#5

      Shakespeare's protagonist Othello, develops major changes in his character throughout the story.  As Othello is manipulated deeper into Iago's web of deception causes Othello's character to change.  Othello starts the play as a man devoted to his love and wife, Desdemona.  Othello listens to Iago's false evidence concerning the unfaithfulness of Desdemona.  This manipulation brings out Othello's tragic flaw, jealousy:
        "Othello: Ay, let her rot and perish and be damned tonight, for she shall not live.  No my heart is turned to
         stone.  I strike it, and it hurts my hand.  O, the world hath not a sweeter creature. She might lie by an
         emperor's side and command his tasks" (IV.I.200-204).
Clearly Othello is jealous.  He believes Cassio to have usurped his wife's love.  Othello's tragic flaw of jealousy creates passionate emotions within him.  In his passionate rage he wishes his wife to "rot and perish", later on he insults her and says,
        "Othello: Hang her, I do but say what she is!  So delicate with her needle, an admirable musician-O she
         will sing the savageness out of a bear!  Of so high and plenteous wit and invention" (IV.I.20-209).
Othello's jealousy leads him to a passionate rage which then leads him to falsely accuse his fidelity filled wife of infidelity.  This tragic flaw is all part of the hero's downfall.  Othello is now a darker character.  This is portrayed not only in his transition into jealousy, but also in his references.  Before Othello often referenced Heaven.  In his new darkened attitude, Othello references Hell and the devil.  Othello is also abusive.  Upon seeing his wife and hearing her defend Cassio, the man he suspects to be her lover, Othello proceeds to strike Desdemona and call her the devil.  His rage is leading him into a darker and darker realm. In accordance with the tradition of tragedy, there is a foreshadowing of how his tragic flaw will lead to his downfall:
     "Othello: I will chop her into messes" (IV.I.219).
This statement is made in reference to Desdemona.  Othello plans to kill an innocent woman.  This will most definitely be one of his biggest mistakes.
      Though jealousy seems one of Othello's largest flaws, truly it is his being too trusting which leads to him being manipulated.  Othello was once known as a solid man.  In his trust of Iago he changes into a dark man.  This change is recognized by others,
           "Ludovico: Is this the noble Moor, whom our full senate call all in all sufficient?  Is this the nature
            Whom passion could not shake, whose solid virtue The shot of accident nor dart of chance could
            neither graze nor pierce" (IV.I.297-301).
Othello's change from his solid nature is truly extraordinary.  Had he not been so trusting of Iago, he might have seen through Iago's false pretense and evaded the pit of jealousy set before him.

#4

     In every tragedy there is a hero.  What makes a tragedy a tragedy is the downfall of the hero.  The hero's downfall is not completely unforeseen, it is brought by a tragic flaw, haramatia, which the character and audience must learn from.  Othello is no exception to this rule.  Othello is a true hero, an honorable and confident man he is an ideal leader.  Othello, however is too trusting, this is flaw.  Othello constantly puts his confidence and trust in others.  This is seen clearly in Othello's relationship with Iago.  When Iago begins to plant doubts as to Desdemona and Cassio's relationship in Othello's mind, Othello responds with,
         "Othello: I think thou dost; And for I know thou'rt full of love and honesty And weigh'st thy words before
           thou giv'st them breath" (Shakespeare 125).
Here Othello immediately gives weight to the words Iago, a conniving and malicious man, speaks.  Othello makes the mistake of trusting a man who does not have his best interest at heart.  Again Othello's character flaw is seen in action with regard to the fidelity of his wife:
           "Othello: I'll see before I doubt; when I doubt, prove" (Shakespeare 131).
Othello trusts his wife would never be unfaithful to him.  He does not believe that his wife would go behind his back and be dishonest.  Yet it is not impossible for Desdemona, Othello's wife, to do so.  In the past Desdemona betrayed her own father by going behind his back to marry Othello.  Since she is capable of this, she is also capable of  being adulterous.
         Othello's trust in others will definitely lead to his demise.  His trust will allow him to be manipulated by machinating men like Iago.  As he believes the best in all, and does not have the foresight to see the truth behind people he will be deceived and in the end pay a great price for it.

