The use and abuse of power relations has been a central feature of literary fiction since the culture's inception. The Austrian psychologist Alfred Adler believed that the drive for power was one of the primordial characteristics of the human conscious and unconscious. Othello is a tragedy by William Shakespeare and was first performed in 1604 while Journal of a Scandal is a 2003 romantic novel written by Zoë Heller. The Collector is a 1963 debut novel by John Fowles. To exercise control, we first appropriate power. It creates a control paradigm in which a series of complex consequences arise, it is questionable whether these are beneficial or self-destructive. However, such features require attention as their intertwined nature allows the reader or audience to grasp the underlying themes of the texts. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay Power is achieved by each of the characters using various techniques. Iago's favorite technique is through manipulation of Othello. It subtly suggests alternative ideas and plants seeds of doubt. This can be seen when Iago uses Cassio's exit to suggest that he is guilty, consequently leading him to avoid Othello. 'Ah! I don't like this." The arrogant and harsh tone of "Ah!" immediately captures Othello's attention. Othello's confusion could be shown on stage by the gradual turning of the head as Iago points in Desdemona's direction. Once the seed of doubt has been planted in Othello's mind, Iago tactfully picks it up by answering Othello's questions with mirrored answers. Othello is then trapped in an interminable cycle in which his doubt permeates until he dramatically exclaims at the end of the scene "La I will tear you to pieces!" 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 Journal of a Scandal, Barbara similarly tries to gain power using manipulation and suggestion, she tries to sow doubt by offering ideas that on the surface seem harmless, but are there another reason behind it. “Well, no, I was just thinking that maybe it would be best not to tell Sue. He's not a bad person. But she's not...' The ellipsis forces Sheba to come to her own conclusion, however, Barbara has already contributed to Sheba's thoughts by implying that Sue is morally destitute. By slandering Sue, Barbara traps Sheba in a restricted sphere where Barbara is her only confidante. This provides a structure that allows Barbara to gain power over the situation and Sheba, as Sheba is persuaded to reveal her scandalous romance with Connolly. Iago purposely distances Othello from his supporters and his wife. Iago's knowledge of Othello's affairs gives him omniscience and omnipotence, allowing him to harness the power which results in the deaths of Desdemona and Othello. In The Collector, Frederick Clegg uses a comparable method to Barbara; by physically isolating Miranda she hopes to develop an ironically platonic yet romantic relationship averse to traditional physical qualities. However, this is a one-sided relationship because it develops under Clegg's growing power. 'I thought, I'll never get to know her in the normal way, but if she's with me, she'll see my good points, she'll understand. There was always the idea that she would understand.' Using the past tense to describe his feelings creates an atmospherenostalgic; the reader may feel a certain degree of empathy. He exaggerates his failure to gain supreme power because he is trying to justify his actions. On the other hand, Clegg's behavior may counter this sympathy as it is difficult to support Miranda's position.death. Fowles may have intended to create suspense by using a foreshadowing technique to direct the reader's attention to Clegg's desperate quest for power. Clegg thus exemplifies Hutcheon's model of Representational Politics as his concept of love is overtaken by his lustful appetite that desires domination. According to Hutcheon, what drives the relationships between the characters in The Collector is “power.” This can be inferred from the relationship between Othello and Iago, where there is a constant struggle for power. Such a relationship can appear deeply dysfunctional and can be described as abusive. The power struggle in The Collector can be seen from the internal conflict Clegg experiences with Miranda when she fakes an illness to escape. “She was very astute, when I came in she was sick and looked really terrible.” The word "dead" is ironic while the situation is prophetic. Clegg's priorities become disordered 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 the relationship between Othello and Iago, similar to that between Clegg and Miranda. However, Fowles and Shakespeare use foreshadowing to construct different atmospheres. Shakespeare creates suspense that can evoke tension and unease in the audience as Iago tries to gain power. «Oh, beware, my Lord, of jealousy. It's the green-eyed monster, mocking.' This is prophetically true as Othello becomes consumed by jealousy and kills Desdemona. However, Iago's approach to gaining power is handled by placing the idea of ​​blame on Cassio and Desdemona. As Barbara convinces Sheba to reveal her secrets, Iago plants these ideas in Othello's mind so that Othello becomes dependent on him. The use of a metaphor and imagery creates sensory impressions for the audience. The visual effect of the "green-eyed monster" increases the tension because the idea of ​​it becomes more realistic. Iago could clasp his hands in front of Othello's face with