Category: Othello

Writing a paper on Othello’s jealousy? Essays like the one below will point you in the right direction!

Introduction

The play Othello is among the most famous tragic plays written by Shakespeare. The story concentrates on four main characters namely Othello, Desdemona, Cassio and Lago. Due to its varied nature and the fact that it addresses important themes such as betrayal, love, death and jealousy, it is still performed in many theatres today.

It stands out as a unique play with a personal setting describing the aspirations and private lives of the main characters. The jealousy displayed by Othello and the villainous nature of Lago are some of the qualities that impress the readers of the play.

In addition, the relationship among the characters makes the play unique (Sparknotes 1).Othello and Lago show close associations which make it difficult to figure out who has the greatest responsibility in the play. Most importantly, the role played by Lago who is the villain distinguishes the play from others. Shakespeare addresses different themes in the play and this essay will discuss jealousy as one of the themes addressed in Othello by Shakespeare.

Jealousy in Othello

Shakespeare was one of the most prominent writers who ever lived. He was known for addressing various themes such as betrayal, death and love in his works as evidenced in his play Othello. However, theme of jealousy stands out from the start till the end of the play. As the play begins, Roderigo is presented as he tries to be close to Desdemona.

The theme runs throughout the play until the end, leaving Othello very angry and envious because he believes that Cassio and Desdemona have been entangled in an affair. The jealousy of some characters in the play is influenced by other characters. Lago is the greatest victim of this and creates lies and presents situations aimed at misleading the other characters. He exhibits jealousy towards Cassio and Othello because he was not appointed as a lieutenant.

Lago can be described as a jealous character since he wishes every other person could share in his feelings so he goes ahead to plant the seed of jealousy in other characters. He is driven by anger and envy and aims at instilling jealousy in all the other characters, an aim he achieves through manipulating and betraying them, particularly Othello.

The play begins with Roderigo’s desperate love for Desmodena after which he decides to pay Lago to take her from Othello. This is an important scene in the play since it depicts Lago as a villainous character.

The deeds of Lago and his words portray him as a manipulative character. He designs a plan to ruin Othello by calling him a thief since he has stolen the heart of Desmodena through witchcraft. He goes on to implore Roderigo to confront Desmodena’s father by telling him, ‘call up her father, rouse him…poison his delights…do, with like timorous accent and dire yell’ (Shakespeare 64).

In actual sense, Lago is not concerned about the heart of Roderigo. This implies that Roderigo’s love for Desdemona and the fact that he wants to be with her means nothing to Lago. His intentions are not geared towards helping Roderigo look for Desdemona but encourage Brabantio to pursue Othello because this would disturb him.

Lago perfects the art of speaking things that people would want to hear hence misleading them and making them react according to his plans. He is so witty in his diction to keep off any possible argument and confrontation.

He treats Othello in a manipulative manner when he convinces Roderigo to confront Desdemona’s father regarding the conduct of the daughter. Brabantio finds it difficult to believe the accusations leveled against her daughter by the two and dismisses them as absurd. He is angered by the two after they disturb him at night when he is asleep.

After this incident, Roderigo tries to justify his accusations but his actions only serve to further anger Brabantio. He refers to Roderigo as a villain while Roderigo calls him a senator. Brabantio is baffled by the remark made by Roderigo and sits back to reexamine the situation once more. After carefully re-examining the situation, his anger subsides and starts considering the stories told by the two especially when he discovers that Desdemona is not in her bed chamber (Sparknotes 3).

Lago chooses his words judiciously and expresses his views carefully. He knows what to say and the most appropriate time to say it in order to convince his listeners. He practices this especially when talking to Roderigo and Othello. He begins his talks with imperatives then follows them with self answered questions and concludes by making daring assertions.

The timing nature of Lago is evident when he speaks to Roderigo about the suspicions of Desdemona being in love with Othello. Lago brings out Othello as a deceitful person whose lies are believed by Desdemona. He then uses these lies to manipulate Roderigo by telling him that he is capable of distinguishing the relationship between Othello and Desdemona. However, what drives Lago to manipulate Othello is the jealousy he harbors towards him.

The actions of Lago and Othello are based on what they say and do. Both have hidden intentions of dominating over each other. Othello is seeking answers while Lago intends to manipulate those he considers to have hurt him. As a result, Lago manipulates the conversations to cause Othello create conclusions that suit him.

By using this strategy, Lago waits for Othello’s answer for him to craft a response that will increase his jealousy. For example, when Desdemona is seen with Cassio in a private place, Othello asks Lago about it. Lago answers Othello by telling him that he believes it was Cassio. Clearly, Lago evades the question asked by Othello but instead frames his own answer hence manipulating Othello to answer his own question (Shakespeare 65).

Lago employs suspicion, forestalled criticism, hints and twists reality. He frames the relationship between Cassio and Desdemona for the sake of convenience. He is so determined to ensure that Othello develops unending jealousy for Desdemona by insinuating that Desmodena is unfaithful.

The chance presents itself when Cassio and Desmodena are spotted together. Lago slyly comments about the behavior of the two, a comment that elicits serious thoughts in Othello and wonders what their intentions were. When Othello tries to get more information from Lago, he declines to give any information and this makes Othello more suspicious.

As a result, his jealousy towards Desdemona continues to grow. Lago uses implied communications to make sure that he achieves his goals. He manages to change the perceptions that Othello has towards Cassio and leaves him asking for more information. Othello tries to understand whether the accusations of unfaithfulness made by Lago against Desmodena are right.

Lago tells Othello that he should not continue thinking about the adulteries committed but instead Othello thinks about them deeply. He is persuaded by Lago and he develops jealousy towards Desmodena but never questions the two about the affair. Othello adheres to what he is told by Lago and relies on available predetermined evidence. For instance, when a handkerchief that belongs to Desdemona is found on the bed chamber of Cassio, he is convinced that Desdemona is unfaithful.

Othello’s jealousy towards Desdemona continues to increase and to him the only person who can be trusted is Lago because he seems concerned about his life. Lago is engaged in many secret strategies and manipulates him to move in the direction he wants by pretending to be an innocent person. This is a scheme that portrays Lago as a person who sympathizes with Othello but the case is different.

The deceitful nature of Lago is exhibited when he tells Othello that Desdemona lied to his father about marrying Othello. When Lago points out the past deeds of Desdemona, Othello continues developing jealousy towards her because she lied to her father regarding the marriage (Sparknotes 5).

Desdemona is represented as a mere pawn to Lago. In the first episodes of the play, Lago is not so much interested in her. He only mentions her when talking to Othello about her unfaithfulness.

Later in the development of the play, Lago feels threatened after Desdemona asks about his perception of women and how he depicts them. This compels Lago to express love that is not genuine simply because he has been forced to do so. However, this makes him angered and expresses his jealousy towards Desdemona till the end of the play.

