Michael Cassio

Othello and Cassio simply because Othello gave Cassio the lieutenant position over Iago. This agitated Iago to the point where all of the jealousy within him caused him to deliberately hurt those closest to him. Due to this, here should be no sympathy for Iago because he is a manipulative villain. He brought the feeling and consequences upon himself because he was not willing to accept Cassio’s superiority to him. He then desired to seek revenge upon Othello for rewarding the better man (Cassio)…

The location being isolated and foreign allows a great breeding place for greed and jealousy. Iago can go about planting the seeds of doubt by saying things similar to “Look to your wife; observe her well with Cassio; . . . Look to ‘t” (III.iii.229-231) and then retracting his statements with sayings like ” I am to pray you not to strain my speech to grosser issues . . . than to suspicion” (III.iii.255-257). This method of taking back what he is saying causes…

never shown a true motive. Although having excuses, Iago never specifies a motive for his “monstrous plan” and the further he goes , the more it seems that Iago is doing this for his own pleasure. When he is finally able to convince Othello that Cassio and Desdemona have had an affair, Othello is so shocked he falls to the ground. Iago proud of his lies and how well Othello is reacting to them, is happy and wants his “...medicine...”(4.1.44) to “work on “(4.1.43). This shows that even though…

Othello and takes place after Othello has demoted Cassio for behaving disorderly at a celebration. We see a direct link to the source text of Othello; Cinthio’s Tale as the captain in the source text injures a guard and the Moor has no choice but to strip him of his rank. In this extract, as well as the events before, we are clearly shown Iago’s Machiavellian nature. Unable to manipulate Cassio with words, Iago tries other means such as making Cassio drunk so that he loses his inhibitions as…

Power is a concept that is different from control for without power there is no control. In Shakespeare’s Othello, Shakespeare shows the impact of both on relationships with an awareness of the roles of race and gender. Power can be executed in different ways and often derives from reputation or privilege which affects the sense of control a person has. Shakespeare explores the significance of both power and control to a great extent through the relationships of Iago and Emilia, Iago and Othello…

moves the characters of Othello as though they were chessmen. He utilizes their individual goals and interests to spur them to whatever insidious arrangement he wants. His dexterous control of those characters go from persuading Roderigo to serve Cassio another glass of wine, to driving Othello to the conclusion that lone by slaughtering Desdemona might he be able to spare himself and humanity from her slippery demonstrations of treachery. In any case, for every situation Iago doesn?t need to…

guiltiness I know not; but yet I feel I fear… And have you mercy too! I never did Offend you in my life; never loved Cassio But with such general warranty of heaven As I might love: I never gave him token.” (Act 5 Scene 2 Line 35, 44, 69-72). Desdemona stays strong, she fights her way to the end to convince Othello that she has been truthful and loyal to him, she begs him to go ask Cassio himself or to at least let her live one more night. Unfortunately, at this point Othello had his mind made…

Marlowe’s treatment of Tamburlaine is different from other tragedies in the use of imaginative energy in the portrayal of Tamburlaine, the tyrannical protagonist. To state that Tamburlaine is an ambitious tyrant is somehow an understatement. Even when such labelling takes place on stage, as it does in the frequent invectives used against Tamburlaine by his enemies, there is a paradoxical sense of futility in the censure. It is not only the military invincibility of the protagonist that deviates…

In a duel of its semantic force and a stylistic vernacular of its times, the word-wright, William Shakespeare gives us a playhouse comedic tale where everyone does it all out of love. They lie, they cheat, they dominate, and they are formidably dominated. Memorable unruly characters and lasting theatrics, where the Bard releases piquant humor and mischief in The Taming of The Shrew (Shr.), c. 1593, one of his first comedies (The British Library). Aptly, the play satirizes mores of its Tudor…

Sarah Kane in her play “4.48 Psychosis” and Peter Handke in “Offending the Audience and Self- Accusation” challenge the role of the spectator and their treatment. Both writers encourage the audience to actively question the action that unfolds in their sight. Sarah Kane’s fragmented structure of the play; a combination of varying textual forms such as songs, numbers and self- reflective speeches forces the spectator to create meaning in the confusion. The play is a canvas and the spectator holds…