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Explain how you think Act 3 affects the audience(TM)s feelings about Othello Essay
Create your Fan Badge. This very long scene is mainly a long study in temptation and damnation. Here Iago, the master villain is in his best and tempts Othello and leads him,bit by bit , to the damnation. Here Iago speaks carefully with Othello and plants the seeds of suspicion and jealousy which eventually bring about the tragic events of the play. It covers perhaps the widest range of feelings from happiness, innocence, and trust to torment and revenge.
It is the most important scene in the play, for it brings out the jealousy, the fatal flaw, of Othello, which will lead to his undoing and the tragic end of the play. But apart from the theme of the sexual jealousy ,the scene draws our attention to other things such as the pressure group complicity, the chance happenings ,the prevailing notion about women etc which helped Iago have his job done.
Sometimes the villainy gives us pleasure. It is nowhere more true than in the scene.
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It is interesting as well as pathetic to see the master villainy of Iago. Now let us see how Iago makes Othello a fallen man and what are the things that precipitated the tragedy are. The scene is divided into seven parts. Sub-scene 1 The temptation scene opens in the loveliest scene in the entire play: the garden of the Cyprian castle. Desdemona is talking with Cassio and tells him that she is sure that she can influence her husband in Cassio's behalf.
Emilia also hopes that Desdemona will be successful. These last word with Cassio will ultimately prove to be prophetic. Sub-scene 2 Emilia then notes that Othello and Iago are approaching. When the Moor and Iago enter, Cassio excuses himself hurriedly, saying that he is too ill at ease to speak with the general at this time. And it is at this point that Iago, who is ready to make the most of every incident and occasion, begins to taint Othello's belief in Desdemona's fidelity.
Iago: Ha, I like not that. Othello: What dost thou say?
Iago: Nothing ,my lord or if — I know not what. Othello: Was not that Cassio parted from my wife? Iago: Cassioo,my lord?.. Iago represents himself as an honest, but reluctant, witness. His "Ha! I like not that! But because Othello sees nothing amiss, Iago must make a show of not wanting to speak of it, or of Cassio, while all the time insinuating that Cassio was not just leaving, but that he was "steal[ing] away so guilty-like" Iago's words here are filled with forceful innuendo, and as he pretends to be a man who cannot believe what he sees, he introduces jealousy into Othello's subconscious.
By pretending to be reluctant to articulate his suspicions ,Iago encourages Othello to question what he has observed. Desdemona greets her husband and, without guilt, introduces Cassio's name into their conversation. Here, fate plays a major role in this tragedy; not even Iago wholly arranged this swift, coincidental confrontation of Othello, Desdemona, and Cassio, and certainly the pathos of Desdemona's position here is largely due to no other factor than fate.
Desdemona could not purposely have chosen a worse time to mention Cassio's name to her husband. In addition, she innocently refers to Cassio as a "suitor. But for now, Othello is without suspicion and seems to be concerned with other matters. Obviously, he will do what his wife asks, but his thoughts are on other things. He does not wish to call Cassio back at the moment, but Desdemona is insistent.
Desdemona realizes that Othello's answer is curt, and she emphasizes that this is an important matter and not a trifle that she is asking. To this, Othello stresses again that he will deny her nothing, but, in return, he asks for a bit of time so that he can be alone; he will join her shortly.
Sub-scene 4 As Desdemona leaves, Othello chides himself for being irritated by his wife. Lovingly he sighs, "Excellent wretch! Othello seems far more comfortable expressing his love for Desdemona when she is absent. Perhaps this is because her presence makes him conscious of her claim upon him and of his obligation to honor her requests, or perhaps this is because he is more in love with some idea or image of Desdemona than he is with Desdemona herself.
In a metaphorical sense, perdition will soon catch Othello's soul, and chaos will soon replace order in his life. When Iago is alone with Othello, he resumes his attack on his general's soul. Out of seemingly idle curiosity, he asks if Desdemona was correct when she referred to the days when Othello was courting her; did Cassio indeed "know of your love? Here he prods Othello's memory to recall that Desdemona and Cassio have known each other for some time.
Then again playing the reluctant confidant, he begs, as it were, not to be pressed about certain of his dark thoughts. One can see how skillfully Iago makes use of his public reputation for honesty. Othello is alarmed by Iago's hesitations and "pursed brow". What Iago is doing, of course, is making Othello believe that Iago's honor is at stake if he confesses his fears. Once the Turks are drowned he is left with nothing to do.
No longer having a means of proving his manhood or honour in a public setting such as the court or the battlefield; Othello desperately clings to the security of his former identity as a soldier while his current identity as a lover crumbles. Othello begins to confuse the one with the other. Regarding the mixed and broken language used by Othello in this Act, an audience could immediately comment on his poor state of mind. Let us remember the beginning of the play, where Othello portrays himself as a virtuous man possessing a composed nature.
Othello uses poetic and wise language which connotes his rational manner. This is a direct contrast to the Othello we are met with in Act three.
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Othello is no longer confident with his marriage as his language changes from heavenly imagery to hawking imagery. It is evident that Othello becomes insecure within himself and unstable in his marriage, and his language reflects this. He betrays every trust in her as he speaks of her in crude and ill language. It is most significant that his language begins to reflect that of Iago as he no longer speaks poeticallty, of his love and of his glorious career as a soldier in the same vein. It is also important to remember that an Elizabethean audience would have been disgusted and would have linked this change in Othello as him shedding his true colours as a black person.
As an audience we are disappointed to witness Othello speaking so maliciously about the woman he previously proclaimed to have loved. Throughout this Act Othello is no longer the noble, courageous and decent man that we know him as. He presents a more cowardly man, who is easily manipulated by Iago and is easily reduced to very low levels.
Othello is definitely less likeable following Act III as he becomes accustomed to derogatory language, he is consumed by jealousy and revenge; and thus he is transformed from a benign and compassionate soldier and husband to a rancorous, erratic assassin.
Othello Character Essay Free Essays - nivveniba.gq
Consequently by the end of Act III, Othello would have conformed to the stereo-type Moor of the time; proving the Elizabethan audience correct in their probable initial impressions of the black soldier. Since, an Elizabethan audience would have understood the weight Othello attaches to his reputation, pride and therefore anger at Desdemona. Explain how you think Act 3 affects the audience TM s feelings about Othello.
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