The motivation of the evil acts that are perpetrated by Lago in the play is not brought out clearly in the play. He is angered and harbors intense jealousy towards other characters just because Cassio was appointed a lieutenant despite the fact that Lago was more experienced.

He too becomes jealous of Othello although his manipulative character is not justified by this jealousy towards Othello. The truth of the matter is that Lago is very jealous and strives towards developing the jealousy he has in other characters. He believes that he is the person undergoing a lot of suffering and wants other characters to develop anger and jealousy.

Conclusion

Lago comes out as one of the villainous characters in the works of William Shakespeare. What brings out this character is the fact that he secretly creates the trouble happening in the play but he pretends to be innocent and blameless such that nobody suspects him. He achieves this by applying manipulative strategies that end up betraying other characters.

He always tells lies that cause serious consequences but he expresses sympathy and is ever ready to share his secrets with somebody. It is not clear why Lago acts the way he acts and this makes him even more frightening. He is full of jealousy and wants every other person to feel as jealous as he is. The jealousy of Lago and his efforts to develop the same jealousy in others eventually leads into the deaths of many people and his own downfall.

Works Cited

Shakespeare, William. Othello. New York: Plain Label Books, 1968. Print.

SparkNotes. Themes, Motifs & Symbols. 2011. Web.

The theme of the tragic hero runs through much of classic literature, from the ancient Greeks to Shakespeare and beyond.

In understanding the concept of the tragic hero, it is important to understand the criteria as set forth by Aristotle (“Aristotle”, 1998). According to that illustrious philosopher, there are six major elements required to make up a tragic hero. To begin with, these heroes (or heroines) must have three character traits including a noble stature, excessive pride, and a tragic flaw. These three character traits combined must then lead our character to his or her downfall, from which they make an admission of their guilt and are then redeemed in the end.

In his final words, Othello confesses that he has “loved not wisely, but too well” (V, ii, 353). This insight goes a long way toward explaining Othello’s character. It is because of where he’s placed his love that he behaves the way he does. He is a tragic hero because of how he fits the mold, with the single difference that instead of pride, Othello is unwise in his placement of loyalties.

Generally, heroism refers to a character that embodies our concepts of what is good and noble in the human race (Vest, 2002). Othello is a good example of this as he has risen, through his hard effort, from the pits of slavery to the General of the Venetian ships. “I fetch my life and being / From men of the royal siege [rank], and my demerits [deserts] / May speak unbonneted to as proud a fortune / As this that I have reached [are equal to]” (21-23). In addition, the Duke himself calls upon Othello at times of great need as in “Valiant Othello, we must straight employ you / Against the general enemy Ottoman” (48-49).

However, Othello’s nobility lies not just on the surface level of his position in society, but in his moral judgment as to when he is faced with an angry father and his warlike supporters: “Keep up your bright swords, for the dew will rust them / Good signior, you shall more command with years / Than with your weapons” (59-61). In this scene, his nobility shines through as he defends his wife’s honor, acknowledges the respect owed to his elders, and refuses to cross swords with them. All classic heroes also have an element of excessive pride, which contributes to their downfall as they become unable to discern truth from reality (McAlindon, 2002).

Although it is harder to see in Othello because he is working to keep his speech humble, this same pride is evident as one of his foundational characteristics, but perhaps somewhat justly earned. However, his greatest pride is placed in his power to love – his loyalty – of which he is perhaps also justified.

A more classical definition of the heroic figure would indicate that this character’s tragic flaw is the very trait that leads to their downfall. In the simple statement made at the end of his life, Othello recognizes his tragic flaw. His greatest pride, his steadfast loyalty for those he loves, manifests itself as his tragic flaw as it becomes obvious that he is incapable of judging which of his contemporaries he should trust with it. Although Cassio is Othello’s favorite officer as he promoted Cassio over Iago when Othello finds Cassio brawling in the streets with gentlemen and drunk, he immediately demotes him by saying “Cassio, I love thee; But never more be an officer of mine” (II, ii, 239-240).

Othello can no longer respect Cassio and his confidence in his judgment is thrown into doubt. For Othello, the doubt and suspicion growing in his mind regarding a possible relationship between Cassio and Desdemona were started with Desdemona’s father at the beginning of the play. Othello is warned, “Look to her, Moor, if thou hast eyes to see: / She has deceived her father and may thee” (292-93). Iago uses this doubt and suspicion, as well as Othello’s love for others, to Othello’s destruction. Once Othello decides to love and trust Iago, he finds it impossible to doubt him, even when it is Iago who is telling him he should doubt.

Othello has determined that only Iago has known him long enough and repaid him faithfully enough to deserve Othello’s love and loyalty. His great mistake lies in believing that because he has granted this tremendous boon (his love) to Iago, Iago must necessarily return the sentiment. It is only at the end that he finally realizes he has abandoned his earlier noble nature as a result of Iago’s manipulations.

As Othello confronts the results of his actions, he understands that his choice on whose love to have faith in was unwisely made.

Through his demonstration of a noble nature in his previous deeds, his current position, and his ability to deal well with others even in a tense situation, Othello is quickly established at the outset of the play as a nobleman precisely established to become a tragic hero. As the story progresses, it becomes more and more apparent that the aspect he takes the greatest pride in remains his ability to love others and to both give and receive respect and loyalty, setting him up for a perfect rendition of the tragic flaw scenario brought forward by Aristotle.

True to form, Othello’s love becomes twisted and manipulated, due in large part to the fact that he chooses to place his love and trust in one long-term underlying, Iago, over another, Cassio, as well as over the words and actions of his wife. This decision, as Othello himself said, led to his downfall and places him firmly within the canon of the tragic hero.

Works Cited

“Aristotle.” Critica Links. The University of Hawaii, (1998). Web.

McAlindon, Tom. “What is a Shakespearean Tragedy?” The Cambridge Companion to Shakespearean Tragedy. Ed. Clare McEachern. Cambridge: Cambridge University Press, (2002), pp. 1-22.

Shakespeare, William. “The Tragedy of Othello: The Moor of Venice.” The Complete Pelican Shakespeare. New York: Penguin Books, 1969. pp. 1018-1060.

Vest, Rob. “Shakespearean Tragedy in Othello: The Moor of Venice.” Late Plays of Shakespeare. (2002). Web.

Introduction

Shakespeare shows the characters’ complexity by emphasizing their positive and negative characteristics. Iago’s persona, which is portrayed as predatory and cynical, is crucial to the tragedy because it disturbs the plot. His worldview is based on two principles, the first is to “put money in your wallet” (Shakespeare, 2020a). The person’s point of view affects how valuable things are and how they should be treated ethically (Aprilia, 2019). This is the ultimate expression of moral relativism and nihilism.