his eyes wide open, demonstrating the severity of jealousy and further contributing to Othello's insecurities, 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 turned into tangles, and where they should have been smooth and pulled back, tiny hairy twigs had risen, creating a sort of crown around the scalp.” It has been suggested, taking into account Barbara's careful nature, that the "fuzzy twigs" create an image of nature. It could be compared to plants that grow in spring, contributing to Sheba's bohemian characteristics. However, in reference to the idea of ​​gaining power, the use of the word "crown" could represent Sheba as a trophy over which Barbara can gain power. The way Clegg describes Miranda in The Collector is similar to Journal of a Scandal. Miranda's beauty is often compared to nature. This suggests that Clegg values ​​his outward appearance rather than his intrinsic value because he can gain control over the former better than the latter. Henry Holt observes, "To be sure, power leading to security is what Barbara seeks in her relationship with Sheba." But for Barbara the acquisition of power followedfrom the control could also be interpreted as “safety”. Although Barbara tries to present her affiliation with Sheba as a "normal" relationship, power and control are the central themes that dominate it. «I have never made any conscious candidacy for power; it was always quite natural for me to lead.' This exposes Barbara's instinctive nature. This suggests that Sheba is not the first victim that Barbara has tried to gain power over, similar to Miranda who is succeeded by the flower girl who appeals to Clegg. Fowles and Heller could strike a sinister tone by using this method as they orchestrate the possibility of an endless cycle, full of victims affected by power and control. The tension that arises from Heller's method is further reinforced 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 performed. Iago exercises control by using Desdemona's willingness to assist Cassio as evidence to suggest that a clandestine love affair exists. «Deities of hell! When devils enact the blackest sins, they first suggest with celestial spectacles.' The oxymoron 'Gods of Hell!' suggests that his faith lies in the devil and is further exaggerated by using a punctuation mark, it reinforces the idea that Iago is the evil devil of the play due to his controlling antics. Shakespeare may accentuate this statement to shock the audience and expose Iago's true nature. Iago managed to grab his clothes wildly as he whispered "When devils wear the blackest sins." Iago's language also works to describe the way he takes on ambiguous personas to exert control. Iago's remark, "I am not what I am," demonstrates his use of fraud for control. His characteristic speech varies and is peppered with colloquialisms and oaths. He adapts his style to suit different audiences and purposes. Ironically he is 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 his 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 catch me.”. It seems that Iago experiences satisfaction through manipulation because it allows him a greater degree of control, and although he does not recognize people's emotions, he gains gratification when he is informed of their thoughts. He believes that those who express their emotions are susceptible to vulnerability, perhaps explaining why the images were used in the form of "dew". This creates a disconcerting image, which may make the audience wary of Iago's actions throughout the play. While Shakespeare uses soliloquies to reveal Iago's true persona, Barbara's internal focus is explained in the form of analepsis. His primary opinion on events allows the reader to spot inaccuracies in his story, highlighting the extent to which he uses control. “This is not a story about me.” Heller may have used this dramatic irony to guide the reader toward the idea that Barbara's dishonesty and deception equate to her desire for control. His frequent contradictions become idiosyncrasies of the novel and reveal a personality equally ambiguous as Iago. In a modern British adaptation of Othello (2001), directed by Geoffrey Sax, Iago's two-faced nature is evident to the audience from the beginning.The camera angle shifts and looks directly at him as he discusses his plan. This could make viewers and audiences feel exposed due to Iago's intense and penetrating eye contact. Unlike Journal of a Scandal, The Collector is divided into four parts, three of which belong to Clegg while the second part belongs to Miranda. 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 outlining her emotional dilemma as to whether Clegg deserves her sympathy. This shows that Clegg's inability to control Miranda emotionally and mentally is replaced by his competence in controlling her physically. According to Fowles, the characters, Clegg and Miranda do not have enough control over their personalities. If this is the case, then this could be used as evidence to explain why Clegg must exert control over Miranda. “If Fowles had just presented Clegg's story,” notes Perry Nodelman, “he would have written an entertaining thriller.” However, Miranda's narration allows the reader to experience 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 drive him forward.” While this is highly conceivable, a Freudian and erotic interpretation of the play would suggest that Iago is unconsciously in love with Othello. This interpretation could also be applied to the relationship between Barbara and Sheba, as Barbara's use of control could be a byproduct of it. love for Sheba. Laurence Olivier played Iago in this way and kissed Othello, played by Ralph Richardson. A contemporary audience of Shakespeare's time would have found it immoral. Therefore, if Shakespeare had wanted to present Iago in this way, it would have been introduced subtly. This interpretation could summarize Iago's desperate search for control. Sacrificing his love for Othello for power and control, Iago ironically becomes trapped by these factors despite paradoxically proclaiming, "We cannot all be masters, nor can all masters truly be followed." 