The essay is a critical examination of the character of Iago in the play Othello written by Shakespeare. In literature there is always a direct link between characterization and theme development. Othello deemed to be written in 1603 revolves around four main characters; Iago Othello, Desdemona wife to a Moorish general, Cassio and the general.
The themes of the play are honesty, love, misrepresentation, self knowledge, magic, racism, oppression, pride, appearance and reality, revenge, betrayal and jealousy. For instance, in case of honesty Iago is termed honest racism is depicted when Othello is termed the black with thick lips.
Most of Shakespeare readers have painted Iago to be the most heinous and villain character of all time. He is capable of manipulating those around him propelling him to achieve his desires. For this reason, he is a character that is most loved to hate. Additionally he is the most purely malevolent character engaging in most wrongdoings.
To under stand the characters of Iago, it would be rational to clearly define the term character; in literature it has been thought of as the attributed or characteristics given to subjects used in a play, poem, novels, playwrights as well as other literature by the author to help pass across or communicate certain themes.
Iago characters
It is ironical that Iago is referred to as honest person. A closer examination of his deeds and motives paint him another character. However, majority of other characters are not yet aware of his deceitful and selfish character. Due to this almost all characters are in a crisis of determining who and who not to trust.
Most trust the wrong person, Iago which lead to downfall of various characters. For instance Othello said &my ancient; a man he is of honesty and trust. To this conveyance I assign my wife (Shakespeare 199) in reference to Iago.
It is worth mentioning here that it is this attributes that he possessed that made him successful in manipulating other characters painting him to be a strong and compelling character. Through it, he is capable of convincing Othello that his wife Emilia had and a fair. This was accomplished by him taking a handkerchief using it as evidence. It is worth noting that being a solder and always siding with Othello, Iago turns out to be a trusted advisor to Othello.
From the on set of the play, Iago complains that Cassio unfairly was promoted instead of him, due to this he plans to make both Cassio and Othello pay for this. He proclaimed himself to be an honest and trustworthy person, Touch me not so near. / I had rather have this tongue cut from my mouth / than it should do offense to Michael Cassio; Yet I persuade myself to speak the truth / shall nothing wrong him. (Shakespeare 263).Thus everything he said seemed to be thought to be nothing but the truth.
Another major character that makes audiences love to hate him is being vengeful. It is apparent from the onset of the play that intends to revenge against anybody for instance Othello, Desdemona, Cassio, Emilia among others. He seems to gain pleasure when others are undergoing pain as well as damage as results of his actions.
He first made Othello believe that his wife Desdemona had a love affair with Cassio. Iago did this by manipulating his wife (Emilia) wittily to take a handkerchief given to Desdemona by Othello, once in his possession; he told Othello that he had seen it being possessed by Cassio.
To prove things beyond doubt, with great skill, he arranged a conversation between Cassio and Bianca and carefully position Othello so that he thinks Cassio is discussing his wife. Additionally, in Act I, Scene III Look to her, Moor, if thou hast eyes to see: She has deceived her father and may thee. (Shakespeare 194) Warns Brabantino, this statement is used by Iago to remind Othello that his wifes father said she might betray him.
Additionally, his manipulative characteristic is depicted when convinced Roderigo a friend to side with him. Iago uses his deceitful and treacherous character in making the later hold the opinion that after making Othello go, he will win the affection of Desdemona, Othellos wife only when he supports his plans which he did not decline.
It is no doubt that Iago is a jealous individual. This coupled with the fact that he has desire for fellow men make him hate women. This can this be attributed to the fact that he killed his own wife. Additionally, he is not happy considering the fact that he is passed in ranks. For this he carries a heavy heart and promises to revenge which he eventually did.
This was accomplished when he plan a fight between his ally Roderigo and Cassio; he took the chance to kill Cassio on the basis that the victim double crossed his friend. The character of jealous is what mainly drove him to be vengeful.
Iago can also be as not being very creative. Although he managed to put on a face of honesty he failed to change tact when things seemed work against him. His downfall can be attributed to sticking to his plans despite the fact that it was obvious that he was not capable of seeing his own destruction and if he could see, it seemed that he just ignored it Dull not device by coldness and delay (Shakespeare 231).
Iago is also seen to be a funny character. In this scene, Iago can be said to have winked at the audiences while revealing his wits, skills and knowledge of manipulation. Lastly and more importantly, although Iago looked to be scheming person who is not a coward, towards the end of the play, he is seen as being a coward. Killing his wife manifests this.
Conclusion
From the review of the character of Iago in the play Othello by Shakespeare, it is evident that he is the one character that successfully plays the villain and most of the audiences and readers would love to hate him. Among the characters that clearly define Iago are; he is vengeful jealous, funny, honest, manipulative, coward and lacks creativity.
