Abstract
Beginning with Iago's initial exchange with Roderigo and Brabantio, this paper works through the first 3 Acts of the play "Othello" by William Shakespeare looking at the way in which Iago moves his plan forward. The semantic fields and imagery sequences are examined in detail, with analysis and line references after each quote highlighted in bold for easy cross-referencing. All quotes are well integrated and put into context. The paper also includes character analysis of Iago and Othello.

From the Paper
"Iago's next exchange with Othello shows how successful he has been - Othello makes it clear he has convinced himself of Desdemona's guilt in Iago's absence: "I swear 'its better to be much abused / Than but to know a little." 3.3.338/9, and "What sense had I of her stolen hours of lust?" 3.3.341. One can infer that Iago is delighted by this, as it means he has been successful, and with the handkerchief in his possession he can offer proof of her 'guilt'. Emilia's deception came just at the right moment, as Othello demands "ocular proof" which Iago is now in a position to give. One may argue that he was playing things rather riskily by "abusing" Othello's ears without the proof of the handkerchief, but now things are falling into place more by luck than by his own manipulation."

Tags:roderigo, brabantio, desdemona

Abstract
This paper begins with a brief background to the history of the play "Othello" by Willia, Shakespeare. It then moves on to discuss some of the themes and issues the play has raised over the years such as the racial implications of the term 'moor' that was used to describe Othello himself. The paper uses arguments and quotes from critics such as Charles Lamb, Coleridge and Thomas Rhymer, as well as quotes from the play itself.

From the Paper
"Thomas Rymer was an English critic and historiographer, especially interested in drama and drama criticism. He was very hostile towards contemporary dramatists of his time and in his essay A Short View of Tragedy written in 1692, he famously labelled Othello "a bloody farce without salt or savour". Rymer had nothing good to say about Othello and objected that Shakespeare had dignified a black man by giving him a name. Because of such comments, Rymer was widely regarded as the worst critic to ever publish anything about Shakespeare. Rymer didn't believe that the play was a true "tragedy" because the issue of the handkerchief was not an important enough event for tragedy to come from. He was of the opinion that tragedy should come from serious matters."

Tags:moor, race, tragedy

Abstract
This paper reviews and analyzes the role of Iago and his effect on the protagonist Othello in Shakespeare's play, "Othello," referencing modern sources. The paper asserts that Iago is teleological in his methods of achieving things; in other words, he is willing to go any lengths to achieve something as long as it is geared towards his desires. The paper describes Iago's talents as further emphasised by his merciless methods, vicious techniques, and Machiavellian traits of appearing good on the surface as well as being intelligent and boastful, which provide a strong foundation for judging characters' weaknesses. The paper argues that Iago appears godly in nature, or somewhat like the Duke who rules Venice. In Oliver Parker's Othello, Iago sits in the Duke's throne as he is manipulating Rodrigo; this shows how he assumes and enjoys authority, which is a trend that runs throughout the play. The paper concludes it can be stated that Iago brings about the downfall of Othello; he is the malefic force that drives the tragedy in Othello.

From the Paper
"This dark plan that Iago has deep within his malefic labyrinth of fury is complemented by this concept of the 'ear' being the 'channel to the brain'. It is employed in a number of Shakespeare's plays to influence and control characters, demonstrating one character's ability to manipulate another's behaviour. For example, in Othello, Iago's whispers and plants ideas in Othello's ear, in Macbeth, Lady Macbeth hints and brilliantly persuades her husband, and even more so in Hamlet where Claudius literally pours his poison into Hamlet's father's ear. However, this use of manipulation is not exclusive to Shakespeare's works; there are biblical links in the story of Samson and Delilah (Judges: 14) where Delilah, "a woman from the Valley of Sorek"5, manipulates Samson to get him to sleep with her, whereupon she betrays him. This use of manipulation to betray, or manipulation to achieve is a constant in Othello with Iago running from his master plan of deceit to facilitate the tragic downfall of his master."

