Flattery, appeal to honor and to heritage are all tactics used by Cassius to lure Brutus into the conspiracy. As the characters exit, leaving Brutus and Cassius standing alone together, Cassius seizes the opportunity to persuade Brutus. First, he uses a familiar and handy tactic in his persuasion, flattery. Cassius says, “Tell me, good Brutus, can you see your face? ‘Tis just.
The character of Iago is presented to the viewer early on as the obvious villain of the play. His initial exploitation of Othello and Desdemona’s marriage makes the viewer aware of his calculating and manipulative nature, which is further emphasized by his continual deceit of Othello. Despite the ease with which he enacts his controlled and cunning plans, Iago sometimes seems to the viewer as an irrational, vengeful character acting out of jealousy. This trait can make him appear illogical and unreasonable but emphasis his pure evil nature. Iago’s initial soliloquies reveal his deceptive nature, he is presented as Janus, the 2 faced man, as he reveals his plan which becomes more and more complex and reliant on his continual manipulation of the people around him.
A short essay cannot investigate all instances of this occurrence in all works of the author, but could provide the reader with the major categories. This way, deception will become more recognizable and appreciated as a major element and a spine of the particular story. In two of the most famous Shakespeare’s plays where deception appears as a building block of the story are Hamlet and Othello. In Hamlet the prince uses deception as a tool to distract attention and hide better his strange but vital moves and activities necessary to gather enough information regarding Claudius. The deception comes in the form of fake madness.
Line 329. The interesting part about this line is that Iago sees his evil plan as a “monstrous birth to light” Act 1. Sc 3. Line 12. that he will bring forward and succeed with. He states that he should make Othello believe that his wife, Desdemona, is having an affair with Cassio to get into Cassio’s
He immediately begins attacking Hester, pestering her with questions and statements such as, "Thou wilt not reveal his name? Not the less he is mine," resumed he, with a look of confidence, as if destiny were at one with him. "He bears no letter of infamy wrought into his garment, as thou dost, but I shall read it on his heart”(83). Chillingworth tries to shame Hester into telling him the truth. He does not know her lover is Dimmesdale at this point so he can only go to Hester and hold the letter above her head, taunting her in a sense, in the hope that she will give in and say the name.
“The real persuaders are our appetites, our fears, and above all our vanity. The skillful propagandist stirs and coaches the internal persuaders” (Hoffer 1). Persuasion not only comes from outside forces but also our inner voices, whether it be greed, vanity, or honor, and a skilled persuader will use those traits to twist people to their will. In the 15th century play, Julius Caesar, by William Shakespeare, Cassius and the other manipulative conspirators con Brutus into helping them in their plot to destroy Caesar. In William Shakespeare’s Renaissance drama Julius Caesar, the conspirators persuade Brutus to assassinate Caesar.
As Othello’s ancient, Iago has a strong pull over Othello which he utilizes in order to seek revenge on him. He begins with a reason for ruining the lives of everyone possible; however, as the play progresses, ruining lives becomes sport for him and he loses sight of his prior reasoning for ruining the lives of Othello, Desdemona, Cassio, Roderigo, Emilia and Bianca. Conflict and Resolution: Person vs. Person: Othello vs. Iago: As Othello’s right hand man, Iago is able to manipulate Othello and turn him evil. This is easy for him because Othello believes he is an honest man and puts all his trust in him.
Othello is usually regarded as the greatest tragedies among Shakespeare’s tragedies (Shakespeare and Honigmann 1). Iago has a unique place in the drama as a dramatic character placed on a pedestal of human incarnation of evil. The first glance at Iago’s character speaks of pure evil, but as he progresses into play the villain comes out as as amoral rather than immoral. Iago exhibits villainy tactics deeply embedded in his characterization. Iago’s soliloquies award the audience with a distinct perspective into the episodes of the plot (Shakespeare and Honigmann 31).
Many times, the villains may even be more influential than the heroes themselves. In Shakespeare’s play “Othello”, Iago proves far more central to events than Othello himself, even though Othello ought to be the hero of the work. Throughout the play, Iago exhibits larger-than-life qualities like audacity, deceit and cleverness, which can invoke admiration, distraught and astonishment from the audience. As the villain playing the role of the faithful servant to Othello, Iago relies heavily upon his ability act with audacity. For this purpose, he must first assert himself and be bold in his actions and intentions.
This play sends a strong message of fate and free will to the audience. Oedipus’ free will to pursue knowledge of his identity is significant; fate is responsible for Oedipus’s incest and many of the other devastating events that accrued to him thou out the play. By the importance of fate, Sophocles sends a message across that his characters cannot be fully responsible for their actions. A perfect example of this is blaming Oedipus for marrying his mother, his ignorance was his flaw leading to his downfall, fulfilling the prophecy he tried so hard to avoid. Sophocles’ use of irony helps the audience develop the characters of the play.