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.
Wednesday, February 13, 2013
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.
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.
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.
Wednesday, February 6, 2013
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.
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.
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.
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