The following illustration demonstrates yet another way Shakespeare makes this scene so unsettling. Base and gloomy images can be found alongside the sublime, poetic, and light ideas that predominate in the world of Othello’s images: “O monstrous! monstrous! O, blood, blood, blood!” (Shakespeare, 2020a). “One is too poor, too weak for my revenge” (Shakespeare, 2020a). Here, Shakespeare uses amplification to emphasize the characters’ excitement and illustrate the importance of these words.

Analysis of The Play Twelfth Night

Shakespeare shows the scene when the characters read the note allegedly left by Olivia. Mary wrote it, but more important is the reaction of the men who thought Olivia was the author because that is how Shakespeare encourages the reader to admire Olivia. ” I will be proud, I will read political authors, I will baffle Sir Toby, I will wash off gross acquaintance, I will be point-devise the very man” (Shakespeare, 2020b). Malvolio’s willingness to do everything that Olivia is alleged to have said shows how much he respects the heroine and how strong her character is.

Shakespeare also inspires admiration for Olivia in readers—including myself—which makes it regrettable that her name was used for deception. Shakespeare uses an absurdity in the note Mary purposefully included, which allows Olivia’s viewpoints to be understood as the exact opposite of what is written. “Be opposite with a kinsman, surly with servants; let thy tongue tang arguments of state; put thyself into the trick of singularity” (Shakespeare, 2020b). As a result, Olivia presents a respectable and dignified image of herself, which is admired.

Conclusion

In conclusion, like in most of Shakespeare’s plays, Othello and Twelfth Night depicts the conflict between the individual and society in a more subdued way than other tragedies. Shakespeare expertly shows the interactions between the characters to convey the tension in the conflicts common to society. Shakespeare succeeds in making the play unsettling by utilizing a lot of epithets, metaphors, amplifications, repetitions, and exclamations.

References

Aprilia, K. (2019). Analysis of metaphors found on the dialogues of “The tragedy of Othello the moor Venice” drama script by William Shakespeare. Journal of Research on Applied Linguistics, Language, and Language Teaching, 2(1), 83–86.

Shakespeare, W. (2020a). Othello. CreateSpace Independent Publishing Platform.

Shakespeare, W. (2020b). Twelfth night. Sweet Cherry Publishing.

The drama, Othello, is considered as one of Shakespeare’s great catastrophe themed plays and its uniqueness is evident in the sense that it is set in a private world in which its events center on the passions and personal lives of its main characters. This is a major distinguishing feature of this play as the other catastrophe plays are set against a backdrop of affairs of state that echoes universal human needs.

Written in 1604, Shakespeare adapted the plot of the drama from 16^th century Italian dramatist and novelist Giraldi Cinthio’s Gli Hecatommithi and created the play’s ominous events without incorporating subplots or humor to relieve the tension (Mussari, 39). Even though it is narrow in scope, the play is filled with tightly constructed tragedies. An analysis of the play reveals that it is one of Shakespeare’s most touching and the most agonizing plays.

The characters in the play, through their different behaviors, assist in establishing the plot of the story. Othello, an eloquent and physically fit person is considered as the protagonist and hero of the play; however, in spite of his elevated status, he is nonetheless an easy prey to insecurities due to his age, his life as a general of the armies of Venice, and his race.

The Moor, as most of the people referred to him, controls every move in the play. His character is that of a dark man, not only because of his race, but also due to the mystery of his entire personality.

Iago is a twenty-eight years old young man who is the villain of the play. He is presented as a collection of unresolved puzzles and he is the character who basically makes the plot of the story to move.

He participates actively in the development of the plot and everything he says is a cause for anxiety. Iago is a dominant force in the play who gives first-hand instruction to others, especially to Othello. Notably, Iago ensured that Othello knew the unfaithfulness of his young and beautiful wife, Desdemona, who got married to him secretly before the start of the play.

In developing the character of Iago, the writer borrowed from the Biblical account in which God told Moses that he is “I am whom I am” (Ex. 3:14). This implies that Iago’s self-depiction as “I am not whom I am” is the direct opposite of the character of God; therefore, Iago’s evil ways make him to be the devil in the play who tells lies and makes empty promises.

In Othello, irony plays a significant role as it develops suspense and increases the interest of the readers in the story. Shakespeare used three types of irony in the play, which are situational, verbal, and dramatic ironies to make the story to be more enjoyable. An example of situational irony is that at the culmination of the play, Cassio was not murdered regardless of the fact that he was the one that Iago wanted dead at the beginning of the story.

In fact, Cassio received a promotion in his position and Iago never achieved what he wanted to do; that is, to take Cassio’s place in the military. Another example of situational irony is depicted in the lives of Othello and Iago. Although they have a good reputation, their lives do not depict this. Notably, they treat their wives miserably despite their innocence and ultimately kill them.

Shakespeare’s use of verbal irony in the play incorporates some aspects of humor in it. Othello usually said things that were not consistent with the evil character of Iago:”Honest Iago . “(Shakespeare, 43), ”I know, Iago, Thy honesty and love …”(Shakespeare, 86). This depicts the confidence that Othello erroneously placed on his “best friend,” even though he was constantly saying lies and doing other evils.

Lastly, Shakespeare used dramatic irony in the play to make it more captivating by introducing something that the audience knows about while the characters are not aware of. A notable example that is evident all through the story is the fact that the audience is aware that Desdemona is innocent and that Iago is a wicked man whereas Othello is not aware of these things.

The major themes in the play are race, misrepresentation, and good versus evil. Race is an essential theme in the play because it dictates how people perceive Othello, a black military general, and it also determines what Othello thinks of himself as a rough outsider (Croft, 5). Othello’s status as a black-skinned foreigner makes him very self-conscious. And, it also makes him to put extra effort so as to be perceived as equal to the white individuals around him.

As mentioned earlier, misrepresentation is depicted in the sense that Iago appears to be a “good man” whereas he is in fact a wolf in sheep’s clothing. The theme of good versus evil is depicted in Iago’s consistent battle against the supremacy of Othello as well as of other characters who he considers as a threat to him. Although he succeeded to some extent, his actions are revealed as the play ends and he gets his due punishment.

In conclusion, Othello is one of Shakespeare’s most touching and agonizing plays because of its rich content. Shakespeare cleverly incorporated various characters to depict his intent of writing the play. As such, the themes of race, misrepresentation, and good versus evil are notably portrayed in the play.

Works Cited

Croft, Steven. Othello. Cheltenham : Nelson Thornes, 2004. Print.

Mussari, Mark. Othello. New York: Marshall Cavendish Benchmark, 2008. Print.

Shakespeare, William. The Tragedy of Othello, Moor of Venice. Teddington: Echo Library, 2007. Print.

