Essay on Othello by William Shakespeare

Iago, in Shakespeare's Othello, is a deceiving character because he tells lies in order to get what he wants. He interacts with people only to manipulate them, but most importantly he never reveals his true feelings or motives. Iago might say things that suggest what his motive is, but he soon contradicts himself with another suggestion making it extremely difficult to understand him. Although Iago's true motives cannot be determined, some motives could be jealousy, the enjoyment of seeing people suffer, or power. Iago's jealous of Othello and Cassio because he thinks that both of them slept with his wife, Emilia. In Iago's first soliloquy at the end of act 1, Iago says that Othello might have slept with his wife and even though this is a

However, along with his word choice, Iago is clever at the timing of what he says. He knows exactly what to say and when to say it to incite jealousy within anyone he wishes. He uses this particularly well with Roderigo and Othello. An example of Iago’s timing of jealousy is when he speaks to Roderigo of the suspicions regarding Desdemona’s love for Othello. “Mark me with what violence she first loved the Moor but for bragging and telling her fantastical lies. To love him still for prating? Let not thy discreet heart think it. Her eye must be fed”. In this excerpt Iago represents

When pairs of texts are considered together, their universal themes and ideas lead to greater understanding, appreciation and insight of both the old and the new. The texts Othello, William Shakespeare (1600) and Othello, Geoffrey Sax (2001), ring true for this statement. Despite the differing contexts and ages, the universal themes of racism and betrayal bring new meaning to each of the texts. The primary meaning from the juxtaposition of the two is that of the human condition, and how the problems faced in the 17th century are faced in modern times.

In the play Othello, jealousy is shown to be very evident through the actions of the characters. Jealousy is an emotion that everyone shares, and it is ultimately responsible for the tragic ending of the play. Everyone feels jealous at certain times of their lives, and this feeling can cause people to do irrational things. This human emotion also shows people to be weak in the sense that they are never happy with what they have. Shakespeare shows through Othello, Iago, Roderigo, and Brabantio that jealousy is the most corrupt and destructive emotion.

Iago is the antagonist of the play, and one of the most evil Shakespearean villains. Iago is extremely clever in the way he uses unsuspecting power- especially psychological power. He gets into people’s heads in many dishonest ways- by spreading false rumours, telling lies and psychologically tricking people and secretly controlling certain situations. His power to manipulate is a key point in the play, as it results in major consequences and the deaths of some main characters. Iago’s schemes are multi-levelled- he conspires with roderigo, and makes him believe that Desdemona will take him back. On another level, he leads Othello to believe his wife is having an affair with Cassio. He uses his wife Emilia (unknown to her), to bring back the handkerchief he uses to deceive Othello. Iago is an extremely resourceful and talented man, but he uses these resources and talents in detrimental ways. Iago is constantly referred to by numerous characters as ‘honest’. He himself also refers to honesty. Numerous characters believe that they know and trust Iago and that he would not lie, nor deceive them. Iago’s soliloquies also provide invaluable insight into his wicked mind and evil schemes and plans.

Iago is one of the most misunderstood villains in Shakespeare literature. We side with Othello from the start because his name is on the cover of our paperback, we read Othello when learning about heroes, so we expect Iago to be a villain, a ruthless manipulator. We don’t know why, he doesn’t state it plainly or in simple English, so we assume that he’s evil, that he’s just a disgruntled sociopath out to exact his exaggerated revenge on good and noble Othello. Iago’s misunderstood reputation is a result of not truly examining his character, and answering the “why” factor behind his actions. After all, everyone is innocent until proven guilty. His goal in the play was not just to destroy Othello for the fun of it. His objective,

Shakespeare’s own personal aim was not to write a social and political reflection of his era, as many contemporary readers believe, it was; purely and simply, to entertain his audience. This does not mean that there can be no social and political reflections within Othello, it means that the reflections are there, not for the sake of social and political commentary, but for the sake of entertainment and pleasure. Aristotle explained in “Poetics” that the audience’s pleasure consists not merely in observing the play, but criticizing, evaluating and making comparisons. These activities produce pleasure, thus it is not a mindless pleasure. There must be intellectual and emotional

Iago is a powerful predator who exploits those around him by infecting their perceptions of truth with carefully chosen fallacy. His skill in finding the proverbial chinks in others' armor allows him to skillfully weave his machinations of destroying Othello into their minds and actions; by manipulating character's perceptions of Desdemona, Iago gains the leverage he needs to exploit each character. No one is impervious to Iago's seething purpose; even Othello falls prey to Iago's suggestions and insinuations about Desdemona. Iago's constant presence as the stager, as well as his ceaseless - but subtle - reinforcement of events through narration, allows him to be the pivotal force that directs

