Category: Iago

Individuals discriminate for various reasons: dread, begrudge, the longing for power, or a need to disassociate themselves from others. They can, in this manner, utilize somebody’s skin pigment, a natural characteristic that cannot be modified, to communicate their scorn. Othello, in Shakespeare’s play Othello, is a joyfully hitched and broadly regarded general in the Venetian armed force in spite of his African legacy. He is from a land that Venetians think about outlandish and puzzling. Othello has had one of a kind undertaking, and his military successes well exceed those of the people among him. However, the most obvious measure of his pariah status is the one that provokes the most negative reactions: Othello is black in white Venice. For example, at whatever point characters, such as Iago, feel desire, dread, or basic contempt for Othello, by utilizing bigoted slurs they give vent to their concerns. For a great part of the play, Othello opposes, disregards, or appears to be uninterested in the prejudice that labels him. Be that as it may, Iago prevails with destroying Othello, his significant other Desdemona, and others by uncovering to Othello the presence of bigot thoughts and persuading him that he should act out against the people that are nurturing this prejudiced powered hatred. Racial segregation towards individuals simply damages everybody over the long haul and it is present in Othello through, the failure of Desdemona and Othello’s marriage, Desdemona’s unjust demise, and the passings of those included.

The disastrous succession of occasions is activated by the elopement of Othello and Desdemona. The way that they are obliged to run off makes the “illegal” idea of their relationship, according to Venice, quickly clear. However, in their eyes and in Shakespeare’s, there’s nothing illegal about their affection, to which they respect themselves, and the play respects them, as completely entitled. Undaunted by the fatherly anger and broad objection they will undoubtedly cause, Othello and Desdemona go about as though a black man from Africa and a high society white lady from Venice reserve each option to begin to look all starry eyed at, wed and be left to live cheerfully together. They act, as it were, as though they were at that point free residents of a highly socialized future, rather than detainees of when racial partiality and sexual imbalance are imbued to the point that even their gallant hearts are spoiled by them. Subsequently, Othello and Desdemona find released upon them, looking like Iago, the venomous anger of a general public whose establishments are shaken by the negligible actuality of their marriage. In any case, Shakespeare makes it plain from the beginning that it’s not simply Iago the couple is facing (as clear through the platitudes of Brabantio in Act 1), yet the norm and a perspective on the world which Iago just epitomizes in its most deadly structure.

Othello, himself, is unaware of any current, overwhelming prejudice or of the intensity of such negligent scorn. The shade of his skin has not kept him from accomplishing a high position in the public eye and practicing the force and opportunity such a position involves, consequently he doesn’t pay a lot of notice to the colour of his skin. These accomplishments have earned Othello the regard and profound respect of everyone around him except for an angry few, including Iago and Roderigo. Iago loathes Othello since he designated the unpracticed Cassio as his lieutenant rather than Iago, who rather turned into his ‘ancient.’ Iago institutes his retribution upon Othello by controlling Roderigo, who wants Othello’s significant other Desdemona. Roderigo communicates his desire by calling Othello racial slurs: “What a full fortune does the thick-lips owe/If he can carry ‘t thus!” (I.i.65-66). The two men plot to stop Othello’s marriage by revealing to Desdemona’s dad, Brabantio, that Othello seized her, utilizing racial slurs to convince Brabantio.

The two men prevail with regards to enraging her dad when they raise the subject of race. Iago tells Brabantio, “An old black ram/Is tupping your white ewe” (I.i.87-88). With this platitude, Iago and Roderigo clue that Othello and Desdemona’s future kids will be mutts who will end up being the scorn of society and bring disgrace upon Brabantio. They proceed by saying, “You’ll have your daughter covered with a Barbary/Horse; you’ll have your nephews neigh to you; you’ll have coursers for cousins and gennets for germans” (I.i.110-12). Brabantio, being worried about the possibility that such occasions would risk his situation as a congressman, he blames Othello for seizing and entrancing his little girl in an edgy endeavor to hold his own capacity and respect according to society. With all due respect, Othello brings up that in the past Brabantio “lov’d me; oft invited me” (I.iii.128), demonstrating that Brabantio was not bigot and didn’t oppress Othello until Iago’s impedance caused him to feel it was in his best political interests to do as such. Desdemona absolves Othello of any bad behavior, and the Duke says to Brabantio: “If virtue no delighted beauty lack/Your son-in-law is far more fair than black” (I.iii.288-89). The Duke reveals to Brabantio that he should not put significance on Othello’s skin shading, yet on his high minded deeds and nature.

Othello, is as yet unconscious that numerous disastrous occasions are brought about by scorn and bigotry and he announces, ‘My parts, my title and my ideal soul/Shall show me appropriately’ (I.ii.31-32). He doesn’t accept that segregation can decide his blame. From the start, this idea of all inclusive uniformity neutralizes Iago’s cases that Desdemona is undermining Othello as a result of him being Black. Othello certainly proclaims, “Nor from mine own weak merits will I draw/The smallest fear or doubt of her revolt/For she had eyes, and chose me” (III.iii.187-89). However, later on in the play, he goes on to say, “And yet, how nature erring from itself—” (III.iii.228). This demonstrates, maybe deep-rooted, Othello accepts that it is in Desdemona’s innate nature to support men of her own race. Iago draws upon Othello’s uncertainty and says, “Her will, recoiling to her better judgment/May fall to match you with her country forms/and happily repent” (III.iii.226-28). By saying this, Iago suggests that Desdemona contrasts Othello and other white Venetian men and has second thoughts about her marriage. Convinced by Iago’s words, Othello begins to accept that Desdemona is undermining him since he is dark. Through Iago’s control of Othello and others, his case happens. At last, individuals utilize the shade of Othello’s skin to censure his unpredictable conduct. Furthermore, by his accepting that bigotry exists, Othello additionally makes it.

Othello is now left alone with the thoughts that Desdemona caused these events because of his race. He states “I’d whistle her off and let her down the wind/To prey at fortune (III.iii.263-64). His words propose that if Desdemona was refuted, he would cast her out of his family unit. Nonetheless, after he raises the issue of his own race and perceives how he is unique in relation to the remainder of society, Othello lashes out of resentment at Desdemona, the substitute for his overwhelming feeling of self-hatred: “Haply, for I am black/And have not those soft parts of conversation/That chamberers have, or for I am declin’d/Into the vale of years (yet that’s not much)/She’s gone. I am abus’d: and my relief/Must be to loathe her” (III.iii.264-69). Othello doesn’t simply scrutinize Desdemona for her betrayal nor censures her for her transgressions, yet he, as it were, legitimizes her activities by accepting that his own race-related shortcomings persuaded her to take part in an extramarital entanglement with another man. This statement shows an adjustment in Othello. He starts to detest Desdemona on the grounds that he presently accepts that she undermined him on account of his skin colour. He will not be content with simply tossing her out, yet is currently overwhelmed by abhorring in light of the fact that he trusts her cheating and separation has made him feel agony and mediocrity.

As Iago keeps on providing Othello with ‘evidence’ of Desdemona’s alleged betrayal, Othello is overwhelmed by fierceness and desire. He takes a gander at Desdemona’s whiteness and is cleared up in the customary imagery of white for immaculateness and dark for fiendish. At whatever point he is in question, that imagery comes back to frequent him and notwithstanding his experience, he cannot resist the opportunity to trust it. Moreover, when Lodovico comes to convey a letter to Othello, Desdemona says something which Othello accepts that is about her other sweetheart, and he slaps her. Lodovico is stunned at this rash conduct, which is so unusual, and tells Othello: “My lord, this would not be believ’d in Venice/Though I should swear I saw ‘t; ‘til very much” (IV.i.225-26). He proceeds to scrutinize Othello’s notoriety after such a demonstration, saying: Is this the noble Moor whom our full senate/Call all in all sufficient? Is this the nature/Whom passion could not shake? Whose solid virtue/The shot of accident, nor dart of chance,/Could neither graze nor pierce? (IV.i.245-49). Othello turns out to be considerably increasingly careless when he calls Desdemona a prostitute, and Emilia, Iago’s better half, shouts: “Here’s a change indeed!” (IV.ii.107). They condemn his race because they struggle to locate an importance for this abrupt and apparently unwarranted activity.

At the point when Othello kills his significant other, it powers the individuals who once in the past regarded and respected him, and the individuals who held him to be equivalent on all levels, to utilize his skin shading to clarify his incredible wrongdoings. For instance, Emilia considers him a “blacker devil!” (V.ii.132). On the subject of Desdemona’s alleged unfaithfulness, Emilia expresses that Desdemona was valid and “was too fond of her most filthy bargain” (V.iii.157), derisively alluding to Othello in bigot terms. His race is presently perceived and being used by the individuals who Othello estranged through his unreasonable activities. If he had not been incited through desire and his own feeling of self-hatred, Othello would keep on having been respected in high regard by the remainder of society. It is not until he perpetrates a definitive wrongdoing of slaughtering Desdemona that his race is further held against him by many more people.

Othello had recently carried on with a real existence liberated from racial segregation, aside from those rare sorts of people who begrudged and disliked him, or dreaded he would attack their forces. These people utilized his race as a method for achieving his demolition. For the remainder of society, he was viewed as an honorable and high minded general, and his race was of little result. Be that as it may, when Othello carried out frightful violations on account of his unwarranted desire and questions on race, the individuals who had recently trusted him to be excellent and acceptable censured him, not by condemning his character, however by reprimanding his distinctive racial trademark: his tone. Because of the unmistakable racial descrimination towards Othello, Othello and Desdemona’s marriage is pulverized; Othello goes distraught from Iago’s suggestions and murders the guileless Desdemona; Roderigo, fooled into attempting to slaughter Cassio, is then killed by Iago; Emilia is killed by Iago when she uncovers his bad form; Othello ends it all when he learns of Desdemona’s guiltlessness; and Iago himself is condemned to torment and execution in opposition to his arrangements for his future. Just when Othello becomes tied up with the ludicrous thought that his race innately makes him risky does he start to crawl toward the probability of doing viciousness to his better half. At the point when he sees himself through society’s eyes, as a boorish gatecrasher, because of racial segregation, Othello starts to loathe himself, and it is that self-loathing that permits him to murder what he adores most.

