(Othello, Shakespeare)
The character Iago matches one of the best movie characters of all time, Ferris Bueller from Ferris Bueller's Day Off. As displayed in Act IV and the movie Othello, Iago has the talent to think quickly and remain true to whatever lie he is professing. In this case, he convinces Othello that Cassio is sleeping with Desdemona by tricking Cassio into talking about his mistress. He is flawless and by the end, he has Othello beaming with rage and a thirst for anger. Much in the same way, Ferris is capable of fooling his parents, teachers, and peers alike and enjoy a day off. This ability to remain loyal to a pain as well as think quickly creates incredible characters of wit and schemes. Shakespeare's Iago is an impressive character and represents the poise and dedication needed to complete costly plans; he is even willing to kill his wife and remain speechless for the rest of his life. The lifestyle of Ferris and Iago is complex and impressive. Ferris' skillzzz are shown in the clip below, enjoy!
Thursday, January 27, 2011
Wednesday, January 26, 2011
The Old Switcher-o
(Othello, Shakespeare)
Character Focus: Emilia and Desdemona
Within Acts I to III, the women of this play have opposite personalities: Desdemona is an independent, bright, and persistent young gal while Emilia is a simple victim to her husband Iago. However, Act IV offers a tole reversal for these two characters. After Othello confronts Desdemona about his thoughts of her cheating, one would imagine that she would defend herself and refuse to let him think such things and that Emilia would just play along. But truthfully, Desdemona steps down and weeps her accusations. It is Emilia that turns to anger and vows against gossip (III. ii. 150) and it is Emilia that calls for action and fears the future. Desdemona has resorted to a lowly state of confusion and submission, perhaps out of love and hurt.
Basically, these foil characters switch roles. This switch displays the shifting actions of the play as the plot reaches its climax and the seemingly end of Desdemona draws close. This switch seems to imply that Emilia will end on top.
Character Focus: Emilia and Desdemona
Within Acts I to III, the women of this play have opposite personalities: Desdemona is an independent, bright, and persistent young gal while Emilia is a simple victim to her husband Iago. However, Act IV offers a tole reversal for these two characters. After Othello confronts Desdemona about his thoughts of her cheating, one would imagine that she would defend herself and refuse to let him think such things and that Emilia would just play along. But truthfully, Desdemona steps down and weeps her accusations. It is Emilia that turns to anger and vows against gossip (III. ii. 150) and it is Emilia that calls for action and fears the future. Desdemona has resorted to a lowly state of confusion and submission, perhaps out of love and hurt.
Basically, these foil characters switch roles. This switch displays the shifting actions of the play as the plot reaches its climax and the seemingly end of Desdemona draws close. This switch seems to imply that Emilia will end on top.
Dun...Dun...DAAA
(Othello, Shakespeare)
The strength of this play, and many other dramas, is dramatic suspense and timing in general. The play has many minor plot structures fueling the major storyline of Iago's revenge; Iago and Cassio are playing musical chairs in terms of position, Othello is being graded by Lodovico, Cassio has an amusing life with his mistress, and other subplots. Each plot seems to reveal Iago's true emotion, yet the plot always moves to a bigger issue. For example, Act I revealed that Iago was upset with his position, yet once he gets the position his hatred doesn't stop and by Act IV he is planing to kill Cassio regardless of his position. Every action leads to interest for the rest of the play, as the pieces fall into place. This play also forms unrealistic but impressiveconsequences throughout the play, such as when Emilia gets the handkerchief or Othello falls for Iago's scheme of making Cassio's description of his mistress appear to be Desdemona, which increase dramatic suspense and the depth of the plot. This method holds a reader interested more than any amount of silly study questions or blogs ever could. The dramatic suspense of this piece makes the work interesting and complex.
The strength of this play, and many other dramas, is dramatic suspense and timing in general. The play has many minor plot structures fueling the major storyline of Iago's revenge; Iago and Cassio are playing musical chairs in terms of position, Othello is being graded by Lodovico, Cassio has an amusing life with his mistress, and other subplots. Each plot seems to reveal Iago's true emotion, yet the plot always moves to a bigger issue. For example, Act I revealed that Iago was upset with his position, yet once he gets the position his hatred doesn't stop and by Act IV he is planing to kill Cassio regardless of his position. Every action leads to interest for the rest of the play, as the pieces fall into place. This play also forms unrealistic but impressiveconsequences throughout the play, such as when Emilia gets the handkerchief or Othello falls for Iago's scheme of making Cassio's description of his mistress appear to be Desdemona, which increase dramatic suspense and the depth of the plot. This method holds a reader interested more than any amount of silly study questions or blogs ever could. The dramatic suspense of this piece makes the work interesting and complex.
Thursday, January 20, 2011
She's Always a Woman to Me
(Othello, Shakespeare)
Desdemona and Othello's relationship is best described in Billy Joel's classic song "She's Always a Woman to Me", a song about a man declaring the free spirit of a woman and how he still loves her.
The entire song contains lyrics such as: "Oh, she takes care of herself, she can wait if she wants, she's ahead of her time. Oh, and she never gives out, and she never gives in, she just changes her mind." which define Desdemona.
