Othello

Through proscribed Act III, context iii, Othello speaks in short, clipped exclamations and half-sentences such(prenominal) as Ha! (III.iii.169), O misery! (III.iii.175), and Dost thou press out so? (III.iii.209). There is also notable repetition, as in Not a jot, not a jot (III.iii.219), O, weighty, erroneous! (III.iii.431), O, blood, blood, blood! (III.iii.455), and Damn her, lewd minx! O, prick her, horseshit her! (III.iii.478). Such moments, when Othello shifts from his typical seemingly effortless verse to untroubled inarticulateness, demonstrate the extent to which Othellos passion has broken take his self-control. In Act III, tantrum iii, he is still speechmaking in mostly coherent sentences or phrases; but this is no longer the case in Act IV, scene i. This scene begins with Iago saying, Will you think so? and Othello can only unable to help and automatically echo, Think so, Iago? (IV.i.12).

Iago then introduces the word dissimulation into the conversation, which sends Othello into a frenzy as he attempts to sort out the semantic differences between Cassio craft on (that is, lying about) Desdemona and lying with (that is, having turn on with) her (IV.i.3335). The various words and images Iago has planted in Othellos take heed over the course of the sour are transformed into impressionistic, fitful eruptions out of Othellos utter: Lie with her? Swounds, thats insincere! Handkerchiefconfessionshandkerchief (IV.i.3536). These eruptions stop in the nonsense of Pish! Noses, ears, and lips! (IV.i.40). Ultimately, Othellos inability to articulate seems to whelm him p hysically, as he collapses in a trance (IV.i! .41, wooden leg direction).If you want to get a full essay, order it on our website: OrderCustomPaper.com

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