George Orwell

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The tragedies in Orwell's life and their influence on 'Animal Farm'


Although Orwell was a great writer from the beginning, he didn't become famous until very late in his short life. His writing was very clear and precise. He mainly wrote autobiographical accounts but his last two novels were bitter accounts of political beliefs. His last two novels became so popular that he became a renowned writer all over the world.


He was born in 10 to a low-classed, British family in Motihari, Bengal, India and was christened was Eric Arthur Blair. His father, Richard Walmesley Blair was a customs officer in the opium department of Indian Civil Service. When he was merely four years old, his family moved back to England and lived in a small village called Henley which was a short distance from London. His father left Orwell and others in Henley and went back to India to serve in the Indian Civil Service.


When Orwell turned eight, he entered into a private preparatory school in Sussex. After attending the school in Sussex, he obtained a scholarship and attended two different schools one in Wellington for a term and another in Eton for four and half years. Later on in his life Orwell claimed that his experience in the preparatory school shaped his views on the English class system.


Eton College was based in an area where upper-class people resided. The consciousness of being poor boy living in an upper-class society where the poor were detested helped to make him a radical in his youth.


In 1 he joined the Indian Imperial Police. His training took place in Burma and he served there for about five years in total. This five year period decisively transformed his mental life. He gradually stated to despise his role as a representative of an alien government and to identify himself with the subject race. In 17, he went back to England on leave and there he decided not to go back and serve as a police in Burma. His resignation became effective from January 1st 18. His dream since childhood was to become a writer and he regarded his profession as a policeman "unsuitable". However it was understood later that he began to understand imperialism which he abhorred. Thus he left his job as a policeman and started his life as a writer. The name by which the world knows him now and knew him them, George Orwell, was a pseudonym which was suggested by his publisher when he published his first novel.


The crises in Orwell's life were the topic of his writings. His essays and his novels were mainly autobiographical and portrayed his political feelings. The first incident in his life occurred when he was sent in 16 by the Left Book Club to study the unemployed were living in the working-class districts of Northern England. He observed the people in Northern England in a miserable state and was tempted to write a novel called "The Road to Wigan Pier" despite the disapproval of his sponsors because he criticized the orthodox English socialism. This trip had a tremendous long term effect on Orwell's interests; he became interested in the popular culture, which is reflected in his classic essays such as "The Art of Donald McGill".


The second but the most important crisis in Orwell's life was a visit to Spain as a journalist. As Orwell arrived at Barcelona, he joined the militia unit of a Marxists workers party, the POUM. While serving on the Aragon and Teruel fronts, he got severely wounded. In May 17 he was involved in a fight in which the POUM and the Anarchists were on one side and the Communists were on the other. Eventually, the Communist secret police chased him out of Spain. Spain revealed to him how far political motives, wrongly applied can destroy the respect for truth prized by the liberal nineteenth century. His experience in the Spanish Civil War and the fights in trenches were told in his novel "Homage to Catalonia". This novel also exposed the Stalinist bid for power in Spain. Later in his life Orwell wrote the novel "Animal Farm" which showed how much he abhorred Stalin and his communist views.


Orwell was an essayist, journalist, and a novelist with a unique combination of a middle-class intellectual and a working-class reformer. A strong autobiographical element runs through most of Orwell's writing giving both his novels and essays a sense of immediacy and conviction. He wrote with remarkable clarity and his credo was that fine prose should be transparent 'like a window pane'. Orwell felt that the age was threatened by totalitarianism. Therefore, he wrote for libertarian socialism and against totalitarianism. His essays 'Shooting an Elephant' and especially, 'Politics and the English Language', in which he asserts that dishonest politics and slipshod language are inseparable connected evils, are models of what he wrote. His concerns also led him to write Animal Farm which is a bitter satire against totalitarianism specifically criticizing the Stalinist rule in USSR. Animal Farm also has the most important message that Orwell had to convey 'liberty means telling people what they do not want to hear. "If the vehicle for telling gets corrupted, then the message itself will always be corrupted"'.


The novel which brought fame for Orwell was Animal Farm. In this novel, a bitter animal satire, he criticized communism and expressed his political beliefs. His beliefs were absolutely true and his view of communism eventually was seen by the whole world by the way Stalin treated his people just to maintain power. To appreciate his message in this novel it is important to know its plot, the initial criticism he received and how this is connected to his life. The connection of his life to this extraordinary novel is his time at Eton College and then later on his visit to Spain. These events have been talked about earlier. Now its time to talk about the plot and other things related to the novel.


