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The question of change in a character is important for many reasons. If a psychological shift occurs in a character, it is usually a major breakthrough and a turning point in the plot structure of the play. The depiction of this change or shift in the portrait will be difficult. For this reason I have decided that this part of the portrait will not be required but a bonus option. I do want the students to locate and analyze change as it occurs in the plays, so they will need to discuss it in their defense paragraph (as discussed below). The point when Othello realizes that he has been a victim of Iago's malicious plot, for instance, is of major consequence because he has already killed Desdemona, and he can't fix that. His remorse is great. The students may choose to draw the character as he looks at the particular moment the shift occurs, though again, this challenge is not a mandatory part of the visual assignment.
This unit will take approximately six weeks, giving two weeks for each play. I will begin by assigning the reading pace: a closely followed calendar of deadlines for the readings. The writing that will go along with the reading will be in the form of what I call a Dialectical Journal. The students should have their focus from the outset because they already have the final essay question. Because our focus is on character, the students will keep a running journal in which they record important lines revealing the attributes of character on one side of the page and analyze the lines on the other side. The number of entries for each play is determined by the play's length. This journal will be worth many points, as it will serve to aide them in their essay writing. Also, it is a good way of gauging whether they are keeping up with the reading.
Essays, Articles and Book Excerpts on Shakespeare's Othello ..
Iago's portrait will be a complicated one. When we first encounter him he is moaning about not becoming Othello's lieutenant. He convinces Roderigo to call up to Desdemona's father and to tell him that she "hath made a gross revolt," (1.1.131) by running off with Othello. Iago's words are much more base than Roderigo's, as he is hidden from view screaming out vulgarities about what has occurred. Thus, at the very beginning of the play, Iago shows his true self as a vulgar, manipulative calculator. Iago explains his views about the freedom of the will to Roderigo, how "we have reason to cool our raging motions" (1.3.325-326) and how much fun it will be to "cuckold" the Moor, all the while charging him to make a lot of money to impress Desdemona. Iago's plan is in the works and he will stop at nothing to see it done.
is a tragedy where the setting is a remote castle and the audience bears witness to the plan that takes the life of the king at the hands of his host and hostess. The castle is in Scotland, where feudal relations continued in Shakespeare's time to be a direct threat to the government of England. According Sylvan Barnet, among others, the history is that the play was written to please King James I, the son of Mary Queen of Scots, Mary Stuart. The Stuarts claim to be the heirs of Banquo, a character killed by Macbeth. The Witches tell Macbeth and Banquo in Act 1 scene 3 that Macbeth will be king but that Banquo's children will be kings. They say that Banquo will be "Lesser than Macbeth, and greater." (1.3.65) Macbeth writes a letter to his wife explaining the strange events, whereupon she decides that they should kill the King and take his crown based on the belief that they can rule if they just eliminate Duncan. Unfortunately for them, fate has other plans for them. Macbeth must murder many others, including Banquo, to protect his rule. The inner workings of court provide the backdrop for this play. We see the head of the house, Lady Macbeth, make plans to receive her guests. This is a rather ordinary task in a noble house. What we also see is the plan to kill the king as it is conceived. Events thereafter tell of secrecy, murder, and madness. Macbeth, who truly believes he is meant to be king, kills Duncan, then Banquo, and then is haunted by the ghost of Banquo. The descent into madness for Lady Macbeth is a fascinating study. Lady Macbeth is haunted by the image of blood on her hands representing the murder of the king in her house for which she is responsible. She ultimately goes mad and kills herself. Macbeth by this time seems unaffected by much of the doom and destruction around him. His reaction to the suicide of his wife—"She should have died hereafter;" (5.5.17)— reveals an almost passive acceptance of her death. The speech that follows, "Tomorrow, and tomorrow and tomorrow…," shows Macbeth's belief that humans only live to perform certain functions; and when that role is complete, we die. This notion is reinforced in Macbeth's ultimate realization that he is doomed to die when he learns that he is not invincible as he thought. True to his character, he does not yield; he goes out fighting. The symbolism of the witchcraft and occult images can be the motivation for the characters' actions as well as their ultimate doom. It is interesting to note that King James I wrote a book on the occult called of which Shakespeare was aware. Much of the occult imagery in the play can be attributed to the idea that the play was written to please King James I.
Critical Analysis Of Othello | Researchomatic
The perspective through which a character is seen is crucial to the development of character. Other characters in the play may see the individual as a completely different person from the way in which the character sees himself/herself. The distinctness between internal and external perspective can be of great significance to the development of the play. For example, Iago and others too use the word "honest" to describe him numerous times throughout . The problem is that Iago is anything but honest. His depiction might entail two drawings; one in which he is smiling and appearing "honest" and another with a face revealing his diabolical nature (perhaps horns?). also offers valuable insight into perspective for this unit. The themes include perception of the self, how others perceive the individual, and how change —either forced or internally driven— occurs in the character. The students may choose to create two drawings of these characters to show double perspective, or they may draw a sort of mask that can be lifted to show the internal beneath the external perspective.
Shakespeare's use of figurative language and poetic devices, such as rhyme and meter, reveals important information about his characters. Othello, for instance, often speaks in eloquent verse even though he does not think of himself as well-spoken and others consider him barbaric. Petruchio's language is exaggeratedly poetic at times, while at other times forthright and rude, a range of speech that reveals his flamboyance.