For instance he failed seeing his own downfall and change tact, he went an extra mile making others suffer or completely damaged. Using his deceitful skills he destroys the relationship between Othello and his wife, kills Cassio for his own selfish interest, and kills his wife. It is definitely through him that we Shakespeare manages to bring out various themes such as revenge, jealous and betrayal.
Work Cited
Shakespeare, William. Four Tragedies: Hamlet, Othello, King Lear, Macbeth. New York: Bantam Books, 1988. Print.
Using literary devices is one of the most significant parts of understanding literature. Authors of literature writings employ literary devices, including symbolism, themes, characterization, plot, and allegory, to ensure that their intended messages reach the audience. With such devices, the writers make their literary works exciting and engaging for the readers while internalizing the messages intention. Even though the authors work on different articles depending on their specialty, their use of literary tools implicates the same. For instance, the use of symbols in William Shakespeares Othello is a play. Still, it employs the same form of symbolism as Alexander Popes The Rape of the Lock to signify different life phenomena. This paper aims to compare the aspects of symbolism in Othello and The Rape of the Lock.
Discussion
First, Pope uses the character Queen of Spleen and her female servants in The Rape of the Lock to signify hysteria, and melancholy, among other emotional turbulences. Popes sexism is fully displayed in Queen of Spleens portrayal, implying that women are uniquely susceptible to these mood disorders. Besides, the Ill Nature and Affectation, the Queens servants, are both metaphors that speak to womens emotional makeup. Here stood Ill-nature Ill-nature like an ancient Maid, Her wrinkled form in Black and White arrayd; arrayd (Pope 4.25-30). How affectation echoes the poems primary argument about appearance vs truth is noteworthy. It was believed, throughout Popes lifetime, that emotional and psychological disorders originated in the spleen, the organ responsible for purifying the blood. Most of the time, these conditions were written off as feminine worries and utilized as evidence of a persons untrustworthiness.
On the other hand, in Act V, Desdemona performs a song, Willow, about a woman her boyfriend deceives as she prepares for bed. Barbary, her mothers maid, taught her the song; like the woman in the music, she too met an untimely end, and like the woman in the song, she sang her last song as she passed. She was in love, and he she lovd proved mad, / And did forsake her: she had a song of willow (Shakespeare 4.3.27-30). Men and women are both portrayed as unfaithful in the songs lyrics. Desdemonas singing of the song elicits questions from Emilia regarding adultery because it seems to indicate a mournful and resigned acceptance of her estrangement from Othellos love.
Another symbolic comparison between the two pieces is the Lock and the Handkerchief. The lock in the poem The Rape of the Lock is more than just a coiled strand of Belindas hair. The lock becomes a metaphor for security, authority, and worth. The state of her hair determines Belindas value and limited influence in society as a woman. Canto, one of the most influential figures in Augustan era aesthetics and a master of the legendary ballad, says, Oh hadst thou, Cruel ! been content to seize Hairs less in sight, or any Hairs but these ! (Pope 4.175-78). These remarks explicitly connect the lock to Belindas lack of maturity and, by extension, her potential marital prospects.
On the contrary, the handkerchief in Shakespeares Play implies different things depending on the holder. To Desdemona, the handkerchief means love since it was her first present from her husband, Othello. I am glad I have found this napkin& This was her first remembrance from the Moor&My wayward husband hath a hundred times.. (Shakespeare 3.3. 297-300). However, to Iago, the piece of cloth means Desdemonas virtue, and he makes Othello believe the same. The handkerchief means loyalty Othello had to his mother. He tells Desdemona a 200-year-old Sibyl wove it from sacred worms and mummies pure hearts. The white handkerchiefs strawberry pattern (painted with virgins blood) implies virginity and fidelity.
Conclusion
In conclusion, literary devices are important in literature. Authors can effectively communicate their intended message to their target audience with such devices. However, readers may require the extra mile of comprehension to understand some of the authors literary tools, including symbolism.
Works Cited
Pope, ALEXANDER. The rape of the lock and other major writings. Penguin UK, 2011.
Shakespeare, William. The Oxford Shakespeare: Othello: The moor of Venice. Oxford University Press, 2008.
This essay discusses the play Othello by William Shakespeare. Characters such as Desdemona, Brabantio, and Othello are analyzed in terms of racism and ignorance. Besides, the paper expounds on racism, discrimination, and attitude towards black skin in Europe during the era of this play. In addition, the treatise discusses the irony of Othellos greatness as a general but being deceived by Iago.
Across the play, it is clear that the character Othello is often called by other characters funny names depicting racism and discrimination based on his dark skin. For instance, the father of Desdemona; Brabantio cannot stand the imagination of Othello being an item with his daughter. He is seriously enraged on finding out that Othello had been dating his daughter behind his back. Different from the other characters who call Othello racist names behind his back, Brabantio frequently refer to him as a moor (Shakespeare 1.2.88) on his face.