This novel is made around the events in the USSR, from before the October Revolution to the end of World War II. This is done by using a frame of reference of animals in a farmyard, the Manor Farm, owned by Mr. Jones. Mr. Jones is drunk most of the time and is out f touch with the animals he governs, just like Czar Nicholas of USSR. Mr. Jones neglects the farm causing displeasure and bitterness among his animals. One day after Mr. Jones finishes his nightly rounds, Major, a commanding pig (V.I. Lenin), tells other animals about a dream he has had regarding the theories about the way they have been living. The animals had been exploited by Mr. Jones but according to Major's dream, the animals would overthrow Mr. Jones and share the profits and dangers of work equally. Major teaches the animals the words of the song "Beasts of England" (The Internationale) and tells them to look for the betterment of all animals. Three days later Major dies.


The most intelligent of the animals, the pigs, are provoked by Major's speech and clandestinely learn how to read and write. After much thought they come up with a philosophical system called animalism (Communism, Bolshevism) whose principles are taught to all animals. When Mr. Jones forgets to feed the animals one day (as the Russians starved at the end of WWI), the animals start a revolution. Thus driving out Mr. Jones, his wife (the Russian nobility), and Moses, the raven (the Russian Orthodox Church). The animals rejoice over their great victory and start right away to build their new and better life.


The pigs took over all the responsibility of the organization and decision-making processes. Also the pigs took the rights to all the milk and apples. Orwell has admitted that taking the cow's milk was the first sign of corruption which inevitably led to the total destruction. The two pigs in power were Snowball and Napoleon, which represent Leon Trotsky and Joseph Stalin, respectively, and they argued all the time. The third important pig, Squealer (Pravda, Tass), appears more hypocritical. He endorses any action with his skillful use of language. The pigs change the name of the farm from Manor Farm to Animal Farm and print the seven commandments of animalism on the barn wall. In the meantime, Napoleon has been raising puppies which will eventually develop into savage attack dogs (NKVD, secret police) which will one day hunt down all his personal enemies, especially Snowball.


When the animals start physical control of the farm, work becomes difficult and the animals gradually start to lose the cohesiveness. Even though Benjamin (Tolstoyan intellectuals) remains cynical about the heaven on earth as proposed by animalism, Boxer (the peasantry) keeps on working harder and harder. The togetherness between the animals is regained when Mr. Jones attacks on the farm to regain it. The confrontation is called the Battle of the Cowshed and the animals win it because of Snowball's excellent strategy.


After the battle, the two leading pigs, Snowball and Napoleon argue over the next step. Snowball says that the most important task is to increase food production (develop socialism in Russia) and the Napoleon says that the important step is to build the windmill (permanent revolution). The argument is fierce and when it seems like Snowball is going to win the vote, Napoleon unleashes his secret weapon, the dogs. The dogs drive Snowball out of Animal Farm forever. Thus Napoleon has no rival and he can impose all the changes he wants. So he changes many rules and cancels the usual Sunday meetings.


The animals continue their hard work, still having faith that their life will indeed get better. The changes that Napoleon institutes are so different from the initial rules of animalism that life become more of a hell than heaven. The present was so bitter that the animals don't have the memory to recall or the energy to change the present even if the memorize were fresh. Very soon the life at Animal Farm seems impossible to differentiate from the life the animals led at Manor Farm.


The novel can be interpreted by two different age groups in two different ways. Children can view this novel as merely a good 'fairy story". However the veterans of World War II can appreciate this as a political satire. The latter interpretation was the intention of George Orwell. He wanted to tell the world that communism is a curse and it will lead to severe problems. Orwell wanted to state that "institutionalized hierarchy begets privilege, which begets corruption of power".


Thus it can be concluded that Orwell's life has had a major impact on his writing. His early days at the preparatory school in Henley made him despise the English system and then his years at Eton College nurtured him as a rebel who wanted to warn the world against corruption. His experience in Spain finally made him write the political satire criticizing communism.