When thinking of what makes someone a master puppeteer, a reader might consider a master puppeteer to be is an expert who perfectly handles his marionettes through his presentation, thus causing happiness, sadness, destruction or the creation of something with just a flick of his wrist. Reading Shakespeare’s The Tragedy of Othello, it is very noticeable how manipulative Iago is. From his actions and behavior might even make the reader think of him as a puppeteer; however, his not a mere puppeteer, but a master of the craft says Christofides. R.M Christofides is the author of Iago and equivocation: the seduction and damnation of Othello and in his article, he talks about how Iago uses equivocation, as a dissimulator and how he undoes Othello with suggestions which appear to be true, but they are actually false. Articles such as Christofide’s, A.C Bradley’s 1904 Shakespearean Tragedy London, Madeline Doran’s Good Name in Othello, and Alexandra Melville’s Character analysis: Iago in Othello will be used to prove that, Iago is a master puppeteer, and also talk about what motivate him. Bradley talks about the tragic flaw is the imperfect hero Othello which eventually brings him down. The same flaw which Iago exploited. In Melville’s, she discusses the villainous character of Iago, and how he enjoys seeing people in pain. In parts of Doran’s, she talks about the strategies of Iago hangs on him enciphering the names of his victims. Synder’s Othello: A Modern Perspective will give us a modern view of Iago’s actions. All the articles above give us a better understanding of the master puppeteer called Iago and what makes him tick.

When reflecting on the play, Iago is the character who leaves a more memorable lasting impression, and he leaves the reader baffled over two points—the effective execution of his plans, and his motivations. Among many critics, Iago’s motivation to do the evil deed is still a controversial topic says, Melville. There are various different opinions to Iago’s motive for destroying Othello; Bradley thinks it is revenge for the slights against him; Melville thinks Iago just likes to feed on the pain and suffering of others; Doran says Iago just has a superiority complex and must always prove his superiority when doubted.

Given the evidence it is unlikely that his motive was just plain and simple revenge; however, it is best to address it, because, throughout the story, his feelings for revenge are somewhat ungrounded and vague as he carries out his plan. He is just jealous of those close to him: from his desire to “make [Othello] to suffer a jealousy way worse than what he is going through, and his “successful rival” who impedes his success (Bradley 209). Othello favored Cassio over Iago as he promotes him, this move drew the final straw which drove Iago to plot a humiliating destruction for both Othello, and Cassio. “Resentment at Cassio’s appointment is expressed in the first conversation with Roderigo, and from that moment is never once mentioned again in the whole play” (Bradley 225). In the quote above, Iago is complaining to Roderigo, about what Othello did and if this was indeed the final straw, why not mention it again throughout the story or at least claim some sense of victory as he replaces Cassio as the lieutenant: why even go far as to try to kill Cassio. Iago even admits that the other cause of jealousy in the rumor does not contain any proof as portraited in this quote “I hate the Moor/And it is thought abroad that twixt my sheets/He’s done my office. I know not if’t be true/ Yet I, for mere suspicion in that kind/ Will do as if for surety” (Othello 387-391). Though he offers some justification for his actions, it is not hinted or mentioned again in the play. Having his motives mentioned, and then forgotten in order to be truthful does not make sense, rather they seem as though he is passing justifications in order to harden his conscience against what he has planned. Instead what he does is make the reader wonder if he is really just after some petty revenge because of some slights against him. It just might be so, but what we can agree on is that things regarding Iago are more than they appear to be.

Critics who think Iago had no solid motive for all the atrocities he committed, simply took the view of him not having no motive at all. Snyder says Iago might just have been caught up in his feelings or urges which made him go to war against all that is good. Snyder makes a good point because, throughout the story, Iago is portrayed as the devil incarnate who is able to destroy so many lives without showing any remorse or emotions. Even at the end when his true nature was revealed, he did not say a word or even show some emotion. It is astonishing how “he never betrays his true nature; he seems to be master of all the motions that might affect his will” (Bradley 218). Snyder thinks Iago resents all those who are warm because he has a cold heart. This makes sense because it explains why he went after Desdemona who in the story symbolizes someone who is pure and filled with so much good. Christofides thinks Desdemona just might be Iago’s foil because it comes down to good (Desdemona) vs evil (Iago), and this might even create more resentment in Iago, and fill his desire to destroy all that she represents. Iago sure lives up to the label “devil incarnate’ as he switches from the reality of Desdemona’s goodness, and his evil to an illusion of honesty and deceit which resulted in the near destruction of most the characters in the play. Snyder mentions an author called William Hazlitt who believed that Iago does not find any pleasure in whatever “gross or lascivious images, but his desire of finding out the worst side of everything” (Snyder ); however, Melville mentions an author named Coleridge who believed that Iago is if one of those people who gain pleasure in the feeling and expression of contempt for others” (Melville). This seems more plausible considering that the reader is unable to fully see the worst side of everything which means Iago’s plans were not to do the worst, but rather destroy those he considers his enemy. Bearing in mind the above critics opinion, Iago had no motive for all the atrocities which he did, but rather did them out of the pleasure of doing them. Talking of pleasure, it is the one which Iago got from expressing his contempt of them, and without even realizing it until it was too late says, Melville. With all said above, something just does not add up. It is as though there is still a piece missing from the story. This makes sense because some critics such as Snyder find the opinion of no motive implausible because, in the play, there is no mysticism; so there is no way that Iago could be the devil incarnate which means, there must be a human answer to what Iago did in the throughout the play.

The answer must indeed be superiority. The last suggestion for Iago’s motive is centered on his ego and feeling of superiority over all others says Doran because Iago must have felt that he is better than Othello who is a black man. Even though within the play, he never expresses this, he did offer some hints in just smalls bits when he spoke about his coloring and his misplacement within the society. He must have felt superior to Cassio who is portraited as a nerd, not a soldier, yet Cassio was chosen over Iago to be lieutenant. Melville still mentions Coleridge who also believes that whenever Iago is soliloquizing his motives, he is only looking for reasons to justify his plans against the resistance of his subconscious. Iago is not a bad man, not to the extent to be called a devil incarnate because Emilia and Othello knew him for quite some time, and nothing had got bad before the Cassio appointment. The mixture of unacknowledged superiority and resentment on his dependency on Othello must have triggered the wrath of Iago says, Bradley. Bradley also thinks that Iago had no ambition as he did not “exert himself greatly to acquire reputation or position” because all he concerned himself with it and only was that he was wealthier than Cassio (Bradley 221). and there is some suspicion that Cassio was way richer than Iago, and as Iago was demoted, he became so broke that he had to dupe some off Roderigo. Feeling frustrated and not knowing what to do, Iago decided to seed out those who were the cost of his new founded suffering. It is known that Iago wants “to plume up [his] will in double knavery” (Othello I, iii). From the quote, he intends to regain the feeling of superiority by expressing on those who oppose him says Bradley and “pain is the unmistakable proof of his own power over his victim” (Bradley 229). Iago can be compared to a kid who will stomp ants because he can do that of a husband who shows superiority over his wife by beating or degrading her. To corrupt, and control the minds of does he wants, he uses words to a point where they are socially and physically destroyed says, Doran. For example, in the first Act, Iago convinces Rodrigo to give him jewels and some money so that he can give it to Desdemona to prove her that Rodrigo is the best suitor for her. In the play, Cassio is Iago’s second victim as he is the one who stole his position as lieutenant. Iago has Cassio undying trust, but in a few moments, Cassio became an outcast. Iago then moves on to the Moor as he plans the seed of jealousy in his mind. the planted seed was so deep and watered that it came bearing fruits causing the eventual deaths of both Othello and Desdemona. This is further proof that Iago truly acts like a master puppeteer as he continues to jerk and twist the strings of his marionettes to make them dance to his will says, Doran. just wow-what great a show superiority Iago presents. He has indeed taken full control over everyone’s minds, and feelings within the play. It shows Iago’s great intelligence in using whatever resource he has within his grasp to plan and create illusions which play the part of the “honest Iago” but within he is giddied with the thrill of the ride and the pride of success (Doran 69).

A reader might be thinking “how did Iago do it? And what was so effective in the speech he gave Othello to inject the seed of doubt which eventually lead to him killing Desdemona? Doran says it is the word “if.” She says this because she thinks “Iago’s ‘if’ is the great central if in the play” (Doran 69). The might “if” can be found in this quote “Iago. Ha! I like not that/ Othello. What dost thou say?Iago/ Nothing, my lord; or if — I know not what/Othello. Was not that Cassio parted from my wife? /Iago. Cassio, my lord? No, sure, I cannot think it, /That he would steal away so guilty like. / Seeing you coming” (Othello III, iii 35-41). She makes this claim because of the quote above. The quote contains that tiny word which brought Othello’s world to ruins. One might question what Iago meant as he uses the word “if”. We the observers or the readers might know what it means because it gave us an insight into Iago’s mind using his soliloquies; but the real question is what does Othello think it means says, Doran? Of course, there are a million possibilities of what went through Othello mind at the point. Maybe “Cassio is stealing away from Desdemona means something sinister, if Desdemona is not a faithful wife if Cassio is not a true friend,” and on and on (Doran 69). as mentioned above, It is this word that shreds Othello’s mind, in the process creating the first hole in his self-security, which widen thus making him completely insecure and made room for jealousy to fill it. Because of that same word, Iago did not even have to produce the handkerchief he spoke off as proof says Christofides, because all the damage was already done in his first mentioning of his wife unfaithfulness.