This is a racist reference to Othellos dark skin link to North African Arabs. Often, Brabantio uses terms such as sooty bosom (Shakespeare 1.2.89) when talking to Othello who is his subject as the Senator of Venice city. Such comments are meant to make Othello understand the hierarchy ladder of control and authority. In my opinion, despite the visible dislike Brabantio has for Othello, these racist onslaughts are influenced by Iago.
Constantly, Iago dwells on Othellos race when discussing his relationship with Desdemonia to Brabantio. Iago asserts, Even now, very now, an old black ram is tupping your white ewe (Shakespeare 1.1.97).
Skin color being a serious issue in this society, Brabantio cannot believe that his daughter could fall for such a sooty dark-skinned man. He thinks that Othello must have charmed her with a magic spell and witchcraft to have her in his arms. Without Iagos influence on his views, Brabantio would not be so mean to Othello. Instead, he would practice racism on the fine solder only because of race difference.
In the early 17th century, in England, race dictated the role allocation in the society. The term moor was symbolically used by the whites to show disapproval for a character of undesirable traits (Julius 20). Despite the spirited writings depicting black people as equal to white people, Shakespeares writings were criticized.
It would be unimaginable for a Negro to claim royal birth. Blacks were considered outcast blood that is not worthy to stand in the courts of Venetian. They represented the opposite of ego, pride, cynicism, and amorality. Racist slurs were hurled at them in every slightest opportunity irrespective of the class (Julius 23). Despite Othellos vast experience in military and holding a coveted post of a general, Brabantio refer to him as a moor (Shakespeare 1.2.88).
Reflectively, this gives an impression of a lesser human being who cannot be granted the same privileges and freedom of choice. Iago incites rejection in Othellos love life. Since Othello is dark-skinned, the society is against his marriage to the daughter of the senator of Venice. Iago says, Even now, very now, an old black ram is tupping your white ewe (Shakespeare 1.1.97).
In role allocation, the white were the masters and blacks their servants. Some roles were reserved for the white supremacy. When in authority, whites were arrogant and insensitive when interacting with the blacks. With every slight opportunity, a white person would exercise authority and superiority. Openly, Brabantio calls Othello a sooty bosom (Shakespeare 1.2.89).
Being amoral being, Iago interestingly use this trait to manipulate his ways throughout the play. He is delighted in his own cunning. Besides, he is adoptive to every situation and can align himself to assume any form a situation might need. In company of any character, he is coarse, bluff, and genial. Moreover, the characters in the play prefer his easy solutions to every problem and he pretend to have best interest on Othello at heart. Though everyone is above him professionally and socially, he interacts without any ego.
For instance, in the fight between Roderigo and Cassio which he instigates, Iago tells Cassio, I should rather have this tongue cut from my mouth than it should do offence to Michael Cassio. Yet I persuade myself, to speak the truth (Shakespeare 2.1.80). He later convinces Othello to replace Cassio in the army for gross misconduct. This move is meant to win Othellos trust and favor and facilitation of his scheme to replace Cassio as a lieutenant.
His goodness to Othello only serves his personal interests .Iagos pride is of sly vindictiveness. In line 280, of scene 1 in act 2, Iago justify his hate and for Othello and is determined to cunningly revenge for a twint my sheets&done my office (Shakespeare 2.1.88). In pretence of loyalty, he vividly plots to break Othellos marriage by vowing that, till I am evened with him wife for wife (Shakespeare 2.1.88).His vengeance insight is declared on Othello for what he presumes as a trodden pride.
In summary, the play Othello is captivating and presents racism as it was. The character Othello is gullible and easily manipulated by Iago who is below his class. Brabantio cannot approve Othellos marriage to his daughter since he is dark-skinned. Generally, in the times of Shakespeare the blacks were despised as inferior being irrespective of their position in the society.
Works Cited
Shakespeare, W. Othello. Cambridge: Plain Label Books, 1968. Print.
Julius, L. Othello. New York: Turtleback Books, 1998. Print.
Is Iago purely evil, or is Othello incredibly gullible? How does such a strong (or gullible) man become trapped in such plotting?
Othello, the Moor of Venice is a tragic play written at around 1603 by William Shakespeare, which addresses the encounters of Othello, the protagonist. Othello is a Venetian military general and who falls prey of Iagos devious schemes, which are triggered by jealousy, deceit and quest for power (Hundley 4).
Shakespeares Iago is amoral character who drafts devious plans to lure others into his vengeance mission. Equivocally, I ago is a significant character who participates greatly in Othellos misfortune. He is also accountable for Emilia, Roderigo and protagonist deaths. He contributes to plot development in the play in that he relates to other characters significantly.