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Satire Comparison betweeen "The Rape of the lock and Gullivers Travels

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Satire Comparison


By Zach Dees


The "Rape of the Lock" and "Gulliver's Travels" is two stories that were written long ago, both having some similarities and differences. Overall I believe that these two stories are completely different due to the fact that one is a lot more fictional than the other, and one is written in poem form. So it is somewhat difficult to find similarities. But, nevertheless I will present the differences and similarities in these two stories and I will be talking about the theme, setting and word choice.


In my opinion I did not like either of these stores. But if I had to pick to one I liked best it would be "Gulliver's Travels". It did not use the big, hard to understand, Old English words nor was it written in poem form. It was simply a fictional story about fictional feats where the lesson learned is also a lesson we can learn in today's society. It seemed that in the Rape of the Lock, Pope used very big and confusing words to describe certain emotions and situations that I did not understand. If I am going to understand the satire of a story I must know what the words mean and Pope made the satire in this story hard to understand unless I was to have a dictionary beside me. Some of the context was the same but very little of it was. Both stories were written in the 1700's and only 14 years apart. I think Pope might have been more intellectual but his imagination can't top Swifts'. Nor did Pope make satire as easy to understand as Swift.


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It is hard to find two stories like this that have the same setting. In "Gulliver's Travels" the main character is washed upon a fictional island full of people who are 6 inches tall. He eventually makes a compromise with these people, but after a while he starts getting somewhat arrogant and cocky. This may symbolize a country or maybe type of government when Swift is trying to use satire. It doesn't make much sense to me but it is imaginary and Swift still finds good ways to show satire bye poking fun at government, countries and political systems. In 171 "the rape of the Lock" was written and the only likenesses I can find in these two stories setting is the time frame the two stories were written. They are only fourteen years apart and the culture is in that time was a lot alike. One story is being told by a passionate poet who seems to have a lot of sense. The other coming from a more comical imaginary type writer. But people, culture and the way people viewed things were similar in these two stories.


What I took from the theme of "Gulliver's Travels" was there will always be someone bigger and better to come along. No matter how big or good you are there will always be someone bigger and better than you. The theme I pulled from "The Rape of the Lock" was "you don't know what you got until it is gone". I believe Pope was making fun of women and how they stress over every little detail about themselves. Vanity is defiantly in women and this story shows it comically if you can understand the choice of words Pope used. Gulliver is the biggest and most dominant person around until he ended up on a new island where he was the smallest and weakest. That's when he realized just how lucky he was to be on the island full of little people, but it is too late. Therefore, "you don't know what you got until it's gone".


The two of these stories are completely different I think. I personally liked "Gulliver's Travels" because I could understand it a lot better and it held my attention better as well. The satire is heavily used in the both of these stories. In "Gulliver's Travels" Swift was poking fun at the different types of government and how ridiculous some of them are. In "The Rape of the Lock" Pope was making fun of women, their friends, and the vanity in society at that particular time. For someone to be really interested in both of these stories they first must recognize the use of satire and its definition.


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Grassy Lakes

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Jessica Brooks


Mrs. Etheridge


Honors English 12


20 August 2002


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Grassy Lake


Most paintings today are very symbolic. Nothing is ever what it seems to be. This is true for the painting Grassy Lake by David Bates. This painting at first glance looks like two men in a canoe pushing through swampy waters, but the symbolism in the painting shows the relationships of the two men to each other and their surroundings. The symbolism is a significant factor in trying to understand the relationship of the people to each other and the people to their environment. The symbolism in this painting shows a mentor guiding a young man to success.


At first glance at the painting a person could think they were some kind of friends. This seems true because they are in a canoe with coolers. Coolers bring to mind picnics and fishing trips. After studying the painting a little longer a person can see the man in the back is an old black man and the man in the front is a young white man. This rules out any thought that they could be related. So what is their relationship?


Well in canoeing the person in the back is the guide. The person in the back also will push the canoe out a little bit before climbing in himself. In the canoe the older man is in the back and the young boy is in the front. The old man is significant and is the "guide" because he is older and has been through more than the young man has. The man in front is young and still has a lot of things ahead of him in life. This could be the reason he is in front. He is in the front of the boat looking ahead and the old man is behind him "guiding" and "pushing" him. It seems that their relationship is that the old man is the young boy's mentor.


