from my mouth Than it should do offense to Michael Cassio," (II.iii.200-201). While others act as pawns in Iago's game, he arrogantly avoids suspicion by claiming to be laboring on everyone's behalf. Dramatic irony paints Iago as a puppet master who pulls the strings on the hapless toys.
William Shakespeare
Again, the cunning of Iago becomes even more complex. In this instance, Iago once again manipulates others to create a conflict in which Othello's relationship would be threatened. Dramatic irony highlights the manner in which Iago manipulated Cassio and Montano.
The barbaric Turk has been beaten back at sea back to Turkeyland (it's not offensive; that's what Europeans used to call Turkey). It is time to celebrate! However, Cassio knows celebratory drinking will invariably lead to a brawl ending celebration in punishment. Nevertheless, Iago pressures him into compromising his position in the military by taking a drink. One instance of dramatic irony comes in Iago's commission of Roderigo to pick a fight with Cassio which further reinforces Iago's habit of setting traps for others to fall into.
However, the more significant instance of dramatic irony comes when Iago tells Montano of Cassio's supposed alcoholism. Again, Cassio does indeed have a problem with drinking, but drinking habitually is not a factor. Iago's scheme comes to fruition when Cassio brawls with Roderigo and stabs Montano. Then, when Othello interrogates Iago, he once again ingratiates himself to the party he recently jeopardized: "I had rather have this tongue cut from my mouth Than it should do offense to Michael Cassio," (II.iii.200-201). While others act as pawns in Iago's game, he arrogantly avoids suspicion by claiming to be laboring on everyone's behalf. Dramatic irony paints Iago as a puppet master who pulls the strings on the hapless toys.
Othello: Act I
Othello: the Moor of Venice
William Shakespeare
From the very beginning of the play, the reader easily identifies Iago as the antagonist of the story. Regardless, those familiar with Shakespearean villains know that they often represent unique human flaws: wrath, pride, or greed. In characterizing Iago, the reader realizes that Iago will represent dishonesty and manipulation.
Iago first displays his cunning and manipulative manner in alerting Brabantio of his daughter's marriage to Othello. Obviously, Iago wished this act to enrage Brabantio who would not approve of his daughter's clandestine marriage to an African in an effort to bring controversy to the foreign and, in his opinion, unworthy general. However, this in itself does not display his dishonesty; Othello really did marry Desdemona. His complex cunning is revealed in a more interesting twist.
"Nine or ten times I had thought to have yerked him here under the ribs," (I.ii.4-5). This slight dramatic irony tells the reader that Iago is secretly pitting people against each other in order to achieve his still obscure goal which certainly must involve the downfall of the Moor. Now the reader can characterize Iago further than labeling him as being dishonest. Because Iago skewed Brabantio's opinion of Othello only to ingratiate himself to the latter, Iago is portrayed as being extremely egocentric. It is no matter to Iago how many relationships he destroys as long as Othello is undermined in some way. Perhaps this ego-centrism is the reason for naming him Iago which is close to the word ego which comes from the Latin word for "I".
William Shakespeare
From the very beginning of the play, the reader easily identifies Iago as the antagonist of the story. Regardless, those familiar with Shakespearean villains know that they often represent unique human flaws: wrath, pride, or greed. In characterizing Iago, the reader realizes that Iago will represent dishonesty and manipulation.
Iago first displays his cunning and manipulative manner in alerting Brabantio of his daughter's marriage to Othello. Obviously, Iago wished this act to enrage Brabantio who would not approve of his daughter's clandestine marriage to an African in an effort to bring controversy to the foreign and, in his opinion, unworthy general. However, this in itself does not display his dishonesty; Othello really did marry Desdemona. His complex cunning is revealed in a more interesting twist.
"Nine or ten times I had thought to have yerked him here under the ribs," (I.ii.4-5). This slight dramatic irony tells the reader that Iago is secretly pitting people against each other in order to achieve his still obscure goal which certainly must involve the downfall of the Moor. Now the reader can characterize Iago further than labeling him as being dishonest. Because Iago skewed Brabantio's opinion of Othello only to ingratiate himself to the latter, Iago is portrayed as being extremely egocentric. It is no matter to Iago how many relationships he destroys as long as Othello is undermined in some way. Perhaps this ego-centrism is the reason for naming him Iago which is close to the word ego which comes from the Latin word for "I".
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