His most important role is to accomplish the tragedy of Othello, which brings out the themes of hatred, envy and vengeance. In addition, he distinguishes Othellos character and that of Desdemona to expose dramatic irony for the audience to be occupied (Kolin 8).
Is Iago purely evil? Yes. His inherent evilness is seen when Iago makes friends to hate each other by taking advantage of their trust toward him. To attain his mission, he uses their worries and anxieties to make the net that shall emesh them all (Shakespeare II. iii. 321-2). His evil motives are mostly a soliloquy that are never attained and becomes forgotten entirely. His scheme is initiated when he desires Cassios position of lieutenancy, which he wanted to be his.
He is envious of him and claims that he deserves and will fit into that position. Therefore, he plots a scheme to deceive, rob and eventually kill Cassio to fit in his lieutenant position. He aspires to replace Cassios work as a lieutenant by taking advantage of Desdemonas naivety. He dishonors Cassio by inciting him to finish Roderigo and free him the lieutenant position when he states that Cassio, I love thee, But nevermore be officer of mine (Shakespeare II.iii.242-244). As a result Cassio was become unaware of the outcome.
Iagos devious plans persist when he tactfully makes Othello to believe that his wife, Desdemona, is cheating on him with Cassio even without any evidence to show for it. Iago accomplishes this mission by ensuring that Othellos thoughts concentrates on the fact that he is being cheated on, an aspect that leads to his tragedy.
Othello instead fall into his scheme and his furry makes him hate his wife whom she doesnt believe. Significantly, Iago awards Othello with the evil thought that he could kill his wife Desdemona, which will accomplish Iagos vengeance mission (Hankey 5).
His devious plan is manifested when he claims that Iago had had an affair with Emilia, Iagos life. To ascertain this fact, Othello points out that And it is thought abroad that twixt my sheets/ Hes done my office I know not ift be true/ But I, for mere suspicion in that kind; / Will do as if for surety (Shakespeare I.iii.381-385). Iagos paranoia is tremendous to an extent that his insanity is portrayed when he deludes Othello to kill his own wife.
As if that is not enough, Iago robs his friend Roderigo. He uses the funds awarded to him by Roderigo to entice Desdemona. On noticing that Iago kept the money for himself, Roderigo makes threats to Iago and becomes furious about his actions. Unexpectedly, when Roderigo is informed of the scheme to entice Desdemona, his mind is eroded to forget about the money and instead, kill Cassio, whom Iago is envious of and is supposedly having an affair with Desdemona (Hankey 8).
These instances show that Iago has no conscious and therefore amoral, as depicted through his actions. He is deceptive to his wife and friends, which emphasize his evilness. He is tactful in carrying out his schemes, which however portrays his diabolical capability allowing him to erode his friends and his fifes thoughts.
His intellectual ability is astonishing to the reader since he achieves and gets away with his devious schemes. He is able to win over others thoughts by targeting their desires through twisting, playing and eventually brainwashing their psychological power. These instances clearly portray Iago as having no conscience therefore, purely evil (Hundley 5).
Is Othello incredibly gullible? Yes. Othello on the other hand is a gullible character unlike Iago, who falls into the trap of Iago and falls into prey of his evil tactics. Othellos character is dynamic having been a villain in the beginning and.
His jealousness is exposed after Iago deceives him to become vengeful and kill his wife. Othello angrily point out that `Damn her, lewd minx! O, damn her, damn her! Come go with me part. I will withdraw To furnish me with some swift means of death. For the fair devil. Now are the my lieutenant (Shakespeare I. iii. 122).
This susceptibility and jealousness causes his tragedy. Othellos weaknesses is exposed by the allegedly wifes infidelity which he takes as being unclean and disgusting. This is because he observes sex as a unifying force which bloats his paranoia. Iagos quest to become powerful is manifest as he pursues to destroy Othello who is a Venetian military general since he is envious of his status. Iago in disbelieve wonders how easy it is to brainwash Othello and even appreciates how easy it was to do so (Kolin 203).
How does such a strong (or gullible) man become trapped in such plotting? To start with, Othello falls short of knowledge on brewing power and is therefore doomed to fail. He is in the military as a general and therefore has authority over war such as the Turkish fleet, an aspect which should be reflected in his life but fails to (Vaughan 35).
Othellos faults indicate that his tragic end is justifiable although he did not deserve it. Being a god of war he should have done better than having his several flaws dictates his tragic end. By doing this Shakespeare achieves the readers sympathy towards the protagonist.
In addition, Othello lives in his own world since he has distinct race and culture since he is not conversant with traditions in Venetian women and even marries Desdemona irrespective of her fathers disapproval. Besides, He takes women as being holy or as being filthy based on their degree of fidelity. His naivety is reflected as he does not believe his wife since he has witnessed her deceive her father before, a deception that she allegedly transfers to the matrimonial bed.
