Passion & & Desire, Othello by William Shakespeare, Perfume by Patrick Suskind & & Atonement by Ian Mcewan
Think about the styles of passion and desire in Satisfaction by Ian McEwan, Othello by William Shakespeare and Fragrance by Patrick Suskind. Interested by different enthusiasms and how individuals are driven by different enthusiasms, I am able to study this through various literature texts. The 3 characters I am going to study are ‘Briony’ in the unique Atonement by Ian McEwan, very first published in 2001, but set in 1934-1999, ‘Iago” in the play Othello by William Shakespeare, first seen by an audience in 1604, and finally ‘Grenouille’ in the novel Perfume by Patrick Suskind, first published in 1985 and set in 18th century France.
Because that all 3 texts are set in different times and by various writers, this will effect the viewpoint of both a modern audience and an audience of the time it was written. Each character displays desires to manage others around them, in ‘Othello’ and ‘Fragrance’ to the extent of death for their enthusiasm. We see this desire to control in ‘Satisfaction’ with Briony almost as soon as we are presented to her in the novel, “Her straight-backed dolls in their lots of roomed estate seemed under stringent direction not to touch the walls” (P5. L6).
This behaviour of Briony from a young age shows her desire to control others; whatever around her is bought and total. Making use of “straight-backed” in my viewpoint offers the reader a sense of worry of Briony knowing that she will constantly have control over not just the characters, however also you as the audience. I think that mansion might also be viewed as a metaphor for her own home, hence showing her desire to control her family and the people who live with her. Briony’s desire to control people is a constant and dominant theme throughout the book.
In the final part, Briony confesses to not having an alcoholic drink, “I drank green tea” (P355. L13). This tells the reader that even in her older age, she doesn’t want to lose control by getting intoxicated and missing out on vital details. On the other hand, green tea has actually undergone many scientific studies due to it proposed long-term health advantages. The paradox in this is that Briony is gradually dying and for that reason it will provide her no advantages in extending her life. I think that this is a method of Briony physiologically believing that this will make her memory last longer.
We see comparable requiring behaviour in Fragrance where Grenouille troubles Baldini to be able to work for him, “It was not a spoken as a request, but as a demand … hissed out in a reptile fashion” (P74. L19). Using the onomatopoeia stresses this demand. I think that it makes Grenouille sound mad and annoyed, which reflects the fact that animals utilize this as a defense mechanism. We see this animalistic behaviour in Othello with Iago where he explains his plans a complicated web, “With as low as a web as this will I capture as great a fly Cassio” (A2. S1. L168).
This I believe is a metaphor for Iago’s strategies; the web is being utilized to catch his prey, i. e. Othello. This animalistic images is forecasted from Iago onto the other characters around him. Othello begins to simulate this behaviour, “Exchange me for a goat” (A3. S3. L183) and even Emilia matches Iago’s language where she states that she will “play the swan, And pass away in music” (A5. S2. L245). Iago’s actions are driven by a desire to control people and his desire for home entertainment and his overpowering jealousy of Othello. It is possible that Iago has his own passion for Desdemona referring to the couple as an “old black ram is tupping your white ewe! (A1. S1. L87), where Othello is acquiring what Iago himself desires. Making use of “ram” is the very first tip to Othello’s age and I think that the contrast of black and white stresses Desdemona’s innocence and thus Iago uses this to forecast Othello as being possessed by witchcraft. The themes of sexual enthusiasm are displayed throughout all three characters. In Satisfaction, we see Briony’s sexual innuendo in her description of the water fountain, “blow through his conch a jet only 2 inches high, the pressure was so feeble” (P18. L17).
This description in my viewpoint is a method of Briony informing the audience that her past sex life has actually been “feeble”, and therefore informing the audience that she is possibly sexually disappointed, thus foreshadowing the following occasions in the novel. She also does this in chapter thirteen where she is imaging how she may discover the twins dead in the pond. Paradoxically, she describes the scenario very sexually by including language like “swell”, “spread”, “collided” and “smooth” (P156. L14-17) suggesting that she gets a greater enjoyment from explaining her story.
This shows that she actually has no interest in the lives of her cousins, however just the drama of the scenario that she can control “securely on paper” (P157. L22). We likewise witness older Briony forecasting herself as a sexually preferable lady, “hot smooth little body” (P4. L7). Briony explaining herself as ‘hot’ would be quite shocking for an audience reading this at this time. Despite this, I believe that because Briony is in a transitional duration in between kid and lady, her mom has actually undervalued her sexuality.
In comparison, Desdemona in Othello is at a comparable phase in her life. Her father undervalues her sexuality in misunderstanding her relationship with Othello, “Daddies, from for this reason trust not your daughter’s minds” (A1. S1. L168). This relationship would be thought about incorrect as far as 16th century attitudes due to the fact that of the topic of race. Iago’s sexual passion is derived from a variety of various things. Firstly, Emilia admits that she’ll “nothing however to please his fantasy” (A3. S3. L303). Uninformed of Iago’s proposed actions, Emilia steals Desdemona’s scarf.
