Desdemona's strength never wanes in this scene. She insists on going to Cyprus, the island Othello must defend against the Turks. Because she has married a soldier, she feels that she must share his life by being at his side-if not, her love is meaningless. Othello urges the Duke to grant her her wish, since the couple hasn't yet had a honeymoon. The Duke agrees, and Othello asks that Iago accompany Desdemona to Cyprus, along with Iago's wife, Emilia, who will serve as her lady-in-waiting.
By the end of the scene, we feel that Othello has chosen a good wife. She's brave, and determined to make her marriage work despite popular opinion. She's also deeply in love with her new husband.
BRABANTIO
We first see Brabantio as a furious father, bent on revenge. By the end of this scene, his last appearance in the play, he is bitter and exhausted from his efforts to get his daughter back.
Brabantio, too, has been fooled by the line between appearance and reality. To his eyes, Desdemona feared to even look at Othello. Brabantio never suspected that she was secretly in love with the Moor.
Brabantio doesn't accept defeat gracefully, saying that he'd imprison any other child he might have rather than see her escape from him, as Desdemona has done. He even refuses to let Desdemona stay with him while Othello is in Cyprus.
Brabantio's parting warning to Othello will come back to haunt the Moor:
Look to her, Moor, if thou hast eyes to see, She has deceived her father, and may thee. Act I, Scene iii, lines 292-293 These are Brabantio's final lines. By the end of the play he is dead, probably of a broken heart.
How do you feel about Brabantio? Is he just an unpleasant old man, spoiling his daughter's happiness? Or is he showing the feelings of many parents facing loneliness and fearing that their child has made an unsuitable match?
Remember that some of Shakespeare's audiences would have sympathized with Brabantio. The age, social, national, and racial differences between Othello and Desdemona would have made Elizabethans just as uneasy as Brabantio. Blacks were often seen in 17th-century England-as soldiers and traders-but they were considered exotic, mysterious, different. An audience of Shakespeare's day might have been moved by Othello and Desdemona's love but it would have been doubtful that such a match could succeed.
Brabantio is a product of his time. No matter how much he respects Othello as a soldier, he considers him his social inferior. Brabantio's prejudices are easy to recognize. There are people today who would react in a similar way.
IAGO
Iago steps forward again at the end of the scene. Roderigo is ready to drown himself now that Desdemona is married, but Iago has nothing but contempt for such an idea. Why kill yourself because of another person, he wonders. Iago insists that a man must control his fate. The trouble with people, he insists, is that they don't treat themselves well enough.
Iago reveals a strong will and a powerful cynicism. When Roderigo says that he can't change the way he feels about Desdemona, Iago is scornful. He compares man's body to a garden that can be sown and cultivated by the force of his will. We have power over our fates, he implies, so Roderigo can get over his love if he so chooses. Love, according to Iago, is merely lust, a ***ual itch that needs to be scratched. Roderigo would be better off, Iago tells him, by making money to ensure Iago's help in winning Desdemona, not sighing over what might have been.
Iago advises Roderigo to follow Desdemona to Cyprus, where his success with her will be assured. How will this happen? Iago assures him that Moors are known for their changeable ***ual tastes and that Desdemona will soon tire of Othello and look for a younger man. Iago easily exploits Roderigo's ignorance of Othello's race and the common consensus that the Moor is too old for Desdemona. Roderigo, his hopes high again, rushes off to sell his land.
Left alone, Iago speaks his first soliloquy. Because Shakespeare is always careful to have his characters speak their true feelings in soliloquies, it is important to look at these speeches carefully.
No one is safe from Iago's scorn. He thinks of Roderigo as a fool, an easy mark. But Iago's hatred of Othello is foremost in his mind. In the first scene, Iago has told Roderigo that he was angry at Othello for appointing Cassio as his lieutenant. Now Iago says:
And it is thought abroad that 'twixt my sheets Has done my office. I know not if't be true. Act I, Scene iii, lines 405-406
Iago has heard rumors of an affair between Othello and Emilia. Is this what motivates his hatred?
NOTE Some readers point out that Iago does not say he hates Othello because of the rumor. He says he hates him and he's heard the rumor. The use of and instead of because suggests that the rumor doesn't represent the major cause of Iago's hatred, but is an additional aggravation. It's clear that even a suspicion of wrongdoing on Othello's part is enough to feed Iago's hatred.
A pattern begins to emerge in Iago's reactions. His reasons for hating Othello (some of them mentioned only once in the play) begin to seem like excuses for a general hatred that even Iago doesn't fully understand. We'll see as the play continues that he hates the human race, and delights in seeing people's joy turn to pain. In contrast to Othello, whom Iago describes as having a "free and open nature," and who trusts everyone until he learns otherwise, Iago trusts no one. And those he sees as good and noble, he moves to destroy.
His plan against Othello unfolds in front of our eyes. Now, though, it's just a seed to be nurtured in Iago's malignant brain. He begins with the idea of using Othello's trusting nature and his good opinion of Iago.
Then his plan grows to include Cassio-why not see him disgraced, too, and inherit his job? Cassio is handsome, and Iago could suggest that the young lieutenant is too friendly with Desdemona. As trusting as Othello is, it will be child's play for Iago to lead him-"By the nose/ As asses are"- to jealousy.
Iago pledges himself to the demonic in his last two lines:
I have't. It is engendered! Hell and night Must bring this monstrous birth to the world's light. Act I, Scene iii, lines 421-422 NOTE Shakespeare often uses night to represent disorder and chaos. (Both Acts I and V of this play are set at night.) Daylight usually brings reason and restoration of order. Here Iago sees night and hell as the parents of his plan. He knows very well that his plan is evil, but he moves to put it into action-and does it with gusto!
ACT II, SCENE I
The action moves for the rest of the play to the island of Cyprus. LINES 1-91
Fear and anticipation grip the people of Cyprus. A violent storm is raging off the coast. Montano, the governor of Cyprus whom Othello will replace, looks anxiously out to sea. Will the Turkish fleet make it to port, or will the storm destroy their ships?
The good news arrives soon: the war is over! The Turkish fleet, badly damaged by the storm, is retreating, and the threat to Cyprus is over. NOTE It may seem strange that Shakespeare makes so much of the war in Act I and then drops it after the first few lines of Act II. We saw how the war is used to show Othello's importance to the Venetian government. It also provides Shakespeare with a good excuse to move the main characters-particularly Desdemona-away from Venice, where much of the rest of the story will depend on her isolation and vulnerability. Now that we have accepted Othello's good standing in the community, Shakespeare can continue his story without the interruptions the war-or Desdemona's family-might bring.
روش خرید: برای خرید پس از کلیک روی
دکمه زیر و تکمیل فرم سفارش، ابتدا محصول مورد نظر را درب منزل یا
محل کار تحویل بگیرید، سپس وجه کالا و هزینه ارسال را به مامور پست
بپردازید. جهت مشاهده فرم خرید، روی دکمه زیر کلیک کنید.
دانلود تولبار جی تاک