#3

       Shakespeare's Othello speaks of the difference between outward perception and true character.  Many of the characters within the play are examples of this.  Iago is one of the characters who exemplifies the difference between reputation and true character in a great way.  Throughout the play, in Iago's hope for vengeance he plays the loyal, willing, and dutiful servant.  There is seemingly no fault in Iago, it is for this reason that Othello says:
        "Othello: Iago is most honest" (Shakespeare 83).
This is the perception of Iago to the outside world.  Almost everyone who knows him within the story knows him as an honest man.  He also works very hard to keep up the appearance of honesty.  When asked by Othello what happened to cause the uproar with Cassio, Iago responds with,
         "Iago: I had rather have this tongue cut from my mouth than it should do offense to Michael Cassio.  Yet        
           I persuade myself, to speak the truth" (Shakespeare 97).
Here Iago talks as if he could never tell a lie no matter how much pain it can would cause a friend.  Honesty is merely Iago's reputation.  In reality he is a liar and very wicked.  His show of loyalty towards Othello is a mere act, and the cause of Cassio's downfall.  Iago is everything but honest.
        In the setting of Shakespeare's play reputation is everything.  Reputation can build people up or demote them.   Outward appearances are must be kept up.  Michael Cassio's outward appearance is different from his inner character.  Due to Iago's trickery, Cassio is known as a brawling, untrustworthy drunk.  In reality, Cassio is an intelligent and handsome man.  When his true character is lost to all around him Cassio cries,
             "Cassio: Reputation, reputation, reputation!  O, I have lost my reputation!  I have lost the immortal
              part of myself, and what remains is bestial.  My reputation, Iago, my reputation" (Shakespeare 99).
Cassio's exclamation speaks of the world he is set in.  Outward perceptions are more important than inner character.   It is because of the new outward perception that others have of him that he is stripped of all titles as Othello's lieutenant.  If the outward perception is good, inner character is assumed good, if the outward perception of a person is bad, no matter the true character of the person all hope is lost for being accepted well in society.
       

#2

    Shakespeare's Othello takes place in a time where description tells everything about a person. In modern times people are usually always referred to by name.  When speaking of someone, his or her name is mentioned, before proceeding to tell the story of this person and what he or she does.  In Othello, the protagonist Othello has a series of descriptions almost all of them involve the word "Moor".  When a gentleman speaks of him he says
       "Third Gentleman:...the warlike Moor Othello" (Shakespeare 61).
This description tells much about Othello already it is known that he is a man of war.  Often times Othello is always described as a Moor.  This differentiates him from all other characters.  It says that he could possibly have barbaric tendencies being from Africa and that he his not an Italian like the others.  This is shown when Iago describes him as "the lust Moor" (Shakespeare 79).  Iago's insult of lusty is mad stronger with the use of the word "Moor".  In contrast men like Iago are described as honest and given character descriptions that do not speak to savagery.  Othello is set in a world of prejudice which makes Othello's rise to power all the more great.

#1

      Iago of Shakespeare's Othello is a deceptive character.  Iago starts the play telling his friend Roderigo of how he hates Othello saying, " I follow him to serve my turn upon him" (Shakespeare 9).  Yet while serving under Othello, Iago plays the party of a loyal servant warns Othello of danger: "Be assured of this, That the magnifico is much beloved, And hath in his effect a voice of potential As double as the Duke's.  He will divorce you Or put upon you what restraint or grievance The law (with all his might to enforce it on) Will give him cable" (Shakespeare 21).  Iago shows two sides to his character.  Privately his is disloyal and hateful, publicly he is the perfect dutiful servant, warning his master of danger and seeming to care for his master's welfare.  A servant like Iago cannot be trusted.  With the type of character that Iago has, it would not be surprising if he is what leads to Othello's downfall.  Iago helps to orchestrate the very ploy that would cause trouble for Othello.  Iago's character is fueled by a want for vengeance due to the position that he is not given by Othello.  With such anger in his heart, the plan he sets in motion with Roderigo to demonize Othello in the eyes of people such as Brabantio, is not uncharacteristic of him.  It also shows a relentless want for revenge.  He utilizes his beguiling character to lure his victim, Othello, into a trap.  Iago will stop at nothing to bring Othello down.   Because of Iago's character it would not be difficult for Othello to fall into such a trap.  Iago is a man to be watched and distrusted.  The very man who plays the good servant is the hand that wishes to bring about his masters demise.

