Unrealistic Standards

"Barbie Doll" by Marge Piercy

"Barbie Doll" calls to attention the astronomical expectations placed on young girls in contemporary society to be absolutely perfect physically and intellectually.  The first stanza describes a young girl observing the characteristics of a doll she has been given.  The doll wears "lipsticks the color of cherry candy" and keeps house with "miniature GE stoves and irons," (Piercy 835).  It most likely also appears physically perfect, as the last line of the first stanza contrasts with the doll by pointing out the girl's imperfections: a big nose and fat legs.  However, as the second stanza explains, the girl is absolutely wonderful; she is "healthy", "intelligent", "strong", and sexually driven.  Regardless, she cannot stop thinking that whenever anyone looked at her, they only "saw a fat nose on thick legs," (Piercy 835).  Despite all of her fantastic qualities, she cannot get over the insult about her physical drawbacks.  Accordingly, she believes she does not fit the mold of the ideal woman.  Thus, the girl struggles with relationships while people advise her to "play coy" or "come on hearty," (Piercy 836).  Eventually, the girl commits suicide, symbolized in the poem by the moment she "cut off her nose and her legs," (Piercy 836).  The appalling part of the poem occurs when, at the girl's funeral, all in attendance call her beautiful because of the undertaker's make-up she has on.  They cannot recognize how such superficial considerations led to her death.  Thus, the poem concludes bitingly that such a superficial, appearance-focused society gives "to every woman a happy ending" such as the fate this young girl suffered (Piercy 836).

Smooth Talking at its Finest

"To His Coy Mistress" by Andrew Marvell

In "To His Coy Mistress" the speaker addresses his sweetheart and attempts to talk her into making love with him.  He begins, in the first section, by explaining that he does not mind waiting, that her "coyness, lady, were no crime" if they had "but world enough, and time," (Marvell 803).  The speaker elaborates, describing how "an hundred years should go to praise thine eyes"  and "an age at least to every [other] part," (Marvell 803).  All of these statements he makes assuming that he and his lover have an infinite amount of time to love each other.  Moving forward, in the second section, the speaker reveals that this is certainly not so.  He speaks of "time's winged chariot hurrying near" while his lady's "quaint honor turn(s) to dust", referring to the fading of youthful beauty as time passes by (Marvell 804).  The speaker aims to make his love aware of the quick passage of time and how limited the time they have together is.  Making this point, the speaker moves toward his overall goal, sex, in the third section.  Incorporating simile, he urges that he and his mistress must "love like amorous birds of prey" before they lose "the youthful hue" they now possess (Marvell 804).  He argues that they should make love now before the passage of time steals the gift of youth away from them.  He reinforces his argument for passion now by saying, "though we cannot make our sun stand still . . . we will make him run," (Marvell 804).  In other words, the two cannot stop the passage of time, but they can acknowledge it and act accordingly, which, the speaker argues, involves making love now.  

We Women Have to Stick Together, Right?

"A Jury of Her Peers" by Susan Glaspell

Glaspell assails sexism with "A Jury of Her Peers", a story in which negative prejudices against women cause a group of men to overlook key evidence in a murder investigation.  The story centers around the actions of Mrs. Wright, a lonely housewife found rocking calmly in her chair while her husband lay dead on the floor above.  The local sheriff, his wife Mrs. Peters, a county attorney, and the Hales try to dig up information concerning Mr. Wright's untimely death by searching the scene of the crime.  The men, befitting their sexist attitudes, leave the women, Mrs. Hale and Mrs. Peters alone, thinking them too stupid to be of any help to the investigation.  Ironically, however, their perspective as fellow women and housekeepers allows them to slowly solve Mr. Wright's murder.  First, Mrs. Hale notices that Mrs. Wright left some task half finished around her house and wondered, "Why had that work been left half done?" (Glaspell).  The men saw this unfinished work and thought nothing of it, but Mrs. Hale knew it was a clue.  Eventually, after noticing an unruly stove and some imperfect stitching, Mrs. Hale decided to search Mrs. Wright's sewing kit.  Guided by her female instincts, Mrs. Hale found the critical piece of evidence needed to explain Mrs. Wright's motives: a precious canary, strangled in cold blood by Mr. Wright.  Ultimately, in a fit of irony, Mrs. Hale's womanhood allowed her to solve the case.  Realizing this, feeling a bond with Mrs. Wright as a fellow woman, and despising the sexism she had been subjected to, Mrs. Hale chose not to present her critical piece of evidence and allowed Mrs. Wright a chance at exoneration.  