This could be a possible explanation of the men in the painting, but why would the old man be mentoring the young man. Take a look at the environment around them. The lake is swampy and a medium green color. Green brings to mind success. The green lake is all around them. So the man could be "pushing" and "guiding" the young man to success. The swampy lake also has sticks and rocks all in it. It doesn't look easy to get through. The two men are rowing and working together to get through the water. The green water with the rocks and sticks symbolizes that trying to reach success is sometimes a struggle. The two men appear to be working together to succeed.


Overall this painting seems to represent a life struggle. The canoe represents life and the two men are trying to get through life and succeed. This painting, though, could still mean a hundred different things. The old man being a mentor is just an idea. Each person will have a different perspective. Art is in the eyes of the beholder.


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American Beauty: A Lighting Analysis

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Look closer. American Beauty is a black, startling look at the nuclear family in suburban America. Lester and Carolyn Burnham are - on the outside - a perfect husband and wife, with a perfect house, in a perfect neighbourhood. But inside, Lester is a powder keg of depression. The cinematography of Conrad L Hall acts as a vehicle for carrying the films plot and its connotations. This essay will cover colour, key lighting, light intensity and the use of lighting in plot. All four are crucial elements to the films success.


The film is cold, grey and blue. Lester's world is one of suffering, and the use of colour conveys that clearly. In the opening scene, we see Lester sprawled in bed, a cool blue filtering in from the window, showing the first light of a cold and unforgiving day. Lester's face is drawn and dull, illustrating the misery raging inside of him. As he peers outside the window, he sees his wife Carolyn gardening wearing a bland grey business outfit inside the clich d white picket fence. But from within this bland exterior, the piercing red of Carolyn's roses radiates colour. Is this beauty? Is this the shining light in Lester's life? As the film progresses, the roses are used a symbol for his fantasies. The object of his desire is seen swimming, bathing and writhing in rich, red-rose petals. Red is sexy, passionate, fiery and dominant. It is everything Lester lacks in his miserable life. But as he begins his transformation, he purchases the hot red sports car he has always wanted a symbol for his new sexual awareness and prowess. The Burnham's house is grey and blue, apart from one bright red door. Although the film itself never really takes on reddish tones, the rich contrast with the films predominantly washed out colours is a feature point in Hall's colour scheme.


Specifically, this scheme has a very important role in terms of art direction and costumes. This is particularly evident in the treatment of the Burnham's neighbours, the Fitts. Colonel Frank Fitts lives with his drab wife and his renegade son Ricky. The interior of their house is particularly plain mostly browns and greys. Ricky's room is sanitarily white, with grey Venetian blinds covering the windows. It is a dull environment, and is complemented by the interesting use of costume colours. Ricky dresses like, Angela Hayes aptly points out, "a bible salesman" being black and white outfit with a grey woollen vest. Ricky's mother has an almost peasant look about her, also dressing in black, white and grey. Her wispy grey hair accentuates her dullness. This lack of colour must therefore be matched by actress Allison Janney, who plays Mrs. Fitts, in the regard that her personality is also bleak and unexciting perhaps even not all there. The Burnham's daughter Jane is a ray of colour in a grey house her room is orange and covered with posters.


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American Beauty can be categorised as a "black" comedy. This in a sense can be taken literally it is a dark film. Issues such as homosexuality, adultery, drug dealing and murder are all pivotal parts of the film. Therefore in order to express itself properly, the film must have bleak, shadowy lighting. Conrad L Hall achieves this by his extended use of low key lighting in a grey/black tone throughout the majority of the film. Such a technique forges the functions of atmosphere, tone and mood. The dinner scenes are excellent examples of this. The room is dark and shadowy, apart from an overhead light that illuminates the table and the centrepiece of red roses. Lester and Carolyn are burdened by darkness with Jane warmly lit from the candles. This represents the division in the household, with the long table separating Lester and Carolyn indicating the distance that has grown between them. Jane is the warmth of the family, and is the only Burnham to be lit in such a way for the majority of the film. In the opening scene, we se Lester sprawled out in bed, a bright crack of cold morning light missing him completely, illustrating where his wife is not. On the journey to the basketball game, Lester is fraught with shadows and darkness. It emulates his mood "…plus I'm missing the James Bond marathon on TNT!" and "She hates me…she hates you too!".