In Act “Oh, beware, my lord, of jealousy! /It is the green-eyed monster which doth mock/ The meat it feeds on. That cuckold lives in bliss/Who, certain of his fate, loves not his wronger,/But, oh, what damnèd minutes tells he o'er/Who dotes, yet doubts— suspects, yet soundly loves!” (3.iii.170-175). Through Iago’s witty nature he is able to nonchalantly set his malignant plan into motion by planting a suspicion in the mind of Othello. Iago harnesses in on the envious agony he endures and uses it as a weapon on the man he is envious of, leading to the destruction of him. Iago knows the ability of jealousy, and with this he knows he can manipulate Othello and make him feel the same discomfort he himself feels. This reveals the enormous amount of preparation Iago has put into his plan and the true evil that is brewing beneath the surface. Iago's loss of self respect and his loss of respect for others have led him to be an evil scheming beast with no account for the lives of others.

Only by considering a range of perspectives can we truly appreciate the world of Shakespeare’s Othello. It is through my exploration of these perspectives and their relationship with changing morals and values that has enriched my understanding of the play. One such reading of the play challenges the marginalisation and objectification of woman in a patriarchal Venetian society, while taking into account the changing role of women in modern society. Another interpretation of Othello examines its post colonial elements through the protagonist Othello, and his insecurities of being a black man in a white society. My interpretation of the play as a portrayal of the values existing in Shakespeare’s time is filtered through these

Iago has many reasons to hate Othello, including the fact that he had been passed over for a promotion, in which Othello had snatched the position, and he also suspects Othello had slept with Emilia. These reasons were given to the audience, as Iago, himself, reveals his reasons to Roderigo, “ I hate the Moor; and it is thought abroad that 'twixt my sheets 'has done my office. I know not if't be true; yet I, for mere suspicion in that kind, will do as if for surety.” (1.3.378-82). Iago is never turned back on his plan to ruin Othello and the people surrounding him, since he is always contemplating on how Othello doesn’t deserve his accolades, and how Iago is plotting revenge against him. This keeps Iago to consistently, and deliberately continue with his strategies, which keeps the audience empathetic for the rest of the story. Iago is also jealous of Othello’s ability to woo and lure Desdemona, “It cannot be that Desdemona should long continue her love to the Moor ... She must change for youth. When she is sated with his body, she will find the error of her choice.” (1.3.340). However, Even if Iago had received the promotion; even if he had no suspicions or jealous feelings, he would still invent new motives for hating the Moor, as he is the devil of the story. Iago is not capable of performing good deeds, sustaining good relationships, or even

Othello, in the simplest of terms, can be reduced to a play of jealously. Back in the 1940s and 1950s, when scholars focused on Shakespeare’s tale of the Moor, they centered all of their thoughts on the characters controlled by their own jealousy (James). In modern day, we’ve come to a time of civil rights where seeing the insane racism in this play is inevitable. To not see, this is an act of ignorance. Audiences during Shakespeare’s time would have been privy to this aspect as well, though they would not have been horrified as we are today. They would notice the subject of race in the play, but it was something they were used to. As a foreigner in Venice, Othello already has an uphill battle to climb to claim the role of the protagonist. For the majority of the time, an audience wants to see their own lives portrayed, or at the very least, they want to see something they can resonate with.

Critics have debated the significance of Othello’s race in terms of portraying his identity for a long time. The negative connotations of “blackness” have led to the creation of many racial constructs associated with the “Moor”; this denigration has infused the opinions of many critics, such as Albert Gerard, proposing that Othello’s “negroid physiognomy” reaches down to the “deepest levels of personality” and that he is a “barbarian”. However, many other critics like Edward Berry and Martin Orkin believe that colour is merely a “surface indicator” compared to the outward virtue of beneficence, defining identity. Beneficence could be defined by the will to practice good acts, in conjunction with the aversion of practicing evil, and the prevention and removal of evil.

From the play, Othello, by William Shakespeare I had concluded that, due to Iago’s evil nature, he had set-up the fate of Othello and Desdemona and this is because he wanted revenge on Othello. Surprisingly I have found that some critics disagree with this or they contradict it with different explanations as to why they think otherwise. As Othello is such a complex play, there can be many interpretations and arguments between critics creating a cause for multiple meanings. The critics that I will be discussing about will be William Marginn (1987), Bell, Millicent (1997) and Fred West (1978) which all are at different time periods. The critics tend to have interesting observations on Iago’s motives, acknowledging insight of his character and provide a reason to explain about his actions, which had affected both Desdemona and Othello later on tragically. All of these critics had very independent views on the nature of Iago, which had broadened possibilities and ideas for my understanding towards his motives, and on why he was so against Othello.

saying he will “tear her all to pieces” and he tells Iago to let him