In my opinion, this informs the audience that Iago gets his sexual pleasure from damaging Othello’s relationship with Desdemona, instead of from his partner Emilia. He also admits that ladies in his eyes are merely servants, “you increase to play and go to bed to work” (A2. S1. L115). Using the word “work” recommends that Iago thinks that a women’s just purpose is for in bed. His sexist viewpoint degrades females’s self-respect and would surprise a contemporary audience. Whilst Iago get’s his complete satisfaction from his enthusiasm for secrets, Grenouille in Perfume gets his passion through fragrance, “shuddering with happiness” (P45L30).
The word “trembling” suggests a sexual enjoyment that Grenouille obtains from his love for the fragrance of the lady. Paradoxically, Grenouille has no interested in any of the lady’s characters, physical beauty and, extremely, there sexual destinations are unimportant to him. I think this is because he describes himself as having “merely existed as like an animal” (P45L33), and therefore proving his lack of libido for the women he murders. All 3 characters want comprehending their desires, and each do this in various ways.
In Satisfaction, Briony states, “it was wrong to open individuals’s letters, however it was right, it was important for her to know whatever” (P113. L9). This reveals Briony’s desperation to understand everything about everyone in the family. Despite her being old sufficient to comprehend that it is “wrong to open people’s letters”, she neglects this in the possibility of being able to create a brand-new story out of it. When Briony does find the key trick for her story, she admits, “it was what lay behind this near-joyful sensation” (P118. L4).
Although in my opinion she has misread the truths of Lola’s ‘rape’, her “near-joyful feeling” clearly specifies her enthusiasm for understanding and manipulating the fact. She admits this at the end of the novel, “if I really cared so much about truths, I would have written a different kind of book” (P360. L24). I like Briony’s sincerity here, which reflects her statement at the start of the novel “I am what I am” (P79. L29). This remains in complete contrast to Othello where Iago states, “I am not what I am” (A1. S1. L64), which paradoxically, yet perfectly compliment’s “sincere Iago [‘s] credibility (A2. S3. L330).
Iago’s enthusiasm for understanding grows as the play develops, “How? How? Let’s see:” (A1. S3. L393). His act summaries show the audience that he is preparing his plan as he discovers more information about the other characters. At the end of Act 1, he plans his “monstrous birth” (A1. S3. L403) without stating a reason or a clear plan. Iago’s plans likewise reveal Cassio’s inner vanity when he gets him drunk to show that he is “a guy” (A2. S3. L67). I think that this is smart the method Iago exposes the other characters secrets through his many events “in the womb of time which will be delivered” (A1.
S3. L370). Like smart, Grenouille hints his ultimate strategy like Briony and Iago, “this aroma was the key for buying all smells” (P40. L26). Using the word “key” recommends what Grenouille will unlock something that has actually been hidden, in this case the secret for the best fragrance. Baldini teaches Grenouille that fragrance is developed from a consistency of twelve individual fragrances, and the ultimate thirteenth aroma. Grenouille’s discovery of this final scent drives his passion to learn and understand about drawing out the essence from things, “take the aromatic soul from the matter” (P100.
L3). Making use of sibilance shows Grenouille’s ‘hissed’ manor that we formerly experienced in the book, which I think shows his dark passion. The language of “take” and “soul” I feel is extreme, fast and animalistic, showing a kidnapping action, which is exactly what Grenouille ultimately does when he declares the souls of the girls’. In each unique or play, the main characters end up driving their passion into a catastrophe where the effects of these powerful desires have substantially bad outcomes. Briony’s dreams have terrible effects on those around her.
Controlling the lives of Robbie and Cecilia, she winds up living a depressed life filled with regret. Her actions originate from when Briony was a kid, breaking her relationship with her household and generally her sister, “Within the half hour Briony would dedicate her crime.” (P156. L1). Her passion for story telling wind up becoming a “criminal activity”, putting Robbie into jail, and ruining her as soon as close relationship with her sister. She eventually admits, “How [her] regret fine-tuned the approaches of self-torture” (P173. L5). I believe that although Briony confesses to feeling guilt, her usage of “self-torture” screams for attention.
She then goes on to “threading the beads of information into an everlasting loop, a rosary to be fingered for a life time” (P173. L6). By comparing Briony’s regret to the beads of a rosary and he physical shape of the “loop”, I believe that this stresses the “life time” of her shame for her criminal activity against Robbie and Cecilia. On the other hand, Grenouille will never ever have the time to feel guilt as people “tore away his clothes … they attacked him like hyenas”, eventually obliterating him. Making use of “hyenas” shows the force and violence of the consumption of Grenouille.
Hyenas are expert hunters that generally hunt in the evening leaving no remains of their meal, later spitting up hair, hooves and horns. Hyenas have also been understood to eat their own kind, which mirrors how the people consume Grenouille. This persisting animalistic style I believe is a metaphor for human beings usage. Reasonably the 2 main human desires are for food and for sex, and are the 2 things for humanity to prosper. The novel then might be viewed as a lesson for human’s base desires and hence revealing our inner darkness.