Hard and soft lighting are interchanged throughout American Beauty, and this allows the lighting to draw attention to certain elements of the film. The main example of this variation is seen as the character of Lester develops and increases. At the start of the film, Lester is shot in very soft light and has little contrast. However, as early as the basketball game sees the degree of light on him change, until eventually, his pores, sweat and facial lines are all visible. It is a movement from a flat two-dimensional figure into a colourful three-dimensional presence. It is particularly evident when Angela complements Lester on his arms. We zoom in to see a tanned, rippling bicep with fresh sweat beads dotted up his arm. He has a hard backlight, pushing him forward from the bland kitchen colours. This is in complete difference from the pale, soft Lester from the basketball game. Here, we see his grey facial regrowth and dull, pink lips.


However, it should be recognised that all of these forms of cinematography are essentially designed to allow the story to move along smoothly. Lighting reveals significant story elements that the director and writer are attempting to get across. It effectively tells the story to our subconscious, dictating the ways a certain scene feels and how we should be responding to characters within it. My careful analysis of the cinematography in American Beauty by Conrad L Hall has brought to my attention many issues and ideas of the plot that were previously concealed. Some I have already mentioned, and there are many possibilities in terms of analysing a film so closely. The danger I found was that it was too easy to construe lighting direction into many different connotations and meanings, hence "over-analysing". I've tried to condense those that I found to be particularly obvious and the most meaningful.


I believe that the reason for the film being so successful lies within the complexities and idiosyncrasies of the characters. It is based on this, that I will look at how lighting has transmitted the story through the web of its characters, beginning with Lester.


Lester's fantasy scenes are a feature point of the film and the lighting used in them subtly advances the story. The scenes are snapshots of Lester's perfect world a world where he gets the object of his desire, where colours are vibrant, and hard light brings the characters into animation. The very first encounter with Angela is an ideal example Lester sits flat in the dark audience, until Angela catches his eye. The other dancers disappear, leaving a hard, high key spotlight over her. Lester finds himself alone an angled spotlight illuminating him from the shadowy stands. A close up shows Lester partially lit from above, his eyes and mouth prominent. It provides the first real emotion that we can visually see in Lester. This effect is used cleverly by Hall it early on distinguishes fantasy and reality by separating them into the groups of hard and soft light. The life Lester wants to live is one of hard light and three dimensions but he is stuck in a soft, bland and flat world. As I have already stated, he eventually is lit at the end with real, hard lighting. This indicates that he has fulfilled his transformational arc fantasy becomes reality. What he doesn't realise, is that the fantasy is not quite as he expected!


Carolyn is a fascinating character with many dimensions and a borderline personality disorder. She is incredibly insecure, lining herself up for devastation after hyping herself up too hard "I will sell this house today". As a result, she has a terribly unstable home life. Using the example of the inspection home, it is another mode where Hall reveals more about the characters and story through lighting. Carolyn is lit in space of confidence. Her hair glows from the backlighting, and her face is heavily lit. However, as more and more buyers walk through unsuccessfully, her confidence gradually fades until the final couple leave. When questioned about the "lagoon-like" pool, her face has completely softened, leaving only her torso hard lit. As she closes the vertical blinds on the day, the bright afternoon light contrasts with the soft interior. Carolyn breaks down, the very soft light darkening her features the deterioration of her confidence.


Comparing both Carolyn and Lester in terms of lighting, there is a noticeable pattern Hall is demonstrating the unhappiness in the family. As Carolyn returns home after being at the shooting range, she glows against the bright passing exterior. It is a moment of confidence and power for her. As she returns home to find Lester's sports car, we find that Lester himself is lit a little harder "I rule!" The pattern formed is that the characters are only happy in hard, shadowless light.


Ricky is the most enigmatic strand in the American Beauty web of characters, and the lighting used on him screams this. The very first time we see his face is as he films Lester and Jane from his room. He stands in darkness, lit only by the glow of the camera and the kitchen light, with the reflection burning in his eyes. When he reveals himself to Jane on the front porch, the overhead light acts as a spotlight, lighting only one half of his face. She is initially scared, by is intrigued by his mysteriousness. As she turns around, a smile creeps on to her face as does a tiny amount of light. Ricky's peculiarity is continually illustrated by the darkness surrounding him until the end when he makes the decision to leave his family. In Jane's room, he is lit by a hard side light and forcefully tells Angela how "ordinary" she really is. His satisfaction is also represented by an increase in hard light.