Iago had a reputation for also been straightforward, and this laid the foundations for his future deceptions. In a conversation Desdemona, Iago was considered rude because he was too straightforward but then Cassio defended him by saying ‘He speaks home, madam; you may relish him more in the soldier than in the scholar’ (Othello II.i.161–62). From the quote, Desdemona was amazed at how Iago can express himself with such honesty and bluntness, and in a manner which she could never communicate. But away from his superiors, Christofides says the crudeness became obsessively salacious because as he talks about the sexual exploits of Cassio and Desdemona, he refers to the hands, lips, and blood. He portraited the activity using low terms. This is just an example of the kind of language which Iago uses, and this gives us another insight into who he really is.

There is no denying that Iago’s complexity was baffling to anyone who has either read or seen the play. Over the years, critics and analyst have argued over the true motivations for his deeds, be it jealousy, superiority or just plain evilness. With knowledge from articles of Bradley, Doran, Snyder, and Christofides, it is safe to say that it is a combination of all three. The fact is, Iago indeed had a feeling superiority over everyone, and he did control them as if they were indeed marionettes. It is also true that Iago had his reasons for petty revenge, and that he did get some satisfaction from causing pain and the feelings of contempt towards his enemies. With his motives in place, he could now fully execute his plans with the efficiency and the cunningness it requires. Using one tiny word “if” which caused a huge hole in Othello’s mind and which he could not close it up until it was too late. Doran considers Iago to be the most complete villain in any of Shakespeare’s plays, because of the way he fools his world with a mask of honesty while waiting for the chance to prove how superior he is to anyone. He showed and had no remorse, no repenting on his part and especially no regrets. Unlike most of the characters in a Shakespeare play, he never took the journey from evil to good or good to evil, instead, he stayed true to himself and never betrayed his nature. Since there is no demi- devils, witches or magic, only humans who are in a human world, then Iago’s character is real and plausible which can be scary because the thought of someone whom we trust, to do us like Iago did his friends, is scary.

Jealousy in William Shakespeare’s Othello in the play Othello, resentfulness and prejudice are obvious themes from the beginning to the end. As the play slowly expands it is evident that jealousy is the cause of the most dramatic actions which takes part in the play.

Iago feels jealous of Othello and tells Roderigo “I hate the Moor; and it is thought abroad that ‘twixt my sheets He has done my office: I know not if’t be true. (Act 1 scene 3) Iago plans on doing a plot against them to convince Othello that Desdemona is having an affair with Cassio. Othello response in salute to Shakespeare character. Initially purpose, Lenson grudge quickly lose steam and fall into starting general problems with trust and forgiveness in a relationship without relating it to their knowledge. Emilia says “But jealous souls will not be answer’d so; They are not ever jealous for the cause, but jealous for they are jealous: ‘tis a monster Begot upon itself, born on itself.” She is talking about Othello even though there is no evidence or not, being a jealous person will be jealous no matter what the situation is. For Iago to kill is own wife the truth came out in the situation wouldn’t be fixed. He allowed jealousy to destroy everything that he had in life.

A race stereotype is when Iago says. “Even now, now, very now, an old black ram Is tupping your white ewe. Arise, arise; Awake the snorting citizens with the bell, or else the devil will make a grandsire of you: Arise, I say.” (Act 1 scene 1) Iago uses prejudiced to when he wakes up Brabantio to the news about his daughter. “All my fond love thus do I blow to heaven: ‘Tis gone. Arise, black vengeance, from thy hollow hell.” (Act 3 scene 3) It shows that Othello has deficiency of ego in himself and it shows that he does not like who he is or his own skin color . Othello the Moor is “Different, a prefiguration, in one sense, of racial outsider who has troubled, even haunted us in America. He is not an outcast by virtue of his skin’s hue, but rather someone who stirs the passions of a lesser man who “prejudices,” ultimately, tell us about his humanity rather than “racism”.

Violence In Othello he says, “I will chop her into messes” (Act 4 scene 1) Othello is filled with anger with Desdemona because she deceived on him. “Moor, she was chaste; she loves thee, cruel moor; so, come my soul to bliss, as I speak true; so speaking as I think, I die. (Act IV scene 1) Iago killing his wife has no feeling for it. Emilia had reveal the truth of her husband’s cruel plot. “Therefore, confess thee freely of thy sin; For to deny each article with oath Cannot remove nor choke the strong conception That I do groan withal. Thou are to die.” (Act V scene 2) Othello resentful behavior grows onto him, until he kills his wife instead of being sorrowful and disgrace about what he did to his madam. To be more precise, objects of investigation or inquiry will yield their secrets, provided the proper method and procedures are applied.

Othello asks “who began this” Iago response “I do not know “…Devesting them from bed” (act 2 scene 3) Although Iago shapes for his own ends our perceptions of a male political alliance as a friendship that resembles a marriage, the similarity between marriage and friendship is indeed disquieting in Othello. Iago says “Now, I do lover her too, not out of absolute lust though peradventure I stand accountant for as a great sin but partly led to diet my revenge, for that I do suspect the lust Moor hath leaped into my seat the thought whereof Doth, like a poisonous mineral, gnaw my inwards, and nothing can or shall content my soul Till I am evem’d with him, wife for wife, or failing so, yet that I put the Moor At least into a jealousy cannot cure. “Which thing to do. If this poor trash of Venice, whom I trace for his quick hunting, stand the putting on I’ll have out Michael Cassio on the hip, abuse him to moor in the rank garb For I fear Cassio with my nightcap to” (act 2 scene 1 ) Iago suspects that Othello was sleeping with Emilia but also, Cassio is sleeping with Othello wife which is trying to sleep with Desdemona which is allowing him to try to get vengeance . If Iago can’t sleep with Desdemona he go try to make Othello believe that Desdemona is sleeping around with Cassio.

In conclusion an opportunist, sadist, vindictive individual can trigger people to take their life, ruin a marriage with one of another. Jealousy brought controversy with some characters in the play, the contempt that Othello feels towards Cassio, Iago has for Othello. Jealousy is an considerable amount of component that William Shakespeare uses to set the movement of the play’s action and transport it forward. Therefore, Othello changes his mannerism and begins to act like a brute, whereas Iago changes his nature from admiration to hatred.

Work Cited

1. Carlson, Andrew. “Not Just Black and White.” American Theatre, vol. 34, no. 1, Jan. 2017, pp. 68– 74.
2. Lamb, Gregory M. “Race Is an Issue in This ‘Othello.’” Christian Science Monitor, vol. 96, no. 201, 10 Sept. 2004, p. 13
3. Lord, Douglas C. “The Othello Response: Conquering Jealousy, Betrayal and Rage in Your Relationship (Book).” Library Journal, vol. 128, no. 19, Nov. 2003, p. 86
4. Mukai, Taijiro. “CASE REPORT Tiapride for Pathological Jealousy (Othello Syndrome) in Elderly Patients.” Psychogeriatrics, vol. 3, no. 3, Sept. 2003, pp. 132–134.
5. Neely, Carol Thomas. “Women and Men in Othello.” Othello – William Shakespeare, Original Edition, Chelsea House, 2018. Bloom’s Literature, online.infobase.com/Auth/Index?aid=183527&itemid=WE54&articleId=532651. Accessed 6 Mar. 2019.
6. Olson, Rebecca, et al. “Revising Jealousy in The Merry Wives of Windsor.” Medieval & Renaissance Drama in England, vol. 25, Jan. 2012, pp. 174–190
7. Westlake, Robert J., and Sara M. Weeks. “Pathological Jealousy Appearing after Cerebrovascular Infarction in a 25-Year-Old Woman.” Australian & New Zealand Journal of Psychiatry, vol. 33, no. 1, Feb. 1999, pp. 105–107

The power of word means the power of manipulating someone just with words, the power which affects people on their mind and not they corpse, we can say is something that hit your brain and causes confusions on your brain and not to your body. On the other side is the power of sword which is a physical power, it affects your body and just that, the only malfunctions that it can causes are at the body scale. In “The Tragedy of Othello, the Moor of Venice” both of these powers appear and are represented by Iago and Othello. We are going to discuss about which one is more powerful. In that Shakespearean tragedy, I think it is obvious that the power of word, which is Iago’s power, won against the power of sword, which is Othello’s power. As illustrated by the final when Othello killed Desdemona and after that committed suicide.

What is exactly the power of the word and how it can be greater than de power of the sword? First, we need to make clear the differences between the word and the sword, and we are not talking about de “s” which is added at the beginning of the word “word” and now we have “sword”. We are going to talk about each one and how they appear in Othello. The power of word is represented by Iago, but in some situations by Othello too. Iago used it to manipulate Othello by saying many lies, he creates a completely fake story about how Desdemona cheated Othello with his captain, Cassio. Iago was very careful about each word which he said to Othello and planned every detail. Thanks to Othello’s trust and naivety, he believes Iago. These lies went deep in Othello’s mind and made a way in changing Othello’s behavior towards Desdemona. Iago with his power killed both Desdemona and Othello without any weapons, just using his word correctly. Othello is different from Iago from this point of view, the power of words, Othello used the power of word to conquer Desdemona, he told her about his brave actions and a lot of stories from his battles, just words were enough to take over Desdemona’s hearth and loyalty. However, in the Shakespearean tragedy, Othello does not represent the word; he plays the role of the power of the sword. He is a great fighter, a brave man who really knows how to manipulate a sword, an admirable military strategist, but these qualities and skills are not valid in society. We can say that in the society he is a sword among the words, he is an outsider not just literally, because he is “the moor”, but metaphorically too because he cannot adapt in the society. From beginning, the rank and the roles of Othello and Iago are clearly: “OTHELLO, a noble Moor in the service of the Venetian state. IAGO, his ancient.” Even if Iago is inferior towards Othello, in the end his power won against Othello indicating the superiority of the word in comparison with a sword.

