• Iagos Justice :: essays papers - 123HelpMe
  • Iagos Justice essays
  • Save your essays here so you can locate them quickly

NATURA philadelphia freedom award fredrick douglass : ANIMALI: iagos justice can never be justified Per impostare come sfondo desktop:

Iagos Justice essaysIn William Shakespeare's play Othello, ..

Batman justice system impression of v Superman: ..

Can Revenge Be Justified Free Essays - StudyMode
Photo provided by Pexels
Cassio is profoundly dependent on his ideas of home and sense ofplace. He explicitly makes this connection twice in the play. First, afterIago's mocking intellectual somersaults on the quayside, Desdemona asksCassio his opinion. Here the reply is, "He speaks home, madam, you mayrelish him more in the soldier than in the scholar" (2.1.165). The termhere is borrowed from marksmanship, where home is the target, just as one mayalso say that a person's aim is true. To speak home then is to speakdirectly or honestly, to tell home truths. He makes the link between home andhonesty again after he has lost his place and is seeking to reclaim it withIago's help. Here, the Florentine Cassio says, with an irony not lost ona reader of Machiavelli, that he "never knew / A Florentine more kindand honest" ( Further, that aspect of Cassio that is mostobviously essential to his sense of himself, his reputation, can be restoredto him by reclaiming his "place" as Othello's lieutenant.

Free Othello Jealousy Essays and Papers - 123HelpMe

Iagos justice can never be justified, by taking or causing the bloodshed of the innocent for his own personal gain is no more justified then murder in cold blood.
Photo provided by Pexels

Iago’s justice can never be justified, by taking or causing the bloodshed of the innocent for his own personal gain is no more justified then murder in cold blood.


Free Othello Jealousy papers, essays, and research papers.

Essays - largest database of quality sample essays and research papers on Can Revenge Be Justified
Photo provided by Pexels
The whole scene is an example of her need for self-justification, perhaps to repress a subconscious guilt. An audience need never have heard of Freud to sense that in this scene “the lady doth protest too much.” In her aside, she even justifies her participation in the conversation. She feels that she should be more concerned for Othello's safety than for her own need to be reassured. She cannot face this need and thinks of the whole conversation as simply a diversionary means of passing the time. But her aside itself is the real diversion:

Dec 07, 2011 · The Iraelis involved felt justified in ..
Photo provided by Pexels
Although the men's aggression destroys the women, their attempts at heroic violence against each other do not completely succeed. Othello vows to kill Cassio but never does, and Roderigo's murder attempt on Cassio fails. It takes Cassio and Iago together to kill poor Roderigo, and Othello cannot kill Iago. The cowardice, clumsiness, and insecurity that belie male pretensions to valor are manifested comically--as in the duel or in the gulling of Parolles--in the hesitation of Lodovico and Gratiano to answer Roderigo's and Cassio's cries for help: "Two or three groans; it is a heavy night, / These may be counterfeits, let's think 't unsafe / To come into the cry without more help" (5.1.42-45). Even after Iago's entrance, they still hang back, ascertaining his identity (51) but ignoring his cry (thus allowing him to murder Roderigo), introducing themselves (67), discovering Cassio's identity (70), and finally coming to his side after Bianca, who has just entered (75). They still offer no assistance but only perfunctory sympathy and an anticlimactic explanation: "I am sorry to find you thus, I have been to seek you" (81).

is known to have occurred and he claims that it never ..

Iago's refusal to speak looks like a final act of rebellion against the people and society he despises--and in a sense it is, provided one acknowledges that the people it is really directed against are not those on stage but are rather the audience. This is because at one level the reason that Iago will never speak another word is that the play is ending. After all, despite the audience's desire to believe in Iago as a real person in fact he is simply a collection of someone else's words, a product of Shakespeare's trade produced to satisfy the audience's desire for drama. "What you know, you know." The people who really know are the audience. Far more so than even Othello they know what has taken place over the last two hours, what Iago has done. But what they know is nothing. Why does Iago destroy Othello? At the end of the play one is faced with two equally unacceptable answers to this question--the banal or flawed. One can simply give the answer that Iago hints at throughout the play which is that he is a villain. He destroys Othello because in terms of the conventions of Shakespeare's drama that is what villains do. Alternatively one can pick one of the justifications that Iago, and Shakespeare, drop throughout the play--class hatred, racism, sexism, alienation, etc. At the end of one can choose either Ha or the handkerchief: an explanation that explains nothing--Iago is a villain; or one that 'will do'--that might satisfy the desire to explain Iago but which even as it is put forward will be undermined by one of the numerous other explanations that Iago/Shakespeare provides during the course of the drama.

"Venetian Ideology or Transversal Power

Desdemona is neither jealous nor envious nor suspicious. She is not suspicious or possessive about Othello's job, his intimacy with Iago, or his "love" for Cassio, but supports all three. She seems entirely lacking in the sense of class, race, rank, and hierarchy that concerns the men and is shared by Emilia, who refuses to be identified with Bianca. She treats her father, the Duke, Othello, Cassio, Iago, Emilia, even the clown, with precisely the same combination of politeness, generosity, openness, and firmness. Emilia's and Desdemona's lack of competitiveness, jealousy, and class consciousness facilitates their growing intimacy, which culminates in the willow scene. The scene, sandwiched between two exchanges of Iago and Roderigo, sharply contrasts the genuine intimacy of the women with the hypocritical friendship of the men, while underlining the women's isolation and powerlessness. Emilia's concern for Desdemona is real, and her advice well meant, whereas Iago's concern for Roderigo is feigned, his advice deadly--"whether he kill Cassio, / Or Cassio him, or each do kill the other, / Every way makes my game" (5.1.12-14). Roderigo accepts Iago's "satisfying reasons," finding them sufficient to justify murder; Desdemona rejects Emilia's reasonable justification of wives' adultery without rejecting the concern that prompts her to offer it. In the willow scene sympathy stretches from Emilia and Desdemona to include Barbary and the protagonist of the song--all victims of male perfidy; in the Roderigo/Iago scenes, enmity reaches Cassio. In this play romantic love is destroyed by the semblance of male friendship, which itself soon disintegrates. Meanwhile, friendship between women is established and dominates the play's final scene. Othello chooses Iago's friendship over Desdemona's love temporarily and unwittingly; Emilia's choice of Desdemona over Iago is voluntary and final. Though the stakes here are higher, the friendship of Desdemona and Emilia is reminiscent of the generous, witty female friendship in the comedies, where women share their friends' hardships (Rosalind and Celia), vigorously defend their honor (Beatrice and Hero), support their strategems (Portia and Nerissa), and sympathize with and aid even their rivals (Julia and Sylvia, Viola and Olivia, Helen and Diana, Mariana and Isabella). But in without the aid of disguise, bedtricks, or mock deaths, the women cannot protect each other from male animosity.