The use and abuse of power relationships has been a central element of literary narrative since the beginning of the culture. The Austrian psychologist Alfred Adler posited the lust for power as one of the primordial characteristics of the human consciousness and unconscious. Othello is a tragedy by William Shakespeare and was first performed in 1604, while Notes on a Scandal is a 2003 romantic novel written by Zoë Heller. The Collector is a debut novel by John Fowles from 1963. To exert control, one must first seize power. This creates a control paradigm where various complex consequences arise, whether they are beneficial or self-destructive. However, these features require careful attention because their interlocking nature allows the reader or audience to grasp the fundamental themes of the texts. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get the original essay Power is achieved by each of the characters using various techniques. Iago's favorite technique is to manipulate Othello. It subtly suggests alternative ideas and sows doubt. This can be seen when Iago uses Cassio's exit to suggest that he is guilty, thus leading him to avoid Othello. 'Ha! I don't like it. The haughty and harsh tone of “Ha! immediately captures Othello's attention. Othello's confusion could be shown on stage by the gradual turn of the head as Iago points in Desdemona's direction. Once the seed of doubt has been sown in Othello's mind, Iago tactfully harvests it by answering Othello's questions with mirror answers. Othello then finds himself trapped in an endless cycle where his doubt permeates until he dramatically exclaims at the end of the scene. "I'm going to tear her apart!" The emotional intensity of this scene deepens the audience's concern for Othello and Desdemona. However, Shakespeare's use of soliloquies also creates suspense for the audience. Iago's facade is shattered when his inner thoughts are revealed, creating a paradox. In Notes on a Scandal, Barbara also attempts to gain power using manipulation and suggestion. Like Iago, she tries to sow doubt by proposing ideas that seem harmless on the surface, but there is an ulterior motive lurking beneath. "Well, no, I just thought it would probably be best for you not to tell Sue. She's not a bad person. But she's not..." The ellipses cause Sheba to shoot her own conclusion. However, Barbara has already contributed to Sheba's thoughts by implying that Sue is morally deprived. By slandering Sue, Barbara traps Sheba in a restricted sphere where Barbara is her only confidante. taking power over the situation and over Sheba, as Sheba is tricked into revealing his scandalous love affair with Connolly Iago deliberately alienates Othello from his followers and his wife Iago's knowledge of Othello's affairs. grants omniscience and omnipotence, allowing him to harness the power that results in the deaths of Desdemona and Othello. In The Collector, Frederick Clegg employs a method comparable to that of Barbara by physically isolating Miranda, he hopes to develop; an ironically platonic but romantic relationship, opposed to traditional physical qualities. This is, however, a one-sided relationship as it grows under Clegg's growing power. “I thought I would never be able to know her in the usual way, but if she is with me she will see my pointsstrong, she will understand. There was always the idea that she would understand. Using the past to describe one's feelings creates a nostalgic atmosphere; the reader might feel some degree of empathy. This exaggerates his failure to gain ultimate power because he is trying to justify his actions. On the other hand, Clegg's behavior may counteract this sympathy because it is difficult to defend Miranda's point of view of death. Fowles may have intended to create suspense by using a technique of foreshadowing in order to draw the reader's attention to Clegg's desperation to seize power. Clegg thus characterizes Hutcheon's model of representational politics, to the extent that his conception of love is overtaken by his voracious appetite for domination. According to Hutcheon, what determines the relationships between the characters in The Collector is “power”. This can be taken from the relationship between Othello and Iago, where there is a constant power struggle. Such a relationship can appear deeply dysfunctional and qualify as abusive. The power struggle in The Collector can be seen through the internal conflict Clegg experiences with Miranda when she feigns illness to escape. “She was very crafty, when I came in she was sick and she looked really messy.” The word “death” is ironic while the situation is prophetic. Clegg's priorities become messy and tumultuous when there is a conflict between love and power, and his inability to choose love reveals a disturbing side to his psychological makeup. Shakespeare also uses foreshadowing to demonstrate Iago's attempt to gain power over Othello. Power seems to be the fundamental basis of Othello and Iago's relationship, similar to that of Clegg and Miranda. However, Fowles and Shakespeare use foreshadowing to construct different atmospheres. Shakespeare creates suspense that can create tension and unease in the audience as Iago attempts to seize power. “Oh, beware, my Lord, of jealousy. It's the green-eyed monster who's laughing. This is prophetically true because Othello is consumed by jealousy and murders Desdemona. However, Iago's approach to gaining power is handled by attributing the idea of ​​guilt to Cassio and Desdemona. Just like Barbara persuading Sheba to reveal her secrets, Iago plants these ideas in Othello's mind so that Othello becomes dependent on him. The use of metaphor and imagery creates sensory impressions for the audience. The visual effect of the “green-eyed monster” heightens the tension because