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 sweet, Brian...' Bangs put his fingers in his ears like a little boy.' To save her pride, Barbara infantilizes Brain by treating him in a sarcastic tone. The rhetorical question and ellipsis exaggerate this sarcasm. The ellipsis creates a pause that embellishes Barbara's callousness and the transition from "Brian" to "Bangs" shows Barbara is. aware of his insensitive transformation. This could demonstrate that Barbara's need for dominance overrides her need for friendship, belittling Bangs endangers Sheba's relationship, Clegg's love for Miranda is replaced by his need to exert control as Barbara After establishing the relationship of Sheba with Connolly, Clegg expresses contempt for Miranda's death despite having previously imagined romantic suicide. “She's not as pretty as Miranda, of course, she's actually just a normal shop assistant.” His final thoughts centering on the possibility of getting another girl demonstrate his desire for control. The juxtaposition of ending his life versus continuing his disillusioned fantasy exaggerates the polarity of his thoughts and suggests that his mental faculties are in a fragile state. can therefore create a tone ofsuspense. The Collector thus exemplifies what Szegedy-Maszak has called “non-teleological storytelling.” The idea of ​​non-teleology exaggerates anticipation because there is the possibility of a continuous cycle in which Clegg seeks to control. The scale of disastrous consequences resulting from control creates an unsettling atmosphere. In Othello, Iago's frequent application of control through manipulation leads irrevocably to Othello's mental deterioration. The combination of Cassio's reproach towards Bianca and Iago's frequent suggestions fuels Othello's insecurities, allowing the blasé comment to Iago on Desdemona to act as a catalyst, triggering an attack "With her, upon her, what will you do?". Shakespeare uses parentheses to emphasize Othello's growing suspicion of Cassio and Desdemona: "Lying with her? Lying with her? We say lying with her when they lie to her, it's disgusting!" While in The Collector the structure of short and long sentences 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 dialogue.character as a consequence of Iago's control. Clegg's sentences are verbose and discursive while Miranda's are precise and exact. 'The silence. Now I'm a little more used to it. But it's terrible. Never the slightest sound.' The short sentences and use of italics demonstrate the fear that resides in Miranda, garnering the reader's sympathy because the character's fear is a consequence of Clegg's control. Othello's desperation could be shown on stage by an actor staggering across the stage away from Iago, clutching his head. This could symbolize the resulting emotional agony he is experiencing, which is a repercussion of power and control. Suspense could, therefore, be injected into the audience as a result of the dramatic irony instilled in the scene. In comparison to Othello, Heller uses repetition and short sentences in Barbara's diatribe to convey his otherwise tempered anger, which is a consequence of Sheba's temporary escape from his control. «Damn her. Damn her. Mrs. Muck. Damn skinny cow... Oh Barbara, don't humiliate yourself like that!' The combination of fragmented sentences and profanity allows Barbara's fury to boil through the pages and surprise the reader as the imprecise language juxtaposed with Barbara's Latin linguistic style acts in stark contrast. Furthermore, the use of the third person may cause discomfort for the reader. The consequences of Sheba's autonomous decision after the discovery of her diary have an intense and excessive impact on Barbara's mental faculties. This may demonstrate that relying on a disproportionate amount of control can lead to mental relapse. Unlike Heller, Shakespeare uses the third person to convey the psychological consequences of being a victim of control. "Othello's occupation has disappeared." One of the results of Iago's manipulation is Othello's emotional and mental distress. “Occupation” could be a double understanding that could describe Othello's position as lieutenant or his mental state. However, the vagueness of this statement could also help demonstrate Othello's uncertainty and imbalance. WH Auden in "The Dyer's Hand" labels Iago as "The Joker in the Pack" and suggests that he is a comic figure. “What Shakespeare gives us in Iago is a portrait of a prankster of a particularly frightening kind…” It is conceivable to suggest that Iago embodies comic elements of a malevolent kind. Iago may be the wild card at the beginning of Othello but as the play progresses; the severity of the exercise of control may unconsciously replace its comedic role as it is consumed.