These quotes may also give the reader an Insight Into laws past, showing on the other hand that he had experience ‘In the field’ of battle, and that he had, judging by his evident disappointment at lack of promotion, served for quite a long time at Toothless side. This is also shown when he states “Othello eyes had seen the proof at Rhodes”. This is very much Sago’s scene, and we see the versatility of his linguistic gifts most clearly throughout: where Othello poetry serves to discover beauty and wonder In the world, Sago’s language Is fundamentally dishonest, allowing him to seem whatever serves his purpose. Ill taking his new friends into his confidence about Cassia’s “vice”; he protests that he would rather have his tongue cut from his mouth than “It should do offence to Michael Cassia”, and suggests that Cassia’s conduct must have been provoked by “some strange indignity’ from “him that fled”. Othello sees this as covering up inexcusable violence and demotes Cassia, who believes nevertheless that he has “well approved” (that is, proved) Sago’s friendship.
Shakespeare adds another twist in the plot, which draws the audience In to explore the full Intentions of Sago’s plan. In his remarks upon “reputation”, Ago comes as close as he ever does to revealing his true opinions: the notion of deserved reputation or integrity does not enter into his view, which is that reputation bears little relation to merit in many cases. Shakespeare releases pieces of Information that may change the audiences perspective on Ago, whether he gets caught saying to much or indefinitely follows through with his initial plan.
The informality of Sago’s prose in praising English drinking is explained by the situation; but in consoling Cassia, as in his conversation t the start of the scene, Sago’s Informal prose suggests Intimacy and friendship. He does not need to make this effort with Ordering, as he Is able, for once, to show his dupe some return on his expenditure: he has seen his “rival”, Cassia, “cashiered” in 1 OFF Shakespeare creates an image for each character, and with certain language choices he raises or downgrades a character. The continuous lines of Ago that seem to be successful initiates irritation within the audience.
Act Ill Response Othello speech of Act Ill, Scene iii, represents the dramatic and psychological tipping point of the play. Up until this point he is characterized as a sturdy, stentorian nobleman, brave warrior, and devoted husband, from here we witness Othello murderous intent build and his personality disintegrate. Shakespeare use of rhetoric, reveals some of Othello most private, powerful anxieties, his vanities as a private man and public figure. All of these coalesce to create a foundation of credulity for Adhesion’s betrayal, pointing the way forward to his ultimate undoing.
Many of the plays core motifs, recurring ideas, concepts, images and figuration, are furthered in this speech, and open the way for subsequent events. Shakespeare use of irony influences the audiences interpretation of several characters, in contrast to what is really happening in the play. For example: Othello single true soliloquy opens with the most ironic of statements, that is, his reconciliation of Lagos trustworthiness: “This fellow’s of exceeding honesty, / And knows all qualities with a learned spirit / Of human dealings. The constant use of the word ‘honest’ and its attachment to Ago, of whom “every moral attribute applied to him by anyone in the play is ironic finger pointing to the truth of its opposite”. This motif is entwined with Adhesion’s perceived lack of honesty, she and Ago being dualistic opposites in the work – Desman, honest, angelic, but not believed; Ago, dishonest, devilish, readily believed. Shakespeare creates a plot in which the characters in the play are oblivious to one another’s true intentions, however the truth is completely revealed to the audience.
This changes how the audience preserves characters such as Ago, because all his claims of truthfulness are completely disregarded. The audience also develops a sense of empathy for Desman, as we know she is mirthfully murdered, and innocent. Othello reflections on his predicament are more arbitrator: although we are moved by his dilemma, his tendency to dramatist it (as, say, “the plague of great ones”) is clear. Shakespeare highlights this event by the tone of Othello speech, and this captivates the audience due the dramatic wording.
His poetic faculty is turned on himself famously in the speech in which, seeing that his private vengeance must end his public career of military service, he bids repeated “farewell” to all he loves in the soldier’s life. He speaks as if for a captive audience, and yet only Ago is present, however, the audience does gain perspective as if they ere part of the speech, due the fact that it is spoken as if Othello is addressing the audience, which does surely captivate the listener.
Othello is resolute but composed, and he has recovered his rhetorical powers. He attempts to memorize about his situation, to explain how he could endure all sorts of trials, even the world’s contempt, but when he considers his own plight, this, he claims, is too much for the “rose-lipped” face of patience; the right response is his, as he looks “grim as hell”. The device of repetition, which we have met earlier in the play, appears as Othello four times repeats Adhesion’s “committed”.
The rhetorical question (conventionally) presupposes the answer is obvious; the audience sees that what is obvious to Othello is neither obvious to Desman, innocent both of any offence and of Othello meaning, nor true. Shakespeare creates empathy from the audience for Desman, we all know she is innocent, but keeps trying to defend herself to no appeal. Because Othello increasing believes that Desman was unfaithful towards him, its becomes harder for Desman to defend herself.
Shakespeare language creates distress from the audience towards Othello, this is because he is constantly believing lies told by Ago. Desman is at times a euphemism character, most notably in her willingness to take credit for her own murder. In response to Amelia’s question, “O, who hath done this deed? ” Adhesion’s final words are, “Nobody, I myself. Farewell. / Commend me to my kind lord. O, farewell”. The play, then, depicts Desman contradictorily as a self-effacing, faithful wife and as a bold, independent personality.
This contradiction may be intentional, meant to portray the way Desman herself feels after defending her choice of marriage to her father in Act l, scene iii, and then almost immediately being put in the position of defending her fidelity to her husband. She begins the play as a supremely independent person, but midway through she must struggle against all odds to convince Othello that she is not too independent. The manner in which Desman is murdered-?smothered by a pillow in a bed covered in her wedding sheets-?is symbolic: she is literally suffocated beneath the demands put on her fidelity.
Since her first lines, Desman has seemed capable of meeting or even rising above those demands. In the end, Othello stifles the speech that made Desman so powerful. Shakespeare elevates text, so he can bring it down with a different context, much like giving hope to something certain to fail. It keeps the audience captivated. Act V Response Othello begins this soliloquy with: “It is the cause, it is the cause, my soul. Let me not name it to you” Shakespeare brings out a sense of the unknown for the audience.
Othello is certain with the reasoning of his actions, but is not willing to share his this influences the audience to dig deeper within the text, and furthermore the thought behind Othello actions. The audience is struck by sensuous or exotic imagery in this soliloquy, that is spoken by Othello, Shakespearean choice in language captures the audience: the final speech contains a list of similes to describe his indention, in which the audience encounter the “base Indian” and the “Arabian trees”, while the opening soliloquy presents us with Adhesion’s “whiter skin than snow”… Smooth as monumental alabaster”, and her “balmy breath”. Behind these vivid images we see how Othello explores his private and public conceptions of himself. The use of Shakespeare similes gives the text a level of depth that the audience is left to explore. “When I have plucked thy rose I cannot give it vital growth again” This simile captures Othello decision to kill Desman, and create a different perspective on the events, and the thoughts within Othello minds.
The use of these similes by Shakespeare creates several aspects for the audience to absorb the information that is being presented. Shakespeare uses this language as a vehicle for deliberate dramatic effect. This is constant throughout most, if not all of his work. Shakespeare use of imagery gives the audience a better perspective of the characters and their intentions. The way Desman skin tone is described as snow white. Shakespeare language in this soliloquy is very confident and blunt, therefore giving the audience reason to question Othello, as the once quiet, sturdy, stentorian nobleman.
