Throughout Act III, the character of Othello in Shakespeare’s tragedy, Othello, undergoes a huge transformation as he is manipulated by Iago. From the very beginning of the play, Othello is portrayed as a character of great nobility who, despite his race and comparative unfamiliarity with the language, is able to speak in flowing and eloquent speech using exotic and exulted language. Throughout the play however, Othello’s language deteriorates, along with his psychological state, as Iago exploits his insecurities. Iago’s influence on Othello’s state of being is evident in the change in Othello’s character as well as in his deterioration of language.
During Act III, Othello becomes progressively more dependent on Iago and the way in which Iago has manipulated him becomes increasingly evident through Othello’s changing attitude and actions. Othello’s first doubt about his marriage comes as he questions “Why did I marry?” (Act III, Sc iii) and is evidence of his change in beliefs, having earlier being adamant that “Nor for mine own weak merits will I draw / The smallest fear or doubt of her revolt, / For she had eyes and chose me” (Act III Sc iii).
The question, posed rhetorically, indicates Othello’s diminishing self-confidence and increasing feeling of regret and doubt. This change and declining confidence Othello has in himself and his marriage is the result of Iago’s constant undermining of Desdemona’s honesty and chastity, evident in his suggestive comments such as “She did deceive her father in marrying you”. This suggestion subtly implies to Othello that Desdemona has no qualms in defying her father and hence too, her husband. Othello’s mind becomes filled with feelings of doubt and jealousy, fuelled by Iago’s ability in exploiting his insecurities of being different and not being accepted because of his race. When Iago tells Othello that “In Venice they do let God see the pranks / They dare no show their husbands…” (Act III, Sc iii), it implies that Othello does not understand Venetian women, alienating him further. Othello’s mistrust of his wife is reflected when he recalls that “Her name, that was as fresh / As Dian’s visage, is now begrimed and black / As mine own face” (Act III, Sc iii).
The Essay on An Analysis Of Othello And Iago
... madness. (II, i, 1333) Othello shows his naive-ness in act III scene iii when from a distance he and Iago witness Cassio leaving Desdemona, ... order to spark rage, anger, and jealousy in Othello, setting the change of events that lead to the tragic end of the ... As well as turning the noble Othello into an creature so blinded my jealousy, and self-doubt, he would kill the woman ...
The imagery of his speech is dark, the purity of Desdemona, suggested by the mythological allusion to the goddess of chastity, dirtied by the contrasting blackness of her supposed unfaithfulness. Othello is so convinced that later he is unable to believe her honesty despite her denial of the accusations against her. Iago plays on Othello’s insecurity to build his uncertainty of Desdemona’s honesty and chastity. Othello’s insecurities and feelings of doubt culminate to the point where Othello comes to farewell the “Pride, pomp, and circumstance of war” (Act III, Sc iii) symbolising his loss of self respect in his farewell to honour and nobility.
Othello’s deterioration in character is probably most evident in his changing language. From hyperbolic stories of his own heroism, Othello begins speaking in broken fragments, and near inarticulate phrases and exclamations. As witnessed by Iago, seeing that “The Moor already changes with my poison” (Act III, Sc iii), Othello begins using the crude imagery of hell and animals as Iago does. In accusing Desdemona of being unfaithful, Othello exclaims “For here’s a young and sweating devil here / That commonly rebels…” (Act III Sc iv), not only suggesting her unfaithfulness with diabolical references but with crude sexual connotations. As the play progresses greater deterioration can be seen in his truncated and often violent exclamations. Swearing that he will “…tear her all to pieces” (Act III, Sc iii) his violent feelings of jealousy and of being deception come across in his cursing of Desdemona, “Damn her, lewd minx! O, damn her, damn her!” (Act III, Sc iii).
The Term Paper on Imagery In Othello Play Desdemona Iago
... The unique love and feelings shared between Othello and Desdemona is illustrated through such images as 'fairness', the act of kissing, and ... change, as when Iago's 'poison' has started to take effect, Othello then refers to Desdemona as "The fair devil" (III iv 475) ... The meat it feeds on." says Iago which stops Othello from ever having "Sweet sleep" (III iii 329) again. This jealousy which, even ...
The repetition of this phrase not only increases the emotion of his feeling but also highlights Othello’s growing inability to articulate his feelings in a coherent syntax. Influenced by Iago, Othello’s language changes as his stability of mind deteriorates, being consumed instead by intense feelings of jealousy, envy and the need for revenge.
