Othello #7

As the play comes to an end, Iago's deception and manipulation is finally revealed. Emilia is able to piece together what Iago has done, and shares he truth with the Othello and the Venetian men. As Emilia shares the truth Iago continuously threatens his wife and tells her to go home and stay silent: "Zounds, hold your peace. [...] Be wise, and get you home Draws his sword" (V.ii.232-236). Iago kills Emilia for her betrayal, displaying his innate evil. Iago does not gain anything by killing his wife. He is already found out by the time he kills Emilia, killing her with no real purpose. Iago's murderous actions connect back to his need to seek revenge. He plotted Othello's downfall because he did not get promoted to lieutenant and he thought that the General slept with his wife. The plot of the play is driven by Iago's obligation to seek revenge, and Emilia's murder is his final statement of evil.

Embodying the devil throughout the play, Iago physically represents the devil in the final scene. After Othello realizes that Iago deceived him into killing Desdemona, he is furious and tries to kill Iago. Addressing Iago, the General claims, "If thou be'st a devil, I cannot kill thee" (V.ii.300). Othello stabs the traitor but Iago responds, "I bleed, sir, but not killed" (V.ii.302). According to Othello's statement, Iago embodies the devil because he does not die after being stabbed. Iago's survival enforces the possibility that he is the  literal devil, rather than just an evil person. He brings down the Venetian General and causes the deaths of three honest characters without remorse. Iago's avoidance of death is his final assertion of superiority, displaying that he is stronger and smarter than all other characters.

Sound & Sense Chapter 4

The Widow's Lament in Springtime written by William Carlos Williams (somewhat obviously) tells the story of a mourning widow. The widow discusses flowers that grow in her yard. She admits that her flowers used to bring her joy, but "the grief in [her] heart is stronger than [the flowers]" (15-16). She also shares that her husband has recently died: "Sorrow is in my own yard where the new grass flames as it has flamed often before but not with the cold fire that closes round me this year" (1-6). The widow's husband's death is correlated with her inability to enjoy her flower's. The grief she feels is overwhelming, and affects the way she views the simple joys in life. Spring is viewed as a period of freshness and new beginning, but the widow is still mourning the death of her husband. She does not want to move on and enjoy her life without her husband.

Flowers are often associated with funerals. As someone who clearly loved flowers, is it likely that the widow included an abundance of flowers in her husband's funeral. With a yard filled with "masses of flowers [that] load the cherry branches and color some bushes yellow and some red" (10-14), the widow is constantly reminded that her husband is dead. She is no longer able to enjoy her flowers because they are a symbol of her husband's passing. In the closing lines of the poem, the widow succumbs to her grief and admits that she would like to die in the flowers: "I feel like I would like to go there and fall into those flowers and sink into the marsh near them" (24-27). A peaceful death in her flowers would allow the widow to enjoy her flowers again. She would be surrounded by beauty at her time of death and know that she was dying to join her husband again.

Othello #6

At the end of Act 4 Roderigo becomes frustrated with Iago when he suspects that Iago never intended to aid his chase for Desdemona. He confronts Iago and says, "Every day thou daff'st me with some device, Iago and [...] I will indeed no longer endure it" (183-186). Viewed as the idiot of the play, it is ironic that Roderigo is the only character to pick up on Iago's deception and manipulation. Although Roderigo is aware of Iago's plot to take down Othello and Cassio, Roderigo was never meant to discover Iago's manipulation of him. Roderigo's suspicion marks Iago's first mistake in the play. Previously, Iago's plans and execution have been flawless, but Roderigo's anger highlights the fact that Iago can slip up. Although Iago is quick to fix his mistake, his misstep gives the audience hope that he will not be successful in his evil plans. If the fool of the play can see through Iago's false exterior, the more intelligent characters should be able to as well.

After Roderigo becomes a symbol of hope, he quickly falls back to his expected state of ignorance and stupidity. He agrees to kill Cassio after Iago convinces him that his actions will finally win over Desdemona. Realizing that Roderigo is a threat, Iago declares that he must die: "Live Roderigo, he calls me to restitution large of gold and jewels that I bobbed from him as gifts to Desdemona. It must not be" (14-18). In true Iago fashion, Iago stabs Roderigo after Cassio has already injured him. Although Roderigo was already going to die, Iago makes a final statement of superiority to Roderigo. Iago's violence tells Roderigo that he was right in his suspicion of Iago, but he was too much of a fool to walk away. Iago's final betrayal of Roderigo shows that he takes pride in his malice. Iago could have just let Roderigo die, but he felt compelled to make a final statement to demonstrate his skills of deception.