Introduction

The military code of honor refers back to the old Warrior’s Code, which is a concept that predates Christianity. The Warrior’s Code was developed through the centuries of prehistory when survival of the clan meant strong adherence to a certain code of expected behaviors that could be relied upon in times of emergency or attack (French, 2001). These behaviors included loyalty to your men above loyalty to the family as it was with the men that the society would be defended, adherence to the laws of their society (not necessarily the laws of the society one is invading), a fundamental trust of fellow soldiers and a do-or-die approach to life. The higher a person’s rank, the more he is expected to honor the code and the harder it is for him to conceive of someone else breaking it. When it is the leader who breaks the code, disastrous events occur. Shakespeare’s play Othello illustrates these elements of military honor as the high-ranking warrior, in keeping with his do-or-die conception of life, fails to recognize the honesty in Cassio as a result of Cassio’s perceived public disorder and the dishonesty in Iago that remains hidden. In making this mistake, Othello continues to follow the military code by placing all of his trust in the wrong fellow soldier and, in remaining loyal to this individual rather than his wife, brings about the doom of his house.

Discussion

Cassio is clearly Othello’s preferred fellow soldier at the opening of the play. This is brought out clearly as Iago complains that Cassio was promoted above him. However, when Othello finds Cassio brawling in the streets with gentlemen and drunk, he immediately demotes him by saying “Cassio, I love thee; But never more be officer of mine” (II, ii, 239-240). This demonstrates the type of do-or-die approach to life that characterizes the soldier. Decisions must be made quickly and without reservation. Othello can no longer respect Cassio because Cassio has broken the military code by brawling in the streets. He has sacrificed his nobility for a momentary flash of drunken idiocy which is beyond Othello’s abilities to justify within the strict confines of his own moral character. Because of Cassio’s breach, Othello begins to doubt his own ability to make good judgments of character and begins to seek out a new confidante who still remains within the old code.

Iago uses Othello’s doubt and suspicion, as well as Othello’s own love for others, to Othello’s destruction. Once Othello decides to love and trust Iago, he finds it impossible to doubt him. This is the case even when Iago himself tells Othello to go verify the information Iago is giving him. As it is Iago who has provided him with useful services lately and Iago who first exposed the low nature of Cassio, Othello, in his self-doubt, defers to the military honor code as a means of determining who he should listen to. Although Desdemona continues to try to reason with him, the events of the play force Othello to conclude that only Iago has known him long enough and repaid him faithfully enough to deserve Othello’s love and loyalty. Because he is a fellow soldier who has never proven himself to be unworthy of trust, unlike Cassio, Iago is given Othello’s explicit trust even over the combined efforts of his new wife and former second. Like many high-ranking warriors, Othello’s great mistake lies in believing that because he has granted this tremendous boon (his love) to Iago, Iago must necessarily return the sentiment.

It is only at the end that he finally realizes he has abandoned his earlier noble nature as a result of Iago’s manipulations. Although he now recognizes Desdemona’s actions as the innocent actions she proclaimed them to be, Othello’s trust in Iago’s words forced him to see something else taking place instead. “Sir, she can turn, and turn, and yet go on / And turn again; and she can weep, sir, weep; / And she’s obedient; as you say, obedient, / Very obedient – Proceed you in your tears. – / Concerning this, sir – O well-painted passion!” (IV, i, 246-49). Desdemona was a good girl and cared a great deal about being a good wife. As Othello confronts the results of his actions, he understands that his choice on whose love to have faith in was justified by the military code, but the military code failed to take into account extenuating circumstances that should have seen him stand up for Cassio until things could be made more clear.

Conclusion

Through his demonstration of a noble nature in his previous deeds, his current position and his ability to deal well with others even in a tense situation, Othello is quickly established at the outset of the play as a noble soldier with a properly oppositional approach to life – the do-or-die attitude. As the story progresses, however, he begins to lose his ability to discern where his loyalties should remain. Cassio breaks the laws of the province, thereby tarnishing his noble nature and making him completely untrustworthy in Othello’s eyes. Iago is the only other soldier Othello can turn to for advice and, because of the military honor code, believes he can trust Iago explicitly. As an important element of the code, Othello believes Iago even over what he knows of his own wife and it is this belief that leads to his destruction.

Works Cited

French, Shannon E. “The Warrior’s Code.” Leadership, Ethics and Law. U.S. Naval Academy, 2001. Web.

Shakespeare, William. “The Tragedy of Othello: The Moor of Venice.” The Complete Pelican Shakespeare. New York: Penguin Books, 1969. pp. 1018-1060.

Othello, The moor of Venice was a play written by William Shakespeare and has contributed to his reputation as a great poet. Oedipus, was a play written by Sophocles and has secured great audience. There is similarity in both plays on how women are treated in the society. The essay will focus in outlining the different treatments accorded to the women as outlined by Shakespeare and Sophocles.

In both plays women are highly controlled by men in the society. Women are not accorded the right of making their own decisions. In Othello, Roderigo beliefs that he should be the one to marry Desdemona no matter what happens. Roderigo and Lago accuse Othello falsely and tell Brabanzio that he has stolen his daughter, Desdemona using witchcraft.

‘Transported, with no worse nor better guard, but with a knave of common hire, a gondolier, Shakespeare 7.’ Further, Brabanzio attempts to control his daughter’s life by accusing Othello to the senate. Consequently, Desdemona confesses that since she is married to Othello, she is submissive to him. ‘So much I challenge that I may profess

Due to the Moor my lord, Shakespeare 11.’ Lago controls Desdemona successfully and implicates her as having an affair with Cassio. Lago controls Emilia and lures her to commit crime. Emilia is submissive and obeys her husband’s order of stealing Desdemona’s handkerchief. Further, Lago attempts to silence Emilia in the end of the play after she realizes what he has done.

In Oedipus, Creon kidnaps Antigone and Ismene since he is unsuccessful in abducting Oedipus. The kidnap shows how easily women are controlled by men. Further, Creon refuses to listen to explanation given by Antigone after she buries his brother. ‘No woman’s going to govern me no, no—not while I’m still alive, Sophocles 4’

Women are accused falsely and tortured in both plays. In Othello, Lago accuses Desdemona of having an affair with Cassio. ‘O, beware, my lord, of jealousy, Shakespeare 23.’ Further, Othello accuses Desdemona of being a prostitute. Othello kills Desdemona because he thinks that she is unfaithful.

Lago kills Emilia because she tells the truth and attempts to escape. In Oedipus, Creon sentence Antigone and Ismene to death simply because they have given their brother a proper burial. Despite the fact that he forgives Ismene, he orders that Antigone should be buried alive.

Creon attempts to kill Antigone when Haemon fails to support his judgment. ‘No, not when I see you making a mistake and being unjust, Sophocles 7’ After the advice given by the blind prophet, Creon is reluctant to free Antigone. Antigone hangs herself because she is imprisoned and maltreated by Creon.