Anyway there are some contextual details that we need to make things clear. For the power of word to win it is needed some agreement, because the words have no power if the person who you are talking to does not want to listen you or does not have any trust in you. In a conflict between two persons, we can agree that the power of sword has more influence and is more important because it depends on the trust and attention of the other person. When we are talking about life or death, generally speaking, both powers have the same strength.” The sword can kill a man, but the word can kill a kingdom “but “Would the word have been able to kill a kingdom without the sword to do it for him?” (Ali Zufer – “Is a sword stronger than a word?” ; Answered Sep 17, 2018 ; 30/01/2019 https://www.quora.com/Is-a-sword-stronger-than-a-word) I guess the answer is no, the word and the sword are complementary powers, “men die upon the swords, but they die for words”( Murphy Barrett – “Is a sword stronger than a word?”; Answered Sep 17, 2018 ; 30/01/2019 https://www.quora.com/Is-a-sword-stronger-than-a-word). We need both kings and soldiers in a nation. The swords will rust if there are no words and the words will not change anything without swords.

In the Shakespearean tragedy, the power of word won because of Othello’s mistake. Due to Othello’s incapability to adapt in society, Iago takes the advantage of Othello’s weakness and manipulate him. Othello trusted his friend more than his wife; he behaved in society like he behaved in war.

Iago shows his power not just with Othello, he took the advantage words anyone. He manipulated Roderigo using his feelings about Desdemona, he made promises after promises and in the end he killed Roderigo. He manipulated Cassio, Desdemona and Emilia doing what he wanted and that was how his plan succeeded.

The difference between the word and the sword is also the training in using them. Anyone can learn how to use a sword, even it is not at the highest level possible and with a good training anyone can use properly a sword. But words are different, you can learn words and how to use them, like Othello did, but you need something more to transform that in a considerable power. Iago besides his words had Othello’s trust, his actions from the past which were proof of trust and his fame; everyone knew that he is honest and trustworthy.

I think that we can say for sure which power has the biggest impact in “The Tragedy of Othello, the Moor of Venice”; Iago is the proof that the words have more power and they can kill people without weapons. Othello is the proof that the sword has no power in the society, maybe in times of war sword play a major role, but not without words to lead that sword and not when there is any war. How Iago used words to manipulate other how he wish and how the tragedy ends is perfection example for the power of word and power of sword with Iago and Othello. The destiny of Iago represents the destiny of word and the Othello’s destiny represents the destiny of sword.

Bibliography

1. Jens Böttiger – “Is a sword stronger than a word?”; Answered Sep 17, 2018 ; 30/01/2019 https://www.quora.com/Is-a-sword-stronger-than-a-word
2. Murphy Barrett – “Is a sword stronger than a word?”; Answered Sep 17, 2018 ; 30/01/2019 https://www.quora.com/Is-a-sword-stronger-than-a-word
3. Ali Zufer – “Is a sword stronger than a word?”; Answered Sep 17, 2018 ; 30/01/2019 https://www.quora.com/Is-a-sword-stronger-than-a-word

Othello an african american person that was in empowered from other superiors. From a time period that didn’t look so highly of african americans entrusted a story about othello and his power as a leader. Othello with his wife desdemona are together throughout the book. Iago the antagonist against othello the lord, come with open hands. As the role of iago and othello start to intertwine, Othello an man with power would soon let his jealousness overcome his love for his sweet desdemonia. Iago the man with greed for power will show how othello as a man already inpower with cause his to become a reckless lord and will influence the plot and tone into a blood shower.

Othello in love with his fiance desdemona was just having the time of his life without a care. Iago a man that wants all power will soon come to destroy their bond. At first othello and his friend Iago were just like brothers, “a man he is of honesty and trust,– to his conveyance i assign my wife.” trusting Iago. as the iago carries through with his plan for power, he soon uses asaided to think aloud to the audience to prove his efforts to gain the power. As a shift in power Iago will soon push forward to the end of the story to later influence othello to kills his wife. throughout the story iago persuades Othello that cassio a male that hasn’t done such a sort to cheat, that cassio and desdemona were together and cheating because of her handkerchief. Her handkerchief symbolises the love she has for othello. As othello find that cassio has the handkerchief, that is a sign that desdemona has loved cassio.

How could a handkerchief have such and effect on Othello? The motive othello came from his friend Iago. Iago making sure that cassio will fall to blame for this mischievous action iago has in store. Exposing cassio when othello was hiding, iago was there to talk about desdemona with cassio trying to make desdamonia a whore. Through this action iaga was able to influence Othello to believe that his wife was a whore. As in charge of his wife, Othello sees it as a sign of betrayal, which later the persuades Othello into killing his beloved desdamonia. As the killing of desdemona comminces, she say”and i have you mercy too!–I never did offend you in my life; never lov’d cassio.” but even then Iago has influenced Othello to carry on with the killing. This set the mood into a sad yet serious tone to show the power of persuasion. Even then desdominia still defended Othello with her dying last breath.

In Othello is a scene of silence and anger, coming from othello belief in Iago as a man of honesty. As iago was able to persuade Othello into a mad man to killing his wife, Iago had such an impact to the way the story played out as it turns in to the blood bath towards the end of the story. Even as little as a hankerchief had the biggest effect in the long run as Othello was to call his wife a whore. As iago slowly gained power, costed the lives of many to end during the time of jealousy and anger as the dying lover birds (othello and desdemona) dying together.

William Shakespeare is known throughout literature about his thoughts and ideas on the subjects of betrayal, death, and love. All three of these subjects can be found in Shakespeare’s piece of literature ​Othello. ​Although, the most dominant topic that I noticed in this piece of literature is jealousy. Jealousy can be seen as a central feeling shared between pretty much all of the characters in Shakespeare’s ​Othello. ​Throughout the history of literature, many literary critics consider Iago to be one of the most evil characters in literary history. In the beginning of Shakespeare’s ​Othello, ​Iago is introduced and seen as a smart man, with a good reputation of speaking the truth and being honest. Later as the play progresses we begin to see Iago becoming a very manipulative person and begins to act almost as a puppet master. What I mean by this is that Iago knows just how to pull on everyone’s strings a certain way. In ​Othello,​ Iago’s overall goal is to make characters feel the same misery and jealousy that he himself feels. Iago does not stop there though. The jealousy and misery that the other characters feel is not enough to make Iago content. Iago seeks revenge and wants everyone to suffer. Iago achieves this goal of everyone suffering by betraying and manipulating other characters throughout this story. Iago can also be seen as being a prime example of freudian psychoanalysis. I say this because all throughout the story Iago can be seen as almost two different sides of him. He has one ego that seems as if he is caring for others, then he has a dark side of him where he wants everyone to suffer and feel the misery that he feels.

Long story short, the envy of the characters in this story, will soon overcome them and take control of their actions and emotions. Iago is fueled and seems as if he is motivated by the jealousy of others from the very beginning of this piece of literature. As a reader, we see Iago being very jealous of Michael Cassio from the start, as Iago says “​Forsooth, a great arithmetician, /One Michael Cassio, a Florentine / (A fellow almost damned in a fair wife) / That never set a squadron in the field”(I. i. 20-23). Here we see that Iago is jealous and upset that Othello promoted Michael Cassio to being his next Lieutenant. Iago is saying that Michael Cassio is a Florence man, who is is better at doing math than fighting, and has never lead men in battle before. Iago is now very confused as to why he did not get promoted to lieutenant. After Iago was not promoted he goes on talking about his hate that he has for Othello because of the passed over position. Iago then tells Othello that she has been cheating on him. This here, is when I first began to notice Iago’s way to pull people by their strings just the right way. Iago is very well at understanding and reasoning with other characters. I believe this is what allows Iago to play the part of walking all over and manipulating other characters so well. Roderigo also is in love with Desdemona, so he and Iago then begin to stir up some trouble. They then head down to the house of Brabantio. Brabantio is the father of Desdemona. Roderigo and Iago go to Brabantio’s house to inform him that his daughter has ran away. As Roderigo and Iago approach the house Iago says that “[he is the]​ one, sir, that comes to tell you your daughter and the Moor are now making the beast with two backs.”(I.i. 114). Iago tells Brabantio that he his daughter Desdemona is has left him and is now having sex with a Othello the moor. Brabantio does not believe him so Iago tells him to check his daughters room and if she is not there, that he may sue him. Brabantio comes to realization that Iago and Roderigo are not telling a fib. Brabantio gets together a group of men with swords and torches to head out to look for his daughter. Brabantio soon finds Othello and wants to get him arrested for using a witchcraft on his daughter to fall in love with him.

Desdemona tells the Duke that there was no kinds of witchcraft used on her. Brabantio then says “Come hither, Moor./I here do give thee that with all my heart”(I. iii 193-194). Brabantio says that he is forced to bless the marriage, then sends Othello and Desdemona on their way to Cyprus. Which is about to be attacked by the Turkish navy. The turkish navy then tries to trick them by saying that the ships are headed to Rhodes, but the Duke says “Nay, in all confidence, he’s not for Rhodes.”(I. iii. 34), the Duke is saying that they can not be confident that the Turkish navy is headed for Rhodes. Once again, we see Iago trying to manipulate another character once again. Iago tells Roderigo “…fill thy purse with money. The food that to him now is as luscious as locusts shall be to him shortly as bitter as coloquintida.”(I. iii. 309) and follow Othello and Desdemona, as they go on their journey to Cyprus.

Iago tells Roderigo that this is going to be his chance to get Desdemona to fall in love with him. Iago then says Othello, the moor, would then compare her to something bitter and that Othello will no longer want Desdemona. Iago then goes on restating “I have told thee often, and I re-tell thee again and again, I hate the Moor​.” ​(I iii. 311). Iago says this because he has heard of rumors that Othello has slept with his wife Emilia. Iago then goes on saying that he and Roderigo should join forces to get revenge on Othello. They start plotting a scheme of to tell Othello that his wife Desdemona has been sleeping with the new Lieutenant Michael Cassio. While the Turkish navy was on their way to Cyprus a storm came through and whipped out all of their naval ships. After this happened there was a feast to celebrate the end of the war and the new marriage of Othello and Desdemona.