The Three Worst Friends that Anyone Could Have

"Hunters in the Snow" by Tobias Wolff

Kenny, Frank, and Tub have no need for enemies; they have each other.  The three friends in "Hunters in the Snow" share an interesting dynamic to say the least, constantly stabbing at each others' weaknesses in the spirit of humor.  Kenny, characterized by his biting remarks and commanding attitude, stands as the arrogant, self-absorbed leader of the three while Frank, throwing in a snide remark every now and then, plays the role of hopeless follower.  Tub, in contrast, serves as the fool, enduring hurtful comments concerning his weight from Kenny and Frank for their amusement.  As the plot develops, events like Tub shooting Kenny help to characterize the men further and even add role reversals into their relationships.  After Kenny's accident, Tub assumes the leadership role Kenny held and Kenny becomes the last of the men's priorities as Tub had been.  Frank even shifts his allegiance between the two, saying to Tub about Kenny's accident, "I just want you to know it wasn't you fault. He was asking for it," (Wolff 196).  After this statement, in another interesting and characterizing plot twist, Tub and Frank open up to each other and bond over their iniquities.  Frank begins by explaining to Tub his love (actually perverse lust) for a fifteen-year-old girl that babysits his children.   Moved in a strange way, Tub confesses to Frank that he lives the life of a glutton and does not actually have gland problems.  Brought closer to each other by their sins, the two ignore Kenny, still bleeding out from Tub's bullet.  The story, seeming to do nothing more but describe the antics of three horrible human beings, left me curious as to its underlying message.              

A Great Villain Indeed

Othello by William Shakespeare

*SPOILER ALERT*

Thankfully, Othello ends with Iago leaving to endure a hefty amount of torture as consequence for his actions.  Before this just conclusion, however, Iago reinforces himself as a wicked, heartless scoundrel with several detestable acts.  First, and somewhat comically, Iago stabs Roderigo in the midst of his encounter with Cassio.  Conscious of the irony in Iago's actions, Roderigo comically responds, "Oh, damned Iago! Oh, inhuman dog!" (Shakespeare 1447).  Poor Roderigo never even had the chance to speak to Desdemona.  Regardless, Iago continues to display his wickedness in maiming Cassio where Roderigo failed and attempting to stab Emilia when she unravels his web of lies.  Furthermore, Iago's actions force the tragic deaths of Othello and Desdemona.  At the end of Act V, Iago finds himself responsible for three deaths, a broken marriage, and a shattered friendship.  All of these consequence of Iago's plotting would be evidence enough to label him villain, but what sets Iago apart from other antagonists is his response when confronted about his transgressions.  Instead of offering some form of final repentance, Iago states, "Demand me nothing.  What you know, you know. From this time forth I never will speak word," (Shakespeare 1459).  When given the chance, Iago offers no remorse, no regret for what he's done, but simply denies to explain his motives.  In the face of great evil, Iago shows indifference; as a result, he transcends wickedness. 

Loyalty and Honor

Othello by William Shakespeare

Act V brings with it a slew of interesting, plot-twisting character deaths, two of the most significant being the deaths of Desdemona and Othello.  Not only do both of these characters' demises come shockingly and thus add excitement to the play, but the manner in which they die highlights their most significant character traits.  In other words, both Desdemona and Othello die true to who they really are.  After being strangled by Othello, Desdemona holds on dearly to the last shreds of her life.  Emilia enters the scene and questions Desdemona, asking her frantically for the identity of her murderer.  Ever loyal to her husband, Desdemona recognizes the danger posed toward Othello if she were to incriminate him and replies, "Nobody, I myself.  Farewell.  Commend me to my kind lord.  Oh, farewell!" (Shakespeare 1453).  Even in death, a death brought on by Othello himself, Desdemona conveys her incredible loyalty toward her husband.   After fully realizing the error in his actions, Othello follows suit.  In an effort to redeem his former honor and atone for his sins, Othello, after a lengthy speech explaining his murderous behavior, commits suicide.  Thus, in his eyes, Othello redeems his honor and dies romantically with his true love, saying, "No way but this, killing myself, to die upon a kiss," (Shakespeare 1460).  As such, the lovers' deaths characterize them fully as Loyal Desdemona and Honorable Othello. 

