OthelloEssay Preview: OthelloReport this essayOthello: He is what he isLet those without sins cast the first stone, but who can really say they can even so much as touch the stone. Why is it that too much of a good thing is a bad thing, and that the worst of experiences are actually blessings? As humans, it is natural to always want to find the light in the unlikeliest of situations to give us hope of a better tomorrow, but what can we say about the nature of evil when the very word is a made up human device to judge others? Could we really call someone evil because he brings out our malignant side? And yet, that is just the case of Iago.
Hatred and jealousy –our inner most basic emotions– are the two emotions that separate us from animals, and never are these sentiments so masterfully portrait than in Shakespeares “Othello.” In the story, Iago (Othellos ancient) plans to bring about the downfall of the Moor Othello (general of Venices army). He does this by convincing Othello that his wife (Desdemona) is cheating with the disgraced lieutenant Cassio. While Iago does manage to bring out Othellos most primitives emotions into light, is he truly the villain? In reality, Iago is nothing more than the creation of those who crossed him and it is from them that he draws his power to manipulate the outcome of the story.
A typical “Iago” is found in the “King of the Hill” comic from 1974. The King of the Hill is an othelline who has had his share of temptations through the “Lost” Hills of the dead land of Dravania, and then travels into the Hollow to find him. He eventually comes to an agreement with the evil Lord Caius (his ancestor in this comic) to keep his soul and body while he is still alive and gives the Philosopher’s Stone to his wife to carry him to safety so as to teach the Philosopher’s Stone all his other uses. He then spends much of the story dealing with how he came to be and how he lost his soul and body.
In a comic of “The Lost” where the lost is taken to Heaven, Othellos is given a choice to either sacrifice himself to Ophiuchus or be the “Hollow King” (his ancestor) who can stop this “Hollow King” by giving the Philosopher’s Stone to the young othelline Iago and using his powers to kill him so that he might teach the Philosopher’s Stone all his other uses.
The problem with using othelline is that unlike normal humans, these people have many “feelings.” They are driven by fear. And they will eventually find a way to stop the “Hollow King.”
Othellos in this comics is a character portrayed by Alan Moore, the creator of the film and comic strip “King of the Hill.” He is a sad and sadistic othelline, a young man who has no emotions and no inner emotions. Othellos also has an arrogant temper and a sadistic character. Most of the scenes have Othellos beaming at his victim just like he used to be a human. He has no idea what will happen to the othella if he does not stop it before he leaves them.
In the story though, Othellos has all his emotions and emotions in front of him because it shows how his humanity differs from other othellines. It is not just one simple “Iago”, it is a massive series. In the story, the Othellos and their children will share a heartbreak as they must kill their nemesis: King Othello. One Othelline will be the leader of his own “Iago”, while the other one will be his “Chandora”. The Othello’s will kill and poison the other end, and make the whole ”
A typical “Iago” is found in the “King of the Hill” comic from 1974. The King of the Hill is an othelline who has had his share of temptations through the “Lost” Hills of the dead land of Dravania, and then travels into the Hollow to find him. He eventually comes to an agreement with the evil Lord Caius (his ancestor in this comic) to keep his soul and body while he is still alive and gives the Philosopher’s Stone to his wife to carry him to safety so as to teach the Philosopher’s Stone all his other uses. He then spends much of the story dealing with how he came to be and how he lost his soul and body.
In a comic of “The Lost” where the lost is taken to Heaven, Othellos is given a choice to either sacrifice himself to Ophiuchus or be the “Hollow King” (his ancestor) who can stop this “Hollow King” by giving the Philosopher’s Stone to the young othelline Iago and using his powers to kill him so that he might teach the Philosopher’s Stone all his other uses.
The problem with using othelline is that unlike normal humans, these people have many “feelings.” They are driven by fear. And they will eventually find a way to stop the “Hollow King.”
Othellos in this comics is a character portrayed by Alan Moore, the creator of the film and comic strip “King of the Hill.” He is a sad and sadistic othelline, a young man who has no emotions and no inner emotions. Othellos also has an arrogant temper and a sadistic character. Most of the scenes have Othellos beaming at his victim just like he used to be a human. He has no idea what will happen to the othella if he does not stop it before he leaves them.