Othello then leaves for his wedding night and Cassio and Iago are left in charge. Iago becomes very intoxicated and does what Iago knows how to do best and he manipulates Cassio into picking a fight with Roderigo. Iago tells Roderigo “I pray you, after the lieutenant, go!” (II. iii. 98). Cassio pulls a sword on Roderigo and Montano attempts to try to break up the fight and is wounded. Montano shouts “I bleed still, / I am hurt to the death. He dies!”(II. iii. 126-127). Montano was wounded badly by the laceration of the sword. Othello is then aware of what is going on and comes out and removes Cassio from being drunk at his post. Iago then tells Cassio that he should communicate with Desdemona to get her to talk to Othello about getting his position at the post back. This may seem as if Iago is caring for Cassio but this is all a part of Iago’s manipulative grand scheme of things. Cassio eventually talks to Desdemona about getting his position back at the post. Desdemona is more than happy to help out Cassio because she thinks he is a good loyal friend of Othello. While Cassio and Desdemona are talking, Iago and Othello approach near them. Cassio quickly leaves the scene because he is scared to deal with Othello. Once again the master of manipulation, Iago points out to Othello that Cassio scurried away when they approached. Iago does this once again to get in Othello’s head and give him thoughts of jealousy. Here we see Iago trying to bring down Othello to the level on which how he feels. Once again, it never fails that Iago is never up to no good, but nobody else can see that.

Very shortly after this we know that this makes Othello suspicious of his wife cheating on him. Desdemona then comes up to Othello and says that him and Cassio should reconcile soon. Now this really makes Othello mad and sends him over the edge. Iago then puts other suspicious thoughts in Othello’s head and begins to question him if there is something wrong. Here we see the freudian psychoanalysis again of Iago pretending to care when this is all just part of his plan to see jealousy take over all of the characters and tries to make them stoop down to his level of pain and envy. Iago then continues to manipulate Othello. Iago says that Othello needs to keep an eye on his wife Desdemona. Iago also gives Othello a heads up that he needs to be cautious of jealousy, because it is not certain if she is cheating on him or not. Othello begins to overthink the whole situation and believes that Desdemona is cheating on him. In the meanwhile, guest are arriving to the house of Desdemona and Othello. Not only are guest arriving, but Othello is being consumed by envy and anger by the thoughts of Desdemona cheating. Desdemona lets Othello know that their company has arrived. Othello then says he has a headache, Desdemona then tries to comfort him and wrap his head with her strawberry embroidered handkerchief. Othello pushes it away and Desdemona drops the handkerchief. Iago then tells his wife Emilia to steal the handkerchief for him. Emilia then picks up the handkerchief from the ground. Othello comes back envious and angry talking about his suspicions of his wife.

Iago then tells Othello that he heard Cassio say in his sleep that he had been sleeping with Desdemona. Iago continues to manipulate othello saying that he saw Cassio wiping his beard with his wife’s handkerchief. Iago convinces Othello that the rumors are true and Othello swears that he will kill both of them for revenge.

A prostitute named Bianca arrives who is in love with Cassio and comes to visit him, he tells her to copy the handkerchief. After this Othello and Iago talk about Cassio and Desdemona’s affairs. Othello begins to get so worked up that he fell into a trans, Cassio then comes by and tells Iago to wait a little ways away. Iago then talks to Cassio about him and Bianca getting married, Cassio begins to laugh from Iago’s questions and Othello takes this as him showing off that he hooked up with Desdemona. Bianca came up with the handkerchief during the middle of the conversation and threw it at Cassio. Now all of Iago’s evil plans are falling into place. When this happens it makes it look as if Cassio took the handkerchief from Desdemona. Iago and Othello then make plans to murder Cassio and Desdemona. Shortly after this Lodovico shows up with letters from the Duke putting Cassio in charge of Cyprus. In the middle of Othello reading these letters he hits Desdemona and accuses Emilia of helping her cheat. Roderigo then accuses Iago of stealing his treasures and promising them to Desdemona.

Once again the manipulative Iago strikes again and convinces Roderigo that the best thing to do to win Desdemona back is to kill Cassio. After Iago talked to Roderigo he convinced him to do it. Roderigo waits outside of Bianca’s home and waits for Cassio to exit. He then attacks Cassio but he did not pierce through the armour. Casio then stabs Roderigo, once this happens Iago sneaks up and pierces Roderigo in the leg and then runs off. Iago was never seen doing this. Iago then returns trying to look like a good guy as if nothing happened and he shows no remorse. Iago seems as if he is helping and returns to stab Roderigo killing him. Othello then goes in and tells Desdemona to prepare for her death, then kills her by smothering her with a pillow. Othello left “Thy bed, lust-stained, shall with lust’s blood be spotted.” (V. i. 37). Now Iago’s master plan of all of the characters being overcome with jealousy is now fallen into place and everything goes downhill from there. Emilia comes to tell Othello and Desdemona about the attack on Cassio, Emilia then sees Desdemona’s corpse. Othello admits to killing her, Emilia then begins to argue with him whether or not Desdemona cheated on him or not. Othello then reveals to Emilia that it was her husband Iago who had told him these things. Iago’s plan of manipulating everyone and his envy for other characters finally surfaces when Emilia said that he is making the whole thing up. Emilia then tells the story of her stealing Desdemona’s handkerchief saying that Iago told her to do so. Iago then comes in trying to silence Emilia by stabbing her and killing her. Iago then ran away from the scene and the others captured Othello. Once Othello is captured he then stabs and kills himself, Iago is taken away to be tortured for the chaos that he has caused, and lastly Cassio is promoted to the head of Cyprus.

Throughout literary history, Iago is called the most evil character by famous literary critics. Iago can be viewed as the most evil character by the amounts of destruction that he causes all because he wants jealousy and revenge. Another thing that gives Iago a nastier touch to his evil characterization is that he shows no remorse and does not feel bad at all what he is doing. All Iago wants to do is make the other characters in Shakespeare’s ​Othello​ experience the same pain and jealousy that he feels. Not to mention all of this happened because he was not pleased who Othello picked to be his new lieutenant, but at the end of the story Cassio ends up being promoted to the head of Cyrus with many people dead. Not to mention Iago is now being tortured for what he had done.

Works cited

1. Bloom, Harold. “Iago / Edited and with an Introduction by Harold Bloom.” ​Primo by Ex Libris​, New York : Chelsea House Publishers, c1992, galileo-usg-ung-primo.hosted.exlibrisgroup.com/primo-explore/fulldisplay?docid=01GALI_USG_ALMA51152123550002931&context=L&vid=UNG_V1&lang=en_US&search_scope=UNG&adaptor=Local Search Engine&tab=default_tab&query=any,contains,iago fictitiouscharacter&sortby=rank&offset=0.
2. Potter, Nick. “Othello: Character Studies.” ​Primo by Ex Libris​, London ; New York : Continuum, 2008, galileo-usg-ung-primo.hosted.exlibrisgroup.com/primo-explore/fulldisplay?docid=01GALI_USG_ALMA51152123550002931&context=L&vid=UNG_V1&lang=en_US&search_scope=UNG&adaptor=Local Search Engine&tab=default_tab&query=any,contains,othello characterstudies&sortby=rank&offset=0.
3. Shakespeare, William, and John Crowther. ​No Fear Shakespeare: Othello​. Spark, 2003.

In society, there are many people who made bad choices because of their own influences or because of another person’s influences. Some people do not know if they made the right choice without finding out what is going to happen after. For example, a driver does not know if it is right to run a red light before they get into a car crash or be fined. Most drivers know that it is wrong to run a red light, but some still do it. Some of those drivers will learn to not run a red light after they get punished for their decision. In society, people will often learn after they know what has happened. Sometimes, it is obvious that the character in a story made the bad decision after the audience or the character himself knows what happened. It is not always easy for a person to make the right decision. People are often faced conflicts because of difficult decisions that they have to make throughout their lives. Some people will get the help from other people to make their decisions. These decisions may either be good or bad. It is important to not rely on another person for all life choices because not all decisions are necessarily good. People should think before they act, meaning that they should make a decision based on what they think, what others think, and what is right to do. In Shakespeare’s story, Othello, Othello is considered a tragic hero because of his tragic flaws. Othello makes a bad decision based on what another character, Iago, has told him.

In the beginning of the story, Iago states to the audience in his first soliloquy in Act 1 Scene 3 how he is going to use Othello for his own benefits. He states how he actually hates Othello on the inside. He calls Othello, the Moor, to show the dichotomy of black and white. “Thus do I ever make my fool my purse.” (Act 1 Scene 3 Line 407) Iago and the audience knows that Othello is the fool because of how Othello is not able to determine true character. When Iago refers to his purse, he is referring to how he is planning to benefit from Othello. “I hate the Moor…” (Act 1 Scene 3 Line 410) The audience is able to learn from Iago’s first soliloquy on how he is going to use Othello in order to gain advantage for himself. The audience knows that Iago does not truly like Othello. People in society often use other people for money or intelligence, not out of true love. That is what Iago is going to do without letting the characters of the story know. The audience is able to see how Iago’s evilness is starting to develop.

In Act 2 Scene 1, Iago starts to develop another plan to hurt Othello. The audience is able to learn from his second soliloquy how he is planning to ruin Othello’s relationship with his wife, Desdemona. “Abuse him to the Moor…” (Act 2 Scene 1 Lines 326-331) The audience is able to learn how Iago is going to get Cassio involved in his plans in order to make them come true. Iago plans to get him to a closer relationship to Othello to make him trustworthy to Othello. “Tis here…” (Act 2 Scene 1 Lines 331-332) Iago wants to be friends with Othello, but as seen from Act 1, it is not because he truly wants to be friends with him. The audience continues to learn from Iago’s second soliloquy how Iago’s plans are developing and will be in action.

