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Alvin Tse Final Othello Essay

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Alvin Tse

Shakespeare uses various linguistic and literary techniques to develop Iago's character in Act V, Scene 1 of Othello. Iago manipulates Roderigo through repetition of commands and reassurances. His speech patterns change to relate to those he interacts with, showing his ability to manipulate. Iago's public persona as "brave" and "honest" contrasts sharply with his private vindictive nature revealed through violent language. Pronoun shifts from "we" to "I" highlight Iago's self-serving nature, and caesuras used in soliloquies show his arrogance and contempt for others. These techniques illuminate Iago's duplicitous and manipulative character.

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Alvin Tse Teacher: Ms. Cinder Merritt (ENG2D) How does Shakespeare use linguistic and literary techniques to develop the character of Iago? Word Count: 1499 Rarely is the villain given more of a spotlight than the main protagonist of a story. Shakespeare's memorable Iago, the mastermind behind the Tragedy of Othello is one of the few exceptions. From the very start of the play, Iago is portrayed as a highly complex, convicted, sophisticated and multidimensional character. One of the scenes that best exemplifies Iagos devious qualities is act V, scene 1, lines 1-73 of the play, where he stages an attack on Cassio as part of his manipulation plan. When this backfires, he stabs comrade Roderigo. Throughout the scene, Shakespeare utilises an array of literary features to highlight Iagos contrasting behaviour in public and private, thereby revealing him to be a manipulative, duplicitous and self-serving character. Iagos words portray him as a manipulative character through repetition and his speech patterns. Iago is talented at perceiving weakness, and therefore alters his speech patterns to disarm his comrades of any doubt. In the beginning of the scene, Iago gives Roderigo orders and encourages him to follow to Iagos plan, telling him to Wear thy good rapier bare, and put it home./Quick. quick! Fear nothing; Ill be at thy elbow. (V.i.2-3). These are all imperative sentences; they are a repeated series of commands and promises to Roderigo, which give him an obligation to follow through without fearing that Iago has other intentions. Iago further allows Roderigo to relate to him by using the words that Roderigo uses; for example, when Roderigo asks Iago to Be near at hand; [he] may miscarry int (V.i.6), Iago reassures with Here, at thy hand. Be bold, and take thy stand (V.i.7). With Iagos repetition of the word hand we can see that Iago is disarming Roderigo - making Roderigo relinquish his free will to Iago, seeing as he only has to follow orders. Iago also disarms Cassio from any suspicion by repeating the words he himself uses, such as murder (V.i.27/35), villains (V.i.54), and later, light (V.i.30), of which Iago
also echoes at the end. This allows Cassio to relate himself to a genuine, heroic Iago when this could not be further from the truth. The use of the same wording also further contributes to dramatic irony, and its chilling effect is not lost on the audience. Iago also uses repetition in another instance to manipulate Cassio and betray Roderigo later in the scene. When Desdemonas cousins Gratiano and Lodovico arrive at the scene after Cassio is wounded, Iago pretends to help Cassio and antagonize Roderigo in an attempt to stay on good terms with Desdemona so he can carry on with his manipulation, asking what villains have done this? (V.i.56). Soon, Iago repeats the word villains again in an exclamation, O treacherous villains (V.i.58), effectively apostrophising the word as he does so. Finally, prior to stabbing Roderigo, Iago once again exclaims O murderous slave! O villain! (V.i.61). This repetition of the word villain elevates the word and brings it to the audience, and highlights how manipulative Iago is - he deceives all other characters on stage that Roderigo is the villain, when he is the true mastermind behind Cassios stabbing. Iagos ability to skillfully adapt himself to the linguistic patterns of those he interacts with, as well as the ease with which he adopts the appropriate emotions to his interactions in different situations portray him as a character who is sinister and ruthlessly manipulative. The juxtaposition between Iagos admirable persona and his vindictive nature coupled with his use of repetition of violent words allows Iagos duplicity to shine through the scene. First of all, we can see how Iago is thought of from descriptions of him from other characters. When Othello hears Cassios painful cry, he exclaims Tis he. O brave Iago, honest and just,/That hast such noble sense of thy friends wrong! (V.i.31-32). Othellos apostrophisation of Iago with words such as brave, honest, just and noble show the audience exactly what Iago has created his persona to be in front of his fellow characters. This persona shows that Iago has long been so manipulative that other characters in the play seem to trust him more than anyone else. However, in his soliloquy, Iago openly states about Cassio that He hath a daily beauty in his life/That makes me ugly (V.i.19-20). This outspokenness reveals Iagos true personality, which could not be further from the persona that he has established; he cannot tolerate anybody who knows or achieves more than he does, wields more power, or in any way questions his