Moreover, Othello has immature communication skills leave alone his expression of personal thoughts, aspects which exaggerate his inadequacy. He says to Brabantio and Duke that Rude am I in my speech and little blessed with the soft phrase of peace (Shakespeare 1.ll. 81-82)&.. And little of this great world can I speak, More than pertains to feats of broil and battle (Shakespeare 1. ll. 86-87).
He uses violence instead of persuasion when addressing women and murders his wife for a single unproved reason of infidelity. This indicate Othello is unable to multitask and has no flexibility of reason as he trusts Iago, since he has proven to be sincere and friendly as well as being loyal to Emilia His wife.
He does not conduct introspection to evaluate his inner self but believes Iagos incitement and insinuations blindly, becomes emotional, which leads to his irrational thinking. His gullibility ignites jealous which overwhelms him and controls his actions. Eventually, Iago accomplishes his evil schemes of destroying Othello and his wife who were deeply in love.
In conclusion, Othellos imperfections justifies his tragic end an aspect that Shakespeare implants in the reader to depict that Othello and his like are not the best people to lead the world due to their inherent imperfections. Although he defends the residents of Venice in war, through his victories and abilities, he emerges a tragic hero since he lacks a sound reason and falls into Iagos plot. This guilt haunts him and ultimately drives him to commit suicide as he sees it as a means of sacrifice to pay for the death of his beloved wife.
Iagos quest for power, vengeance is accelerated by jealousy and this does not benefit him in any way. As a result, Intellectual power is necessary to enable one to have a rational and an independent thought before carrying out an action. Othellos predicament awards sympathy to the reader, which appears more real than fiction (Vaughan 5). Therefore, Iago is purely evil while Othello incredibly gullible since he falls prey of Iagos devious plot.
Works Cited
Hankey, Julie. Othello. Cambridge: Cambridge University Press. 2005. Print.
Hundley, Sterling. Othello. New York: Sterling Publishing Company, Inc. 2005. Print.
Kolin, Phillip. Othello: New Critical Essays. New York: Routledge. 2002. Print.
Shakespeare, William. Othello: By William Shakespeare. New York: MobileReference. 2008. Print.
Vaughan, Virginia. Othello: A Contextual History. New York: Cambridge University Press. 1996. Print.
Literature always reflects cultural and societal aspects prevailing at the time of its creation. The thesis selected for investigation on World Literature is to dig out facts on east-west aspects along with identification of discrimination on the grounds of race and culture . The writers view towards society and prevailing circumstances will create a background to his writings. The governmental as well as international affairs can influence those.
The medieval or modern literature exhibits those situations without fail. Therefore, analysis on various literatures produced at different times provides cultural and societal history exploration, which adds to beauty of human life in olden times. The facts and events bring about an effective comparison of ancient situation with status to dig out virtue and vice of both for betterment in current affairs of the society. Main objective is to identify Orientalism in literature under study. According to Edward Said, Orientalism is the product of circumstances that are fundamentally, indeed radically, fractious (Said, Edward (1977) Orientalism) which actually is the procedure of reflecting eastern values and aspects in western works.
The paper deals with comparison of east and west culture that prevailed during medieval age and 20th century. The east and west aspects depicted in both reflect the circumstances that prevailed during those times. A critical review on both accompanied by a comparison on both values are identified through this work, so that opportunities of cultural and societal expansion and modification become evident.
The ancestral studies of different groups of people are being given much importance during recent years and thus the relevance of the paper is clear. The literatures selected for the analysis are Season of migration to the north by Tayeb Salih and Othello by William Shakespeare; former is a medieval work while the latter reflects 20th century. Both gain significance due to the collaboration of east and west values in them along with exhibiting customs and culture of conservatism prevailed in medieval as well as recent years. The literatures were selected considering their popularity and acceptance worldwide even under the names of their authors who have rewritten their names in golden milestone of world literature.
East and west dialogue in Season of migration to north
The east west discussion on Season of migration to north has been given significance from the time of its publishing itself. Scholars consider this novel to be an important turning point in the development of travel narratives that focus on the encounter between East and West in the twentieth century (Boer 201). There has been a wide analytical discussions being carried out in both West and East areas in support as well as against.
Various detractors seeking out similarities between Saeed with those are comparing the character Saeed with characters from other English literatures. Two interesting examples are the comparisons that are drawn between Mustafa Saeed, the main character in the Season of Migration to the North, and Othello (Harlo 1979 and 1985), or between the former and Kurtz in Joseph Conrads Heart of darkness (Krishnan, Shaheen, Maalouf, and Caminero-Santangelo) (Boer 201).