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Othello critical essay - AIR Drone Systems
Capital High School in Santa Fe, New Mexico consists of a majority of Hispanic and Mexican immigrant students. We have many English as a Second Language (ESL) classes at the school but the majority of the students are in regular education. The number of Advanced Placement courses offered grows yearly. At least one Shakespearean drama is required in each class level of English at Capital High School as part of our standard curriculum. Some faculty members are as apprehensive of Shakespeare as the students; unfortunately, that comes across in their teaching. I sympathize because I know what it is like to be forced to teach a text that I don't particularly like. The students recognize that loathing and they respond with a reluctance to learn. I, on the other hand, truly appreciate sharing the literary complexity and genius of Shakespeare. Each time I prepare to teach a Shakespearean drama, it is like learning it from a whole new perspective. Reading the plays with each new class brings a whole new perspective to the plays as well, because as the students become familiar with the language, they add their own opinions and analysis, which is beneficial to all.
Othello - Critical Study of Text
This tragedy is alike distinguished for the lofty imagination it displays, and for the tumultuous vehemence of the action; and the one is made the moving principle of the other. The overwhelming pressure of preternatural agency urges on the tide of human passion with redoubled force. Macbeth himself appears driven along by the violence of his fate like a vessel drifting before a storm: he reels to and fro like a drunken man; he staggers under the weight of his own purposes and the suggestions of others; he stands at bay with his situation; and from the superstitious awe and breathless suspense into which the communications of the Weird Sisters throw him, is hurried on with daring impatience to verify their predictions, and with impious and bloody hand to tear aside the veil which hides the uncertainty of the future. He is not equal to the struggle with fate and conscience. He now "bends up each corporal instrument to the terrible feat"; at other times his heart misgives him, and he is cowed and abashed by his success. "The deed, no less than the attempt, confounds him." His mind is assailed by the stings of remorse, and full of "preternatural solicitings." His speeches and soliloquies are dark riddles on human life, baffling solution, and entangling him in their labyrinths. In thought he is absent and perplexed, sudden and desperate in act, from a distrust of his own resolution. His energy springs from the anxiety and agitation of his mind. His blindly rushing forward on the objects of his ambition and revenge, or his recoiling from them, equally betrays the harassed state of his feelings.This part of his character is admirably set off by being brought in connection with that of Lady Macbeth, whose obdurate strength of will and masculine firmness gave her the ascendency over her husband's faultering virtue. She at once seizes on the opportunity that offers for the accomplishment of all their wished-for greatness, and never flinches from her object till all is over. The magnitude of her resolution almost covers the magnitude of her guilt. She is a great bad woman, whom we hate, but whom we fear more than we hate. She does not excite our loathing and abhorrence like Regan and Gonerill. She is only wicked to gain a great end; and is perhaps more distinguished by her commanding presence of mind and inexorable self-will, which, do not suffer her to be diverted from a bad purpose, when once formed, by weak and womanly regrets, than by the hardness of her heart or want of natural affections. The impression which her lofty determination of character makes on the mind of Macbeth is well de-scribed where he exclaims,
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The movement of the passion in Othello is exceedingly different from that of Macbeth. In Macbeth there is a violent struggle between oppo-site feelings, between ambition and the stings of conscience, almost from first to last: in Othello, the doubtful conflict between contrary passions, though dreadful, continues only for a short time, and the chief interest is excited by the alternate ascendancy of different passions, by the entire and unforeseen change from the fondest love and most unbounded confidence to the tortures of jealousy and the madness of hatred. The revenge of Othello, after it has once taken thorough possession of his mind, never quits it, but grows stronger and stronger at every moment of its delay. The nature of the Moor is noble, confiding, tender, and generous; but his blood is of the most inflammable kind; and being once roused by a sense of his wrongs, he is stopped by no considerations of remorse or pity till he has given a loose to all the dictates of his rage and his despair. It is in working his noble nature up to this extremity through rapid but gradual transitions, in raising passion to its height from the smallest beginnings and in spite of all obstacles, in painting the expiring conflict between love and hatred, tenderness and resentment, jealousy and remorse, in unfolding the strength and the weakness of our nature, in uniting sublimity of thought with the anguish of the keenest woe, in putting in motion the various impulses that agitate this our mortal being, and at last blending them in that noble tide of deep and sustained passion, impetuous but majestic, that "flows on to the Propontic, and knows no ebb," that Shakespear has shewn the mastery of his genius and of his power over the human heart. The third act of OTHELLO is his finest display, not of knowledge or passion separately, but of the two combined, of the knowledge of character with the expression of passion, of consummate art in the keeping up of appearances with the profound workings of nature, and the convulsive movements of uncontroulable agony, of the power of inflicting torture and of suffering it. Not only is the tumult of passion in Othello's mind heaved up from the very bottom of the soul, but every the slightest undulation of feeling is seen on the surface as it arises from the impulses of imagination or the malicious suggestions of Iago. The progressive preparation for the catastrophe is wonderfully managed from the Moor's first gallant recital of the story of his love, of "the spells and witchcraft he had used," from his unlooked-for and romantic success, the fond satisfaction with which he dotes on his own happiness, the unreserved tenderness of Desdemona and her innocent importunities in favour of Cassio, irritating the suspicions instilled into her husband's mind by the perfidy of Iago, and rankling there to poison, till he loses all command of himself, and his rage can only be appeased by blood. She is introduced, just before Iago begins to put his scheme in practice, pleading for Cassio with all the thoughtless gaiety of friendship and winning confidence in the love of Othello.
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