In both plays the views of women are disregard. In Othello, the views of Desdemona being in love with Othello are only taken seriously after the judgment is given by the senate. ‘Adieu, brave Moor, use Desdemona well, Shakespeare 18.’ Othello disregards the views given by Desdemona on reinstating Cassio to his position. As a matter of fact, he interprets the views presented by Desdemona as being due to an affair with Cassio.

Othello disregards the explanation that Desdemona has in regard to the accusation of being unfaithful and kills her. ‘She’s, like a liar, gone to burning hell, Shakespeare 28.’ After Othello killed Desdemona, he believed more in Lago who was lying than Emilia who was telling the truth. In Oedipus, Creon disregards the explanation given by Antigone after she buries her brother. ‘Tell me with no lengthy speech, Sophocles 6.’

The body of Antigone’s brother is exhumed which shows that her actions were disregarded by Creon. Oedipus fails to yield to Antigone’s plea of accepting his brother’s request. Oedipus refuses to be comforted by Jocasta which can be interpreted as disregard. ‘Listen to me I beg you, do not do this thing, Sophocles 18.’ Eurydice curses her husband and kills herself for the disaster that his pride has brought to the land. Eurydice had always warned Creon about his stubbornness and pride but he never yielded.

Tragedy

Theme of tragedy is well featured in both plays. Oedipus starts with a flashback of tragedy. Polynices and Eteocles are children of Oedipus who fight and end up killing each other. Creon orders that Polynices’s body should not be buried. Antigone buries the body secretly and is sentenced to death along with her sister Ismene.

Afterwards Creon orders for release of Ismene but Antigone is to be buried alive in a tomb. The blind prophet however warns Creon against this act as it will bring calamity to the land. ‘How good advice is valuable—worth more than all possessions, Sophocles 9.’

Haemon is the first person who arrives at the tomb where Antigone is imprisoned. He finds out that Antigone has committed suicide and is devastated. Upon arrival of his father Creon, Haemon throws a sword but misses him. Haemon kills himself after he fails to kill his father. After Eurydice learns that his son is dead she is devastated and stabs herself as well. Creon is not able to withstand the many tragedies and begs for his own death. ‘I don’t know where to look or find support, Sophocles 11.’

The plague in the land is associated with murder of king Laius that took place long time ago. The remedy of the plague is based on expulsion of the murderer of King Laius from the land. His murderer happens to be his own son King Oedipus who was raised in Corinth.

His mother had sent a shepherd to kill him when he was a baby because it had been prophesied that the baby would kill his father and sleep with his mother. The shepherd opted to take the baby far away from Thebes but what had been prophesied was fulfilled since Oedipus killed his father and slept with his own mother. When Jocasta realizes that Oedipus was his son whom he has lived with as her husband she kills herself.

Oedipus stabs out his eyes and orders Creon to take care of his daughters since he should be sent to exile. ‘Take care of them, Creon; do this for me, Sophocles 19.’ Oedipus dies in Athens and the city in which he is buried is safe from calamities. Creon is the main antagonist in the play as he betrays King Oedipus.

His betrayal leads to many tragic events including death of his entire family. ‘Cruel mistakes that bring on death, Sophocles 10.’ The calamity in the land is associated with tragic murder of King Laius. Both plays have featured the theme of Tragedy as evidenced by the death of main protagonists in both plays.

In Othello, Desdemona is killed by her husband Othello because Lago makes him think that she is cheating on him. ‘O, falsely, falsely murdered! Shakespeare 30’ Roderigo plans to kill Cassio so as to prevent Othello from leaving with Desdemona since she loves her. Lago orders Roderigo to ambush and kill Cassio but instead Roderigo is wounded.

‘Here, at thy hand: be bold, and take thy stand, Shakespeare 32.’ Lago attempts to kill Cassio but only succeeds in wounding him. Lago pretends and accuses Roderigo of the attempted murder on Cassio and kills him. ‘O murderous slave! O villain! Shakespeare 33’ Lago kills Emilia after she told the truth and attempts to run away.

Lago is seized by Lodovico and Graziano. Othello wounds Lago because of his betrayal. Othello talks of how he would like to be remembered and kills himself. Lodovico gives Othello’s property to Graziano and orders for execution of Lago. ‘Graziano, keep the house, and seize upon the fortunes of the Moor, Shakespeare 36.’ Lago is the main antagonist who is the cause of tragedy.

He designs a plot to separate Desdemona and Othello which succeeds. However, the separation of Othello and Desdemona is associated with so many tragic events.

Fairness and justice

The theme of fairness is well featured by Shakespeare and Sophocles in their works. In Othello, Roderigo and Lago feign to search for justice by telling Brabanzio that Othello has stolen Desdemona using witchcraft. Brabanzio and Roderigo accuse Othello to the senate demanding him to release Desdemona.

The senate rules fairly that Desdemona should be allowed to stay with Othello since she loves him. Cassio persuades Desdemona to plead with his husband on his behalf for him to be reinstated in his position. ‘Madam, my former suit: I do beseech you, Shakespeare 23’ The ill plot by Roderigo of separating Desdemona and Othello is accorded justice by the rule made by the senate. Roderigo’s attempt to kill Cassio is fruitless and is avenged by his death.

When Cassio wounds Roderigo Lago intervenes and wounds him as well. Emilia pays for her mistakes of stealing Desdemona’s handkerchief with her life. Cassio is demoted for engaging in a fight and killing Brabanzio when he was drunk. Desdemona tries to plead with Othello to reinstate Cassio to his position to ensure justice and fairness.

‘Pray you, let Cassio be received again, Shakespeare 25.’ Further, Desdemona tries to explain to Othello that she is not involved in an affair with Cassio so that he could treat her fairly by not killing her. Othello kills Desdemona and tells Emilia that she has paid for being unfaithful to him with her life.

Emilia tells the truth as a way of ensuring fairness. Lodovico and Graziano attempt to take Othello for trial because of killing Desdemona to ensure justice. ‘To the Venetian state, come, bring him away, Shakespeare 37.’ Othello pays for killing Desdemona with his life. ‘Killing myself, to die upon a kiss, Shakespeare 39.’ Lago is sentenced to death for his crimes and all the tragedy he has caused. Cassio was appointed to replace Othello as a way of justice since he had lost his position unfairly.

In Oedipus, Antigone buries her brother as an act of being fair and respectful to him. Haemon refuses to side with injustice of his father by saying that Antigone should not be killed. ‘You’ll not catch me giving way to some disgrace, Sophocles 7.’

The blind prophet warns Creon of the impending disaster if Antigone is not freed from the tomb. Creon pays for all his crimes and unfairness by losing his entire family. The parents of Oedipus opted to kill their baby so as to prevent the injustice that had been prophesied concerning him.

The shepherd who was told to kill baby Oedipus preferred taking him to another place rather than killing him. ‘I was told to get rid of it, Sophocles 18.’ The shepherd thought that his actions could be the only way to be fair to Oedipus and his parents. The blind prophet says that the murderer of King Laius is supposed to be expelled from the land as a remedy for the calamity that has stricken the land.