Season of migration to north is a renowned literature work by Tayeb Salih, which represents typical postcolonial culture in depth. The work portrays mainly two characters in it, namely Mustafa Saeed and the narrator. It was a book written in Arabic, which was later translated to English as well. Published in the late 1960s, Season of Migration to the North was banned by Sudans Islamic regime in the 1990s because of its descriptions of a Sudanese intellectuals sexual experiences in Britain (Khartoum).
But, later popularity came up to a big glory for it as well as its author which was backed up when The Damascus-based Arab Literary Academy in 2001 declared the book the most important Arabic novel of the 20th century (Khartoum). This piece of work describes about two Sudanese youth educated at higher levels from England. Both had to return to hometown after studies. It seems to be a mystery out there for narrator regarding Mustafa Saeed that compelled to explore on Saeed.
Saeed living in his place with wife and two children was not ready to exhibit his actual possessions in education, but at a point of time, he had to reveal his studies and life in England. He describes himself as a prodigy from Sudan who goes to study first in Cairo and then in London, where he hunts women but eventually falls for one himself (Salih). In his journey through those worst performances on English women leading a few to suicide, he did not consider the situation and emotions of women he met.
He was married to an English subsequently killing Jean Morris due to which he was accused to imprisonment, and following it, he had to return to his hometown. After his revelation about the past, he left a letter to the narrator and vanished in Nile River. But, the story didnt end with his disappearance and request to narrator to take care of his children, just continued narrating how his wife Hosna Bint Mahmoud was tortured in the name of second marriage compelling her to stab Wad Rayes, her second husband, to death and committing suicide. Later, at Saeeds study, narrator seeks out Saeeds wish to go and live in England which he could not and even his love for English life.
The entire novel of Season of migration to north describes on attitudes of women at the age of post colonialism and African feel towards English as a whole. The discrimination on the grounds of race and colour was eminent during those times, which created a negative attitude in the minds of blacks. Words of Saeed saying The sensation that& I have bedded the goddess of Death and gazed out upon Hell from the aperture of her eyes its a feeling no man can imagine.
The taste of that night stays on in my mouth, preventing me from savouring anything else (Gagiano) can be seen as description of his pleasure in hurting and killing English women derived from his insanity of being discriminated as the black Englishman (Gagiano). The explanation for those murders by Saeed creates a devilish performers portrayal about his inhumane deeds. Through these, author tries to exhibit how circumstances of life define ones life and background. Coming to culture existing in Sudan and nearby areas showing a peculiar attitude towards women, Tayib succeeds in explaining on unsafe situation.
Women with their husbands dead are exploited in many forms by society against which no notions are available for them. Hosna Bint Mahmoud was a victim of this, who had to murder and commit suicide due to prevailing risky life of hers. The English and Sudanese cultures were entirely different as described in the novel. May be cultural outlook of inferiority for women in Sudan within Saeed accompanied by grudge against English might have made him to perform his dirty deeds in England.
Tayib describes that like a sharp knife, cutting with cold effectiveness (Gagiano) was so dangerous that it stabbed its last victim after its disappearance from scenario and signed off. As a whole, it represents the cultural as well as societal aspects of in east and west perspectives. This makes clear on the matter of the novels link with Othello, which is our topic of discussion.
East and west dialogue in Othello
The study on east and west dialogue in Othello poses a prerequisite for analysis of circumstances prevailing in England and other countries of the world. The popular unconscious during Shakespeares time (1564-1616), the Elizabethan Period, conflated black people with devils and the savage beings depicted in medieval legends, representing far-off, uncivilized worlds (Maurouard). The status of black and white as well as east and west were well defined with considerable gaps between them. Othello creates a major position for Moor General named Othello traversing through his feelings, emotions and problems.
Othello is stated as a tragedy play written by William Shakespeare in 1603. It is said that the play was written based on an Italian story named Un Capitano Moro written by Cinthio in the middle of 16th century. Othello is often entitled as Shakespeares famous play of love turned bad by unfounded jealousy (Othello Summary act I) due to the dependence of the story on the foul play of Iago just for his destination to become Lieutenant of Cyprus. Othello is placed in a personal environment and spotlights on the fervour and private values of living of the characters plotted through it. The work is described as a tragedy of personal affairs due to cheating interference of a trusted person common to all victims.
In Othello the title character, Moor holding the position of General in Venice marries Desdemona daughter of Brabantio, a senator in Venice. Roderigo was a fan of Desdemona who wished to marry her and kept Iago under bribe to give him information about her. But Iago, the main villain character of the play responsible for all tragic events due to his wicked deeds, was not at all loyal and just kept Roderigo for his financial profit.
By the time, Othello married Desdemona on which Iago was jealous, informed Roderigo after the marriage, and convinced him that this happened through witchy acts of Othello which news was conveyed to Desdemonas father who came against, but later was explained on real picture. Later, Cassio was entitled to the dream position of Iago, which made him enraged. He started to plot new plan to wipe out all his rivals in the path towards destiny. Through his cunning plans, he succeeded in expelling Cassio out of his position followed by tricky steps to bring about doubt for Desdemona-Cassio ill affair in the mind of Othello.
