As You Like It- "All is not what it seems."

"A lean cheek, which you have not; a blue eye and sunken, which you have not; an unquestionable spirit, which you have not; a beard neglected, which you have not;" (II.iii.44)

One of this play's theme's my group addressed was "all is not what it seems." This is just one of countless examples showing the theme. This quote is from the conversation between Rosalind, dressed as Ganymede, and Orlando, when she tells him that he must not be in love because "love is merely a madness" and he does not look mad. Although it seems he isn't in love according to Rosalind, Orlando is truly in love with her.

Another obvious example is when Rosalind decides to dress as a man and use that to tell Orlando how to "woo" her. Although everyone except Celia believes Rosalind is Ganymede, she is actually a woman.

My last example of this theme is in Act II Scene 4, in the conversation between Rosalind and Touchstone. During the talk of love, Rosalind contradicts the popular thought that Touchstone is a fool since he is a jester. But while most people are just amused by him, Rosalind points out to him that, "Thou speakest wiser than thou art ware of," showing that he is actually one of the more witty characters in the story, just with a bad reputation.

One argument against this theme is Jaques's character. The reader is introduced to "the melancholy Jaques" (II.i.18) and that's exactly what the audience gets. Later on, he cries for a deer that's been shot, calls Orlando "Signior Love" out of sarcastically, and at the end of the play, leaves the wedding party because he's got better stuff to do. So the seemingly melancholy Jaques was indeed a Debbie Downer. What you see is what you get.... At least he has a cool name.

Reflective Blog

  The play Othello provides several timeless themes which are timeless; being timeless, these related works can be seen throughout history, even in modern culture. One of these omnipresent themes is that jealousy is a powerful, often destructive force. Besides being evident in Othello, this theme can be found in the television show The Office and the book Harry Potter and the Deathly Hallows. While the situations in these sources differ in details, the end result and feelings behind it are extremely alike.
 "I hate the Moor" Scene-Iago

First, Othello emphasizes how jealousy is a powerful emotion with fatal consequences when Iago plots Cassio’s death, saying, “And, in conclusion, nonsuits my mediators, for, ‘Certes,’ says he, ‘I have already chose my officer’” (I.i.15-17). This is just one of many early signs of jealousy and contempt, along with Iago’s obviously resentful speech regarding Othello, swearing, “I hate the Moor, and it is thought abroad that ‘twixt my sheets he’s done my office. I know not if’s be true, but I for mere suspicion in that kind will do as if for surety” (I.i.366-370). These initial evidences of jealousy grow steadily through the play and cause Iago to take drastic measures like manipulating foolish Roderigo, bullying Emilia into silence, and pleading honesty and love to Othello, only to achieve his goal of eliminating threats to his success; this extreme jealousy eventually results in the deaths of Roderigo, Desdemona, Emilia, and Othello.
                                                                                                                             Episode 3: "The Coup"
Next, The Office echoes the same theme in the episode, “The Coup” where Dwight Schrute, a wickedly clever, ambitious, and determined co-worker goes behind the boss (Michael Scott)’s back to meet with a boss, Jan Gould, from their branch’s corporate office. Dwight’s jealousy of Michael’s power as regional manager results in him lying to the person he was most loyal to, saying, “I’m going to the dentist. I have to have an emergency crown put in” (Lieberstein). Although Dwight attempts to overtake the office, Michael confronts him about the instance and punishes him, making him wear a sign that reads, “Liar,“ hanging his head in shame, and doing his laundry for a year. Michael adds, “I don‘t know if I can trust you anymore“ (Lieberstein). Dwight’s willingness to betray his trusting boss by meeting with Jan to talk about how he “could run the branch better than Michael,”(Lieberstein) shows that the consequences of his jealousy, while somewhat trivialized by humor in this instance, are indeed powerful and have lasting negative impacts in that they diminish the once trusting and loyal relationship between these two characters.