When Oedipus learnt that he was the killer of his father he told Creon to send him to exile so as to pay for his sins. ‘Send me away from Thebes, Sophocles 19.’ Jocasta pays for the attempt to kill her baby with her life. Oedipus failed to support either of his sons because they did not support him when he was sent to exile.

‘Each of you suffers himself alone, Sophocles 16.’ Antigone tries to persuade his father to be lenient and fair with his sons. Athens is accorded the privilege of safety because the president helps Oedipus when he is in exile. Creon attempts to abduct Oedipus because he believes that he should be buried in Thebes for them to enjoy benefits of safety from calamities.

William Shakespeare’s work titled The tragedy of Othello, the Moor of Venice, is thought to have been based on an Italian short story Un Capitano Moro (Jones 2). Un Capitano Moro, means ‘a Moorish captain’. The tragedy of Othello has four main characters. They include Othello, who is the lead actor; Desdemona, Othello’s wife; Cassio, Othello’s lieutenant; and Iago a junior officer in the army (Jones 2).

Shakespeare depicts Othello as a Moorish general in the Venetian army, with immense power. Shakespeare’s work, The tragedy of Othello, has four main themes: racism, love, jealousy, and betrayal (Jones 2). This paper endeavors to discuss what makes Othello a tragic figure and whether or not his tragedy is self inflicted or it is beyond his control.

William Shakespeare’s introduces the audience to his literal work by highlighting a confrontation between Roderigo, who is depicted as a wealthy and corrupt gentleman, and Iago. Apparently, Roderigo questions Iago as to why he had not informed him about the secret marriage between Othello and Desdemona.

Roderigo had initially requested Senator Brabantio, Desdemona’s father for permission to marry his daughter. As such, Roderigo feels unhappy with the turnaround of events and he finds it hard to accept the fact that he had lost Desdemona to Othello. During the confrontation, it is evident that Iago is unhappy with the action taken by Othello to promote Cassio to a higher rank. In addition, Iago paints a picture that Othello had gone to bed with his wife, Emilia.

Iago vows to fight back and his aim is to impair Othello’s power. Since Iago and Roderigo had one common enemy, Othello, they decided to work together with the main goal of punishing their enemy. Thus, Iago convinces Roderigo to inform Desdemona’s father about Desdemona’s secret marriage to Othello. Iago secretly plans a confrontation between Othello and Senator Brabantio. He informs Othello that his father in law is on the way.

However, before Senator Brabantio had arrived, Othello is summoned by the senate to plan on how to counter an alleged attack from their neighbors, the Turks. Upon his arrival, “Desdemona’s father accuses his son in law before the senate of using witchcraft to seduce his daughter” (Nabil 5).

However, Othello disagrees with his father in law’s accusations and states that Desdemona loves him. The senate believes Othello’s side of the story and he is excused to focus on the impeding war. Senator Brabantio exits but warns Othello that Desdemona will betray him. Othello is ordered by his superior Duke to go and command the Venetian army against the Turks. Othello goes along with his wife, Cassio, Iago, and Emilia.

Upon their arrival at the battleground, they find that their enemies had been destroyed by a heavy storm. Othello, as the commander of the Venetian army calls for a general celebration. The party gives Iago a chance to scheme his vengeance against Othello and Cassio. Iago intends to spoil the relationship between Othello and Cassio, so he uses Roderigo to achieve his mission. Iago ensures that Cassio has taken excess wine and becomes drank. This makes it easy for Roderigo to engage Cassio in a fight.

A disturbance erupts following the fight between Cassio and Roderigo, and Othello is forced to calm the situation. Othello is unhappy with Cassio and demotes him. This action demoralizes Cassio. Iago finds another chance to inflict his revenge on Cassio and Othello. Iago asks Cassio to request Desdemona to be the mediator between him and Othello so that she can talk to her husband and ask Othello to reinstate him.

Iago cements his scheme by informing Othello to be weary of a growing relationship between Desdemona and Cassio. Cassio finds a prostitute called Bianca to sooth him following the stress he had after being demoted. Desdemona accidentally drops a handkerchief, which Othello had given her as a symbol of their love. Emilia takes the handkerchief an aware of its significance. Iago request Emilia to give him the handkerchief. Iago uses it to paint a picture that Cassio and Desdemona are having an affair.

He then secretly places the handkerchief in Cassio’s bedroom. Iago then informs Othello about this incident. He request Othello to stand at a distance as he questions Cassio about the handkerchief. During their discussion, Cassio speaks bout the name of Bianca so quietly that Othello believes he is truly having an affair with Desdemona.

However, Iago’s scheme almost suffers a setback. As he discusses the handkerchief issue with Cassio, Bianca arrives and accuses Cassio for allegedly cheating on her with Desdemona. Othello realizes this development and gives his wife’s infidelity allegations a second thought. However, Iago successfully manages to convince him that Desdemona is cheating on him with Cassio.

Othello vows to kill Desdemona. He also asks Iago to get rid off Cassio. Out of anger, Othello mistreats his Wife and even hits her before her family. Roderigo gives up on his pursuit of Desdemona but Iago encourages him to continue with his aim. At the same time, Cassio is appointed the governor of Cyprus. Iago uses this development to ask Roderigo to go on with his pursuit (Nabil 5).

Iago asks Roderigo to kill Cassio. Iago informs Roderigo that he should continue pursing Desdemona because Othello and Desdemona are likely to leave the country if Cassio assumes office thus limiting his chances of getting Desdemona. Roderigo sees the sense and continues with his pursuit.

Roderigo attacks Cassio as he leaves Bianca’s house. Iago takes the opportunity during the fight between Cassio and Roderigo to cut Cassio’s leg from behind. Iago disguises himself such that no one notices him. Iago then joins passers by who had come to rescue Cassio. However, Cassio recognizes Roderigo as one of those who had assaulted him. On realizing this, Iago secretly gets rid off Roderigo in fear of the fact that Roderigo might confess.

During the same night, Othello kills his wife and Emilia arrives in time and witnesses the act (Nabil 5). Othello tries to make Emilia see the reasons as to why he had killed Desdemona. However, Emilia screams for help. This draws the attention of the governor, Iago and Cassio. Emilia explains to the astonished audience about Othello’s heinous act. Othello tries to justify his act by revealing the incident of the handkerchief.

After Othello’s testimony, Emilia realizes that Iago had used the handkerchief to scheme the allegation that Cassio and Desdemona had an affair. Emilia reveals to the others what Iago had done. Unfortunately, Iago kills her for exposing him. At the same time, Othello is left devastated because he realizes that his wife was innocent.

