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In Othello, Shakespeare uses many language techniques particular to the Aristotelian tragedy brand. In keeping with tradition, these language techniques are used to deepen understanding about the play and allow for a more indepth analysis. Understanding these language techniques are fundamental to understand the inner workings of the play. Comprehension of character categorization is crucial when analyzing The Tragedy Of Othello. Obviously, the round character, or dynamic character, is Othello. He morphs from a responsible general and loving husband to a shallow, angry shadow of his former self, riddled with jealousy. In the final scenes, he shifts into a humbled, repentant sinner who faces admonishment for his crimes. On the other hand, the static character in Othello is Iago. Throughout the play, Iago is consistently deceptive, manipulative, and cruel. He does not change as a result of his actions, he does not repent, and he does not regret his choices. Iago demonstrates the same ambitious, vengeful motives from beginning to end. These ideas must be considered when watching Othello for optimum understanding. Character interaction is also important to observe. Through the interactions between Iago and Roderigo, the audience sees that Roderigo is the foil. As a result, the audience better understands just how deceptive Iago truly is. He deceives everyone, including those who help and support his plan, like Roderigo. Iago’s manipulative streak is also brought to life through Roderigo. In the beginning of the play, Iago talks Roderigo out of suicide. However, later in the play Iago hopes Cassio and Roderigo will kill each other, since he needs both out of the way. Iago has no use for Roderigo after he fulfills his purpose, demonstrating his manipulative ways and deceitful nature. Other, more technical, language techniques are important to observe in the text, like anaphora and metonymy. Anaphora is demonstrated when Iago says “even now, now, very now…” (1.1,96). His repetition of words grabs attention, creates suspense, and emphasizes what he says next. Metonymy is illustrated when Brabantio refers to Othello as a “sooty bosom” (1.2, 70). Brabantio identifies a part of Othello, his black skin, instead of referencing the whole person and calling him by his name. This objectifies Othello and allows the audience to view the play through Brabantio’s point of view. Both anaphora and metonymy allow the audience to have a stronger grasp on the world of Othello. A proper analysis of the inner workings of an Aristotelian tragedy contribute to a better appreciation of Othello. For example, the downfall of the protagonist is brought about by his/her tragic flaw, or hamartia. Othello’s hamartia is his jealousy. Already insecure about himself, his jealousy comes to life when Iago claims Desdemona wants someone the same color as herself. Iago continually builds up Othello’s jealousy until Othello kills the wife he loved just days before and hopes for the death of his once trusted lieutenant. Another Aristotelian term, the anagnorisis in this tragedy takes place when Othello learns about Iago’s plot by consulting the other (surviving) characters. Emilia reveals that she stole the handkerchief, and Othello realizes that he has been duped. This moment is also when peripeteia comes into play. Everything Othello thought was real, like Cassio’s betrayal, Desdemona’s adultery, and Iago’s trustworthiness, proves false and the opposite of the truth: Cassio is loyal, Desdemona is faithful, and Iago is a lying twit. The final term reserved for Aristotle’s tragedies, the pathos, or “scene of suffering,” occurs

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In Othello, Shakespeare uses many language techniques particular to the Aristotelian tragedy brand. In keeping with tradition, these language techniques are used to deepen understanding about the play and allow for a more in­depth analysis. Understanding these language techniques are fundamental to understand the inner workings of the play. 

Comprehension of character categorization is crucial when analyzing The Tragedy Of Othello. Obviously, the round character, or dynamic character, is Othello. He morphs from a responsible general and loving husband to a shallow, angry shadow of his former self, riddled with jealousy. In the final scenes, he shifts into a humbled, repentant sinner who faces admonishment for his crimes. On the other hand, the static character in Othello is Iago. Throughout the play, Iago is consistently deceptive, manipulative, and cruel. He does not change as a result of his actions, he does not repent, and he does not regret his choices. Iago demonstrates the same ambitious, vengeful motives from beginning to end. These ideas must be considered when watching Othello for optimum understanding. 

Character interaction is also important to observe. Through the interactions between Iago and Roderigo, the audience sees that Roderigo is the foil. As a result, the audience better understands just how deceptive Iago truly is. He deceives everyone, including those who help and support his plan, like Roderigo. Iago’s manipulative streak is also brought to life through Roderigo. In the beginning of the play, Iago talks Roderigo out of suicide. However, later in the play Iago hopes Cassio and Roderigo will kill each other, since he needs both out of the way. Iago has no use for Roderigo after he fulfills his purpose, demonstrating his manipulative ways and deceitful nature.  

Other, more technical, language techniques are important to observe in the text, like anaphora and metonymy. Anaphora is demonstrated when Iago says “even now, now, very now…” (1.1,96). His repetition of words grabs attention, creates suspense, and emphasizes what he says next. Metonymy is illustrated when Brabantio refers to Othello as a “sooty bosom” (1.2, 70). Brabantio identifies a part of Othello, his black skin, instead of referencing the whole person and calling him by his name. This objectifies Othello and allows the audience to view the play through Brabantio’s point of view. Both anaphora and metonymy allow the audience to have a  stronger grasp on the world of Othello. 

A proper analysis of the inner workings of an Aristotelian tragedy contribute to a better appreciation of Othello. For example, the downfall of the protagonist is brought about by his/her tragic flaw, or hamartia. Othello’s hamartia is his jealousy. Already insecure about himself, his jealousy comes to life when Iago claims Desdemona wants someone the same color as herself. Iago continually builds up Othello’s jealousy until Othello kills the wife he loved just days before and hopes for the death of his once trusted lieutenant.  

Another Aristotelian term, the anagnorisis in this tragedy takes place when Othello learns about Iago’s plot by consulting the other (surviving) characters. Emilia reveals that she stole the handkerchief, and Othello realizes that he has been duped. This moment is also when peripeteia comes into play. Everything Othello thought was real, like Cassio’s betrayal, Desdemona’s adultery, and Iago’s trustworthiness, proves false and the opposite of the truth: Cassio is loyal, Desdemona is faithful, and Iago is a lying twit.  

The final term reserved for Aristotle’s tragedies, the pathos, or “scene of suffering,” occurs 

when Othello kills himself out regret. His anguish at killing someone as innocent as Desdemona and trusting someone as twisted as Iago overcame him all at once, and he commits suicide. The audience cannot help feeling a twinge of pity for him, making this the moment of catharsis as well. 

With a better understanding of these language techniques, lovers of Shakespeare’s literature will be able to more completely comprehend the inner workings of his plays, particularly The Tragedy of Othello. Close analysis of Shakespeare’s techniques allow for a better grasp of character classification, motives, and roles in the play. These language techniques are essential to fully appreciate Shakespeare’s unique writing style.