Othello Act 3 Scene 3 Focus

Othello Act 3 Scene 3 Focus

The Catastrophe of Othello– Focus on Act III Scene iii Shakespearian disaster explores the notion that human beings are “inevitably doomed through their own failures or mistakes”. In the Disaster of Othello, the main theme of jealousy and skepticism are the weaknesses that cause the unavoidable destruction of the hero. Othello’s feelings of insignificance as a “Moor” regardless of his rank and Desdemona’s love are increased and masterfully exploited by Iago.

Ironically, jealously over misplaced trust fires up Iago’s betrayal and ultimately delivers the awful ending as Iago provokes such sensations in Othello, cunningly prompting Othello to question his own judgement and betray his own goodness. The Venice of Othello mirrors Shakespeare’s biased London as his protagonist suffers outright bias. Racist language “sooty bossom,” and animal imagery “old black ram,” depict the “Moor” as less human, Fearlessly, Shakespeare provides the first supportive representation of a black man in English literature, challenging audiences to re examine accepted Elizabethan bias.

The poet presents the irony of a respected general who can not be trusted with Venice’s children however is instrumental in ensuring the State’s security. He is an alien; separated from the world he is married to and safeguards. Othello internalises the prejudice, seeing himself as a “horned guy,” his sense of insignificance grows and is harnessed by Iago. Act III Scene 3, delivers the essential point where Othello abandons all reason and is swayed by Iago’s absolute yet false loyalty in his disclosure of Desdemona’s supposed betrayal.

His “commitment” is offered form through the phase instructions where he kneels together with his commander in union. Although Iago alerts against” the green eyed beast which doth mock the meat it feeds on,” he mentions his own actions towards Othello. Shakespeare skillfully uses these words to share the irony and fantastic divide between words and action. The villain takes on a diplomatic role, continuously using emotive language to appear merciful and aid his deception as Shakespeare reveals Othello’s paradox in character.

His insecurities emerge in this climactic scene where Iago adopts an incorrect reason and compassion, “Patience I say; you mind perhaps might change,” effecting Othello to the extent that he possesses no reason. He personifies his rage, “my bloody thoughts with violent pace shall ne’er recall.” Othello is incapable of logical thought driven by passionate jealously. Each character adopts the language and personality of the other. Shakespeare does this to interact the absolute efficiency of using one’s insecurities to ruin them.

A single” scarf” is Iago’s weapon as it sets Othello on an impassioned course of vengeance. It is a metaphor for the fragility of Othello’s belief in himself and his marriage. Paradoxically, a “token” of his love ends up being the inspiration for the end of his pleased union and trust. In the excerpt, Act III Scene 3 Ln 434-480 the audience can pin point Othello’s improvement from a trusting, honorable guy to a jealous, vengeful murderer. Fully convinced of his other half’s unfaithfulness he menacingly declares, “One is too poor, too weak for my revenge. In his single-minded malice, Othello now shares Iago’s malevolent spirit as his “bosom” is metaphorically filled with “Aspic snakes.” He comes to resemble the bad guy in his speech, utilizing repetition “Blood, blood, blood!, broken sentences, and Iago’s violent, sexual animal imagery. Othello summons,” black vengeance, from thy hollow cell.” This vital passage prefaces to disaster that unfolds in the final acts. As the malcontent figure, Shakespeare uses Iago to drive the action of the play. Iago proclaims”I am your own forever” deceptively presenting as the devoted assistant.

The audience comprehends Iago’s deceptiveness as it contrasts with his absolute oxymoron, “I follow but myself,” Act I Scene 1.” The clashing statements reveal his real motive to the audience without informing Othello. Iago’s manipulative methods is central to the plot, driven by pure hatred towards Othello, Desdemona and his own insecurities and jealousies. This passage sees his strategy concerned fruition having finally convinced Othello of Desdemona and Cassio’s betrayal. Iago can effect Othello’s amazing action due to Othello’s insecurity and capability to trust, the product of his skin colour.

Physically he sends Othello into a trance in Act IV by putting the specific images of Cassio lying “with her, on her”. This is dramatised in the movie as an epileptic fit. It symbolises Othello’s weakness and ability to let Iago in his head, physically draining him. It is in contrast of the well balanced Othello of previous Acts. Iago’s function is dimished during the final Act yet his qualities are plainly noticeable the transformed Othello as he is referred to as the ‘devil’ and ‘villain’ by Emilia– all previous names for Iago. Othello finishes Iago’s plan of vengeance.

Iago and Desdemona represent internalised features of the hero. He rejects his caring and generous self– that aspect of mankind that makes society possible– in favour of the dark enthusiasms of his self-centred ego. While he attempts to hate Desdemona for her betrayal he can not deny his feeling for her and lastly her necessary goodness. He confesses that Desdemona is his first love, naive and unconfident in their union he stops working to see his worth in her eyes. “I do enjoy thee; and when I like thee not, Turmoil is returned”Act III Scene 3 foreshadows the ensuing action.

Othello’s love for Desdemona is intense, his “Bloody thoughts with violent speed shall ne’er look back, ne’er ebb to simple love.” His path forward is focused on vengeance without any concern for love. Othello feels unworthy of Desdemona’s love. Not able to rely on Desdemona, lacking the fundamental component of love, Othello breaks down ethically. Iago uses this insecurity, suggesting that Othello’s race and age have actually made her unfaithful. Finally,, Othello stops working Desdemona, no longer trusting her and he urges Iago to assist in the damnation of the “reasonable Devil. Prior to taking his own life, after acknowledging her purity, he humbles himself to Desdemona by acknowledging their alternate paths in death as he “roasts in sulphur.” Lastly, Othello accomplishes nobility in his last words, “Speak of me as I am; absolutely nothing extenuate, of one that enjoyed not wisely, but too well …” Shakespeare returns Othello to his former state of balanced integrity acknowledging his sins and terrible fate. He no longer be controlled and faces his fate with a more powerful sense of self.

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