Out of anger, he attacks Iago but he decided not to kill him so that Iago would live with guilt. Iago states that he would not reveal his motives. Both Iago and Othello are apprehended. However, Othello commits suicide by stubbing himself with a sword on their way to the custody. Iago is taken to custody and at the same time Cassio takes his position as the governor of Cyprus.

Having looked at the plot The Tragedy of Othello, it is evident that Othello’s tragedy is not self inflicted and it was not within his control. In addition, it was as a result of his tragic law. Othello appears strong from the outside but actually he is weak inside. His love for Desdemona is the biggest weakness and his enemies take advantage of this weakness. Othello loved his wife so dearly that he could not bear seeing her with another man.

Iago takes advantage of this situation to get back at Othello for having promoted his junior Cassio, and for allegedly sleeping with his wife, Emilia. Iago schemes traps in which Othello falls unknowingly. Experts argue that is blind and people who are in love are likely to make irrational decisions. This is often true in cases whereby a lover is weak inside. Othello is a perfect example. Iago made Othello believe that his wife, Desdemona was having an affair with his assistant, Cassio.

The mistake that Othello did was he failed to investigate those allegations. He relied heavily on hearsay from Iago. Othello’s tragic ending can also be attributed to his tragic law. He made the mistake of believing in Iago rather than his soul mate. Othello fell in Iago’s trap on two critical occasions (Young 4). In the first occasion, Othello was made to believe that it was Cassio who started the fight at the party. This incident formed a fertile ground for the execution of Iago’s schemes.

It also makes Othello and Cassio lock horns. Othello was unhappy with Cassio and he demoted him. This action demoralizes Cassio. Iago finds another chance to inflict his revenge on Cassio and Othello (Young 4). This gave Iago a perfect opportunity to execute his second plan. In the second incident, Othello was made to believe that Cassio had an affair with his wife, Desdemona.

Iago successfully used a handkerchief gift which Othello had given to Desdemona to propagate his scheme. Othello had the opportunity to find the opportunity to uncover the truth when he overheard Bianca confronting Cassio. Again, Othello fell in Iago’s trap when Iago successfully made him believe that his wife, Desdemona was cheating on him with Cassio.

This paper sought to find out whether or not Othello’s tragedy is self inflicted or it was beyond his control. Having examined the plot of the story, it is evident that Othello’s tragedy is not self inflicted and it was not within his control. On top of that, it was as a result of his tragic law. Othello appears strong from the outside but actually he is weak inside.

His love for Desdemona is the biggest weakness and his enemies take advantage of this weakness. He relied heavily on hearsay from Iago. Othello cultivated his tragic law on two critical occasions: Othello was made to believe that it was Cassio who started the fight at the party; Othello was made to believe that Cassio had an affair with his wife, Desdemona.

Works Cited

Jones, Eldred. Othello’s Countrymen. Charlottesville: Univ of Virginia Press, 1971.Print.

Nabil, Matar. Shakespeare and the Elizabethan Stage Moor. London: Shakespeare’s Globe Theatre, 2004.Print.

Young, John. “Essay: What Is Creativity.” Multimedia Magazine 1.2 Wed. October 2008: 1-5. Print.

Othello and Desdemona: Relationship Built on Jealousy

The plot of Shakespeare’s 1603 tragedy revolves around two main characters: Othello, a Moorish general drafted to the Venetian army, and Iago, who disguises himself as Othello’s friend but is treacherous. As a black man in 16th century Venice, Othello finds himself in an unlikely romance and later, a secret marriage with Desdemona, the daughter of a wealthy senator. By tying a knot with someone so racially different, the woman defies social expectations and goes against her family. This essay will discuss why the relationship between Othello and Desdemona was doomed from the start and how their tragic fate relates to the topic of jealousy.

First, as in his other tragedies, Shakespeare puts his characters in a hostile milieu or at least, in an environment that does not foster their aspirations. Othello is already somewhat disadvantaged: despite his high social status, he doubts Desdemona’s motives and whether the entire venture was nothing more than a youthful rebellion. His insecurities allow Iago to manipulate him and play with his feelings. The deceptive ensign warns Othello about the dangers of being jealous by saying “O, beware, my lord, of jealousy! It is the green-eyed monster” (3.3.165-166). At the same time, he makes a conscious effort to destroy his lord’s marriage by leaving Desdemona’s handkerchief in her former lover’s bedroom, for “trifles light as air / are to the jealous confirmations strong / as proofs of holy writ” (3.3.323-325). Thus, Othello and Desdemona confront external forces seeking to harm their love.

Yet, the two lovers could arguably handle fate’s shenanigans had they, not such personal qualities that doomed their romance before it even began. “Othello” is a prime example of Shakespeare employing his preferred writing method. The author gives each character a fatal flaw that develops gradually throughout the play and has a detrimental impact on the outcome. Jealousy is Othello’s fatal flaw, which only gets fueled by his wife’s past, her unapologetic acceptance of her actions, and Iago’s deception. Emilia notices this about Desdemona’s husband and asks her to be wary since “jealous souls will not be answered so. / They are not ever jealous for the cause, / But jealous for they’re jealous” (3.4.159-162). Interestingly enough, Othello seems to be aware of his weaknesses. In one of his soliloquies, he ponders the nature of marriage with sadness and anger: “O curse of marriage, / That we can call these delicate creatures ours, / And not their appetites!” (3.3.268-270). Later, he even confesses to Iago that while his jealous thoughts are tormenting him, he will not give in to the adversity because he loves his wife: “Why, why is this? Think’st thou I’d make a life of jealousy, to follow still the changes of the moon with fresh suspicions?” (3.3.177-179). For a moment, Othello is positive about Desdemona’s feelings, “for she had eyes and chose me” (3.3.188-190). This, however, does not prevent him from smothering his wife when jealousy blinds him, and in his final hours, he hates to be remembered as someone who was “easily jealous” (5.2.395).

In his works, Shakespeare quite often discussed the topic of jealousy and the rich palette of emotions tied to this phenomenon. In the context of “Othello,” it was compelling to examine jealousy from two perspectives. First, Othello’s jealousy is fueled by his environment and societal pressure: he is not sure that such a noble and beautiful woman chose him for who he is, and Iago’s games are not helping. Second, Othello’s controlling tendencies and Desdemona’s tenacity clash and lead to a conflict. Othello fights an unequal battle against his jealousy but inevitably succumbs to it, which results in both characters’ death.

Work Cited

Shakespeare, William, and Edward Pechter. Othello (Norton Critical Editions). Second, W. W. Norton & Company, 2016.

Introduction

To appreciate the role of women in Othello, one may examine the play from a feminist perspective. This way, an individual can pass judgment on the various social values as well as the status of the women in the backdrop of the Elizabethan age. Othello is an archetypical depiction of the expectations of the highly patriarchal Elizabethan community.

This is on the premises that many of the female characters irrespective of their perceived importance are diminished and objectified by their male counterparts. This essay discusses in detail the perceptions of society about women in the context of the play.