Tags:shakespeare, play, Venice

Abstract
This paper discusses how although the female contingent in "Othello" only comprises of Desdemona, Emelia and Bianca, the importance of their contribution to the play is impossible to overstate as they are either directly or indirectly the cause of every significant development throughout the narrative. In particular, the paper focuses on Desdemona and how her explosively erratic relationship with Othello demonstrates the highly complex and controversial way in which men were simultaneously domineering towards women whilst remaining undeniably fearful and wary of their emotional volatility and powers of seduction.

From the Paper
"Iago's drive and passion to gain revenge and to oust Othello can perhaps be put down to the idea of women as possessions; in that it is apparent that Iago believes (or at least has convinced himself to believe) that Othello has slept with his with Emilia. Iago states that 'it is thought abroad that twixt my sheets/He's done my office' (I.3.381-2), and that Othello 'hath jumped into my seat'(II.1.286-7). The use of the words 'office' and 'seat' to describe Emilia show the contempt in which Iago holds her, dehumanising her and showing that it is more the thought of Othello having used one of his possessions that enrages Iago and drives him to his treachery than it is the fear of being a cuckold. He goes on to claim he plans to get 'evened with him, wife fore wife'(II.1.290), implying women are merely the pawns in a game of male one-upmanship."

Tags:Desdemona, Emelia, Bianca, Iago

Abstract
This paper examines how the character of Iago in Shakespeare's play "Othello" has instigated many different analyzes, with different critics arguing about his character, motives, techniques and his overall function to the play. It discusses how few of these literary critics would argue that he does not possess an evil nature, but there are several different interpretations to how we would regard Iago's character and what his role is in "Othello." It shows how from the outset of the drama, Shakespeare makes effective use of dramatic irony and permits the audience to ascertain Iago's actual disposition, as Iago admits that he is a calculated and self-seeking beguiler.

From the Paper
"Iago is one of Shakespeare's most sophisticated Machiavellian villains whose role is utterly crucial to the play. His motives for committing his evil acts are often difficult to determine, although jealously plays a large role for his desire to dissemble those who he dislikes. It is his professional jealousy that leads him to want to deprecate Cassio, but on a personal level, he also resents him for having an attractive wife while fearing that Cassio has committed adultery with Emilia, his own wife. He destroys Othello partly for this same fear, that the general "has twixt my sheets, done my office," but he is also enraged with Othello for promoting Cassio rather than himself."

Tags:cassio, villain, evil

Abstract
This paper compares Emilia and Desdemona?s views on men and marriage as portrayed in Act 4, scene 3 of William Shakespeare's play, "Othello". The paper shows thay while while Desdemona and her maid, Emilia, seem to be particularly close and affectionate towards each other in this part of the play, it is clear that the two women hold very different views towards life. Quotes from the play are included throughout the paper.

From the Paper
"Desdemona remains loyal to her beloved husband; "twas that hand that gave away my heart", "your true and loyal wife" and other such phrases prove her devotion to Othello; it appears that he, in his jealousy, is the only one who cannot see this in her. As Emilia expects her to "wish you had never seen him", Desdemona remains faithful and goes on to speak of her love for the man who has treated her so poorly. "His scorn I approve" was not in the original "willow" song, but Desdemona is clearly thinking of her husband as she sings this, accepting his mistrust of her and his unfair attitude towards her."

Tags:Lodovico

Abstract
This paper examines how in the play "Othello" by William Shakespeare, the main character Othello starts the play as being the most powerful of all the characters and how this soon ends when he makes the mistake of trusting his 'friend' Iago. It analyzes how Iago deceives Othello causing Othello's downfall and how Iago becomes more powerful. It also looks at how this mistake leads to another as Othello dramatically ends the play by killing his innocent wife.

From the Paper
"Iago intends to use Othello's positive qualities against him. What Iago means by "serve my turn upon him" is that he is going to make Othello believe that Desdemona has been unfaithful to him. The word "serve" has connotations of a prison sentence or punishment showing that Iago believes Othello deserves this cruel punishment. It also shows that Iago doesn't like him so much that he wants to personally inflict such punishment upon him even though he will personally put himself at risk he is willing to take this chance as he really doesn't like Othello. This quote is also showing that as Othello believes Iago then he does not believe in himself. He does not think that he is good enough for Desdemona as he feels that she will leave him for someone else easily."