superiority - he cannot tolerate beauty in anyone but himself, and rages with envy at the sight of anyone who is, in any way, faring better than he. While it is evident that Iago shows contempt here for Roderigo, this quote shows that the real contempt that Iago pertains is for himself, to the point where he cannot tolerate his inferiority and, as he cannot find any flaws in Cassio that may console him, makes him bitterly resentful. Iagos ugly interior can also be shown in his choice of diction. In Iagos acting, Iago calls Cassio brother (V.i.72), which increases the connection between Iago and the other characters on stage. However, when in soliloquy, Iago is rather violent, stating that No, [Cassio] must die (V.i.22) and also using other rather violent words such as kill and bobbed. These words illuminate Iagos brutal thoughts and highlight his deceit, and create foreshadowing for what is to happen. This contrast between Iagos outspokenness in his soliloquy to his pleasant pretence in his acting illuminates his duplicitous nature. Without these lines, we can only see Iago as a passionless villain that moves from crime to crime, so these intentions add another dimension to his vindictiveness. Finally, Iago's contemptuous attitude towards others and self-serving nature are revealed through the use of caesuras and the shift in pronouns, a indicator of his shift in thoughts. In his soliloquy regarding Cassio and Roderigos survival in the short quarrel, Iago mentions using a caesura that [Roderigo] grows angry. Now, whether he kill Cassio (V.i.12), drawing our attention to the antecedent statement, he grows angry. With the word grows, Iago treats Roderigo as inferior - this shows Iago as a very condescending character, even to his comrades. He exemplifies this arrogance with a preceding metaphor where Iago relates using Roderigo to rubbing this young quat almost to the sense (V.i.11), setting a tone that implies that Iago is disgusted at Roderigo, and looks at him as more of a nuisance than he does a friend. Another way Shakespeare highlights Iagos manipulative ways is with the pronouns he uses. During Iagos interaction with Roderigo at the start of the scene, Iago uses inclusive pronouns such as it makes us or it mars us (V.i.4), portraying that Iago is attempting to be supportive, and being solidary about his approach to killing Cassio. When Roderigo is gone and Iago moves into soliloquy, however, Iago starts using rather selfish terms such as my and I, as shown most evidently where he
states that each do kill the other/Every way makes [his] gain. [...] (V.i.13-14). This juxtaposes against where Iago talks with solidarity and togetherness with Roderigo in the first scene, showing that Iago is a man unafraid of betrayal and exploitation - he is unafraid to domineer Roderigo openly in his attack, showing that the only person Iago knows how to care for is himself. Iagos self-serving nature is further established by his remorselessness when he mentions that Live Roderigo,/He calls me to a restitution large/Of gold and jewels that I bobbed from him/As gifts to Desdemona (V.i.14-17). When Iago mentions all these actions that are basically a euphemism of his theft, Iago uses his speech to prove that he does not care about Roderigos feelings. He prioritises the fact that he now has bobbed the gold and jewels, without any mention that these were heartfelt gifts from Roderigo to Desdemona. The euphemism and prioritisation shows how highly Iago puts himself compared to Roderigo, again emphasising his contempt. From the caesuras Iago uses that make him unapologetically arrogant and condescending, to the contrast between the pronouns he uses in public and private, and the remorselessness and euphemism that he uses during his confession that he has bobbed gifts from Roderigo, it is made clear that Iago is a self-serving man. In Othello, Shakespeare has created one of the most multidimensional and complex villains in literary history. Iago possesses the intellect to see through his comrades uncertainties and changes his speech patterns accordingly, giving him a heavily manipulative nature. He also possesses the ability to connive his own actions, totally disregarding others feelings on the way, which highlights him as a duplicitous and self-serving person. Iago is a prime example of how one, no matter how intellectual or eloquent, can turn so bitter and resenting when he hides his true character from everyone else.

