Othello, the Moor of Venice by William Shakespeare
7. How does Emilia prove to be a dynamic character?
DYNAMIC CHARACTER: is one who changes in some important way as a result of the story's action.
Emilia FINALLY stands up for herself. She has such a turnaround that I found myself cheering her on towards the end of Act V. She comest to the realization that her husband was the guy who planted all of the seeds and caused the death of Desdemona (He will soon cause the death of herself and Othello indirectly). You can sort of see her putting everything together and putting the puzzle pieces in place with the different pieces of information coming forth. She pretty much calls out Iago. One thing Emilia says, "That handkerchief thou speak'st of I found by fortune and did give my husband, For often with a solemn earnestness, More than indeed belonged to such a trifle, He begged of me to steal it" (V.ii.224-228). She is calling him out and you can kind of hear Iago being like "shutup shutup shut up!". You know thats what is going on in his head when she won't be quiet. She finally stands up for herself though and I was proud. You go girl. She changes from a passive and submissive wife, to a free and disobedient woman who won't take any more crap from her jerk husband.
Tuesday, February 12, 2013
Othello Blog Post #6
Othello, the Moor of Venice by William Shakespeare
This play doesn't have much comedy in it, but I believe I was able to find a little bit of humor in one situation in Act IV. I don't know about anyone else, but I found myself giggling a little bit to myself when Emilia, Desdemona, and Iago are talking about the rumors that Othello is asking Desdemona about. Emilia is just going on and on about how someone could start rumors like that between two people who love each other so much. The whole time you know Iago is thinking, "yep that's me. I did it. I'm the devil." Emilia says she'll be hanged "if some eternal villain,...to get some office, Have not devised this slander. I'll be hanged else" (IV.ii.130-133). Then Iago's just like "oh there's no such man, it is impossible" (IV.ii.134). I think it is so funny. And then she continues to go on and on and Iago just agrees and I don't know why I find it so funny. It is probably the immense irony in the situation that I find funny. Like, he is right in front of you. Your husband is the eternal villain! Also, there is foreshadowing when Emilia says she will be hanged if there is such a person who would do this. Well, looks like you're dying Emilia. There is such villain. His name is Iago and he's your husband.
This play doesn't have much comedy in it, but I believe I was able to find a little bit of humor in one situation in Act IV. I don't know about anyone else, but I found myself giggling a little bit to myself when Emilia, Desdemona, and Iago are talking about the rumors that Othello is asking Desdemona about. Emilia is just going on and on about how someone could start rumors like that between two people who love each other so much. The whole time you know Iago is thinking, "yep that's me. I did it. I'm the devil." Emilia says she'll be hanged "if some eternal villain,...to get some office, Have not devised this slander. I'll be hanged else" (IV.ii.130-133). Then Iago's just like "oh there's no such man, it is impossible" (IV.ii.134). I think it is so funny. And then she continues to go on and on and Iago just agrees and I don't know why I find it so funny. It is probably the immense irony in the situation that I find funny. Like, he is right in front of you. Your husband is the eternal villain! Also, there is foreshadowing when Emilia says she will be hanged if there is such a person who would do this. Well, looks like you're dying Emilia. There is such villain. His name is Iago and he's your husband.
Othello Blog Post #5
Othello, the Moor of Venice by William Shakespeare
One thing I have noticed from the beginning of the play to towards the end is the shift in Othello's character. In the first act, Brabantio, Roderigo, and Iago are questioning Othello and accusing him of drugging and stealing Desdemona. Most men would freak out and be mad and react to these accusations, but Othello is a calm and cool leader. He says simply ask Desdemona and she will tell you what is going on. He trusts her and is confident in their love that she would tell the truth. This parallels the end of the play where Othello is asking pretty much everyone else other than Desdemona about what is going on. He asks even Emilia before he goes to Desdemona. Emilia defends Desdemona saying, "...to wager she is honest, Lay down my soul at stake. If you think other, Remove your thought, it doth abuse your bosom" (IV.ii.12-14). He still doesn't believe even the woman closest to Desdemona. This shows that Iago's tactics have definitely been getting to Othello. He has managed to completely change Othello's way of dealing with rumors and stress. Iago truly is turning out to be a master of deception and one of the greatest villains of all time.