Tags:deception, desdemona, iago

Abstract
This paper discusses how from the the outset of the play, "Othello", Shakespeare makes it explicitly clear who the outsiders are. The paper examines how Othello is the strongest candidate and as the main character of the play, he fits in the least. It also looks at how, in addition, Shakespeare also portrays Iago as an outsider, not in race and background like Othello, but in nature and motive. The paper further shows how both of these characters are different from any other in Venetian society and how both, although in completely dissimilar ways, are subject to falling into the category of an outsider.

From the Paper
"The main outsider in the play is quite clearly Othello, who cannot help but be seen as different from the others because of his colour and background. Unlike Iago, he is not a born Venetian but a black slave, who through hard work and determination, has risen to the ranks of General of the Venetian army. However, in spite of his prestigious military position he is still viewed by many as an outcast in contemporary society. This is particularly prevalent in Elizabethan times as Queen Elizabeth herself denounced the blacks and banished them from England. "...banishing the great number of niggers and black moors which are crept into this realm..." Othello has the majority of society against him in this respect, a stereotypical way of thinking being to persecute the black race. "

Tags:Iago, race, color

Abstract
This paper discuses the premise that alterations made in film adaptations of literary sources are a conscious effort to market the film to a contemporary audience. In particular, the paper looks at how Orson Welles' "Othello" and Tim Blake Nelson's "O", two famous film adaptations of "Othello", exemplify this premise and how the alterations made in the films signify social approaches towards the literary status of the play. The paper further examines how Tim Blake Nelson's "O", released in 2001, is intended to make Shakespeare more appealing to a contemporary, young audience. The paper also looks at how, although Orson Welles originally aimed his adaptation at a 1950s audience, with its restoration in 1992, it was then re-marketed, and its 'relevance' changed.

From the Paper
"Unlike O, however, Orson Welles' Othello makes very few changes to Shakespeare's language. He does, however, leave out certain lines. For example, in the scene where Iago and Roderigo incite Brabantio, the screenplay jumps from Roderigo's line, 'signor, is all your family within?' to 'transported, with no worse or better guard but with a knave of common hire, a gondolier, to the gross clasps of a lascivious Moor' . In this small section alone, Welles skips thirty nine lines of the play. Among the lines omitted are Iago's racist taunts about Othello, for example, 'an old black ram is tupping your white ewe' (I.i.89-90). A reference to Desdemona as a possession - 'look to your house, your daughter, and your bags' (I.i.81) - is also excluded. "

Tags:tim, nelson, orson, welles

Abstract
This paper examines how "Othello" by William Shakespeare is a play which contains many conflicts between characters. It looks at how the main character Othello begins the play by marrying his love Desdemona and how it ends dramatically in a conflict between Othello and Desdemona which ends with Othello killing Desdemona then himself. It analyzes how the conflict was spawn for many reasons including Iago's deceiving, Othello being too in love with Desdemona, Othello's pride, Othello's self conscious nature, Othello's jealousy and Othello's rash behavior.

From the Paper
"Othello then confronts Desdemona about his doubts but doesn't listen to her reply. "By heaven , I saw my handkerchief in's hand. O perjured woman! Thou dost stone my heart, and mak'st me call what I intend to do a murder , which I thought a sacrifice." Othello is quite emotional at this point as can be seen by the explanation mark. He is shown to be very upset about Desdemona's supposed affair. This can be seen by the phrase "stone my heart". This is in reference to the pain Desdemona is causing him. It is killing his heart and their love as "heart" has connotations to love. By referring to killing Desdemona as a sacrifice this shows that Othello is giving up something. He is giving up his love for Desdemona as he believes that it will hurt him too much to see her with another. Othello loves her too much."

Tags:iago, jealousy, death