Analyzing Shakespeare's story The Tragedy of Othello - Literature review Example

Analyzing Shakespeares story "The Tragedy of Othello." Analysis of Characters Introduction In this essay, the researcher analyzes the major characters in the story. The analysis of these characters will be embedded on their significance on the story development based on the plot, themes, and motifs. The characters to be analyzed will include, Othello, Iago, and Desdemona. Othello At the onset of the opening of the play, Othello is depicted as being far from much of the actions directed to him despite the effects of these actions on him. Roderigo and Iago ambiguously refer to a ‘him’ or ‘he’ for the greater part of the first scene. At the time when they begin to specify the person referred to as a ‘he’, particularly while standing beneath Brabanzio’s window, this is done based on racial epithets without mentioning names; ‘the moor’, ‘the thick lips’, ‘a Barbary horse’ and ‘an old black ram.’ Despite Othello’s appearance at the onset of scene two, his name is heard for the first time in Act one scene three. However, in the later scenes, Othello’s ship becomes the last of the three ship to arrive at Cyprus in Act II first scene. He stood apart as Cassio and Iago supposedly talks about Desdemona in Act IV first scene. Othello assumes Cassio is dead despite his absentia as they fight in Act V scene I. Othello’s being depicted as an outsider accounts for him being an easy prey for Iago. Othello is a racial and cultural outsider in Venice but is skilled as a soldier and leader, and this makes him valuable and important to the state being a societal key integral part. He is greatly demanded by the duke and senate as portrayed by Cassio’s comment explaining how the senate had sent three quests for him. In addition, the Venetian government shows more trust in him and subsequently making him in charge of full martial and political command of Cyprus. Othello justified that in his dying speech reminding the Venetians on his service to the state. Othello is considered social and civic peer by Desdemona and Brabanzio, who are much drawn to him based on Othello’s exotic qualities besides his ability to captivate his peers by speech. In addition, Othello himself portrays being an outsider as he recognized his exotic appeal as well as being self-conscious of as well as defensive about his uniqueness from other Venetians. For instance, in addition to his eloquence in Act I third scene, Othello laments, “Rude I am in my speech, / and little blessed with the soft phrase of peace” (Shakespeare, pp 81-82). While in he is not rude in his speech, Othello allows his eloquence to suffer as he is subjected to increasing strain by Iago’s plot. Towards the end of the play, he restores his composure and subsequently seduced both his onstage and offstage audiences with his unique speech. The speech that preceded Othello’s suicide was convincing everyone. Othello is thus a tragic figure based on the tension between his victimization at the hands of a foreign culture and Othello’s willingness to suffer and hence he is never Iago’s ridiculous puppet. Othello most speeches foreshadowed the impending disaster. His description of his past as well as his wooing of Desdemona foreshadowed his suicide speech. Iago Iago is portrayed as the most heinous villain in Shakespeare. He is fascinating due to his most terrible feature; his utter lack of persuasive motivation for his actions. As depicted in the scene I, Iago claims to be angry at Othello for as Othello passed him over for the lieutenant position. At the end of first Act scene three, he thinks Othello slept with his wife, Emilia. Iago is suspicious again at the end of Act II first scene as he explains how he lusts after Desdemona in order to get even with Othello. However, none of these scenes justifies his hatred for Othello besides his lack of motivation culminates to his terrifying actions. Iago is vengeful to Othello, Cassio, Desdemona, Emilia and Roderigo following any slightest provocation as he enjoyed the damage and pain he advanced to his ‘enemies.’ He is funny particularity during his encounters with Roderigo that showcase his manipulative abilities. He always winks at audience to reveal his skills. Spectators thus are thus on his side during Iago’s encounter with Roderigo despite the revelation of a streak of Iago’s cowardice which is validated in the last scene as he killed his wife (Shakespeare, pp 231-242). The general hatred against women is validated by Iago’s murdering Emilia. Readers suggest that Iago’s actual motive Othello’s persecution is his homosexual love for the general. Iago takes great pleasure to prevent Othello from benefiting from his martial happiness as he showcases his love for Othello effusively and frequently. Iago’ talent for manipulating and understanding the desires of his surrounding individuals portrays him both as a powerful and a compelling character. His manipulative ability to seize the handkerchief from his wife while at the same time being able to deflect Emilia questions besides being able to tell Othello of the handkerchief knowing well that Othello will never doubt as well being able to convey this to his audience. Despite Iago being the most inveterate liar, he has inspired all of the play’s characters despite Othello’s most lethal trait of trust. Iago revealed the Falling Action as he plants the handkerchief in Cassio’s room and subsequently arranged a conversation with Cassio that Othello watched and saw as proof that Cassio and Desdemona did sleep together. He successfully attempted to murder Cassio and Othello smothers Desdemona with a pillow. Emilia revealed Iago’s deceptions as Othello murders himself while Iago is taken aside for torturing. Desdemona Desdemona is depicted as the most plausible, well-rounded character with much criticism rendering her credit for. Desdemona seems stereotypically weak as well as submissive as she ignores the conviction and authority of her initial speech as well as her tough furry following Othello’s strikes on her. Desdemona is also viewed as being slightly bizarre bawdy jesting with respect to Iago as reflected in Act II first scene. Such critics however, may more be of an interpolation ignored by Shakespeare or a mere vulgarity that neglect the fact that she is young, sexual as well as recently married. Desdemona displayed similar chiding and mischievous in Act III third scene in lines 61-81 as she attempted to convince Othello to forgive Cassio. Desdemona portrays herself as submissive at some points such as when she is depicted as more than willing to take credit for her own murder. As she replied to Emilia questions, “O, who hath done this deed?” and her final words, “Nobody, I. Farewell. Commend me to my kind lord. O, farewell” (pp, 133-134). Desdemona’s contradictorily is depicted as a self-effacing, bold, faithful wife as well as the independent character. The self-contradiction on one hand is intentional in order to depict how Desdemona feels upon defending her decision of marriage to her father as reflected in Act I third scene with Desdemona immediately subjected to defend her fidelity to her husband. At the onset of the play, Desdemona is depicted as an independent person but this alters as she becomes midway through to struggle against every odds to persuade Othello that she is no all that independent. Her murder becomes a symbolic a she is smothered by a pillow in a bed covered in her wedding sheets. The symbol is that Desdemona is literally suffocated beneath the demands exerted on her fidelity. As depicted in Desdemona’s first lines, she has seemed capable of overriding these demands. Othello final speech validates Desdemona’s powerful. With respect to being tragic, Desdemona is apparently knowledgeable of her imminent death. She asked Emilia herself to put her wedding sheets on the bed and further asks Emilia to bury her in her wedding sheets upon her death. We see her sing a song that she had learned from her mother’s made when she awakens with Othello standing over her with the murder in the eyes. Just like the audience, she seems able to watch as her husband is driven insane with jealousy. Desdemona maintained her innocence and forgave her husband that serves helpful to the audience to forgive Othello too. The song (willow) sang by Desdemona as well as her remarks to Emilia in act IV third scene thus foreshadows her death. Conclusion In conclusion, through the three characters analyzed, the researcher has successfully noted both the major conflicts, rising action as well as falling action. Othello and Desdemona married and attempted to build a life together regardless of their age, race and experience differences. However, the marriage is sabotaged through Iago’s envy that convinced Othello about her unfaithful wife, Desdemona. The rising action is depicted as Iago told the audience about his scheme and planned for Cassio to relinquish his position as lieutenant as he gradually insinuates to Othello that his wife, Desdemona is not faithful. Work Cited Shakespeare, William. The Tragedy of Othello, the Moor of Venice. Minneapolis: First Avenue Editions, 2014. Internet resource. Read More