Othello #4

As the play continues, Iago flawlessly demonstrates his skills of manipulation and deception. Iago utilizes the jealousy in his quest to take down Othello. When Iago is left alone with Othello he hints that he thinks Cassio is disloyal to Othello. Rather than telling Othello directly after being asked, Iago builds the suspense of his assumption by prolonging the revelation.When Othello orders Iago to share his thoughts, Iago responds, "Good my lord, pardon me, though I am bound to every act of duty I am not bound to that all slaves are free" (III.iii.138-140). Iago wants to make it seem like he is trying to protect his general by remaining silent. Although Iago has convinced Othello that he is loyal and loving, he makes the point that he does not have to tell Othello what he is thinking. Iago appears adamant about not sharing his thoughts with Othello in order to display his supposed care for his superior. To Othello, Iago does not want to share his ideas because Iago does not want Othello to be worried or suspicious of thoughts that do not have proof. Iago's avoidance of sharing his thoughts successfully leads to Othello's jealously, which is what Iago was aiming for in the first place. Before Othello appears outwardly jealous Iago says, "Oh, beware, my lord, of jealousy! It is the green-eyed monster which doth mock the meat it feeds on (III.iii.169-171). Iago warns Othello of the dangers of jealousy to provide explanation for why he does not wish to share his thoughts. In actuality, Iago mentions jealousy to suggest that his thoughts are something Othello should be jealous about. Iago's use of reverse psychology is successful. After Iago shares his ideas about Cassio and Desdemona Othello loses control and falls into a fit of jealousy and rage. Othello becomes angry with Iago and says, "Villain, be sure thou prove a love a whore, be sure of it" (III.iii.367-368). Othello is angry with Iago because he ruined his happiness that spurred from his love of Desdemona. Othello has fallen from a euphoric state into a unfortunate state riddled with jealousy. Iago is successful in ruining Othello's happiness, but Othello is angry with Iago, which does not fit Iago's plan for the general's downfall. In order to mend his relationship with Othello, Iago shouts about the disadvantages to honesty: "O wretched fool that lov'st to make thine honesty a vice! O monstrous world! Take note, take note, O world, to be direct and honest is not safe" (383-386). Iago's claims are meant to make Othello feel bad about becoming angry with Iago for being honest. Othello asks Iago to share his thoughts, and Iago complied. Othello's anger with Iago disintegrates, and Iago regains his superior's trust. Iago has leverage over Othello to keep his plan going.

Analysis of Iago's Soliloquy

After Iago convinces Roderigo to anger Cassio in the night, he is left alone on stage to deliver a soliloquy. He tells the audience that he thinks Cassio and Desdemona are in love: "That Cassio loves her, I do well believe't. That she loves him, 'tis apt and of great credit" (II.i.280-281). At this point in the play, nothing prominent has occurred to suggest that Cassio and Desdemona are in love. Desdemona seems enchanted by her husband Othello, and Cassio appears to be loyal to the general. Iago does not truly believe that Cassio and Desdemona are in love, but he wants to convince the audience that they are. Iago plans to convince Othello that Cassio and Desdemona are unfaithful to the him, breaking up Othello's marriage and ruining Othello's relationship with Cassio. If Cassio and Desdemona end up falling in love, Iago will gain the trust of the audience from the truth of his claim. In addition, Iago will have demonstrated the effectiveness of his malice and his skills of deception.

As Iago's speech continues, he offers reasoning for why he hopes to ruin the lives of Othello and Cassio. Addressed previously, Iago reiterates that he thinks Othello slept with his wife, but Iago adds that he thinks Cassio also committed adultery with Emilia: "For that I do suspect the lusty Moor hath leaped into my seat [...] [and] I fear Cassio with my night cape too" (290-301). Unoriginally, Iago is trying to provide justification for his hate for Cassio. He wants the audience on his side, so he attempts to curb their curiosity as to why he hates his superiors. Iago's continuous suspicion of his wife's infidelities suggests that, along with his evil and deception, Iago is paranoid. Iago is dishonest and creative, and it would have been easy for him to think of new reasoning for his hatred. Iago's numerous uses of the adultery claim suggests that he truly believes that his wife was unfaithful. It is already known that he is jealous of Othello and Cassio for their higher positions in the navy, and Iago is searching for more justifiable reasons for his hatred. Iago is quick to jump to conclusions due to his petty anger and jealousy. In addition to his desire to convince the audience that his hatred is justified, Iago also feels the need to convince himself.

Sound & Sense Chapter 3

When my love swears that she is made of truth written by William Shakespeare tells the story of lovers who lie. The speaker introduces his beloved saying that "she is made of truth" (1), but in the next line, he contradicts his previous statement with "I know she lies" (2). These statements are direct contradictions and are used to represent the complex idea of love. The speaker is fully aware of his beloved's dishonesty, but he makes the conscious decision to ignore her lies in order to believe she is angelic and honest. The speaker makes himself blind to his beloved's deception because he loves her and wants to see the best in her. Honesty is easier to love than dishonesty, which is why the speaker chooses to believe in lies rather than reality.