How female characters are perceived in the play

A woman’s chastity and fidelity are held in high regard. When Desdemona is perceived to be unfaithful, the consequences are integral in driving the action and ultimate tragedy of the play, although the perception was an erroneous one. The men in the play appear to have different opinions on women. Iago appears to despise them while Cassio and Othello assume a more conventional approach because they idolize them. However, for the majority, a woman does not appear to have much value beyond her femininity and beauty.

In fact, from a feminist viewpoint, it is a double tragedy since the actual tragedy of the needless death of Othello and his wife would have been avoided if Emilia and Desdemona had previously been allowed a voice. It is apparent, however, that in the play a man is judged by his actions. He also has to answer for those of his wife. As a result, Othello passes fatal judgment on both himself and his wife, albeit based on a misconception.

Women, on the other hand, are not allowed to prove or even defend themselves. Desdemona, for instance, is judged not by virtue of her character, but what others think about her. This is self-evident in the fact that even when there is a dispute about her, she is ironically not called in to give her evidence. Her father determines that she has been forced into marriage with Othello and starts planning to rescue her without first attempting to consider she may want to have a say on the matter.

When she claims to love him, Brabantio is convinced she must have been bewitched. He does not believe her capability of making an independent decision about loving Othello. It is apparent that when the virtues and personalities of women are held in high esteem, their roles are restricted and diminished by the inability of men to perceive them on an equal or objective basis.

Emilia, Iago’s wife, is another woman in the play who engenders the diminished role that has been ascribed to the fairer sex by the dominant one. Her voice is constantly silenced by her husband, who has made abundantly clear that he does not respect her intellect. He speaks with such spitefulness and rudeness to Emilia that Desdemona appears confused whether the woman had a right to express her feelings. On several occasions, Iago puts Emilia down and rudely dismisses her.

In the scene, she gives him a handkerchief he arrogantly refuses to tell her why he wants it. However, she is still willing to lie for him, although she is ignorant of what he is plotting. The arrogance of men in the face of their women is satirized by the fact that Othello has the answers that would have enabled him to see reason, but he dismisses them because they were supplied by Emilia. , because she is a woman, according to him, she is simple-minded and could be easily coerced to lying for Desdemona.

It appears that the primary role of women in the play is for them to act as a basis on which men are evaluated. The chastity of the woman is used as a means through which men are measured in the eyes of society. The promiscuity of a woman is seen not so much as a moral failure on her part, but foolishness in her man that drives Othello into a murderous rage. In a way, women are also used to keep score and determine the social class. For example, Othello is seen as undeserving of the white woman because of his inferior race.

Conclusion

In conclusion, women have been diminished in the face of men. Even the main female character, Desdemona, is introduced as intelligent and self-assured, but after she becomes Othello’s wife, her independence and self-assurance diminish.

She is relegated to the role of a silent wife who dies due to her husband’s folly. Ironically, even when she is killed, she does not dare to impugn his reputation. The honor of a man is far more important than the life of a woman. Judging from the treatment and perception of women in the play, it is abundantly clear that in the Elizabethan period, women are meant to be seen and not heard.

In life, there are different causes of tragedies. Bad things occur to people because of a number of reasons. These causes range from natural occurrences and vulnerability to weaknesses and circumstances beyond human control. This paper seeks to investigate whether the tragedy that befell Othello was because of his weaknesses or due to the circumstances that were beyond his control.

The paper aims at achieving this through providing the reader with information about Othello and the manner in which Shakespeare has used him in the tragedy to communicate his message. In the tragedy, it is clear to note that Othello’s downfall is because of his own mistakes.

To understand Othello’s downfall, it is important to have a little background information on what his role was in the play. Othello is one of the characters who have features in William Shakespeare’s tragedy titled The Tragedy of Othello, the Moor of Venice.

The tragedy is believed to have been created by Shakespeare between 1600 and 1604. The story has it focus set in current day Italy. It looks at downfall of Othello through involving three other major characters. These characters are Moorish, Desdemona, and Cassio. Cassio is one of the confidants of Othello.

Moorish was a general in the army of Vietnam. Desdemona was Moorish’s wife and a lieutenant in the army as well. Apart from tragedy, there are other themes attached to the play that have made it popular to this date. The play is performed throughout the world as it relevant in relation to other themes as well. Some of the themes that are portrayed in the course of the play include love, betrayal, racism, and jealousy.

One of the characters –Iago, has been used by Shakespeare to enhance the theme of tragedy. Shakespeare has used Iago as a villain and throughout the course of the play, it is clear to note that he posses the largest share of the dialogue. These are important in supporting the tragedy and adding to the fact that Othello’s downfall was because of his own personal mistakes as opposed to factors beyond his control.

In the play, Othello’s tragedy can be attributed to his own failure because he trusted Iago so much. He used to refer to Iago as being honest while all Iago was doing was meant for ill. At the beginning of the play, Othello is portrayed as being a wise general. Through his actions, he achieves good and bad results. As an administrator Othello was a good leader and Shakespeare has portrayed him as being one of the greatest leaders through the relations he established with other leaders as well as the manner in which he associated with those below him.

He was also portrayed as being one of the bravest soldiers in the Vietnamese army. Shakespeare was doing this to ensure that the readers had a good image of Othello. His fall was to come as a great blow for him. The tragedy that befell Othello can be attributed to the quality of the decisions that he made.

Othello encounters the tragedy that befell him mainly because of the choices he made. The choices can be analyzed in relation to the people he decided to get involved with, the nature and amount of trust that he laid upon those close to him, and the nature of decisions he made when he was faced with a touch decision.

One of the decisions that he made which later haunts him is his elopement. In the tragedy, Othello chose to elope with Desdemona. Desdemona was the daughter of one of the respected senators in Venice. This is made even worse with the involvement of Iago in the plot.

After Othello and Desdemona had eloped, Iago begins a scheme that is aimed at ensuring the two do not stay together happily. Whereas Othello had trusted Iago, Iago had plans that would separate Desdemona from Othello. Iago goes on to make Othello believe that Desdemona is adulterous. Iago’s main aim was to manipulate Othello into thinking that he was a friend while his intentions were not friendly at all.

This is even made worse by the level of trust that Othello had attached to Iago. This manipulation causes Othello to take a drastic decision. Othello believes what he has been told by Iago and goes on to kill Desdemona before he ends his own life. It is clear to note that the tragedy that befell Othello was because of his uncontrolled and irresponsible decisions.

In conclusion, it is clear to note that Shakespeare has used Othello to portray the people in the society who get themselves in trouble because of their own actions. Whereas Othello had all the things he wanted, he still had a problem concerning the decisions he made. The people he chose to associate with were ill-hearted but he continued to increase his trust in them. Instead of following the right procedure of undertaking the different activities, he chose to do things in his own way, something that led to his fall and tragedy.