Again, Roderigo tried to kill Cassio but Iago had to kill him while Cassio was wounded. Later, Iago was entitled to his set destiny. In his mental agony of doubt, Othello killed Desdemona who was too loyal to him as a wife, refused to admit that her husband had done it to her. However, Emilia, wife of Iago and house cleaner to Desdemona, who knew all facts, revealed those to accused Othello and other governors, which made Othello much outraged and repented. He tries to kill Iago but leaves to suffer, while Iago kills his wife and was caught sooner. At the end of the play, Othello commits suicide and Iago is kept back for torturing and execution by law.
The play portrays how a black man in governance and keeping the hands of a high ranked senators daughter brings about problem to superior groups of the society. It is a play about war-a war between Venice and the Turks, not only over conquest of the Mediterranean basin or between religions East and West, but also on the other as foreigner who must be annihilated (Maurouard). Othello as a whole is conducting an exploration by a side on the matter of discrimination and superior-inferior feel existing in medieval period, which is evident from the words of Iago saying what a full fortune does the thick lips owe if he can carrys thus? (Maurouard).
The gap of East and West and religions of Islam and Christianity was seen in relationships portrayed in Othello, which was one among many reasons for doubt of conduct and culture. The gap identified has many other instances as well like entitlement of Othello with the Moor , the thick lips , an old black ram , the devil , a Barberry horse , a lascivious Moor (Bartels) and many other words of discrimination of blacks by Roderigo and Iago throughout the play. To be clear, Shakespeare succeeded in plotting East and West and racial discrimination that prevailed in medieval age.
Othello exhibits Turkish intimidation prevailed in Europe at that time which declares an opposition from Christian concepts against Islamic. Superimposed onto the conception of a world divided between them and us were the discourses of Orientalism and colonialism (Vaughan 4) which clearly displayed in Othello. Othello is a tragedy play, which shows cultural differences of East and West as well as their effects in the life of various characters of that play. Othello is described in terms of the characteristics popularly attributed to blacks during the sixteenth century: sexual potency, courage, pride, guilelessness, credulity, easily aroused passions (McDonald 805). Characterization of Othello in such an image figures out the eastern distinction from west.
Season of migration to the north vs. Othello
The comparison of Season of migration to the north with Othello first seeks out the different but renowned authors from east and west backgrounds respectively. Western Christian culture of William Shakespeare and Eastern Islamic culture of Tayib Salih are responsible for those works in respective manner. In addition, the time of creation is of great importance i.e. 20th century and medieval age respectively. In Othello, problems and degradation of Othello in Islamic Moor is portrayed while the evilness created and executed by Moor under his cultural and experience background is visualized in Season of migration to north.
There are many similarities that can be traced out from both works, as they rely on discrimination backgrounds though during different instances of history, which might have led to the idea that Tayeb Salih shows us an Othello without passion. (Tayeb Salih Migration to the North). The characters plotted in both works are from similar cultural background, but one is seeking pathetic emotional situation of a Moor (Othello) while the other represents wilderness produced within a Moor with a follow-up of discrimination.
One clear fact evident from both literature works is that an outside viewer pities on Moors like Shakespeare, while insiders have mixed feeling for themselves. Nevertheless, main contrast is related to reason of tragic end in both; in Othello, it is due to outside interference while in Season of migration to north it is Saeeds choice for life. The east west variations in culture and other qualities in both the literatures are identified by many of the literature forecasters. Complexities in the interplay of racial and sexual politics are more vividly and wrenchingly brought to life in another non-Western response to Shakespeares Othello, the Sudanese author Tayib Salihs novel, Season of Migration to the North (Hendricks and Parker 295).
The racism and its ugly background in history and literature are being plotted effectively in both works. In the comparative analysis of Season of migration to north and Othello , it requires the stating of words packed with colonial symbolism as well as an allusive trope of the signifier/signified dichotomy from Shakespeares Othello (Frank) which describes an existing link between both, but in an antagonistic approach of the author.
One tries to take revenge while other is fallen into the trap just finds himself a loser and murderer of his extremely loyal wife. The characters Saeed and Othello share a similar context in the case of Orientalism. The stereotype of Othello fits Mustafa; but as he states, he carries inside him the germs of the oldest disease, the germs of destruction (Boer 205). The quote above indicates the valuation of various analysts in the case of east west issues in Season of migration to the north and Othello. Many factors and aspects coincide in both pieces of literatures. The study as a whole makes apparent that something lies smeared with tragedy behind discriminated groups of world by West.