The speaker uses the word "lie" throughout the poem because of its dual meaning. As the speaker finishes the poem he says, "Therefore I lie with her and she with me" (13). Here, the word "lie" has two denotations. It means to lie down together literally and to be dishonest to one another. The dual meaning of the word displays the affection and deception within the speaker's relationship. The lovers lie together because they are in love, but they outwardly lie to one another. The dual meaning of "lie" at the end of the poem suggests that "lies" at the beginning of the poem could also have dual meaning. The speaker says, "I know she lies" (2), which suggests that his beloved could be unfaithful in addition to her dishonestly. Despite the lack of honestly within the speaker's relationship, lies complement the lovers: "And in our faults by lies we flattered be" (14). Lies within the relationship are known and accepted by both parties, making the relationship unexpectedly open and honest.

Othello #3

As the play progresses, the first stage of Iago's plan to take down his foes is successful. When Othello leaves for the night with Desdemona, Iago gets Cassio drunk so the lieutenant will lose his judgement: "If I can fasten but one cup upon [Cassio], with that which he hath drunk tonight already, he'll be as full of quarrel and offense as my young mistress' dog. [...] Now 'mongst this flock of drunkards am I to put our Cassio in some action that may offend the isle" (II.iii.42-55). Iago knows that Cassio does not enjoy drinking, and that the lieutenant does not have a tolerance for alcohol. Iago has already sent Roderigo to anger Cassio in the night, and a drunken Cassio would make a public scene more accessible. Iago desires a spectacle for Cassio to shame himself publicly because Othello would have to remove the lieutenant from his position for disgracing himself and the Italian navy. Iago disapproved of Cassio's promotion from the start, and Cassio's removal would leave the position open for Iago. Iago succeeds in his maniacal plan to take down Cassio while simultaneously convincing Othello and Cassio that he is an honest and caring person.

While Cassio and Montano are fighting, Iago makes it seem like he tries to break up the brawl. He says, "Fie, fie, lieutenant, you'll be ashamed for ever" (II.iii.147-148) and "Hold, ho! Lieutenant–sir, Montano–gentlemen, have you forgot all place of sense and duty Hold! (II.iii.153-155). Iago wishes to appear helpful even though he secretly caused the violent mess. By attempting to control the senseless fight, Iago displays his leadership qualities to Othello in order to highlight the general's mistake in choosing Cassio as second in command. In addition to Cassio's public embarrassment, Iago's apparent leadership makes it clear that Iago should have been chosen over Cassio. Although Iago is subtly betraying Cassio and Othello, he appears loyal to both in order to maintain their trust. It is essential that Cassio and Othello trust Iago in order for the menace's success to continue.

Othello #1

Throughout the first act, Iago's manipulative nature is revealed. Iago admits that he hates Othello because the General did not choose Iago to be second and command. The Venetian military veteran discusses plans to seek revenge on Othello with Roderigo, who also hates Othello because he loves Othello's wife. Iago's flawless double-sided nature is displayed through his contrasting behavior around Roderigo and when he is alone. When talking to Roderigo, Iago openly states that he hates Othello: "I hate the Moor" (I.iii.359). In addition to his own hatred for Othello, Iago is also trying to appeal to Roderigo's hatred for the General. Iago wants to partner up with Roderigo because Roderigo will supply a great amount of money towards the effort to take down Othello. Although Iago appears loyal to Roderigo, he admits, "Thus do I ever make my fool my purse. For I mine own gained knowledge should profane if I would time expend with such a snipe but for my sport and profit" (I.iii. 374-377). When no one is around to hear his confession, Iago admits that he is only using Roderigo for his money. He has no interest in helping Roderigo win Othello's wife, he is only interested in taking Othello down for himself.

In addition to his two-faced nature towards Roderigo, Iago falsely represents himself around Othello. Iago has already admitted to his hatred of his superior when he goes to meet with Othello and the Duke. When face-to-face with Othello, Iago treats Othello with respect and loyalty. Roderigo arrives with Brabantio, accusing Othello of stealing Desdemona. Iago defends Othello when he says, "You, Roderigo! Come, sir, I am for you" (I.ii.60). Iago pretends to be willing to fight Roderigo in order to demonstrate his loyalty towards Othello. Iago wants Othello to trust him so the General will not suspect his evil intentions. Unfortunately, Iago's misrepresentation of himself is convincing and Othello has faith in his subordinate.  

Poem #1

Creativity is what I lack.

I've been told to write a poem

With no requirements or prompt

Left up in the air to sort through infinite possibilities.

But there is a problem.

Creativity is what I lack.

I find comfort in rules and regulations,

Reacting well to thorough instructions.

How am I expected to write original genius

When creativity is what I lack?

I squirm in my seat, restless and uneasy,

Trying to keep pace with the neighboring poetic prodigies.

I fabricate confidence to appear on par,

But don't you understand? 

Creativity is what I lack

This is my best effort,

I promise that is true.

I'm sorry if I fall short of expectations,

But creativity is what I lack.