One thing I have noticed from the beginning of the play to towards the end is the shift in Othello's character. In the first act, Brabantio, Roderigo, and Iago are questioning Othello and accusing him of drugging and stealing Desdemona. Most men would freak out and be mad and react to these accusations, but Othello is a calm and cool leader. He says simply ask Desdemona and she will tell you what is going on. He trusts her and is confident in their love that she would tell the truth. This parallels the end of the play where Othello is asking pretty much everyone else other than Desdemona about what is going on. He asks even Emilia before he goes to Desdemona. Emilia defends Desdemona saying, "...to wager she is honest, Lay down my soul at stake. If you think other, Remove your thought, it doth abuse your bosom" (IV.ii.12-14). He still doesn't believe even the woman closest to Desdemona. This shows that Iago's tactics have definitely been getting to Othello. He has managed to completely change Othello's way of dealing with rumors and stress. Iago truly is turning out to be a master of deception and one of the greatest villains of all time.
Wednesday, February 6, 2013
Othello Blog Post #4
Othello, the Moor of Venice by William Shakespeare
DRAMATIC IRONY: takes place when there is a discrepancy between the reader's understanding of a scene and a character's understanding of a scene, usually because the reader has knowledge the character does not
APOSTROPHE: directly addressing (often rhetorically) and imaginary, dead, or absent person, or a place or thing, or a personified abstract idea
IMAGERY: the use of sensory language to evoke a picture or a concrete sensation of a person, a thing, a place, or an experience
The aside that Othello makes in Scene 3 of Act 3 is packed full of literary techniques. The first line of Othello's little speech starts out with "This fellow's of exceeding honesty..." (III.iii.259). We all know that Iago is the furthest thing from honest because he has told us. He has informed us of his evil plan, but all the character's know is all that they see and are told. They don't know about Iago's plan obviously. Othello uses hawk imagery throughout to compare Desdemona to a possible wild bird. He is saying that if she turns out to be "wild" then he will tell her to go and she will go because he doesn't believe she would be worth keeping. We start to see Iago's manipulation playing out in Othello's aside. This is where he first confesses wavering suspicions he has about Desdemona's faithfulness. He is playing perfectly into Iago's hand by listening to the seed Iago planted and then even continuing to be worried about it. He starts to think that maybe she is unfaithful because he doesn't think he is what she wants. He believes he would rather be a toad than to keep loving someone that is used and loved by someone else.
DRAMATIC IRONY: takes place when there is a discrepancy between the reader's understanding of a scene and a character's understanding of a scene, usually because the reader has knowledge the character does not
APOSTROPHE: directly addressing (often rhetorically) and imaginary, dead, or absent person, or a place or thing, or a personified abstract idea
IMAGERY: the use of sensory language to evoke a picture or a concrete sensation of a person, a thing, a place, or an experience
The aside that Othello makes in Scene 3 of Act 3 is packed full of literary techniques. The first line of Othello's little speech starts out with "This fellow's of exceeding honesty..." (III.iii.259). We all know that Iago is the furthest thing from honest because he has told us. He has informed us of his evil plan, but all the character's know is all that they see and are told. They don't know about Iago's plan obviously. Othello uses hawk imagery throughout to compare Desdemona to a possible wild bird. He is saying that if she turns out to be "wild" then he will tell her to go and she will go because he doesn't believe she would be worth keeping. We start to see Iago's manipulation playing out in Othello's aside. This is where he first confesses wavering suspicions he has about Desdemona's faithfulness. He is playing perfectly into Iago's hand by listening to the seed Iago planted and then even continuing to be worried about it. He starts to think that maybe she is unfaithful because he doesn't think he is what she wants. He believes he would rather be a toad than to keep loving someone that is used and loved by someone else.
Monday, February 4, 2013
Othello Blog Post #3
Othello, the Moor of Venice by William Shakespeare
I have noticed repetition in the play so far up to Act II. The characters are constantly saying how honest and loyal and loving Iago is. More than any normal person should in real life. Othello asks for Iago's recount of the fight because he trusts him. Othello asks, "What is the matter, masters? Honest Iago, that look'st dead with grieving, speak, who began this? Oh thy love, I charge thee" (II.iii.155-157). Even after Iago tells what happened, Othello again calls him honest and his love. The dramatic irony in the situation is that we know that Iago is evil and actually hates Othello and is plotting against him. The constant repetition of Iago's honesty is meant to add to the irony in all of the situations. It also adds to the readers' frustration of the stupidity of the characters in the play.
I have noticed repetition in the play so far up to Act II. The characters are constantly saying how honest and loyal and loving Iago is. More than any normal person should in real life. Othello asks for Iago's recount of the fight because he trusts him. Othello asks, "What is the matter, masters? Honest Iago, that look'st dead with grieving, speak, who began this? Oh thy love, I charge thee" (II.iii.155-157). Even after Iago tells what happened, Othello again calls him honest and his love. The dramatic irony in the situation is that we know that Iago is evil and actually hates Othello and is plotting against him. The constant repetition of Iago's honesty is meant to add to the irony in all of the situations. It also adds to the readers' frustration of the stupidity of the characters in the play.
