well, for the matter of fact all i had to do was make this up and it worked.... i hope. a central motif in the play is trickery or deceit, whether for good or evil purposes. counterfeiting, or concealing one's true feelings, is part of this motif. everyone seems to lie; good characters as well as evil ones engage in deceit as they attempt to conceal their feelings: beatrice and benedick mask their feelings for one another with bitter insults; don john spies on claudio and hero; don pedro and his 'crew' deceive benedick and beatrice. who hides and what is hidden?
Annotation of Othello The Act 3 Scene iii is an important part in the whole Act which says that how Iago incites Othello to be jealous with Desdemona and Cassio. In the Act 3 Scene iii, Iago said to Othello: “Oh, beware, my lord, of jealousy! / …That cuckold lives in bliss.” (Line 167-169) which makes an analogy between jealousy and a green-eyed monster. Iago seems to warn Othello not to be jealous to Desdemona but actually has already put the seed of jealousy in Othello’s mind which makes Othello be sure to Desdemona’s unfaithfulness more. Then Iago says: “Who, certain of his fate, loves not his wronger, / …… / yet soundly loves!” (Line 169-172) the first half sentence refers to Iago and Iago’s wife who is suspected by Iago with no reason of her unfaithfulness.
This characterises Iago as a dishonest & deceptive character, contrary to what seems to be popular belief; it allows the audience to question their previous impressions of Iago, who initially appeared to be an honest and loyal character. The other characters are continually led to believe this, solely due to the reputation he has gained for himself merely for the success of his plan. The way Iago represents himself – as an honest and loyal man – is what leads to the eventual success of his plan to manipulate Othello into believing Desdemona cuckolded him. Othello begins to trust Iago; he entrusts him to take the responsibility of escorting his wife, Desdemona, to Cyprus: “My Desdemona must I leave to thee” (I iii 291) and he places trust on
The theme of sexism is instantly introduced in the play. Petruchio, arguably the most controversial character in the play, is talking to Hortensio, a hopeful suitor of Bianca. Petruchio discusses his business in Padua, and explains to Hortensio exactly what his intentions are there. He reveals a sexist side to his character, when in lines seventy-four and seventy-five of scene one act two, he remarks, ‘I come to wive it wealthily in Padua; If wealthily, then happily in Padua. Petrechio uses degrading language within this quotation.
His comment comes across as sarcastic as he is mindful, and perhaps jealous, of the fact that his lover’s father wishes her to marry another man - Demetrius. This therefore makes the play a dramatic comedy as although the sarcasm may be amusing; the multiple love obstacles the characters must overcome make it dramatic. Next, Lysander’s insults accentuate the genre of the play, ‘upon this spotted and inconstant
Gwendolen wants to marry a man called Ernest, not caring whether he possesses the qualities that comprise earnestness. This is evident as Gwendolen quickly forgives Jack’s deception and Lady Bracknell quickly forgets her earlier disapproval of Jack’s suitability for Gwendolen. Jack, the central character, is initially neither ‘Ernest’ nor ‘earnest’. Through forces at times beyond his control, he becomes both: a symbol of Victorian hypocrisy. Both Jack and Algernon lead a double life, known as ‘Bunburying’, the practice of creating an elaborate deception so as to misbehave whilst maintaining expected social standards of duty and responsibility, essentially, pretending to be earnest.
Loneliness puts The Monster in a mentally unstable position. He believes that he is a monster for the reason being he was created by one. In comparison, Othello’s betrayal is demonstrated throughout the play, but especially through Iago when he confesses to the audience his plan to manipulate and destroy Othello’s love life with Desdemona. Although Othello trusts Iago with anything, Iago hates the “Moor” and is willing to do anything to destroy him. Iago feels that the best way to do so is by manipulating Othello telling him that his wife is cheating on him with Cassio, who Iago coincidently hates as well.
In the tragic play, Othello, William Shakespeare uses foils to explores how jealousy, manipulation, and pride lead to suffering. Though he is a racial and cultural outsider of Venice being of Moorish decent, Othello has gained the respect of many by following the faith of Christianity, being the general of the Venetian Military, and expressing his true love for Desdemona; the beautiful daughter of the admired senator, Brabantio. However on the wedding night of Othello and Desdemona, there is a disturbance in the airs of good intentions; it is Iago, the pathological lying, deceiving, racist, sexist, thieving, murderous antagonist in the play that destroys the lives of many for his oath of revenge against Othello. He has been passed over as
Already we can see this villain spawning but does not show his hate to Othello. In addition, Iago influences Othello to believe that Desdemona is cheating while all along she is being truthful about her innocence. Iago does this to try to gain Othello's trust in hopes that when Cassio is lowered from his
He claims Othello was responsible for his own downfall and demotes Iago to the role of just catalyst. “I told him what I thought and told no more than what he found was apt and true” Equivocations like the witches in Macbeth. Leavis comments on Othello’s perceived ‘self centeredness’ and his ‘pride, sensual possessiveness, appetite and love of loving.’ Quotes to illustrate his pomposity and arrogance, ‘Let him (Brabantio) do his spite (in response to Othello’s rather alarming lack of judgement in secretly marrying a senator’s daughter), my services (things done for Venice) will out-tongue his complaints (over-ride) Desdemona asks, ‘to whom?..with whom?..How?’ (am I a whore?) Othello just responds with ‘Away, away,