Designed for D. Mitchell's English A1 HL International Baccalaureate class at Socastee High School, this blog offers students key information, blog questions, assignments, and homework related to Part IV and Oral/Written Commentaries. Useful and fun links, as well as other resources, will also be included as time permits.
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Dramatic irony is utilized in Acts I and II in order to introduce the reader to the situation of Othello and Desdemona’s relationship that Iago has skillfully manipulated. The play starts with Iago complaining to Roderigo about the Moor giving the position of lieutenant to Michael Cassio and Iago devising a plan to deceive the Moor. Iago decides “[i]n following [the Moor], [he] follow myself” (218) and will not let this position, he thinks he truly deserves, slip out of his hands without a fight. From that point forward Iago’s plan is enforced and the dramatic irony begins, the audience knows people, like Brabanito, the Moor and Desdemona, are being lied to and led in directions that do not favor peace and happiness but rather jealousy and death. Iago only hopes that “[Desdemona] finds error in her choice” (235) when she decides to marry the Moor, in order to take from the Moor, the one thing he cares most about. The dramatic irony creates opinions in the audience about certain characters, specifically Othello and Desdemona, characters that are unable to recognize the truth when the evidence is blatantly in front of their eyes. The dramatic irony not only shows the well schemed nature of Iago’s plan, but also adds humor to a rather tragic story.
ReplyDeleteShakespeare use of dramatic irony in Acts I and II reveal to the readers the characteristics of Iago. The play starts off with Iago and Roderigo conversing about Desdemona’s marriage to Othello, and at first Iago says to Roderigo “despise me if I do not hate” (217) Othello, but then turns around and during his soliloquy says that he “do[es] hate” (221) Othello and in “necessity of present life, [he] must show out a flag and sign of love” (221). The necessity of the love is due to Iago’s quest of revenge, not to help Roderigo acquire Desdemona’s love. These two acts contain the creation of Iago’s master plan, and dramatic irony further enhances his true manipulative nature. The audience becomes aware of Iago’s true intentions when he says ‘that Cassio loves [Desdemona], and [he] does well believe it; that she loves him, ‘t is apt and credit” (244), and uses this to get Roderigo to go against Cassio. However, Roderigo doesn’t know that Iago hates Cassio as well because of his suspicion that he has slept with his wife. The dramatic irony allows for the readers to piece the puzzle together.
ReplyDeleteThe implication of dramatic irony is extremely vital to the role of Iago. The use of dramatic irony enables the audience to view how secretive Iago behaves but while knowing what the secrets are. The inside knowledge of which the audience possesses is a key factor to the play as a whole and establishes Iago as conniving and scheming. In agreement with Sara, dramatic irony is present within the relationship of Othello and Desdemona through its manipulation by Iago. Through his soliloquys, one is able to gain insight on Iago’s plan of destroying the relationship of Othello and Desdemona as well as his true feelings toward the protagonist Othello and other main characters. When alone, Iago exclaims “I hate the moor”(236) which contradicts his proclamations of respect of love towards Othello (to his face) throughout the play and presents Iago to the reader as not truly honest as he is often referred to being in the novel (another example of dramatic irony). In Act I, Iago first announces his plan to ruin the relationship of Othello and Desdemona announcing “After some time, to abuse Othello’s ear that [Cassio] is too familiar with his wife” (236). After this point, the use of dramatic irony becomes extremely prominent throughout Acts I and II as the audience knows of Iago’s scheme however Othello continues to trust in him and refer to him as “Honest Iago”.
ReplyDeleteIn Acts I and II Shakespeare uses dramatic irony quite frequently, this is because the plot is developing during this part of the play. The purpose that he uses this element is to inform the reader as to the events that are occurring behind the scenes. Some of the first times he uses dramatic irony is in the first act when Iago is speaking to Roderigo and Roderigo ask if Iago hates Othello, and Iago says that he “follow[s] him to serve [his] turn upon him”(218). He continues to say that he isn’t who he acts like he is and that basically he is deceiving Othello. So when Iago and Othello first meet in this play, the reader knows that while Iago may play the faithful servant, he really is pushing for Othello’s demise. Perhaps the most important use of dramatic irony is the soliloquy at the end of Act I in which Iago tells only the reader what he plans on doing and his reasons for doing so. In Act II the purpose that Shakespeare uses dramatic irony is just to further foreshadow the events that will occur, and also let the reader in on Iagos true plans. In Act I Scene II Iago has another long soliloquy where he tell the reader that he plans to make Cassio look like a fool and take Cassio’s job that Iago believes should be his. The dramatic irony makes all the secret plots and backstabbing that is at this point being plotted easier to understand, and also serves to build up to the climax which occurs in Act III.
ReplyDeleteDramatic irony is increidbly important in this play, especially in Acts I and II, because it shows the reader that Iago is in fact honest. While he manipulates the other characters, he basically tells them, and the reader, what he is up to and that he can't be trusted. This is quite evident from the first page of then play. Iago is talking to Roderigo, and Iago plainly says "I am not what I am" (219). Shakespeare uses this piece of dramatic irony almost as foreshadowing as well. While Iago is letting Roderigo in on his secret plan without him knowing, Iago is also telling the reader that not everything he says when he is with other people is the whole truth. Also, on page 244, Iago's soliloquy is full of dramatic irony. In this soliloquy, he basically informs the audience of his plan, telling them that he is going to make Othello thank him for "practising upon his peace and quiet even to madness" (244). Not only in this soliloquy, but throughout the whole play, Iago dicatates his plans to the audience before making them happen. Shakespeare uses these examples of dramatic irony to show the readers and audience members just how cunning Iago is. While the characters trust Iago and have no idea of what's to come, Shakespeare uses dramatic irony to show the audience what is going to happen before it actually does.