"A Doll's House" Commentary on Victorian Women

    Henrik Ibsen's A Doll's House  is a comprehensive examination of Victorian females.  The play revolves around Nora Helmer and her journey into liberation from the restrictions that hold her back as a female.  The play begins with\ Nora being characterized as the perfect Victorian female.  Nora loves her husband and her domestic role as the Victorian housewife.  When her husband questions her obedience towards him she responds with "I should not think of going against your wishes" (Ibsen 6).  Here Nora shows that she is the perfect obedient female.  She allows herself to be the inferior to her husband never even considering to disobey his wishes.  She as the female is subordinate, her husband as the male is superior and thus knows best.  Nora is also innocent and naive.  When expressing her troubles to her friend Christine she is told "Small household cares and that sort of thing!--You are child, Nora" (Ibsen 11).  Here Ibsen portrays the childlike innocence expected of the average Victorian female.  Nora talks of her domestic felicity as if those are the largest cares in the world.  She seems to know nothing outside this life.  She does not know the type of harsh life that her friend Mrs. Linde has had to suffer through.  Those around her treat her in the same manner.  Her husband treats her like a delicate spoiled pet, and her friend Christine clearly recognizes the naivete found in Nora's character.   Nora also characterizes the clear cut gender roles found in Victorian society.  When speaking of how she paid for she and her husband's journey to Italy she says, "how humiliating it would be for Tourvald, with his manly independence, to know that he owed me anything...our beautiful happy home would no longer be what it is now" (Ibsen 13).  Here Ibsen specifically spells out what the female's role is she is to be dependent while the male is to independent.  The female is to do all that she can to create domestic bliss within the home, her role is always within the home.  Nora again emphasizes the Victorian female's dependence when she says " Yes Tourvald, I can't get along a bit without your help" (Ibsen 27).  Nora is a clear example of all the qualities a Victorian female is expected to have.  As the play develops she must throw these qualities away in order to become the woman she really is.
     As the story comes to an end  Nora finally throws aside the role of the Victorian female which has been thrust upon her.  She finally stands up for herself.  The first sign of this change is in her passage from innocence.  After her husband assented to Krogstad's blackmail, she tells him of she wished he would have been willing to sacrifice his honor for her.  When Tourvald responds with " But no man would sacrifice his honour for the one he loves" (Ibsen 66), Nora leaves her naive ways behind completely.  She quips back with " It is a thing hundreds of thousands of women have done" (Ibsen 67).  Here Nora recognizes that women have suffered serious injustice in their subordinate roles to men.  Nora further tramples her Victorian female role when she tells Tourvald "I am no wife for you" (Ibsen 67).  Here Nora completely renounces her claim to the domestic sphere.  In so doing she renounces her dependence upon her husband and the inferior role that restrained her.  Nora further asserts her independence when she tells Tourvald "You are not to feel yourself bound in the slightest way, any more than I shall.  There must be perfect freedom on both sides.  See, here is your ring back.  Give me mine" (Ibsen 67).  Finally Nora frees herself from the subordinate role given to her by society and her husband.  She chooses complete freedom.  She does not allow her husband responsibility for her.  She is a free woman.  In a final and symbolic act of liberation she gives back her wedding ring removing the chains of marriage that kept her in the dependent domestic role.  With this act Nora tramples society's expectations which held her back. Nora drastically changes from the perfect Victorian housewife to a modern day independent woman.