Othello

Through fall out Act III, setting iii, Othello speaks in short, clipped exclamations and half-sentences such as Ha! (III.iii.169), O misery! (III.iii.175), and Dost thou blab so? (III.iii.209). There is too nonable repetition, as in Not a jot, not a jot (III.iii.219), O, weighty, inconclusive! (III.iii.431), O, blood, blood, blood! (III.iii.455), and Damn her, dirty minx! O, prick her, snort her! (III.iii.478). Such moments, when Othello shifts from his typical on the face of it effortless verse to grievous inarticulateness, demonstrate the extent to which Othellos passion has broken emergence his self-control. In Act III, guessing iii, he is still speechmaking in mostly coherent sentences or phrases; but this is no longer the case in Act IV, delineation i. This scene begins with Iago saying, Will you think so? and Othello can only unavailing to help and automatically echo, call so, Iago? (IV.i.12).

Iago then introduces the word trickery into the conversation, which sends Othello into a frenzy as he attempts to sort out the semantic differences between Cassio dissimulation on (that is, guile about) Desdemona and lying with (that is, having turn on with) her (IV.i.3335). The assorted words and images Iago has planted in Othellos take heed over the course of the act as are transformed into impressionistic, spasmodic eruptions out of Othellos let loose: Lie with her? Swounds, thats false! Handkerchiefconfessionshandkerchief (IV.i.3536). These eruptions end in the nonsense of Pish! Noses, ears, and lips! (IV.i.40). Ultimately, Othellos inability to articulate seems to get over him physically, as he collapses in a trance (IV.i.41, stratum direction).If you want to get a full essay, order it on our website: Orderessay

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