ReplyDelete- Taylor!
Shakespeare's use of dramatic irony in the first two acts allows the reader to establish an idea of Iago's intentions, and the ability to foreshadow the downfall of the relationship between Desdemona and Othello. Iago cannot be seen "to be produced against the Moor"(221) because it could cause harm to himself if he were against Othello. This allows the reader to understand that Iago's true intentions are to harm the Moor, but Othello does not understand this and believes that Iago is a true friend, which implies the dramatic irony. Othello's downfall is that he harbors faith for "Honest Iago"(234), and will continue to trust everything he must say. The dramatic irony behind Othello's faith foreshadows Iago's victory with getting his revenge against Othello. Furthermore, Iago views the discussion between Desdemona and Cassio in Act 2, Scene 1 and sees that Cassio "takes her by the palm"(241) and knows that he can utilize his charm on Desdemona to his advantage. This further establishes the dramatic irony due to the fact that the reader deduces that Cassio will soon be used in Iago's plan. Shakespeare's use of dramatic irony allows the reader to foreshadow the following events until Othello's ultimate downfall.
ReplyDeleteShakespeare utilizes dramatic irony in act I and II to reveal a suspenseful tone as the reader knows what Iago is going to do – before he does it. Iago reveals to the reader that he “hate[s] the Moor; And it is thought abroad that ‘twixt my sheets”(236) which sets up the story and the background in a simple monologue. It also reveals Iago’s true feelings towards Othello because he does not show them through his confrontations with Othello. Iago also tells the reader that it will be easy to manipulate Othello because he “thinks men honest that but seem to be so; and will tenderly be led”(236) which reveals the plot and opens up the story to go in to the rising action.
ReplyDelete-CORNNELL
Dramatic irony in the first two acts primarily serves the purpose of creating a sense foreshadowing. Having been exposed to Iago's plans in the first scene of the play, the audience is well-equipped to picking up on subtle verbal cues. After a riotous fight breaks out amongst Othello's men, Iago's explanation is immediately accepted by Othello, who says, "I know, Iago, / Thy honesty and love doth mince this matter" (251). We, however, know that while Iago is always technically (and only technically) honest, he certainly has little capacity for love- especially for his commander. Brabantio warns Othello to "look to [Desdemona], Moor, if thou has eyes to see: / She has deceived her father, and may thee" (234). Foreshadowing the supposed betrayal of Desdemona, actually at the hands of Iago, the audience can anticipate the story's tragic twist. In giving this piece of dialogue, Shakespeare provides greater reason for Othello to believe Iago's claim. Dramatic irony in this case provides a dark sense of humor and a functional contribution to the narrative.
ReplyDeleteIn acts I and II Shakespeare exercises dramatic irony to add suspense and to foreshadow future events. The obvious dramatic irony in these acts is the use of the word “honest” in the direction of Iago. Iago constantly deceives all of the characters yet is believed honest till the end. The dramatic irony in these situations adds tension to the play as the audience wonders when he will be uncovered. His so called honesty also foreshadows Othello’s flaw, that he is too trusting of Iago and that he will fall due to his gullibility. In one instance of dramatic irony Roderigo does not realize Iago’s plans when Iago states, “I follow him to serve my turn upon him” (218). The audience catches on to Iago’s agenda, but Roderigo cannot understand. It is ironic because Roderigo then follows Iago, but the audience speculate if Roderigo will ever understand Iago’s true intentions. Dramatic irony also causes the audience to reflect on a certain moment and what could have been.
ReplyDeleteActs I and II of Shakespeare’s Othello are loaded with dramatic irony. It is crucial to the development of the rising action that the audience sees behind Iago’s plots. Without knowledge of his wicked plans the audience can not appropriately grasp the characters’ positions. When Iago yells, “You, Roderigo! Come, sir, I am for you.”(224) he is pretending to be against Roderigo and for Othello. But the audience is well aware that it was Iago who had contrived for Roderigo to arrive in the first place. The audience is allowed to see early on the fault in Othello’s trust of Iago. Iago’s true nature and intentions must not be hidden or the audience can not perceive the plot. The audience must also grasp the blindness of Othello’s trust in Iago through repeated phrases such as “Iago is most honest,” to appreciate Othello’s danger. The audience can see and understand the falsity of Othello’s praises of Iago’s honor After the audience witnesses Iago destroy Cassio’s reputation by setting him up in a position of disgrace, they then see him defend Cassio the passage beginning, “But men are men.” (251) and then give him sound advice beginning with, “you or any man living” (253). The dramatic irony in Acts I and II reveals Iago’s cunning and brilliance and Othello’s misplaced trust in him, heightening the rising action and suspense.
ReplyDelete- Stephanie
I agree with Sara. The use of dramatic irony in Shakespeare’s tragedy Othello drives the plot of the novel as the audience is made aware of things the characters onstage are not. The most prevalent example is that of Desdemona’s innocence and the fact that only the audience can see through the villainous ploys of Iago. Iago, as the audience soon realizes, has malevolent intentions. However, Othello often calls him, “Honest Iago”. Other characters, especially Roderigo, are not immune to Iago’s manipulative ways as well. The irony, however, is most poignant in the end when Othello, a good man, commits a terrible crime, and Iago, and evil man, impersonates an honorable man.
ReplyDelete-Matt