Iago believes Cassio is not suited for the position Othello has given him because he perceives Cassio as inexperienced and lacking the necessary practical skills for military leadership. He views Cassio's charm and good looks as superficial qualities that do not translate into effective command. Additionally, Iago harbors resentment and jealousy towards Cassio, seeing him as a rival and an obstacle to his own ambitions, which fuels his desire to undermine Cassio's reputation and position.
The classification of Shakespeare's plays as "Histories" "Comedies" and "Tragedies" was done by the publishers of the compilation known as The First Folio. In this edition, the full title of the play is "The Tragedy of Othello, The Moor of Venice", and it is classed among the tragedies.Some people will want to discuss whether this play falls within the conventions and definitions of tragedy drawn from Aristotle by later critics. It is important to know that this is a highly artificial and academic definition which Shakespeare himself does not use, and which hinges on whether there is a "tragic hero" as described by Aristotle (Basically, Oedipus in Sophocles' Oedipus Rex).Some will say Othello is not a tragedy. Othello is not a tragic hero, Iago manipulates him. Othello falls for it because essentially he has to, he is an outsider. Also, Iago has about 200 more lines than Othello. If Iago is considered the central character, then he can in no way be considered a tragic hero.Others will say that 'Othello' is a tragedy as he follows the conventions of a 'tragic hero'. A tragic hero is someone who has a flaw, and that flaw leads to his downfall. Othello's flaw is that he is naive and believes "honest Iago" to be exactly that, honest. Becuase of his trusting nature he declines and he ends his life realising he has nothing to live for. Iago does maniplulate Othello. But just because Iago has more control over the characters before the final scene in Act 5, doesn't mean he is the main character.Another point of view is that the definition of 'hero' in literature has changed, and there may be better ways of deciding whether something is a tragedy than seeing how close the main character comes to Oedipus. Keep in mind that Shakespeare was a man who was beyond his time. He wrote in a very modern way. He isn't called the father of literature for no reason. In short, do we not feel like our guts are kicked out when we see this man, torn between his brain and his heart, who destroys the one he loves and who truly loves him only to find out minutes later that it was all a con job? I think so, and if that's not tragedy I don't know what is.To conclude, 'Othello' is in fact, a tragedy. It is known as "Shakespeare's greatest tragedy".
Some Polish leaders reportedly cried after seeing Arthur Miller's play "The Crucible" because it resonated deeply with their experiences of oppression and persecution during the Communist regime. Aristotle would likely refer to this emotional response as "pathos," which is the appeal to emotion that evokes feelings of pity or sadness in the audience, enhancing the overall impact of the narrative. This intense emotional reaction underscores the play's themes of hysteria and injustice, mirroring the leaders' own struggles against tyranny.
-Not if Mycenea first!
voir un spectacle
Primarily the fact that Iago has suggested to him that that is what is being talked about. By this point, Iago has got Othello into such a state he cannot interpret anything Cassio or Desdemona does as being innocent.
It gives Othello the ocular "proof" that he's looking for from Iago ever since his jealousy is sparked. Othello gave it to Desdemona once they began seeing each other and he believes that if she ever lost it that she would no longer be devoted to him. He knocks it out of her hand during an argument, Emilia picks it up and gives it to her husband Iago. He then places it in Cassio's room and he gives it to Bianca who then throws it back at Cassio (saying that she doesn't want the trifles of another woman) while Othello is watching him (just as Iago wanted) and Othello takes this as meaning that Desdemona gave the hankerchief to Cassio, Cassio gave to Bianca, and Bianca gave it back because she didn't want a token that was given to him from another woman.
Othello is a play, so you should not think of it as a book. Go and watch it, either at a theatre or on film, if you want to understand it. Learning how to understand plays by just reading the script is like learning how to understand music by just reading a score. If you have experience you can imagine a performance; otherwise you can only understand the work by seeing or hearing it. Desdemona becomes worried by a change in behaviour in her husband. He has become suspicious and bad-tempered. She doesn't know that iago is systematically manipulating him into believing that Desdemona and Cassio are having an affair.
Iago believes Cassio is not suited for the position Othello has given him because he perceives Cassio as inexperienced and lacking the necessary practical skills for military leadership. He views Cassio's charm and good looks as superficial qualities that do not translate into effective command. Additionally, Iago harbors resentment and jealousy towards Cassio, seeing him as a rival and an obstacle to his own ambitions, which fuels his desire to undermine Cassio's reputation and position.
An involuntary response to seeing bears in the wild would be shaking or running.
The classification of Shakespeare's plays as "Histories" "Comedies" and "Tragedies" was done by the publishers of the compilation known as The First Folio. In this edition, the full title of the play is "The Tragedy of Othello, The Moor of Venice", and it is classed among the tragedies.Some people will want to discuss whether this play falls within the conventions and definitions of tragedy drawn from Aristotle by later critics. It is important to know that this is a highly artificial and academic definition which Shakespeare himself does not use, and which hinges on whether there is a "tragic hero" as described by Aristotle (Basically, Oedipus in Sophocles' Oedipus Rex).Some will say Othello is not a tragedy. Othello is not a tragic hero, Iago manipulates him. Othello falls for it because essentially he has to, he is an outsider. Also, Iago has about 200 more lines than Othello. If Iago is considered the central character, then he can in no way be considered a tragic hero.Others will say that 'Othello' is a tragedy as he follows the conventions of a 'tragic hero'. A tragic hero is someone who has a flaw, and that flaw leads to his downfall. Othello's flaw is that he is naive and believes "honest Iago" to be exactly that, honest. Becuase of his trusting nature he declines and he ends his life realising he has nothing to live for. Iago does maniplulate Othello. But just because Iago has more control over the characters before the final scene in Act 5, doesn't mean he is the main character.Another point of view is that the definition of 'hero' in literature has changed, and there may be better ways of deciding whether something is a tragedy than seeing how close the main character comes to Oedipus. Keep in mind that Shakespeare was a man who was beyond his time. He wrote in a very modern way. He isn't called the father of literature for no reason. In short, do we not feel like our guts are kicked out when we see this man, torn between his brain and his heart, who destroys the one he loves and who truly loves him only to find out minutes later that it was all a con job? I think so, and if that's not tragedy I don't know what is.To conclude, 'Othello' is in fact, a tragedy. It is known as "Shakespeare's greatest tragedy".
im seeing if this is for real can i get a response
Dayum... Dat cut cray
Nathan Radley fills the knothole with cement to prevent the children from seeing into the house.
an example of a conditioned emotional response is someone that has been in a car accident will feel anxiety or fear of riding in a car afterwards. The fear of riding in the vehicle is a conditioned response to the fear that was present during the accident.
"She doth teach the torches to burn bright. It seems she hangs on the cheek of night like a rich jewel in an Ethiope's ear."
The past progressive tense of "see" is "was seeing" or "were seeing," depending on the subject pronoun. For example: "I was seeing," "You were seeing," "He/she/it was seeing," "We were seeing," "They were seeing."