From the dialogue at the end of Act 2 Scene 3, the audience is able to learn Iago’s cleverness behind his evilness. “What wound…” (Act 2 Scene 3 Lines 374-376) Iago knows how his plan will slowly come true when he has patience. For most of the time, it is often worth it when people have patience. For example, a passenger waiting at the airport for his flight will get to somewhere good at the end. People often have to wait for a certain amount of time in order for their dreams to come true, such as buying a bigger house. “Yet fruits that blossom first will first be ripe.” (Act 2 Scene 3 Line 380) The audience will see how Iago will slowly let his plan work out. Iago’s cleverness tells him that good plans takes time to work out. People have to think their ideas carefully before coming up to a conclusion. The audience is able to see how Iago is clever in his mind, even though he is evil. In society, evil people are sometimes clever. They do not use their intelligence for good. Just like Iago, they use their intelligence to try to destroy other people. This is often because of bad influences from other people.

In Act 3, Iago’s plan is officially in action. Iago uses his words that affects Othello mentally. The audience knows that Iago is not telling the truth because Desdemona is epitome of purity. The audience is able to see that Desdemona is a kind and loving woman who would not cheat on her husband. Othello gets the wrong idea by believing what Iago said, which shows the epitome of good and evil. Othello believes that Iago is good and Desdemona is evil when the opposite is true. In Othello’s first soliloquy in Act 3 Scene 3, the audience is able to see dramatic irony in which Othello is believing in an evil person, who Othello thinks is honest. “This fellow’s of exceeding honesty…” (Act 3 Scene 3 Lines 292-294) This demonstrates Othello’s first tragic flaw, where he cannot see the truth of Iago. Because of Othello believing that Iago is honest, the audience will be able to see how he will be making a bad decision. “If I do prove her haggard…” (Act 3 Scene 3 Lines 294-297) The audience sees how Othello is being affected by Iago’s words. Before, Othello was happy with Desdemona. After listening to Iago, he does not trust Desdemona anymore. He becomes suspicious on something that is false. “Haply, for I am black…” (Act 3 Scene 3 Lines 297-300) Now, Othello thinks that Desdemona will cheat on him because he is black, which shows the dichotomy of black and white.

In Othello’s second soliloquy of Act 5 Scene 2, Othello plans to kill Desdemona if she does not admit the truth, which shows his second tragic flaw of hubris. The audience knows that there was nothing for her to admit because she is the epitome of honesty and purity. However, Othello continues to believe what Iago told him based on what he saw in the conversation between Cassio and Iago. Iago was secretly using Cassio by telling his wife, Emilia, to steal the handkerchief and giving it to him and by pretending they were talking about Desdemona when they were actually talking about Bianca, Cassio’s wife. The handkerchief represents an important part of Othello and Desdemona because it was the first gift that Othello gave to her. The audience sees how Iago used Emilia to help him prove to Othello that Cassio was with Desdemona. “Yet she must die…” (Act 5 Scene 2 Lines 6-7) Othello does not take the time to talk with Desdemona privately to see if it was true. Othello pretends to be god and control the forces of nature. He wants to kill Desdemona for lying. In society, when people lie, it often leads to something worse as the lie gradually develops. It makes people feel guilty and end up admitting the truth. “But once put out thy light…” (Act 5 Scene 2 Lines 10-13) Othello is pretending to be Promethean, which shows how he is really mentally affected. In society, people often get what they deserve based on their actions. The audience is able to see how Othello wants karma to happen to Desdemona for cheating on him. Othello wants to pretend to be god in order to for Desdemona to deserve what she gets.

Shakespeare makes the connection of this story to Sonnet 147, comparing love as a sickness. “My love is as a fever, longing still.” (Sonnet 147 Line 1) Comparing to Othello, the audience sees how he gets mentally affected because of love. The image of Desdemona being with Cassio gets stuck in his mind after Iago’s evil words. Because Othello got sick from what Iago has told him, the audience sees how Iago’s plan was successful. Iago is not truly loyal to Othello, which could be learned from Iago’s soliloquies. “Past cure I am, now reason is past care,…” (Sonnet 147 Line 9) Unlike Othello, the speaker of Sonnet 147 gains his epitome that love is just as it is. The speaker is cured when he understands what love truly is. Othello does not get cured and continues to be affected until he makes his final decision of killing Desdemona. In the rhyming couplet of Sonnet 147, the speaker understands the truth about love. “For I have sworn…” (Sonnet 147 Lines 13-14) Just like what Othello sees, Desdemona was beautiful to him at first, but then she seemed evil to him after. The speaker of Sonnet 147 and Othello has the same feeling for love, but Othello does not get cured because of hubris and his character judgement while the speaker of Sonnet 147 understands the truth about what love really is.

Based on Othello’s actions and decisions, the audience is able to see how Othello is the definition of a tragic hero by Aristotle. Othello is considered the powerful leader in the story, but makes a bad decision from extreme confidence and fear. He feels that killing Desdemona is the best choice because of her actions. However, Othello believed false information. After he found out that Iago was lying to him, he regrets the decision that he made and decides to kill himself. In the end of the story, everybody dies besides Iago. Iago is the person who is supposed to die because of his evil mind and actions. However, Cassio and Desdemona dies for being loyal to Othello, making this story a tragedy. The audience sees how tension starts to rise after Iago makes his plan. The characters of the story help make his story a tragedy. Othello does not find out the truth himself and believes what Iago shows him and tells him. Cassio goes along with Iago and talks happily about Bianca when Othello was hiding, which was ordered by Iago. Emilia find the handkerchief and does not tell Othello or Desdemona. The audience is able to learn from this tragic story to not believe everything other people say, not to rely on other people for everything, and not believe that they are right at everything.

Did Iago screw up? The Tragedy of Othello, the Moor of Venice. William Shakespeare. Iago manipulates Cassio to get him drunk and gets Roderigo to bring him into a fight. Iago has his revenge when Othello demotes Cassio of his rank because of his misbehavior. Iago decides to make Othello believe his wife is unfaithful to him. Three things that make Iago a perfect villain are: manipulation, he is “honest” to others, and his actions ultimately causing the death of others.

For me Iago’s strongest characteristic when it comes to being the villain is manipulation. Iago set in Othello’s mind that something is happening between Cassio and Desdemona. “Othello: Get me some poison, Iago, this night: I’ll not expostulate with her lest her body and beauty unprovide my mind again. This night, Iago. Iago: Do it not with poison. Strangle her in her bed, even the bed she hath contaminated. Othello: Good, good. The justice of it pleases. Very good. (4.1.191-197)*.” This quote is when Othello decides to kill Desdemona so that she can not cheat on him or any other man. Othello wants to poison Desdemona, but Iago suggests not to kill Desdemona with poison. Othello and Iago had a conversation and Iago had mentioned that Desdemona looked like she was flirting with Cassio. Iago at that moment planted the idea that Desdemona might not be faithful to Othello.

Iago tells the truth… Sometimes. He is half honest to people around him. “Othello. What dost thou say, Iago? Iago. Did Michael Cassio, when you woo’d my lady, Know of your love? Othello. He did, from first to last; why dost thou ask? Iago. But for a satisfaction of my thought; No further harm. Othello. Why of thy thought, Iago? Iago. I did not think he had been acquainted with her. Othello. O, yes; and went between us very oft. Iago. Indeed! Othello. Indeed! ay, indeed; discern’st thou aught in that? Is he not honest? Iago. Honest, my lord! Othello. Honest! ay, honest. Iago. My lord, for aught I know. Othello. What dost thou think? Iago. Think, my lord! Othello. Think, my lord! By heaven, he echoes me, As if there were some monster in his thought Too hideous to be shown. — Thou dost mean something. I heard thee say even now, thou lik’dst not that, When Cassio left my wife: what didst not like? And when I told thee he was of my counsel In my whole course of wooing, thou criedst ‘ Indeed !’ And didst contract and purse thy brow together, (3.3.95-104)*.” Iago tells Othello that he thinks Cassio is with Desdemona, Othello questions whether it is the truth or a lie. Iago tells Othello it is the honest truth. Othello does not believe Iago and wants proof that Cassio is with Desdemona. “Iago. Nay, but be wise: yet we see nothing done; She may be honest yet. Tell me but this, Have you not sometimes seen a handkerchief Spotted with strawberries in your wife’s hand? Othello. I gave her such a one; ‘t was my first gift. Iago. I know not that, but such a handkerchief — I am sure it was your wife’s — did I to-day See Cassio wipe his beard with. Othello. If it be that,— Iago. If it be that, or any that was hers, It speaks against her with the other proofs.” (3.3.420-429)*

. Othello does not want to believe Iago when tells Othello that Desdemona might not be faithful. Iago asks about the handkerchief that Emilia stole for him. Iago tells Othello that he saw the handkerchief in. Cassio’s hand. But Othello does not know how Cassio would have actually got the handkerchief, only that Desdemona could have given it to Cassio.

