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In this play, what is Shakespeare’s choice for us-the audience- to role itself as Iago’s co-conspirators or at least as his silent (complicated) witnesses?
The acts of Iago inspire the audience with awe and spirit. It generates a sense of curiosity in people who watch Iago taking the next move, given that he was immensely imaginative all over. Iago’s hate for Othello is the engine of the play (Shakespeare 1.1.21-34). Therefore, in watching the misfortunes of Othello and Desdemona, the audience is seen to cheer Iago all along. Shakespeare puts the audience in this scenario throughout the play given that it is the central plot in the play.

How does this strategy contribute to the power of the play?

Shakespeare’s choice of Othello, a Moor, in his position in the Venetian society creates the notion of outsider intrusion, which is confirmed by Desdemona’s father’s disapproval of their marriage (Shakespeare 1.1.97-101). Iago hates Othello for a passed promotion and believes that he slept with his wife. The audience is put in a position in which it, partly, sympathizes with Iago and the Venetian community for the intrusion, given that the people of African descent had limited rights in this society at the time. The primary emotion, in this play, is hate, which is coupled with malice and deceit. These drivers elicit the support of the audience through the intrigues created by Iago’s actions to destroy Othello.

Identify a favorite villain of yours. Describe this figure. What makes him or her compelling in the ways explained above?

A favorite villain is Damien Dahrk, who appears in the Arrow comic books as well as the Arrow and The Flash TV series. He is the all-powerful and malicious villain who feels as if the world is in chaos and he has the appropriate corrective measure (Berlanti, Guggenheim and Kreisberg). He uses supernatural powers that can take away the life of his victims, which makes him stand out from the other villains (Embed).

Works Cited

Arrow. Dirs. Greg Berlanti, Marc Guggenheim and Andrew Kreisberg. Perf. Stephen Amell, et al. 2012. Film. .

Shakespeare, William. Othello. Barron’s Educational Series, 2002 . Print.

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