the notion of it becomes more realistic. Iago could clasp his hands in front of Othello's face with wide eyes, demonstrating the severity of jealousy and further contributing to Othello's insecurities, thus gaining power. While Shakespeare uses metaphors to create sensory impressions for the audience, Heller uses this device to emphasize Barbara's desire. for power. “The loose tendrils had become tangles and where they were supposed to be smooth and pulled back, tiny fluffy strands had stood up, creating a sort of crown around her scalp.” It has been suggested, noting Barbara's observant nature, that the "fuzzy strands" create an image of nature. We could compare it to the plants that grow in spring, thus contributing to Sheba's bohemian character. However, in reference to the idea of ​​gaining power, the use of the word "crown" could describe Sheba as a trophy for Barbara to gain power over. The way Clegg describes Miranda in The Collector is similar to Notes on a Scandal. Miranda's beauty is frequently compared to nature. This suggests that Clegg values ​​his appearanceexternal rather than its intrinsic value, because it can control the first better than the second. Henry Holt notes: “Certainly, power leading to security is what Barbara seeks in her relationship with Sheba. » However, the acquisition of power followed by control could also be conveyed as “security” for Barbara. Although Barbara attempts to present her affiliation with Sheba as a "normal" relationship, power and control are the central themes that dominate her. “I never made a conscious attempt for power; it always came naturally for me to be the one in charge. This reveals Barbara's instinctive nature. This suggests that Sheba is not the first victim that Barbara has attempted to gain power over, as is Miranda who took over as maid of honor who appeals to Clegg. Fowles and Heller could adopt a sinister tone, using this method to orchestrate the possibility of an endless cycle, filled with victims affected by power and control. The tension that arises from Heller's method is further heightened by the erratic comments made about Jennifer Dodd throughout the novel. Heller offers this suggestive commentary on Barbara's past because it creates anticipation. The reader is subtly informed that control will follow the seizure of power and will act as a catalyst for disastrous consequences. Once the power is obtained, the control is executed. Iago exerts control by using Desdemona's willingness to help Cassio, as evidence to suggest that there is a clandestine love affair. “Deity of Hell!” When demons indulge in the darkest sins, they first suggest with heavenly spectacles. The oxymoron “Deity of Hell!” ” suggests that his faith lies in the devil and is further exaggerated using a punctuation mark, this reinforces the idea that Iago is the evil devil of the piece due to his controlling antics. Shakespeare may emphasize this statement to shock the audience and reveal Iago's true nature. Iago could claw wildly at his clothes while muttering, "When the devils bear the blackest sins." Iago's language also serves to describe the way he poses as a deceptive character to exert control. Iago's remark "I am not what I am" demonstrates his use of fraud for control. His characteristic language varies and is peppered with colloquial expressions and oaths, he adapts his style to different audiences and purposes. Ironically, he comes closest to authenticity and truth when he admits the mistakes and dishonesty that dictate his character. His ability to manipulate language is a source of control and his outward appearance is a facade because it masks his inner self. "But I'll wear my heart on my sleeve so the daws can peck at it." Iago appears to experience satisfaction through manipulation as it allows him a greater degree of control, and although he does not recognize people's emotions, he gains gratification when informed of their thoughts. He believes that those who express their emotions are likely to be vulnerable, which may be why the images were used in the form of "dews". This creates a disconcerting image, which could make the audience suspicious of Iago's actions throughout the play. While Shakespeare uses soliloquies to reveal Iago's true personality, Barbara's internal focus is explained in the form of analepsis. Her main opinion of events allows the reader to identify inaccuracies in her story, highlighting the extent to which she uses control. “This isn’t a story about me.” Heller may have used this dramatic irony to guide the readertoward the idea that Barbara's dishonesty and deception equates to her desire for control. His frequent contradictions become peculiarities of the novel and reveal a personality every bit as deceptive as Iago's. In a modern British adaptation of Othello (2001), directed by Geoffrey Sax, Iago's two-faced nature is obvious to the audience from the beginning. The camera angle changes and faces him directly as he discusses his plan. This can make viewers and audiences feel exposed due to Iago's intense and piercing eye contact. Unlike Notes on a Scandal, The Collector is divided into four parts, three of which belong to Clegg while the second part is Miranda's. Fowles may have used this form to demonstrate how different personalities interpret control. On the one hand, Clegg is technical about Miranda's imprisonment, on the other; Miranda focuses on describing her emotional dilemma over whether Clegg deserves her sympathy. This shows that Clegg's inability to control Miranda emotionally and mentally is replaced by his skill in controlling her physically. In Fowles' opinion, the characters, Clegg and Miranda, do not have enough control over their personalities. If so, this could be used as evidence to explain why Clegg must exert control over Miranda. "If