If Desdemona can deceive her own flesh and blood, she can easily deceive her husband. Dramatic irony is used not only in Act 3, Scene 3 but throughout the entire play.
It may often be difficult to tell a person that she is lying without making her feel ashamed or angry. If she believes that she is actually telling the truth, then the accusation that she is lying may be considered by her to be an unjustified attack on her truthfulness and integrity.
If she in fact knows that she is lying, then the accusation may make her feel guilty, ashamed, or angry that she has been discovered. If a person is found to be lying, then her subsequent statements may lose their credibility.
Even if she subsequently tells the truth, she may still be perceived as a liar. Thus, a person who has been found to be lying may have to take various steps to restore her credibility. She may have to make statements that can be easily verified as truthful, and the truthfulness of these statements may have to be recognized by others before she can regain her credibility.
A moral prohibition against lying may be enforced by the liar's having to suffer embarrassment and humiliation if her act of lying is discovered. If a liar is discovered by others to be lying, then she may have to face unpleasant consequences, such as humiliation, shame, guilt, and disgrace.
She may have to exercise some skill and ingenuity in order to avoid the unpleasant consequences of being exposed as false and deceitful. A liar may not always know how much of his falsehood is accepted as truth by his intended victim.
He may in some cases have to test his victim's credulity in order to determine how to proceed with the act of deception. In some cases, he may have to exercise great care and caution in the testing of his intended victim's credulity in order not to arouse suspicion.
In other cases, he may not care whether all of his statements or actions deceive his intended victim. The degree of carefulness and caution that is necessary in order to mislead or deceive a person may depend not only on how capable and motivated that person is to discover falsehood or deceit, but also on how capable and motivated the liar or deceiver is to successfully mislead or deceive that person.
A person who is exposed as a liar and who is therefore compelled to admit, deny, make amends for, or make light of his own dishonesty may claim that there were extenuating circumstances that accounted for his lack of forthrightness and straightforwardness. In order to mitigate any sense of guilt or culpability, he may claim that he was to some extent forced into the act of lying.
The truth or falsity of this claim may to some extent determine his culpability for having been false and deceitful. A person who is exposed as a liar may also claim that his act of lying was merely a reconstruction or reinterpretation of the truth.
He may try to justify his deceitfulness and dishonesty by denying that there is any difference between truth and falsehood.
A liar may sometimes believe that the truth can be changed, adjusted, or rearranged in order to meet the needs of the particular situation, and he may feel that truthfulness is the same as expediency. He may in some cases argue that objective facts do not exist, and that facts can be changed to conform to whatever statements he desires to make about them.
He may also try to justify his deceitfulness by using the argument that his victim was not ready or willing to listen to the truth. He may knowingly use the fallacious argument that the truthfulness of a statement is defined by the degree to which the statement pleases or satisfies people.
He may try to justify his dishonesty by arguing that the truthfulness of a statement is defined by the degree to which the statement makes people happy or easier to deal with. However, people may also sometimes ask for and expect to be told the truth when they do not actually want to know or be told the truth.
Even when people accept the existence of an obligation to be truthful in their dealings with others, they may take this obligation as an excuse to be manipulative, tactless, insensitive, cruel, and selfish.
Some kinds of lying may be seen as socially acceptable, while other kinds may be seen as socially unacceptable. Thus, the refusal to participate in socially acceptable kinds of lying may be an act of nonconformity to social norms. This act may have selfish or unselfish motives.
It may be an act of conscience or lack of conscience, depending on the morality of the particular kind of lying. The protagonist of the novel, Meursault, refuses to comply with social norms that require him to lie about his lack of feeling, emotion, or personal commitment.
His motives for refusing to lie about his lack of personal commitment are selfish and not altruistic. He believes that conventional expressions of emotion are merely pretenses that are used as means of reassuring ourselves that our lives have meaning.
A liar usually intends for his victim to have a false impression about something. He intends to create an illusion in his victim's mind about something that she does not know fully or completely.Deception is the course of venice but at essaypedia. Quoting an essay, questions at first glance iago's free essay and juliet vs.
Jun 20, an entire psych essay and disquietude experienced scholars engaged in othello critical essay questions. The story of an African general in the Venetian army who is tricked into suspecting his wife of adultery, Othello is a tragedy of sexual jealousy. First performed around , the play is also a pioneering exploration of racial prejudice.
Jealousy is a major theme in Othello and it is what drives Othello to commit his heinous deed of killing Desdemona. Othello claims to be a man who "loved not wisely, but too well;of one not easily.
DECEPTION IN OTHELLO Essays: Over , DECEPTION IN OTHELLO Essays, DECEPTION IN OTHELLO Term Papers, DECEPTION IN OTHELLO Research Paper, Book Reports. ESSAYS, term and research .
The Talent of Iago in Othello William Shakespeare's Othello is a tragic drama that shows the overwhelming power of deception and the damage it can lead to. Othello's right-hand man is Iago; on the surface a die-hard friend and confidant, in reality comparable to the devil himself.
Iago, Roderigo, Othello, and Brabantio are victims of self-deception. Brabantio is a character who is entirely self-deceived. He is of the view that his daughter, Desdemona, will follow his command and forsake her new husband.