Iago’s inner darkness comes from his method with words by discreetly exacerbating the other characters, “can he be mad? I have actually seen the cannon When it hath blown his ranks into the air” (A3. S4. L135). Iago plays this naive exterior towards the other characters by asking apparent concerns like “can he be mad”. The referrals to “cannon” and “blown” reminds the audience that Othello is a solider and discovers it difficult to process emotional information. Iago is eventually punished after cheating the character’s minds, “If there be and shrewd ruthlessness That can torment him much and hold him long, It shall be his” (A5. S2. L330).
This is the only details we receive from Shakespeare that suggests what occurs to Iago after Emilia captures him out, exposing his real colours to the other characters. Even to this point in the play we see animalistic referrals, “Where is that viper? Bring the villain forth.” (A5. S2. L282). The recommendation to “viper” suggests the pure evil in Iago. Under clinical research study, viper’s habits has actually been studied and researchers have actually discovered that the snake can figure out just how much venom to inject into its prey depending on the scenarios. Their attack has likewise been referenced to as more like a stab than a bite.
This compliments Iago’s behavior throughout the play as he judges the situations he is in as he goes, figuring out just how much ‘venom’ to inject and stabbing Roderigo and Cassio. In each text, I think that most of the audience would discover it challenging to sympathise with the main characters due to their self-centered manners. Briony’s karma is available in the form of a slow death, “simple nouns may be the first to go” (P355. L2). This is Briony’s sense is the worst possible outcome. The obsession of writing that she greatly depends on is the important things that surrenders her enthusiasm for control.
Although at first the audience may sympathise with Briony “due to the fact that [she] will need constant care” (P354. L25). The way Briony mentions this in my opinion is more attention looking for by not directly requesting pity. She then goes on to speak about how Paul Marshal and how “perhaps he’s invested a lifetime making amends” (P357. L36). The word “possibly” recommends that she doubts on how Paul Marshal dealt with his satisfaction and thus informs the reader that she has derived the story from her own imagination, much like she made with the ‘rape’.
In my viewpoint, this prevents the audience from sympathising with Briony since she it still lying about past circumstances to the bitter end of the novel without reason. In contrast, Grenouille acts without a clear explanation to his intentions “like a kid playing with building blocks– inventive and damaging, without any obvious standards for his creativity” (P39. L6). The word “evident” might suggest that Grenouille might have an inspiration for his actions, however Suskind selects not to reveal Grenouille’s thoughts with the audience since he is an extremely invert character.
Although Grenouille has no genuine reason for his desires, as an audience we appreciate his intelligence and his remarkable sense of smell which leads to his success in attaining his objective. Hence I think that this offers the reader a questionable choice on whether to sympathise with Grenouille. Additionally using “kid” also hints Grenouille’s lack of understanding “what these were indicated to express stayed a mystery to him” (P26. L19) suggesting that he does not understand right from incorrect when he makes the decisions to murder the thirteen girls.
This intern offers the reader more of a factor to sympathise with this mass killer. Making use of the phrase “inventive and devastating” highlights Grenouille’s creativity with producing aromas as well as his passion for ‘ruining’ everything in his path “in order to have it … for his heart to be at peace” (P40. L26). This juxtaposition of ‘destruction’ and ‘peace’, I think shows the animalistic ‘damage’ of Grenouille’s body when ‘they assaulted him like hyenas’ so that when he is dead, to him, he is at ‘peace’ as he has attained his goal of achieving his perfume.
This in my viewpoint is why I personally, and I would imagine numerous other readers, sympathise with him, knowing that he has actually fought his passion and was successful. This theme of ‘destruction’ for ‘no apparent standards’ mirrors Iago’s actions, he had no intention for all that he did, but rather did them out of satisfaction. We understand that Iago’s enthusiasm to ruin Cassio branches from his favoured lieutenancy over Iago’s, “3 fantastic among the city … I deserve no even worse a place” (A1. S1. L8-10).
The fact that Cassio loses his position to Othello extremely early on in the play makes the audience question why Iago continues on penalizing Othello and thus we grow to loathe Iago very early on, yet at the exact same time, we appreciate his smart wit and gift of adjustment. In all 3 texts we see resemblances and distinctions that link them entirely. Iago, Briony and Grenouille all have no sexual enthusiasm for their own specific sex life, however rather others around them and particular things.
Each of their enthusiasms provide them power that drive them to get a high control and defeating everything in their path to prosper. Likewise, all 3 texts stop at the height of their passion where they appear to have the most control. Each text represents the character’s passion having an animalistic result, (“hyenas”, “viper”, “swan”). I believe that this suggest that when somebody has an excellent passion for something, the actions they require to attain their goals are limitless therefore their inner animal is released in order to sustain their enthusiasm.
The impact of this animal images lends itself to the truth that the three texts all have a consuming passion, ultimately death. I believe that the styles of enthusiasm and desire are extremely potent and all have different ways of drawing the audience into the storyline. From this, I have actually discovered that there is no generalised beauty, but just every person’s perspective on charm and passion. Bibliography Sparknotes. com– Othello contemporary English translation The Arden Shakespeare Othello by William Shakespeare Pengiun, Fragrance by Partick Suskind Ian Mc Ewan, Satisfaction