Killing Her Softly With His Song

Othello by William Shakespeare

Until now, Iago, Othello, and Othello's rage have all foreshadowed a falling out between Othello and Desdemona.  Eventually, the two lovers will part ways and be lovers no more.  However, at the end of Act IV, Desdemona portends a much more tragic end for the couple: she foreshadows her own death.  Speaking with Emilia, Desdemona recalls her mother's maid Barbary and how "she was in love, and he she loved proved mad and did forsake her," (Shakespeare 1443).  Barbary felt so distraught at her lover's betrayal that she sang "a song of 'willow'", even to her death, which expressed her misfortune as a forlorn lover (Shakespeare 1443).  Having explained the significance of the song, Desdemona breaks out into its opening verses, distraught, as Barbary, over being forsaken by her lover.  Towards the end of the song, Desdemona sings, "Let nobody blame him, his scorn I approve . . . " implying that she will not seek to rectify Othello's opinion of her, but accept it as his own (Shakespeare 1443).  Desdemona becomes Barbary.  As such, Barbary's fate foreshadows what lay ahead for Desdemona.  At the close, Othello and Desdemona will not merely part ways, but rather part realms.  Desdemona shall die and enter the afterlife, singing the song of a forlorn lover, while Othello, ignorant of his misdeeds, shall remain in the earthly domain.  

Emilia

Othello by William Shakespeare

In the beginning of Othello, Emilia shows herself to be a submissive, while somewhat resentful, housewife to Iago.  In the face of his misogynistic behavior, she tolerates him as, in her opinion, a good wife should.  However, Act V holds a dramatic shift in Emilia's demeanor and disposition toward her husband.  When  Emilia learns of Iago's deception and the horrible events it has made come to pass, she refuses to sit back and submit to his will.  Rather, proving herself a dynamic character, Emilia shifts from her quiet, compliant housewife persona to an indignant, outraged woman bent on scolding her husband for his misdeeds until the day he dies.  Inveighing against Iago, Emilia says, "You told a lie, an odious, damned lie, upon my soul, a lie, a wicked lie! She false with Cassio! Did you say with Cassio?" (Shakespeare 1455).  In her outrage, Emilia also reveals several important character traits she possesses.  First, her incredulity at Iago's deception, emphasized by the repetition of the word lie in the previous quote, shows Emilia to have a certain virtuous standard.  While she certainly does not epitomize saintly behavior, Emilia possesses decent morals.  According to her reaction, Iago's behavior flies in the face of these expectations.  Secondly, Emilia expresses extreme respect and loyalty toward Desdemona in her outburst.  The concluding phrases, questioning whether Iago had actually accused such a pure woman of such foul behavior, display a certain admiration for Desdemona's character and disgust for those who defame it.    

Roderigo The Evil Minion

Othello by William Shakespeare

If Iago should be seen as the great villain in Othello, then Roderigo assumes the role of evil minion.  He assists Iago in his manipulative scheme from angering Brabantio in Act I to instigating Cassio's drunken outburst in Act II.  Iago reveals his view of Roderigo as an imbecile meant to do his bidding and provide him with money when he says, "Thus do I ever make my fool my purse, for I mine own gained knowledge should profane if I would time expend with such a snipe but for my sport and profit,"  (Shakespeare 1382).  However, Iago reveals an important detail with that utterance: he relies on Roderigo for money.  The reliance is not monumental, but nevertheless such a dependency on Roderigo changes the whole dynamic between villain and minion.  It shows that Roderigo, though he has proven too stupid to realize it thus far, has the ability to influence Iago rather them merely bow to his will.  Furthermore, only Roderigo knows of Iago's true intentions concerning Cassio and Othello.  This inside knowledge, a weak financial hold, and Roderigo's self-proclaimed impatience with Iago lead me to believe he may eventually turn on the villain.  At the end of Act II, after serving Iago's will, Roderigo says, "My money is almost spent, I have been tonight exceedingly well cudgeled . . . so, with no money at all and a little more wit, [I] return again to Venice," (Shakespeare 1401).  Roderigo proves he is a dynamic character, displaying a shift from the blindly willing servant at the beginning of the play to an exhausted, irritated man desiring nothing but rest at home.  Nevertheless, Roderigo continues to help Iago after Iago goads him into it.  However, should Iago give Roderigo a reason to despise him, I believe the evil minion will turn against his master and bring about his demise.  

