Date of publication: 2017-09-03 20:03
6. Discuss the role that race plays in Shakespeare&rsquo s portrayal of Othello. How do the other characters react to Othello&rsquo s skin color or to the fact that he is a Moor? How does Othello see himself?
5. Analyze one or more of the play&rsquo s bizarre comic scenes: the banter between Iago and Desdemona in Act II, scene i the drinking song in Act II, scene iii the clown scenes (Act III, scenes i and iv). How do these scenes echo, reflect, distort, or comment on the more serious matter of the play?
Othello is a christian but Iago reduces his faith by suggesting, in this metaphor, that Desdemona has him "enfetted" and claims he is weak and will do her bidding, at any cost.
First, Othello addresses Iago as 'Villain'. At this point in the play, this has far less to do with Othello's suspicions of Iago's treachery, than with his resistance to the idea that Desdemona is unfaithful and thus to anyone who suggests it. In dramatic terms, 'villain' is ironic, since it indicates Othello's state of mind (deeply jealous, even paranoid) as well as Iago's true nature - something so far known to the audience but not to Othello. Therefore, 'be me the ocular proof' demands actual evidence in order for Othello to justify his jealous fear, and to go on trusting the man he regards as his one incorruptible friend.
Iago is suggesting that Desdemona's desires will take possession and control of Othello's every action for his resolve will be weakened because of his love for her. He would act as if he is not entirely in control of his destiny for he will put Desdemona's wants before his own.
This is perhaps one of Shakespeare's more interesting plays, if you will. In comparison to Macbeth it isn't quite the walk in the park.
I think conceptually it enables the reader to see that characters can influence characters to such a degree that the original traits are masked and changed. Tragedy in this play is definitely a main component - and a great emphasis that perhaps the villain doesn't always find their true defeat. In a way, wasn't the "villain" successful? He lied to everyone and pretty much killed whomever got in his way.
Roderigo and Iago go the Brabantio's home where Roderigo awakens Brabantio screaming that Desdemona is gone.. missing. After awakening Brabantio, Roderigo shares the news, all while Iago makes comments about Othello's unsavory intentions in the.
More ironically still, what follows is not physically 'ocular' at all, but a play on Othello's fevered imagination: Iago's vivid suggestion of Desdemona and Cassio clasped in passionate embraces, followed by an elaborate story of Cassio's incriminating erotic dream of Desdemona - all of which provides Othello not with 'proof', but with a sufficiently lurid mental picture to convince him. Then, finally, Iago tells Othello that 'ocular proof' exists - he claims to have seen Cassio with the all important handkerchief. By the end of the scene Othello is utterly convinced of Desdemona's betrayal and Iago's fidelity - without any 'ocular proof' at all.