The Glass Menagerie--1119 #8

The primary means of dramatic exposition in The Glass Menagerie is through dialogue, but Tom's narration clarifies that drama. Tom's asides serve as an explanation or preparation for the audience so that they are not confused by the new information in the scene. A clear example of this is at the beginning of scene 6 when Tom explains that he "had known Jim slightly since high school (1261)." The audience gains a better understanding of why Tom would invite Jim over for dinner from this explanation. Most guys wouldn't invite some random guy from work home, so it helps to know that Tom had known Jim for a while. This clarifies a past event, but narrations like Tom's at the beginning of the play explain events that have not yet happen. They prepare the audience for the upcoming scene.

The Glass Menagerie--1119 #1

Tennessee Williams uses both realistic and nonrealistic conventions in The Glass Menagerie. The structure of the Wingfield family is a realistic trait of the play. I don't know a single mother who hasn't corrected her child for eating impolitely. It's not uncommon, so Amanda's "And chew--chew!" comment on page 1237 is not out of place. But certain aspects of the play, such as Tom's frequent asides, are completely unrealistic. I understand that the soliloquies are necessary to the audience's understanding of the events taking place, but no one actually believes that turning around prevents anyone from hearing anything. Most of the play, however, seems quite realistic. Laura's reaction to her mother's comments about her having a defect are understandable. I'd be upset too. But I also understand why Amanda doesn't like the word "crippled." Who wants to accept that fact that their child has a disability, even if it is somewhat slight? The play is a literalistic imitation of reality. Many of the things that happen in the play can and do take place in families everywhere. There really are no breaks from the normal behavior of each of the characters in the play. They all act pretty much the same way the entire time.

Iago

Okay so I haven't expressed yet how much I hate Iago, so I'm gonna go for it now. Iago is scum in every way possible. His jokes about women are inappropriate, and the way he treats his wife is awful. And then when he stabs her in Act V...what a coward. One of the things I hate most, though is the way he presents an argument. In Act IV, he talks to Othello about the supposed affair between Desdemona and Cassio, but he can't just come out and say what he wants to say. He hesitates on purpose with "Faith, that he did--I know not what he did" (IV.i.31) and "Lie--" (IV.i.33) just to make Othello lose his mind. Iago is incredibly smart, and I'll give him that, but his entire character is infuriating.

Othello-1119 #1

"Othello" employs realistic conventions throughout the entire play. It seems like a bit of a stretch to me, but I can see this actually happening. Iago is unusually crafty and cunning, but it's not out of the ordinary for someone in trouble to say "I told him what I thought, and told him no more" (V.ii.175). It's believable that Othello would doubt his wife's faithfulness after hearing what Iago has to say, and that would make any man more susceptible to lies. Othello's behavior is totally understandable and realistic. Desdemona and Emilia also have realistic characters. Anyone wrongly accused of something as serious as cheating on a spouse would deny it vehemently and be confused. And any woman oppressed by her husband would eventually snap. Every character reacts as any normal person would.

Othello-1119 #7

The real action occurs in Act V which takes place over the course of one night. It begins with Roderigo's attack on Cassio (V.i.23) and ends with Othello committing suicide (V.ii.355). All of the action is dramatized on stage rather than reported. The audience watches the story unfold before Othello and the other characters through the switches from scene to scene. The audience not only hears Roderigo yell "Villain, thou diest!" They also see the attack occur at the same time. The play feels tight in construction. Everything falls precisely into place for Iago as it only would if it was crafted that way. It brings a feeling of control to the play that is accentuated by Iago's personality.

Desdemona

I can't decide if Desdemona truly loves Othello or not. In Act I, Desdemona testifies to her love for Othello in front of the duke. She says to her father that "so much duty as my mother showed To you, preferring you before her father, So much I challenge that I may profess Due to the Moor my lord" (I.iii.185-188). She seems totally and completely devoted to him. Later in the play, however, she does show interest in Cassio, and she even flirts with Iago. By asking what he thinks of all the different kinds of women in Act II, she's looking for a compliment. She doesn't appear to be nearly as enamored with Othello as he is with her. I don't know if I feel bad that he believes she's unfaithful or not. It seems logical to me that she could be at some point if not with Cassio.

Othello-1119 #2

Othello is a tragedy. That becomes apparent early in the play when Iago reveals his true intentions to ruin Othello's marriage and get rid of Cassio (II.i.265-291). Iago's manipulation of Othello throughout the play creates the proper feeling for a tragedy and provides a means for tragedy to occur. The audience should definitely know what kind of play Othello is before viewing it. Knowing that the play is a tragedy puts Iago's and Othello's actions into a different context. Every move that Othello makes seems like a move from a horror movie--the kind that evokes a "No! Don't look in the closet!" reaction. In Act III when Othello condemns Cassio with the words "Within these three days let me hear thee say That Cassio's not alive" (III.iii.473-474), the audience feels a greater sense of suspense because the truth of Othello's actions is known. If the audience was unaware, confusion would be more likely, and the suspense would be lessened.