In Act I, she leaves her father, going against traditions of the time and against woman's role at the time. She is noted that she loves Othello for his wit and adventure, not for his support and title. Once married, she is noted for her independent nature, such as in Act III, scene I she fights for Cassio, as she "Speaks for you stoutly". This action is foiled with Emilia shows weakness and simply gives away the handkerchief with questioning or thought. Desdemona is simply an open and free woman, which seems to be one of the reasons Othello and others love her. Othello accepts her nature and is truly hurt when he suspects that she is cheating on him.
Desdemona and Othello's relationship is best described in Billy Joel's classic song "She's Always a Woman to Me", a song about a man declaring the free spirit of a woman and how he still loves her.
The entire song contains lyrics such as: "Oh, she takes care of herself, she can wait if she wants, she's ahead of her time. Oh, and she never gives out, and she never gives in, she just changes her mind." which define Desdemona.
In Act I, she leaves her father, going against traditions of the time and against woman's role at the time. She is noted that she loves Othello for his wit and adventure, not for his support and title. Once married, she is noted for her independent nature, such as in Act III, scene I she fights for Cassio, as she "Speaks for you stoutly". This action is foiled with Emilia shows weakness and simply gives away the handkerchief with questioning or thought. Desdemona is simply an open and free woman, which seems to be one of the reasons Othello and others love her. Othello accepts her nature and is truly hurt when he suspects that she is cheating on him.
Are You For Real?
(Othello, Shakespeare)
Unrealistic conventions for Acts I-III
Two instants of this section involving the Desdemona's handkerchief are simply unrealistic and overly dramatic. The first occurs during Act II when Emilia comes across the handkerchief; of course its the possession that Iago has desired to use in his revenge plots against Othello and Cassio. Also, its unrealistic that Emilia would simply steal it for her husband even though she knows how important it is to Desdemona. People simply don't do that.
The Second instance of drama occurs when Othello describes the history of the handkerchief. Of course the napkin holds a history of "charm" that could cause a lover to " hunt after new fancies" (Act III, scene IIII). This is the icing on the cake for Othello, as he grows in rage against his accused wife.
Both of these scenes increase the drama of the play; in theater unrealistic pieces are needed to increase drama so that the audience is entertained as well as informed of growing plots and themes. Without the handkerchief, the accused affair would hold less merit and less explication.
Unrealistic conventions for Acts I-III
Two instants of this section involving the Desdemona's handkerchief are simply unrealistic and overly dramatic. The first occurs during Act II when Emilia comes across the handkerchief; of course its the possession that Iago has desired to use in his revenge plots against Othello and Cassio. Also, its unrealistic that Emilia would simply steal it for her husband even though she knows how important it is to Desdemona. People simply don't do that.
The Second instance of drama occurs when Othello describes the history of the handkerchief. Of course the napkin holds a history of "charm" that could cause a lover to " hunt after new fancies" (Act III, scene IIII). This is the icing on the cake for Othello, as he grows in rage against his accused wife.
Both of these scenes increase the drama of the play; in theater unrealistic pieces are needed to increase drama so that the audience is entertained as well as informed of growing plots and themes. Without the handkerchief, the accused affair would hold less merit and less explication.
Drats! Foiled Again!
(Othello, Shakespeare)
Character analysis focus: Cassio and Roderigo
Upon the completion of Act III, the characters of Cassio and Roderigo have developed into unique and important characters. These characters are foil characters, with the strongest difference being their relationship with Desdemona. In Act I, Roderigo has been marked as a past rejected suitor for Desdemona; by the last scene he is torn by grief and pain as Desdemona is whisked away by Othello. Desdemona doesn't ever just to talk to him or seem to have any expressed feelings for him at this point. In contrast Desdemona holds friendship and conversation with Cassio; Act III begins with with Desdemona fighting for Cassio's honor and name. However, unlike Roderigo, Cassio doesn't hold revealed feelings for Desdemona, rather he wishes to please Othello and to maintain his title.
Additionally, Cassio and Roderigo have other minor differences. Cassio is a well-educated, polite, and young individual. Roderigo is also young and he is quite rich, but he has a rash and explosive nature. These characters use this foil nature to intensify the affairs and relationship with Desdemona. Also these differing characters are needed to complete Iago's plans.
Character analysis focus: Cassio and Roderigo
Upon the completion of Act III, the characters of Cassio and Roderigo have developed into unique and important characters. These characters are foil characters, with the strongest difference being their relationship with Desdemona. In Act I, Roderigo has been marked as a past rejected suitor for Desdemona; by the last scene he is torn by grief and pain as Desdemona is whisked away by Othello. Desdemona doesn't ever just to talk to him or seem to have any expressed feelings for him at this point. In contrast Desdemona holds friendship and conversation with Cassio; Act III begins with with Desdemona fighting for Cassio's honor and name. However, unlike Roderigo, Cassio doesn't hold revealed feelings for Desdemona, rather he wishes to please Othello and to maintain his title.
Additionally, Cassio and Roderigo have other minor differences. Cassio is a well-educated, polite, and young individual. Roderigo is also young and he is quite rich, but he has a rash and explosive nature. These characters use this foil nature to intensify the affairs and relationship with Desdemona. Also these differing characters are needed to complete Iago's plans.
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