Tragic Comedy

Othello by William Shakespeare

Although Othello centers around the rather serious themes of hatred, jealousy, love, and loyalty, Shakespeare balances the serious subject matter with occasional jokes and sexual innuendos.  He aims to keep his audience not only enthralled with the play at hand, but thoroughly entertained as well.  For example, the first time Iago converses with Brabantio in Act I, he comes to tell him his daughter has run off and married an unworthy man, Othello.  While such information has a serious nature, Iago conveys it by saying, "I am one, sir, that comes to tell you your daughter and the Moor are now making the beast with two backs," (Shakespeare 1365).  No doubt the phrase "beast with two backs", a reference to the act of sex, elicited violent laughter from the lesser of Shakespeare's audience and hushed chuckles from the most civilized of audience members (Shakespeare 1365).  Furthermore, in Act II, Iago's conversation with Cassio about Desdemona is both sexually suggestive and humorous.  Speaking of Desdemona, Cassio states, "She's a most exquisite lady," to which Iago replies, "And, I'll warrant her, full of game," (Shakespeare 1392).  The two men are musing over how attractive Desdemona is and Iago goes so far as to say she's probably great in bed!  After additional statements of Desdemona's beauty, Iago changes the topic of conversation by saying, "Well, happiness to their sheets!" (Shakespeare 1392).  He is saying that he and Cassio will never have Desdemona, so he wishes Othello well in consummating his marriage.  Again, Shakespeare utilizes humor to bring comedy into the otherwise serious situation of Iago beginning his manipulation of Cassio.    

The Inevitable Fall of Michael Cassio

Othello by William Shakespeare

As a result of Iago's plotting and the jealousy he instills in Othello, Michael Cassio's death appears increasingly imminent.  From the beginning of the play, Iago displays hatred for Cassio and plans to supplant him as Othello's lieutenant.  These poor sentiments toward Cassio do not initially foreshadow any tragic fate for the lieutenant, but as the play progresses, so does Iago's scheming toward the man.  In Act II, Iago reveals that he "will . . . cause these of Cyprus to mutiny, whose qualification shall come into no true taste again but by the displanting of Cassio," (Shakespeare 1390).  With this, Iago foreshadows that Cassio shall at least eventually be exiled from Cyprus.  His framing of Cassio as a violent, habitual drunkard sets in motion the events which could lead to this exile.  However, in Act III, Iago, and an enraged Othello, foreshadow a more horrible fate for the innocent Michael Cassio.  After convincing Othello of Desdemona's infidelity, Iago pledges to serve as Othello's lieutenant.  Othello commands, "Within these three days let me hear thee say that Cassio's not alive," and Iago quickly accepts his duty (Shakespeare 1419).   He even goes so far as to proclaim Cassio dead already, as Othello wishes it so.  The culmination of these events, combined with Othello's incredible rage, foreshadows Michael Cassio's eventual death.

Dramatic Irony: Honest Iago

Othello by William Shakespeare

Throughout the first three acts of Othello, many characters, in addition to Iago himself, express Iago's reputation as a relentlessly honest man.  In reality, Iago lies constantly, manipulates everyone around him, and turns characters like Othello, Cassio, and Desdemona against each other.  He has them all fooled into believing his honest nature.  Othello displays this early on when, preparing to leave for Cyprus, he says, "Honest Iago, my Desdemona must I leave to thee," (Shakespeare 1380).  Othello believes Iago so honest, that he utilizes the adjective honest as an epithet and ascribes the attribute to his name.  All the while, the audience of the play knows of Iago's true dishonesty from asides and thus the dramatic irony comes into play. Furthermore, in the third act, Iago describes himself as suffering from "foolish honesty and love" when he recounts to Othello a blatantly false story about Cassio speaking of Desdemona in his sleep (Shakespeare 1417).  He has the audacity to proclaim himself honest while simultaneously telling a bold lie!  The most explicit example of Othello's blindness to Iago's dishonesty comes earlier in the third act.  Othello's words practically beg the audience to scream out in protest and inform him of Iago's true nature.  Othello says, after Iago shows reluctance in explaining his thoughts on Cassio and Desdemona, "For such things in a false disloyal knave are tricks of custom, but in a man that's just they're close delations, working from the heart, that passion cannot rule," (Shakespeare 1408).  Ignorantly, Othello believes Iago to be the just man when in reality he is the disloyal knave.