3. Sinai, and Moses asks God his name. “Devesting them for bed.” — Iago (2.3.181) Exsufflicate: Empty, frivolous. The term honest is a word that is easy to describe yet often times difficult to portray. Iago notices Cassio's courteous manner towards Desdemona and resolves, 'with as little a web as this will I / ensnare as great a fly as Cassio' (2.1.164). She is currently writing GCSE literature resources for HarperCollins Education. Iago, in a later scene, holding the handkerchief that will become a vital part of his plan. But Iago's salacious language is just that – words. According to the algorithm that drives this website, the top 5 adjectives for "iago" are: honest, honest, however repulsive, sensual and catlike, small and negative, and crafty cunning. Roderigo dismisses it as 'courtesy' but admits he 'did' see it. The group wait, bantering on the topic of women. Iago has been to blame for the downfall of Othello because he is the one that created the jealousy within Othello. She’s full of most blessed condition’, the sheer volume – and forcefulness – of Iago’s words obscure the illogical reasoning and overpower Roderigo. Nothing has actually happened. Iago uses various methods to manipulate the characters. Through some carefully thought-out words and actions, Iago is able to manipulate others to do things in a way that benefits him and moves him closer toward his objectives. In Act 2, Scene 1 of Othello, Iago formulates his plan to drive Othello mad. Food imagery abounds. 1042 Words | 5 Pages. But a historicist reading could examine his depiction of women as a product of his time and culture. Iago says (I.1, 65) "I am not what I am," which can be interpreted as "I am not what I seem." Like a devouring sexual animal, Desdemona will need an attractive man 'to give satiety a fresh appetite' (2.1.217–18). Alcohol is known for causing trouble, and trouble is what Cassio is in for under Iago's care (Othello. Racial and female stereotypes also dominate. The image of discordant music is a fitting one for his actions, as Iago’s success lies in his ability to distort and pervert what should be other characters’ most positive traits: Othello’s passionate honour, Desdemona’s commitment, Cassio’s courtesy. The circular structure of the speech reinforces his enclosed grip of Roderigo. Iago portrays desire in low terms, with reductive language: Desdemona's adoration is 'violence', Othello's wooing tales are 'bragging ... lies'. Description of the Jewish Ghetto and the courtesans of Venice in, Coleridge's annotated copy of Shakespeare, Photograph of Joanna Vanderham and Hugh Quarshie in, Galleries, Reading Rooms, shop and catering opening times vary. Iago’s crude language is excused as that of a straightforward soldier, with Cassio allowing, 'He speaks home, madam; you may relish him more in the soldier than in the scholar' (2.1.161–62). But sir, you be ruled by me' (2.1.248). Iago's food imagery contains sexual innuendo: 'Blest fig's end!' dishonest. In William Shakespeare’s The Tragedie of Othello, the Moore of Venice, he is a sinister force which steers virtuous people towards … While a Jacobean audience would already know Othello is black by the use of the word ‘Moor’, a modern audience less familiar with the term would be clued in by Iago’s vivid descriptions. Indeed, Iago's argument itself is construed in the language of female reproduction, described as a 'most pregnant and unforced position' (2.1.224) that reminds us of the Jacobean archetype of the perfect yet paradoxical woman, the virgin mother. A storm has dispersed the Venetian fleet so that Cassio arrives first, anxious for Othello's safety. Find all the references in I, 1 of Othello as a devil. Iago's misogyny has been plain earlier in the scene and builds here: young women are portrayed as foolish, having an innately sexualised 'nature' (2.1.222–23) and whorish for touching hands, even for thinking. Emilia and Iago’s relationship is extremely unbalanced. 6. “But I do think it is their husband’s faults If wives do fall.” This speaks volumes for her relationship with Iago and does insinuate that she would not be averse to the idea of an affair; which corroborates the rumors about her and Othello, although she denies them. She has taught English at sixth form and secondary schools in London, and has created education packs for Years 4–6 for Fuel Theatre. "Demand me nothing. There are 53 other words to describe iago listed above. 2. Iago portrays Desdemona as lustful, desperate to trade Othello for a more refined Cassio. Iago’s true intentions are never revealed to other characters – it is only through sneaking asides and hate-filled soliloquies that we are given access to his plots. behaving in an untrustworthy or fraudulent way. Repeated imperatives begin the speech: 'Come hither' (2.1.206), 'Lay thy finger thus', 'let thy soul be instructed', 'Mark me' (2.1.212). Iago has been selfish and … He only manages three (2.1.211, 236, 242) before conceding with an unconvincing 'Well' (2.1.256), perfectly expressive of his spinelessness. LOUIS BUTELLI: The word Moor is almost used in place of a name for Othello throughout the whole first half of the play. But it is also reminiscent of a quotation from the Bible which Shakespeare would have known: In Exodus, God gives his laws to Moses on Mt. Iago In Shakespeares Othello Essay 929 Words | 4 Pages. Find Iago’s use of “taboo words.” 8. Explanation to attention grabber. Iago's speech is in prose, like many of his asides. “Wit depends on dilatory time.” — Iago (2.3.373) Devesting: To take away, or remove the clothing. It also provides a closing irony to the passage – nothing will be 'well' on Cyprus any more. Through some carefully thought-out words and actions, Iago is able to manipulate others to do things in a way that benefits him and moves him closer toward his goals. His control of their heartstrings mirrors his control of Roderigo’s purse strings (1.1.2–3). Iago is showing more signs of being a vile human being and that the jealousy has consumed him if he will actually put someone in danger (Bevington, D. Later, it will ensnare Othello: 'give thy worst of thoughts / the worst of words' (3.3.133–34). Through Iago's language, Roderigo is duped into mis-seeing – a trick Othello will later fall for. Rare words are dimmed. Iago's power over Roderigo is emphasised through his sentence structure. The contrast is stark between Othello's stately verse (2.1.194–204), and Iago's sneaking prose. Yet Iago is aware that he is a "super subtle venetian" and reveals to the audience "I am not what I am" 6 Iago's last line in the play to show his true evil nature. Othello by William Shakespeare depicts feminism through the oppression of women by the characters Cassio, Othello, and Iago. Like all people, real and imagined, he's got some flaws. Here, Iago's prose feels like a loosening, like a man undoing his belt a notch. Act 1: Scene 2 1. the supposed sexual activity of Desdemona and Cassio. Another function of the vivid language that is used to describe Othello is to aid the audience’s perception of … However, such extreme misogyny is the preserve of villains in Jacobean drama, suggesting that they, and Iago, overstep the mark. First, he's a lightweight when it comes to drinking. With Roderigo's extended silence, it too feels like an extended aside. 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