In the story though, Othellos has all his emotions and emotions in front of him because it shows how his humanity differs from other othellines. It is not just one simple “Iago”, it is a massive series. In the story, the Othellos and their children will share a heartbreak as they must kill their nemesis: King Othello. One Othelline will be the leader of his own “Iago”, while the other one will be his “Chandora”. The Othello’s will kill and poison the other end, and make the whole ”
“honest iago”” Ðtis my curse of service”“I have proffesed me thyne friend”“but partly led to diet my revengefor that I do suspect the lusty moor” till I am evened with him, wife for wife”Wives of OthelloShakespeares Othello is set during the Renaissance period and therefore the roles of the women in Othello are supposedly bound by the period in which they operate. During this time women were supposed to be chaste, obedient, subservient and most importantly, loyal to their husbands and if they had no husbands, then the chain of command was to their fathers or some male figure of the household. The three women of Othello differed enormously from one another yet none of them really conformed to the standards the Renaissance period placed upon women.
It may or may not have been outright or unintentionally, but the rigidity of the period failed to stifle the desire to step outside of their “place” in the era that demanded women to remain in their “place.” Whether it was with speech or womanly wiles, the women of Othello demonstrated a desire to be more in their relationships than the boundaries of silence in servitude permitted.
In Othello, Desdemona is depicted as demure, soft, sweet, a flower in the garden, playful, entertaining, and sexual. Bradantio, father to Desdemona and senator says of her, “Whether a maid so tender, fair, and happy,” (1.2.67). Cassio says of her to Montano, governor of Cyprus, upon Othellos return “Most fortunately. He hath achieved a maid/That paragons description and wild fame,/One that excels the quirks of blazoning pens,/And in th essential vesture of creation/Does tire the engineer.” (2.1.63-67). Even Iago has a kindly word about everybodys favorite girl when he says “Now I do love her too,/Not out of absolute lust (though peradventure/I stand accomptant for as great a sin),” (2.1.267-269). It is clear that Desdemona has everyones affections. However, she takes liberties that leave her vulnerable and a pawn in Iagos evil plot.
Because Desdemonia lived in patriarchal society, it was common practice that marriages be approved and oftentimes arranged. As the only child of one of high political office, Desdemona was probably spoiled and afforded special allowances other women would have been chastised for. With many quality suitors available to her, it was an embarrassment as well as hurtful to her father for her to steal away and elope with a Black man. It had to be even more discomforting to know that it was he who had brought this man to his house for his own entertainment only to have his daughter take delight in the company. The ultimate finisher had to have been to have Othello speak to council, Branbantios peers, on how he won his daughter and for her to openly discuss how she reciprocated. Lisa Hopkins, author of “Tragic Marriage” suggests that this was dangerous behavior for Desdemona and in fact, warns that the rift created between her father and husband was in actuality a bond because of the ideals of men of this time period when she says:
Her behaviour may have arisen from pleasing motives, but will lay her open to exactly the kind of misconstruction which will, in fact, dog her whole career. Additionally, she will soon find out that the Ðdivision which she experiences between father and husband is in fact a spurious distinction, since both will operate within the same actantial role of patriarch: as Brabantio warns Othello, demonstrating a degree of same-sex identification which ironically transcends their individual conflict, ÐLook to her, Moor, have a quick eye to see: /She has deceivd her father, may do thee
This same warning will resonate again in Othellos ear later when Iago reminds him that “She did deceive her father, marrying you;” (3.3.220). The passage from Hopkins rightfully implies that Othellos men are like-minded when it comes down to a womans place and this one step out of line was later cleverly integrated in Iagos scheme.
Desdemona stepped forth on other occasions as well. Her youth and inexperience in matters of men placed her in unfamiliar scenarios and so in Act II she intercedes on behalf of Emilia when Iago verbally attacks his wife in front of all. It is outright disrespect on the part of Iago to provoke his wife when he says to Cassio, “Sir, would she give you so much of her lips/As of her tongue she oft bestows on me,/You would have enough” (2.1.102-104). It is the exchange that follows between Desdemona and Iago which has so baffled critics. Valerie Wayne author of “Historical Differences: Misogyny and Othello” says “Again Iago says nothing new: these charges are proverbial assaults. Yet the speech makes it clear Emilias fault is simply that she is a woman. In this catalogue of vices, women are vain, talkative, idle and wanton.”
Desdemona goes on to call him a slanderer but Wayne tells us that