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Alvin Tse Final Othello Essay

  • 1. Alvin Tse Teacher: Ms. Cinder Merritt (ENG2D) How does Shakespeare use linguistic and literary techniques to develop the character of Iago? Word Count: 1499 Rarely is the villain given more of a spotlight than the main protagonist of a story. Shakespeare's memorable Iago, the mastermind behind the Tragedy of Othello is one of the few exceptions. From the very start of the play, Iago is portrayed as a highly complex, convicted, sophisticated and multidimensional character. One of the scenes that best exemplifies Iagos devious qualities is act V, scene 1, lines 1-73 of the play, where he stages an attack on Cassio as part of his manipulation plan. When this backfires, he stabs comrade Roderigo. Throughout the scene, Shakespeare utilises an array of literary features to highlight Iagos contrasting behaviour in public and private, thereby revealing him to be a manipulative, duplicitous and self-serving character. Iagos words portray him as a manipulative character through repetition and his speech patterns. Iago is talented at perceiving weakness, and therefore alters his speech patterns to disarm his comrades of any doubt. In the beginning of the scene, Iago gives Roderigo orders and encourages him to follow to Iagos plan, telling him to Wear thy good rapier bare, and put it home./Quick. quick! Fear nothing; Ill be at thy elbow. (V.i.2-3). These are all imperative sentences; they are a repeated series of commands and promises to Roderigo, which give him an obligation to follow through without fearing that Iago has other intentions. Iago further allows Roderigo to relate to him by using the words that Roderigo uses; for example, when Roderigo asks Iago to Be near at hand; [he] may miscarry int (V.i.6), Iago reassures with Here, at thy hand. Be bold, and take thy stand (V.i.7). With Iagos repetition of the word hand we can see that Iago is disarming Roderigo - making Roderigo relinquish his free will to Iago, seeing as he only has to follow orders. Iago also disarms Cassio from any suspicion by repeating the words he himself uses, such as murder (V.i.27/35), villains (V.i.54), and later, light (V.i.30), of which Iago
  • 2. also echoes at the end. This allows Cassio to relate himself to a genuine, heroic Iago when this could not be further from the truth. The use of the same wording also further contributes to dramatic irony, and its chilling effect is not lost on the audience. Iago also uses repetition in another instance to manipulate Cassio and betray Roderigo later in the scene. When Desdemonas cousins Gratiano and Lodovico arrive at the scene after Cassio is wounded, Iago pretends to help Cassio and antagonize Roderigo in an attempt to stay on good terms with Desdemona so he can carry on with his manipulation, asking what villains have done this? (V.i.56). Soon, Iago repeats the word villains again in an exclamation, O treacherous villains (V.i.58), effectively apostrophising the word as he does so. Finally, prior to stabbing Roderigo, Iago once again exclaims O murderous slave! O villain! (V.i.61). This repetition of the word villain elevates the word and brings it to the audience, and highlights how manipulative Iago is - he deceives all other characters on stage that Roderigo is the villain, when he is the true mastermind behind Cassios stabbing. Iagos ability to skillfully adapt himself to the linguistic patterns of those he interacts with, as well as the ease with which he adopts the appropriate emotions to his interactions in different situations portray him as a character who is sinister and ruthlessly manipulative. The juxtaposition between Iagos admirable persona and his vindictive nature coupled with his use of repetition of violent words allows Iagos duplicity to shine through the scene. First of all, we can see how Iago is thought of from descriptions of him from other characters. When Othello hears Cassios painful cry, he exclaims Tis he. O brave Iago, honest and just,/That hast such noble sense of thy friends wrong! (V.i.31-32). Othellos apostrophisation of Iago with words such as brave, honest, just and noble show the audience exactly what Iago has created his persona to be in front of his fellow characters. This persona shows that Iago has long been so manipulative that other characters in the play seem to trust him more than anyone else. However, in his soliloquy, Iago openly states about Cassio that He hath a daily beauty in his life/That makes me ugly (V.i.19-20). This outspokenness reveals Iagos true personality, which could not be further from the persona that he has established; he cannot tolerate anybody who knows or achieves more than he does, wields more power, or in any way questions his