Iago’s actions that were due to jealousy caused the ultimate death of Othello, Emilia, Roderigo and Desdemona. “Roderigo. O, help me here! 6a Cassio. That’s one of them. Iago. O murderous slave! O villain! [Stabs Roderigo. Roderigo. O damn’d Iago! O inhuman dog! Iago. Kill men i’ the dark! — Where be these bloody thieves? — How silent is this town! — Ho ! murther! murther!— What may you be ? are you of good or evil ?, (5.1.61-67)*” This scene is when Iago kills Roderigo, so he can not tell anyone of Iago’s plan to wound Cassio. “Othello. It is too late. Emilia. [ Withiri] My lord, my lord! what, ho ! my lord, my lord! Othello. What noise is this? — Not dead? not yet quite dead? I that am cruel am yet merciful; I would not have thee linger in thy pain. — So, so. Emilia. [ Within] What, ho ! my lord, my lord! Othello. Who’s there? Emilia. [ Within] O, good my lord, I would speak a word with you! Othello. Yes; — ‘t is Emilia. — By and by. — She’s dead. — ‘T is like she comes to speak of Cassio’s death. — The noise was here. — Ha ! no more moving? Still as the grave., (5.2.85-100)*” This is the scene where Othello kills Desdemona because he – Othello – wholeheartedly believes that Desdemona has cheated on him – Othello – with Cassio and confronts her – Desdemona – about the handkerchief that Cassio had in his hand. “Iago. Villanous whore! Emilia. She give it to Cassio! no, alas! I found it, And I did give ‘t my husband. Iago. Filth, thou liest! 230 Emilia. By heaven, I do not, I do not, gentlemen. O murtherous coxcomb! what should such a fool Do with so good a wife? Othello. Are there no stones in heaven But what serve for the thunder? — Precious villain! [He runs at Iago; Iago, from behind, stabs Emilia, and exit. Gratiano. The woman falls; sure, he hath kill’d his wife. Emilia. Ay, ay. O, lay me by my mistress’ side.,(5.2.27-40)*” Iago stabs Emilia when she told the truth about the handkerchief, then Iago runs away. “Othello. Soft you; a word or two before you go. I have done the state some service, and they know ‘t. No more of that. — I pray you, in your letters, When you shall these unlucky deeds relate, Speak of me as I am; nothing extenuate, Nor set down aught in malice; then must you speak Of one that loved not wisely but too well; Of one not easily jealous, but being wrought Perplex’d in the extreme; of one whose hand, Like the base Indian, threw a pearl away Richer than all his tribe; of one whose subdued eyes, Albeit unused to the melting mood, Drop tears as fast as the Arabian trees, Their medicinable gum. Set you down this; And say besides, that in Aleppo once, Where a malignant and a turban’d Turk Beat a Venetian and traduc’d the state, I took by the throat the circumcised dog. And smote him — thus. [Stabs himself. Lodovico. O bloody period! Gratiano. All that ‘s spoken is marr’d. Othello. I kiss’d thee ere I kill’d thee;— no way but this, Killing myself, to die upon a kiss. [Falls on the bed, and dies., (5.2.38-68)*.” Othello kills himself after the confrontation with Iago and guards in Desdemona’s bedroom about killing Desdemona out of jealousy, love, and anger. Because of Iago’s actions four people are dead, one’s that Iago was friends with or that he loved.

Iago, he really did screw his life up didn’t he? Iago was manipulative, half honest with people and he caused the death of many people just because he was jealous. I think something myself and others can learn from this is: no matter how jealous or angry you get it does not do any good to yourself or others to dwell on your emotions or act upon your emotions, whether you think about the consequences – positive or negative – or not, because it could have disastrous results even if that is your endgame.

Work Cited

1. “Othello: The Moor of Venice by William Shakespeare – Books on Google Play.” Google, Google, play.google.com/store/books/details/Othello_The_Moor_of_Venice?id=Ki9XAAAAYAAJ

Introduction: The Intersection of Race, Ethnicity, and Identity in Othello

Othello (1603) is a domestic tragedy written by the famous Tudor playwright William Shakespeare. The tale discusses themes of love, jealously, revenge and most importantly race. Othello is an African man living as an army general in Venice. He falls in love with Desdemona, the daughter of a Venetian senate named Brabantio, and asks for her hand in marriage. Brabantio is horrified by this act of miscegeny and forbids the pair to marry. However, the pair have already eloped and travel to Cyprus where Othello must lead an invasion against the Turks. Upon their arrival, Othello’s scheming ensign Iago plots Othello’s downfall including the destruction of his relationship with Desdemona. Iago is jealous that he has been overlooked for a promotion to lieutenant and ultimately resents having to serve a man of colour. Through a series of well-manipulated events he convinces Othello that his wife has been unfaithful to him. Despite, Desdemona proclaiming her innocence Othello is so enraged he smothers her whilst she sleeps and subsequently kills her. Other characters piece together the lies told by Iago and reveal the truth to Othello that his wife did not commit an act of infidelity. Othello then condemns himself to death by committing suicide thus bringing the play to a close. Shakespeare’s works are still revered to this day and Othello is of no exception as it is a popular play still studied and performed in the present. For example, Othello is a text used by the AQA and Pearson Edexcel A-Level exam boards and has been performed most recently in 2015 by the Royal Shakespeare Company. This raises the question as to how multiculturalism presented in Shakespearean literature influences a 21st century audience particularly ethnic-minority pupils. Those of a younger age could be more impressionable towards certain negative stereotypes presented towards them when studying the play. Therefore, when discussing race in Othello it must be decided whether Shakespeare is simply a product of his time or a social innovator aiming to comment on the inequality present in society.

Racial Stereotypes and Othello’s Struggle with Identity

The play begins with its protagonist Othello receiving a torrent of racial abuse based on uninformed stereotypes; some of which still take precedence in modern society. Smith (2016) states such attacks are “a salacious mix of claims about monstrous blackness and barbaric sexual conquest” which have strong links to conventional views regarding race at the time. Othello’s new father in law Brabantio refers to Othello as a “Moor” (Act1:Scene1) which is an Elizabethan term used to describe dark-skinned people. This labelling fits the Western tendency to categorise people into binary opposites established by Western society. Binary oppositions provide ways of understanding and ordering the world, and of conceptualising identity. Anderson (1983) legitimises this idea through his book “Imagined Communities” which describes each nation as an imagined border which aims to instil a false sense of commitment to nationalism, when in reality we should be committed to the planet we live on that is shared by all. The setting of Othello in the midst of a war represents the threat of external chaos that monarchs and governments must defend their nation from. The play begins in Venice which was associated with power, romance and high culture however when the setting switches to the foreign lands of Cyprus that is when barbary and mayhem ensue. Furthermore, the idea of war had particular relevance to an Elizabethan audience as England was at war with Spain from 1588-1604. As a result of this there was an influx of African people arriving in England from Spanish colonial expeditions as a by-product of the slave trade. The chronicler George Best argued in 1578 that black skin was not a product of heat from the sun but instead was related to biblical damnation and witchcraft. Foucault (1969) defined this form of discourse as language and power including racialized subjects such as race that are constructed by often technical languages used to talk about them For example, sciences like biology shape the way people of colour are understood and legitimised because they are portrayed through the factual lens of science. However, religion had the monopoly over science during this period so these relations between skin colour and character fed into the public assumption that those of a darker complexion were intrinsically sinful. Therefore, any sort of bi-racial relationship was condemned as overtly sexual; fuelled by dark curiosity and exoticism instead of pure, loving intention. Othello’s malicious ensign Iago describes the partnership of Othello and Desdemona to Brabantio as “An old black ram is tupping your white ewe” (Act1:Scene1). This quote is steeped in racial tension as Iago uses sexual animalistic imagery to portray Othello as an aggressive sexual predator. Additionally, Brabantio is convinced that Othello has drugged his daughter into falling in love with him which furthers Othello’s portrayal by others as a vicious creature not worthy of Desdemona’s gentle innocence. It is this separation from society and labelling as “the other” which fuels a deep-seated sense of racial insecurity persuading Othello into believing that his wife is having an affair with a white man.

Othello’s Transformation: From Eloquence to Internalized Racism

Despite the racial persecution received by Othello, he continues to remain an eloquent man who is graceful and poised in stature. His speech at the beginning of the play imitates the language of love as he publicly declares “But that I love the gentle Desdemona” (Act1:Scene2). He is initially portrayed by Shakespeare as a caring man with a reputable job within the Venetian hierarchy. Othello has clearly overcome the racial barriers blocking him from achieving status and success. Yet, as Iago begins to manipulate Othello and his underlying insecurities regarding his race; Othello’s façade crumbles and he succumbs to the racial stereotypes predisposed to him by fellow characters. The language and actions of Othello later in the play prove he is ensnared in a self-fulfilling prophecy caused by internalising the racist ideology of others. He admits to being as “begrimed and black as my own face” which suggests he has accepted that not only is he black externally; he has lost all sense of internal light and a moral compass. Once Othello is convinced that his wife has committed infidelity; he addresses her in a manner that completely opposes his loving sentiment in earlier acts. He confides in Iago that he will “tear her all to pieces” (Act3:Scene3). In response to being labelled an animal by others, Othello uses his own form of animalistic language to describe the way he will savage Desdemona when he next sees her. In Act4:Scene1 Othello displays his physical outrage through slapping Desdemona. There is a stark sense of juxtaposition between this stage direction versus the kiss shared by Othello and Desdemona in Act2:Scene1. However, arguably the most shocking physical act of the play is when Desdemona is smothered by Othello in a climatic death scene. For an Elizabethan audience this would have cemented Othello’s transformation into a villain as he eternally damns his reputation by committing the irreparable sin of murder. Overall, Shakespeare presents Othello as a man who has fallen from grace to embody a conniving, barbaric creature judged as worthy of the stereotypes tarnishing his name.

Comparative Analysis of Character Portrayals: Race and Virtue

It is important to examine Othello in comparison to the portrayal of other characters in the play who all share the commonality of being white. Othello’s wife Desdemona fits the category of what is known as “the ideal victim” (Christie, 1986). As a white woman she is “most readily given the complete and legitimate status of being a victim.” Othello, having regressed into aggressive racial stereotypes, is therefore viewed as a barbaric perpetrator. Desdemona’s innocence is heightened by her final words on her death bed asking to “Commend me to my kind lord” (Act5:Scene2). Regardless of Othello’s sinful behaviour she defends him which proves that her loyalties lie with her love for her husband. Bradley (1911) states “Desdemona is helplessly passive”. There is a sense of dichotomy between Desdemona’s simplicity of character versus Othello’s web of flaws. Past productions of Othello, such as Oliver Parker’s (1995), dress Desdemona all in white when she is killed to symbolise her pure, angelic presence. Furthermore, Desdemona’s supposed lover Cassio is portrayed to be conventionally attractive, charming and charismatic. He is the perfect pawn in Iago’s plot to make Othello feel inadequate in comparison and consequently jealous of Cassio and his supposed relationship with Desdemona. Othello’s mindset has taken on the form of a racialized Western imagination that has dominated conventions such as beauty standards for hundreds of years and continues to do so today. Brabantio laments that he wishes Desdemona could have married one of the “wealthy curled darlings of our nation” (Act1:Scene2) that he placed before her. Othello is seen as dirty and impure by Brabantio; a trope that has lasted through to present day commercialism. For example, soap adverts depicting black people needing to be washed in order to appear clean. Clearly the issues presented in Othello cannot be completely distanced from racism in modern society.