Lastly, Harry Potter and the Deathly Hallows reflects this timeless theme of jealousy’s destructive consequences when Ron Weasley is emotionally challenged by a horcrux, which unleashed Voldemort’s voice, essentially torturing the person who opened the device. Saying, “’Least loved, always, by the mother who craved a daughter…Least loved, now, by the girl who prefers your friend…Second best, always, eternally overshadowed…’ (Rowling, 375-376), Voldemort exploits Ron’s greatest, ever-present fears, feeding the fire that is Ron’s jealousy of his brothers and of Harry’s reputation. Then again, Voldemort’s voice, in the persona of Hermione, says, “’Who wouldn’t prefer him, what woman would take you, you are nothing, nothing, nothing to him” (Rowling, 377), swelling even more the jealousy and hatred growing inside Ron. Finally, Ron snaps. “The sword flashed, plunged: Harry threw himself out of the way, there was a clang of metal and a long, drawn-out scream” (Rowling, 377). This sudden act of pent-up jealousy and anger towards a true friend shows that jealousy has the incredible power to manipulate the most trustworthy and loyal of people when in dire situations. So, although Harry, Ron, and Hermione still remain friends, Ron’s outburst and looming jealousy of Harry proves a constant conflict during their travels as well as its hampering their close-knit circle of friends.

Harry Potter and the Deathly Hallows: Horcrux Scene

In conclusion, while the causes, means of showing it, or consequences of jealousy differ, the idea that jealousy is a powerful and usually destructive force, shown in Othello and these two other works, is universal in that the people affected by it often lose out on relationships that without jealousy could have been salvaged.

Works Cited

Lieberstein, Paul. "The Coup." The Office. Dir. Greg Daniels. NBC. WNBC, New York,
New York, 5 Oct. 2006. Television.

Perrine, Lawrence. “Othello.” Perrine’s Literature: Structure, Sound, and Sense. Forth
Worth. Harcourt College. 2002. 1361-1462. Print.

Rowling, J. K. "The Silver Doe." Harry Potter and the Deathly Hallows. New York:
Arthur A. Levine, 2007. 375-78. Print.

Keep on Tryin'

 "Keep on Tryin'" - Poco

This assignment was a toughy because it turns out there are a lot of songs about jealousy, lust, and betrayal. I found one that was a little less violent, but still relates a great message evident in Othello. "Keep on Tryin'," by Poco, a band from like the 60s, but their song's message is still relevant. Anyways, the song is about a person who is "full of doubt" and who "just can't let it be." The singer states they want to "confide in all that is true." But, if that person "keeps comin' back for more," the other person will "keep on tryin.'" I think this really mirrors Desdemona's relationship with Othello. This is like this couple's situation because theirs involves doubt, infidelity, and a lack of trust, mostly on Othello's part. When Iago plants a seed of doubt in Othello, he begins to worry if Desdemona has cheated on him with Cassio, and slowly but surely, he is convinced she is a whore. Desdemona, on the other hand, claims innocence throughout the play, and she is right to do so. Staying loyal and honest throughout the story, she even goes so far as to tell Emilia she killed herself when Othello smothers her. Her devotion is fueled by her true love for Othello, despite his doubt and accusations. And because of this love, Desdemona continuously tried to convince Othello of her integrity (Act V), and she overlooks his vengeful actions even to the end of her life. So, because she "keeps on tryin,'" as well as the fact that she "lays it on the line to find a way to get on home to you [Othello]," she upholds her reputation as one of the few good guys and one of my favorite characters.

The original, from the 1970s, was in pretty bad condition, so here's a high-quality with a guy on a horse. :)                                                                         

 

Just because there are too many songs, and I had too many ideas, here are a few songs I think fit nicely with some of the characters:

Othello: Rumour Has It- Adele/ Love the Way You Lie- Eminem

Desdemona: I Will Always Love You- Whitney Houston

Iago- S&M- Rihanna/ Circus- Britney Spears

Emilia- Feeling Good- Jennifer Hudson/ Believe- Cher

Cassio- Hurricane Drunk- Florence + the Machine

Roderigo- Glamorous- Fergie

Montano- I Need a Doctor- Eminem

Introducing a new hit show coming to your TV next fall...

The Real Housewives of Venice!