Conrad L. Hall's cinematographic work on American Beauty is profound, but is subtle enough to be masked. I believe that to be the strongpoint of his work he finds it unnecessary to deliberately highlight cinematography in film (perhaps Steven Soderbergh should take lessons). The controlled use of colour, hard and soft lighting and low key lighting adds the professionalism that this film demonstrates. Hall uses all three as vehicles for the twisted story that would lack the punch it displays without such creativity.


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Othello

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A tragic hero is a character of high build who is destroyed by his surroundings, his own action, and his fate. In William Shakespeare's great tragic play Othello is the tragic hero. His fall is caused by his own actions, as well as by the action of the characters surrounding him, who was mainly Shakespeare's most villainous character Iago. However, the fall of Othello is not because of single character but many people who made judgments and misjudgments.


As the play advances we see that Othello is not the bright in his mind. He is not observant and the evil schemes of Iago work well on him. The power in which Othello entrusted into Iago was so great that Iago was aware of how he could corrupt Othello. As the plays continues in Act III, the scene shifts to the garden of the castle. Othello returns to the castle with Iago and the catch quick look of Cassio leaving out the back entrance to see Desdemona. Under his breath, Iago quick add "Ha? I like not that." (III.iii.7). Othello asks what Iago means by such remarks. Furthermore, he asks if that really Cassio that just left from his wife. This makes Othello anger in his thoughts against Desdemona. Desdemona rushes over to Othello and immediately begins to plead for Cassio as his lieutenant. Iago continues his evil plot, he asks if Cassio knew about Othello's love for Desdemona from the beginning of their courtship. With each word Iago spoke was like a nail in Othello's coffin. The more Iago was aware of this, the more he would stretch the truth and expose the things that were not present. Othello had no choice but to believe Iago, under these circumstance Othello looked to the one man he trusted the most. Iago were taken full advantage of his trust and continues plotting to destroy Othello image.


At one point, Iago reminding Othello that Cassio is young and more handsome and is a white Venetian citizen. Othello chooses the words of Iago over his trust in his wife, and declares "my relief must be loathe her." (III.iii.6-7). In the sense Act III advances we see that Othello hide his inner disorder but Desdemona can tell he is not felling good. He simply complained that he has a headache. She pulls out an embroidered handkerchief with strawberries on it with her all love and passion and lovingly put on his head, but he pushes away and the handkerchief falls to the ground. The handkerchief is a significant asset to Othello because that was a gift from his mother. Therefore, Emilia never missed any chance to steal that handkerchief that she has an opportunity to hide from Desdemona. Emilia wonders what Iago's intentions are for the handkerchief and she gave it to Iago. He calls her "a good wench!" (III.iii.47) and she asks him for what purpose will he use it. Once alone, Iago reveals that "I will in Cassio's lodging lose this napkin and let him find it" (III.iii.56-57). Othello is distraught from Desdemona and Cassio secret love and now he is demanding to know the truth. Othello often said "Farewell the tranquil! Farewell content!" (III.iii.86) and he lashes out at Iago, demanding immediate proof of Desdemona betrayal. Iago make up the fake love story between innocent Desdemona and Cassio that made Othello more violent. He further adds that he seen Cassio with Desdemona's handkerchief "wipe his bread with."(III.iii.48). Othello became extremely violent and ready to kill his wife and Cassio. Othello cries for "O, blood, blood, blood!" (III.iii.47) and kneels before his confident Iago taking a vow of revenge. Iago also kneels and pledges his loyalty to Othello. In this jointly swearing of oaths, Iago and Othello have become partners in evil. Through this act see Othello's transformation from hero into villain.


Under these circumstances Othello looked to the one man he trusted the most. Othello had much power over a large amount of people and he was not about to be embarrassed or betrayed by his wife. This is true with people who are in a position of power, they feel that if they are disgraced in any way that it affects their reputation and may possibly not have the same power over that same group of followers. Our society is mostly based upon reputation and image, although this is weak, it is true. Act III is comparable to today's society, in my opinion, but how quickly the characters distrust each other. Othello should think from his mind the circumstances given by Iago, rather then trusting too much and causing unnecessary misunderstanding which make him to vow of revenge to kill his own beloved wife.


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