Fowles had presented only Clegg's story," notes Perry Nodelman, "he would have written this entertaining thriller." However, Miranda's account allows the reader to gain a more objective and comprehensive perspective on the events and their meaning. Unlike The Collector, AC Bradley argued that in Othello, power is Iago's driving motivation. "Iago's desire to satisfy his sense of power is, I think, the strongest of the forces that motivate him." Although this is entirely conceivable, a Freudian, erotic interpretation of the play would suggest that Iago is unconsciously in love with Othello. This interpretation could also apply to Barbara and Sheba's relationship, as Barbara's use of control could be a byproduct of her. love for Sheba. Laurence Olivier played Iago as well and kissed Othello, played by Ralph Richardson. A contemporary audience of Shakespeare's time would have found this immoral. Therefore, if Shakespeare had intended to present Iago in this way, it would have been introduced in a subtle way. This interpretation could summarize Iago's desperation for control. By sacrificing his love of Othello for power and control, Iago ironically finds himself trapped by these factors although he paradoxically proclaims: "We cannot all be masters, nor can all masters truly be followed. » Barbara appears. sacrificing his relationship with Sheba, like Iago, for the sake of control. " "Oh Brian. " I cooed, "Don't tell me you harbored hopes of reciprocity? That's so nice, Brian..." Bangs put his fingers in his ears like a little boy. In order to save his pride, Barbara infantilizes Brain by condescending him in a sarcastic tone. The rhetorical question and the ellipses exaggerate this sarcasm. The ellipses create a pause that embellishes Barbara's callousness and the shift from "Brian" to "Bangs" shows that Barbara is aware of her callous transformation. This could show that Barbara's need for domination overrides her. need for friendship, by belittling Bangs, she jeopardizes Clegg's love for Miranda After Sheba's relationship with Connolly is established, Clegg expresses disdain for Miranda's death despite having previously considered one. romantic suicide "She's not as pretty as Miranda, of course, in fact she's just one.ordinary saleswoman." Her final thoughts centered on the possibility of capturing another girl demonstrate her need for control. The juxtaposition between ending her life and pursuing her disillusioned fantasy exaggerates the polarity of her thoughts and suggests that her mental faculties are in a state of conflict. state of fragility. can therefore create a tone of suspense thus illustrates what Szegedy-Maszak has described as “non-teleological narration”. The idea of ​​non-teleology exaggerates the anticipation because there is the possibility of a cycle. continuous in which Clegg seeks to control. The scale of the calamitous consequences resulting from control creates a disturbing atmosphere. In Othello, Iago's frequent application of control through manipulation leads irrevocably to Othello's mental deterioration. Cassio's criticism of Bianca and Iago's frequent suggestions fuels Othello's insecurities, allowing Iago's blasé comment about Desdemona to act as a catalyst, sparking a crisis "With her, on her, what do you want?" Shakespeare uses parentheses to emphasize Othello's growing suspicions of Cassio and Desdemona. “Lying with her?” We say lie to him when they lie to him, it's an exaggeration! While the short and long sentence structure in The Collector exacerbates the psychological and cultural disparities between Miranda and Clegg, Shakespeare manipulates the syntax of Othello's dialogue to reveal the vicissitudes of Othello's novel character due to Iago's control. Clegg's sentences are verbose and discursive while Miranda's are precise and exact. 'The silence. I'm a little more used to it now. But it's terrible. Never the slightest noise. The short sentences and use of italics demonstrate the fear that resides within Miranda, eliciting sympathy from the reader as the character's fear is a consequence of Clegg's control. Othello's despair could be shown on stage by an actor staggering disjointedly across the stage away from Iago, clutching his head. This could symbolize the emotional agony he experiences, which is a repercussion of power and control. Suspense could therefore be injected into the audience through the dramatic irony instilled in the scene. Compared to Othello, Heller uses repetition and short sentences in Barbara's diatribe to express his otherwise muted anger, a consequence of Sheba temporarily escaping his control. 'Damn, her. Damn. Lady Muck. You skinny, bloody cow... Oh Barbara, don't put yourself down like that!' The combination of fragmented sentences and profanity allows Barbara's fury to boil through the pages and surprise the reader as the sweary language juxtaposed with Barbara's Latin linguistic flair acts as a stark contrast. Additionally, using the third person could cause discomfort to the reader. The consequences of Sheba's autonomous decision after discovering her diary have an intense and excessive impact on Barbara's mental faculties. This could show that relying on disproportionate control can lead to mental relapse. Unlike Heller, Shakespeare uses the third person to express the psychological consequences of being a victim of control. “Othello’s occupation is gone. » One of the consequences of Iago's manipulation is Othello's emotional and mental distress. “Occupation” could be a double entender that could describe either Othello's position as lieutenant or his mental state. However, the vagueness of this statement could also provide evidence of Othello's uncertainty and imbalance. WH Auden in "The Dyer's Hand" refers to Iago as "The Joker of the Pack" and suggests that he is a.