SCANDALOUS.
                                                                                             

Iago for President

"I told him what I thought, and told no more Than what he found himself was apt and true." V. ii. 175-176
So, recently, I've been drawing a lot of comparisons between Iago and politicians. They're both smooth-talkers, people-pleasers, and they get the job done. And by that I of course mean that they kill off minor characters for no apparent reason. Anyways, because Iago is represented as the protagonist telling the story, I think I'm going to have to side with him. While despicable and vile in ways unimaginable, you gotta admit, he's talented. He can manipulate anyone around him without them knowing it- Roderigo, Cassio, Othello, Emilia, just to name a few. He pleases anyone who's around him, telling them what they want to here. And he's been known to, after delivering bad news, whip out a guilt trip on the person who should be angry at him. Just one example is when he "confesses" Cassio's dream and actions to Othello, who half-strangles him, when Iago then makes Othello feel bad for punishing honesty and love.

This guy would be a great world leader! He's obviously very passionate about leadership (or plotting the leader's gruesome death). That's not to mention he's efficient (considering he in/advertently killed 5 people in a matter of days), people love him before they know what he's done, they trust him blindly, going as far as to put "money in thy purse," and overlook anything he's done wrong, as shown in the quote. As bad as it sounds, Iago has the potential to be the perfect dictator. Point one for the bad guys!  >:)
                                                                                          ^ Iago's creepy smile

Othello Act V

"Cassio did top her, ask thy husband else. Oh, I were damned beneath all depth in Hell But that I did proceed upon just grounds To this extremity. Thy husband knew it all." V. ii. 135-138

Addressed here is the question about whether the play is a tragedy, comedy, melodrama, or farce. I would say that this play is a mixture of tragedy and melodrama, maybe with a sick sense of humor thrown in. First, I think it's safe to say the play is a tragedy because, like most things Shakespeare wrote, half the cast dies. It also shows the unraveling of the arguable protagonists Othello and Iago. Othello's flaw, his gullable and quick-to-anger nature, or Iago's not-so-fool-proof plotting.

Next, the play could be characterized as a melodrama because of the dramatized actions of the characters. Shown in the quote, Othello's thought process was essentially solid. He thought he was doing what was just, and simply believed the word of a friend, but he definitely overreacted-killing Desdemona-to show the manipulation of his character. Although the drama makes for an unrealistic scenario, the actions effectively show how quickly characters can change in a plotline.

Finally, one could argue that this play includes a comedic flavor because of the irony. For me personally, Iago's cunning and suck-up-ity (yes, I just made that up) created a perfect, honest image of himself when in reality he's a sick jerkface who manipulates people just because he can.

Othello Act IV

"But, Roderigo, if thou hast that in thee indeed which I have greater reason to believe now than ever- I mean purpose, courage, and valor- this night show it. If thou the next night following enjoy not Desdemona, take me from this world with treachery and devise engines for my life." IV. ii. 207-211
This blog addresses the question of protagonists, antagonists, and foil characters. First of all, unlike most stories, the protagonist is the bad guy. While the audience still probably hates Iago, his point of view in telling the story makes him the protagonist. I, on the other hand, hate him, so I would consider him an antagonist. One could also argue both positions for Othello. Basically, I think if you respect clever evil, Iago is your protagonist, and if you value truth and justice, Othello is your man.

There are a few foil characters in this play. The first is referenced in the quote above. This back-and-forth between Iago and Roderigo shows that opposites attrack in a repetitive but somehow humorous fashion. Several times we see Iago calm Roderigo down in an effort to use him to kill Cassio, supply jewelry, or maybe just for a good laugh. This shows Iago's personality: clever, manipulative, evil. On the other hand, Roderigo shows his true colors by constantly returning to Iago: dim-witted, malleable, and good (by default). The only reason I didn't hate Roderigo was because he was too stupid to be evil. He just followed what Iago said. Another pair of foil characters are Desdemona and Emilia. For example, in the conversation about the perfect woman, Emilia is portrayed as timid, quiet, and complacent, especially in the presence of her husband Iago. Desdemona is, however, more confident and outspoken, and plays along with Iago's criticism. Until the end, when Emilia spills the truth, she is shown as a weak character whereas Desdemona was truly innocent throughout. It's such a tragedy she died...along with half the cast.