  • 3. superiority - he cannot tolerate beauty in anyone but himself, and rages with envy at the sight of anyone who is, in any way, faring better than he. While it is evident that Iago shows contempt here for Roderigo, this quote shows that the real contempt that Iago pertains is for himself, to the point where he cannot tolerate his inferiority and, as he cannot find any flaws in Cassio that may console him, makes him bitterly resentful. Iagos ugly interior can also be shown in his choice of diction. In Iagos acting, Iago calls Cassio brother (V.i.72), which increases the connection between Iago and the other characters on stage. However, when in soliloquy, Iago is rather violent, stating that No, [Cassio] must die (V.i.22) and also using other rather violent words such as kill and bobbed. These words illuminate Iagos brutal thoughts and highlight his deceit, and create foreshadowing for what is to happen. This contrast between Iagos outspokenness in his soliloquy to his pleasant pretence in his acting illuminates his duplicitous nature. Without these lines, we can only see Iago as a passionless villain that moves from crime to crime, so these intentions add another dimension to his vindictiveness. Finally, Iago's contemptuous attitude towards others and self-serving nature are revealed through the use of caesuras and the shift in pronouns, a indicator of his shift in thoughts. In his soliloquy regarding Cassio and Roderigos survival in the short quarrel, Iago mentions using a caesura that [Roderigo] grows angry. Now, whether he kill Cassio (V.i.12), drawing our attention to the antecedent statement, he grows angry. With the word grows, Iago treats Roderigo as inferior - this shows Iago as a very condescending character, even to his comrades. He exemplifies this arrogance with a preceding metaphor where Iago relates using Roderigo to rubbing this young quat almost to the sense (V.i.11), setting a tone that implies that Iago is disgusted at Roderigo, and looks at him as more of a nuisance than he does a friend. Another way Shakespeare highlights Iagos manipulative ways is with the pronouns he uses. During Iagos interaction with Roderigo at the start of the scene, Iago uses inclusive pronouns such as it makes us or it mars us (V.i.4), portraying that Iago is attempting to be supportive, and being solidary about his approach to killing Cassio. When Roderigo is gone and Iago moves into soliloquy, however, Iago starts using rather selfish terms such as my and I, as shown most evidently where he
  • 4. states that each do kill the other/Every way makes [his] gain. [...] (V.i.13-14). This juxtaposes against where Iago talks with solidarity and togetherness with Roderigo in the first scene, showing that Iago is a man unafraid of betrayal and exploitation - he is unafraid to domineer Roderigo openly in his attack, showing that the only person Iago knows how to care for is himself. Iagos self-serving nature is further established by his remorselessness when he mentions that Live Roderigo,/He calls me to a restitution large/Of gold and jewels that I bobbed from him/As gifts to Desdemona (V.i.14-17). When Iago mentions all these actions that are basically a euphemism of his theft, Iago uses his speech to prove that he does not care about Roderigos feelings. He prioritises the fact that he now has bobbed the gold and jewels, without any mention that these were heartfelt gifts from Roderigo to Desdemona. The euphemism and prioritisation shows how highly Iago puts himself compared to Roderigo, again emphasising his contempt. From the caesuras Iago uses that make him unapologetically arrogant and condescending, to the contrast between the pronouns he uses in public and private, and the remorselessness and euphemism that he uses during his confession that he has bobbed gifts from Roderigo, it is made clear that Iago is a self-serving man. In Othello, Shakespeare has created one of the most multidimensional and complex villains in literary history. Iago possesses the intellect to see through his comrades uncertainties and changes his speech patterns accordingly, giving him a heavily manipulative nature. He also possesses the ability to connive his own actions, totally disregarding others feelings on the way, which highlights him as a duplicitous and self-serving person. Iago is a prime example of how one, no matter how intellectual or eloquent, can turn so bitter and resenting when he hides his true character from everyone else.