Iago’s Role in Amplifying Racial Tensions

Iago is the puppet master of Othello’s downfall. He speaks of Othello’s race in a callous manner suggesting that he resents having to serve a black man. Iago is known to follow the binary understanding of race common to Western thought. For example, in the 1995 Oliver Parker production Iago plays with black and white chess figures symbolising the races of Othello and Desdemona. He only understands opposites and points of contention instead of the shared commonalities of humanity. By Othello not fitting into the desirable category of whiteness he feels like he is something other. Dyer (2017) suggests that the assumption that white people are known as just people “is not far off saying that whites are people whereas other colours are something else, which is endemic to white culture.”. It is understandable that by posing as Othello’s friend, Iago can slowly sow the seeds of racial insecurity and self-doubt into his mind by poisoning him with his racist views. Shakespeare gives Iago the most lines in the play and ensures he is constantly in Othello’s company. Iago is seminal to the plot of the play, yet he also acts as a mouthpiece of evil and vengeance. It is questionable as to why Shakespeare allows Iago to dominate the script and therefore influence not only his fellow characters but also an audience in such a negative way. Consequently, it can be said that Shakespeare had little care for the social implications of a play that somewhat unintentionally celebrates its racist villain.

Shakespeare’s Intentions: Othello as a Tragic Hero

Lastly, discussing Shakespeare’s intentions is seminal when assessing the way race is presented in Othello. It is hotly debated as to whether Othello fits the mould of the typical tragic hero presented in Shakespearean tragedy. Greenblatt (1980) states that “Othello is both monster and hero” as he commits the heinous crime of murdering his wife but commits suicide after realising his mistakes. An eye for an eye conforms to the Biblical teachings propagated during Elizabethan time thus elevating Othello’s status back to respected tragic hero. He takes his own life as a result of the life he snatched from Desdemona. However, it can also be argued from a modern perspective he is not redeemed for his crimes as he instead disgraces himself through conforming to racial stereotypes and committing such savage behaviour. The trope of the noble savage is all too common in Shakespearean literature. For example, Caliban from The Tempest (1610) makes grand, elaborate speeches about the island he resides on; yet will also revert to barbaric tendencies such as attempting to rape fellow islander Miranda. Caliban’s darker complexion, his forced subservience, and native status on the island have led many readers to interpret him as symbolic of the native cultures occupied and oppressed by European colonial societies. Nevertheless, it is still left up to interpretation as to whether Shakespeare intended his message to be received in this way. The modern reader may overcomplicate the original message by trying to align Shakespeare’s objectives with modern ways of thinking. As an Elizabethan man Shakespeare’s interaction and understanding of ethnic minorities would have been minimal. Did he have the resources and awareness to be socially conscious in his writing?

Modern Interpretations and the Impact on Ethnic Minority Audiences

Othello is widely performed and read today by theatres and schools across the country. In this era of political correctness in modern productions Othello is most likely to be played by a black man. The play is significantly altered when a black man plays Othello; it becomes a play about race, about lived experience and an ancestry of oppression. Yet in Shakespeare’s time a white all male cast would have used black face to portray a darker complexion. This serves to mock racial features and presents a level of unawareness that is frowned upon today by many. Race appears to be commodified for viewing entertainment as Smith (2018) states “Race becomes a kind of prosthesis that one can use to impersonate somebody else. Blackness is a kind of object or thing that is presented for the speculation of the audience.”. For students studying Othello this sense of commodified racism is often uncomfortable to tackle in a classroom. Despite, Othello’s redemption as a tragic hero he is still a stark misrepresentation of what it means to be black and his confusing presentation as part monster part hero may prove unsettling for ethnic minorities to understand.

Conclusion: Reevaluating Othello in a Post-Modern Society

To conclude, the presentation of race in Othello is understandably controversial in our post-modern society. For a text with racial attitudes such as this to be a part of modern education is a choice that does not reflect the inclusivity and diversity of society. However, it can be said to serve as a reminder of the progression that has been made in society but also the saddening reality that there are elements of Othello’s treatment that ethnic minority students can relate to. Whether Shakespeare had these intentions in mind when writing the play is certainly questionable. As a member of The King’s Men acting company Shakespeare would have had to write in accordance with the beliefs of his royal patrons. This meant his motives were more likely to please and entertain the masses rather than make controversial social statements. Nevertheless, by allowing Othello, as a black man, to gain the status of a tragic hero proves that his intentions were not to fully demonise every aspect of his character. Yet, the misinformed racial stereotypes that Othello adheres to prove that as a privileged white man Shakespeare’s accounts of racial inequality fail to equate to ethnic minority authors who have lived experience of discrimination. Therefore, regardless of Shakespeare’s grand legacy, his ill understanding of sensitive racial issues should be closely examined when teaching and performing this play in our modern, progressive society.

Bibliography

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3. Bradley, A.C., Von and Hügel, V. (1911). Shakespearean Tragedy lectures on Hamlet, Othello, King Lear Macbeth by A.C. Bradley. Formerly Professor of Poetry in the University of Oxford. London: Macmillan And Co. Limited St. Martin’s Street.
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Shakespeare begins his play in an open street in Venice in which a quarrel occurs between Iago, the mischievous and manipulative man and Roderigo, a rich nobleman capable of believing anything told by Iago, immediately it introduces the idea of the private becoming public when an argument occurs in an open street during the night where anyone can listen to the exchange of words. It becomes apparent to the audience that the argument is based on a man named Othello; audiences learn that Iago’s hatred for him was initiated when he chose Cassio, a man from Florence for the promotion instead of Iago in which it becomes clear of Iago’s repulsive and cunning character. Roderigo on the other hand despises Othello due to him being married to Roderigo’s love, desdemona, a woman faithful to Othello who betrays her own father for her husband.

Throughout the play, Othello is being constantly dehumanized and objectified simply down to his race, his occupation and class fails to be mentioned when in conversation with other characters. Iago refers to animals frequently when speaking of Othello, he mentions to Brabantio how his daughter will be “covered with a barbary horse” a derogatory remark of othello’s race, nevertheless he also sexualises othello Within the 16th century black individuals had a stigma of them to be animalistic and sexual predators due to their race, the reference of a “barbary horse” is said to Brabantio, the senator as a beastial animal with an intense sexual appetite. Iago furthers the racism when he states to Brabantio “an old black ram” will be “tupping your white ewe”. Not only does this exemplify the foul manner of Iago it also presents Desdomona to be a possession by the pronoun “your”. The metaphor demeans a passionate and loving relationship yet it characterises Othello as a mindless and animal who has ruined the purity of desdemona. Iago links Othello to a crude stereotype when using the animalistic imagery, he hopes to disgust Brabantio when distinguishing the difference between the race of desdemona being white and othello being black. The racism is continued when Iago states that the pair will be “making a beast with two backs” , the euphemistic metaphor refers to a couple engaging in barbaric sexual activity, the quote evidently brings about the image of a camel highlighting Othello’s country of origin. It suggests that Othello is not worthy of Desdemona’s love due to his race and further depicts Othello to be a beastly animal. Brabantio adds to the racism he questions why Desdomona can “fall in love with what she fear’d” in which he believes a mixed race couple is “against all rules of nature”. This provides further evidence that Brabantio believes mixed race marriages to be unnatural and fallacious, he discusses that it is impossible that Desdemona could have fallen for Othello thereby there must have been witchcraft involved. This suggests Othello’s race is extremely undesirable. The theme of racism and anger towards Othello for nothing but his race is immediately introduced, it creates a tense atmosphere for audiences and they are intrigued as to what else he has done for so much hatred to occur for one man. The Elizabethan audience may agree with the reasoning of their view on Othello however from a contemporary audience’s perspective they question whether it be just race and prejudice for this foul treatment.

Iago’s deceptive subversion of duty and loyalty is profound within this scene when he presents his envious, manipulative and chauvinist personality. He initially states he hates Othello because he chose Cassio, a man from Florence to become a lieutenant despite the fact he has “never set a squadron in the field”,this infuriates Iago and sets off his loathing for the protagonist. Iago introduces his character in his monologue and reveals his cruel intentions, he will betray Othello, “in following him i follow but myself” exemplifying Iago’s savage and diabolical intentions, this creates a sense of dramatic irony when the audience already know of how the play will plan out, afterall Shakespeare wrote his play as a tragedy, there will be no happy ending and thereby Iago’s plan foreshadows the following events that will happen. There are further acts of deception when Iago states “i know my price, i am not worth a place”, here he still is in conversation of his envy towards cassio due to him failing to receive the promotion. The alliteration of the “w” sound creates a somewhat dazed state, one may argue this to relate to one of Iago’s key traits of self love. The dazed state relates to his infatuation with himself. The theme of deception and jealousy becomes epitomized when Iago then states “by following him i follow but myself”. Here we see that Iago feels he can dupe and scheme his master in a way of revenge for the suspicion that Othello had an affair with Iago’s wife. This enables audiences to get an understanding of the intentions of Iago, there is an introduction to jealousy,deception and disloyalty immediately just through one character, the most evil character of the play due to his foul traits.

Themes of racism, jealousy, deception and love are all imprinted within the first scene; audiences begin to learn that Iago is an evil, malicious man who fails to engage in honesty and remorse, he uses plans and schemes in order to achieve goals for himself and is a manipulative self absorbed character. Roderigo on the other hand is presented to be honest yet fails to contain his nobility when Desdemona does not take his hand in marriage yet chooses Othello, a man who is hated by all characters within the first scene. The introduction allows audiences to gain an insight to each of the main characters personality and aims within the play, due to the play being a tragedy it is inevitable of death and disaster especially when there is a character such as iago. There is also a level of dramatic irony involved, audiences are able to suspect and guess correctly what will happen to Othello and Desdemona when racial derogatory terms are used frequently and there are plans to jeopardise the couple.