Othello Blog Post #2
Othello, the Moor of Venice by William Shakespeare
Act II has a lot of scheming on Iago's part going on. I don't understand how every character is so gullible and dumb, though. Cassio knows that alcohol does not do well with him, yet he is still coaxed into getting drunk by Iago. Someone somewhere should be putting all of the parts of this puzzle together and figuring out that Iago is behind all the mishaps and schemes. The dramatic irony is insane because literally Iago will say one thing and then right in the next scene he will say another thing. And then even still will play a third side by telling the audience what his master plan is all about and what is actually going to happen. At the end of Act II, he sums everything up and gives foreshadowing into what is left to come by saying, "Two things are to be done: My wife must move for Cassio to her mistress...Myself the while to draw the Moor apart and bring him jump when he may Cassio find soliciting his wife" (II.iii.345-350). He is telling his evil plan to us and we are drawn in to continue reading and see how the gullible characters play into Iago's hands.
Act II has a lot of scheming on Iago's part going on. I don't understand how every character is so gullible and dumb, though. Cassio knows that alcohol does not do well with him, yet he is still coaxed into getting drunk by Iago. Someone somewhere should be putting all of the parts of this puzzle together and figuring out that Iago is behind all the mishaps and schemes. The dramatic irony is insane because literally Iago will say one thing and then right in the next scene he will say another thing. And then even still will play a third side by telling the audience what his master plan is all about and what is actually going to happen. At the end of Act II, he sums everything up and gives foreshadowing into what is left to come by saying, "Two things are to be done: My wife must move for Cassio to her mistress...Myself the while to draw the Moor apart and bring him jump when he may Cassio find soliciting his wife" (II.iii.345-350). He is telling his evil plan to us and we are drawn in to continue reading and see how the gullible characters play into Iago's hands.
Othello Blog Post #1
Othello, the Moor of Venice by William Shakespeare
FORESHADOWING: the use of hints and clues to suggest what will happen later in a plot
APOSTROPHE: directly addressing an imaginary, dead, or absent person, or a place or thing, or a personified idea
DRAMATIC IRONY:takes place when there is a discrepancy between the reader's understanding of a scene and a character's understanding of a scene, usually because the reader has knowledge the character does not.
10. Throughout Act I, there are times when Iago speaks in prose and others she when he speaks in poetry. Any theories as to why he switches back and forth?
The first theory I have on why Iago changes the way in which he speaks is because he is addressing different people or groups of people. I think that when he speaks in prose he is just talking to another character in the play. At the end of Act I, he is having a conversation with Roderigo about going out and making money. He speaks in prose during this section because he is in a normal conversation. After Roderigo leaves, however, Iago switches over to speaking in poetry. He is talking to no one on stage and is more providing information to the audience. In the very end of Act I, Iago is all alone and the audience gets to hear parts of his evil plan. He starts out, "Thus do I ever make my fool my purse," (I.iii.363). This is saying that he's just convinced Roderigo to go make money but it will turn out to benefit Iago more than Roderigo. This adds to the effect of dramatic irony throughout the play. We will all know that Iago is evil, but the characters only know what he tells them and what they actually play through. Also, it gives us an idea of what is going to happen later on in the play through foreshadowing.
FORESHADOWING: the use of hints and clues to suggest what will happen later in a plot
APOSTROPHE: directly addressing an imaginary, dead, or absent person, or a place or thing, or a personified idea
DRAMATIC IRONY:takes place when there is a discrepancy between the reader's understanding of a scene and a character's understanding of a scene, usually because the reader has knowledge the character does not.
10. Throughout Act I, there are times when Iago speaks in prose and others she when he speaks in poetry. Any theories as to why he switches back and forth?
The first theory I have on why Iago changes the way in which he speaks is because he is addressing different people or groups of people. I think that when he speaks in prose he is just talking to another character in the play. At the end of Act I, he is having a conversation with Roderigo about going out and making money. He speaks in prose during this section because he is in a normal conversation. After Roderigo leaves, however, Iago switches over to speaking in poetry. He is talking to no one on stage and is more providing information to the audience. In the very end of Act I, Iago is all alone and the audience gets to hear parts of his evil plan. He starts out, "Thus do I ever make my fool my purse," (I.iii.363). This is saying that he's just convinced Roderigo to go make money but it will turn out to benefit Iago more than Roderigo. This adds to the effect of dramatic irony throughout the play. We will all know that Iago is evil, but the characters only know what he tells them and what they actually play through. Also, it gives us an idea of what is going to happen later on in the play through foreshadowing.
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