Conclusion
The values exhibited by medieval and modern literature are being sought from the critical reading of Othello and Season of migration to north. The former being a tragedy of cheating brings sympathy on Moor while the other became a consequence tragedy of wicked performance. Both works are excellent pieces of literature ever seen in World Literature sector. Othello exhibits the problems and discriminations faced by a black with eastern culture in higher positions of western cultured superior society.
There the victim could remain utilized and made to work on the words of treachery. Saeed in Season of migration to north exhibits multiple feelings and aggressiveness against superior groups through his under-dignified approach on English women. The comparative study on both is significant in the background of seeking east-west issues on world popular literature.
The selection of literatures was based on the popularity and acceptance of those works along with values of humanity and culture they exhibit in abundance. The human factors absent in discriminating and being discriminated on the grounds of beliefs and races are explained explicitly in both works. Shakespeare and Tayib integrate possible disaster on both sides of discrimination in two different tallies. The east-west analysis on literature has thus concluded on the fact that east-west discrimination and cultural problems are major negative aspects even prevailing in modern world with a start from ancient through medieval ages.
The current essay deals with a difficult but quite important topic tied with the role of race in Shakespeares Othello. As Alvin Kernan remarked Othello is probably the most perfect plays by Shakespeare in terms of the formal and structural design of its composition.
Structural elements are organized in a manner peculiar to French tradition which means that all events, protagonists are united by some formal laws of motion which however does not challenge Shakespeares artistic genius. In this view, the role of race in this play should be regarded in terms of its general function in unfolding the plot of the tragedy.
The out main assumption in this view is that Othellos Otherness (outsiders status, black skin, brute behavior, not civilized manners, etc.) can be regarded as the central elements of mediation between good and evil, civilization and barbarism, nature and society, etc. Articulating civilized hatred of Iago and other westerners to Othellos blackness Shakespeares for the first time reveals that what is hidden under the mask of nobleness, religiosity, and other civilizations virtues may be even more inhumane, hypocritical, and ruthless than barbarism and Otherness of Othello.
Othellos Otherness and race should be regarded as the main ideological legitimatization for a plot against him as planned by Iago. Many racial and intolerant remarks that are abundant in the text can serve as a perfect explication. The opening scenes of Shakespeares play prove our assumption. They completely exoticize Othello using referring to him not by name but as Moor and the extravagant stranger in this way putting a definite mental boundary between him and other protagonists. (1.1. 58 and 1.1. 37). The plot is organized not only by Iago but another person who feels racial and cultural hatred that is automatically transformed into personal hatred of Othello.
Hence, it should be noted that the main drivers of the tragedy conceived in terms of its compositional unraveling are Roderigo and Iago. They are the main protagonists which develop the racial discursive fabric embedded in the play using racial allegories and insults aimed to expose the supposedly inhumane nature of Othello. For instance, Roderigo says: What a full fortune does the thicklips owe / If he can carryt thus! The use of the word thick lips can be understood only in terms of disparaging reference to racial characteristics peculiar to dark-skinned people.
The entire system of racial hatred which can be found in Othello hence can be subdivided into several interrelated elements. The first is a literal reference to various racial characteristics and using offensive words. The second one refers to more abstract culture-determined stereotypes such as humane-inhumane, just-unjust, noble-ignoble, etc. And finally, the last element which can be defined is a structurally determined element of the play which make puts race at the center of the plots perception.
Othellos blackness is used as an argument against his romantic ties with Desdemona. During the first scene of Shakespeares play, Iago wakes Brabantio up crying out that an old black ram / Is tupping your white ewe (1.1.89-90). This is used to horrify Desdemonas father who is also sensible to racial prejudices. Iago continues by saying that your daughter covered with a Barbary horse (1.1.112).
The racist narrative further continues with Iago reminding Brabantio that Othello and Desdemona would produce monsters if not stopped: youll have your nephews neigh to you, (1.1.112-18). The Iago arguments make Brabantio refer to Othello as a foul thief who made his daughter leave the wealthy curled darlings of our nation to the sooty bosom'(1.2.62-72). Brabantios exploitation of racism is more cultural and political as he claims that outsiders are not eligible to deserving women from the aristocratic white circle.
There is no denying the importance of the fact that the exotics of Othellos origin, skin, manners (racial characteristics) was something that captivated Desdemona as she was enchanted by his mentioning of some very exotic races: The Anthropophagi and men whose heads / Do grow beneath their shoulders (1.3.146-47). These stories though they frightened Desdemona had also a positive effect on her attitude towards Othello.
The racial hatred which is at the forefront of the plot against Othello which is united with the hypocrisy and evil rationality of Iago and negative attitudes are in the end redistributed between Othello and Iago as the spectators understand that he should be regarded as the main source of tragedy. Shakespeare vividly shows that those who are perceived racially worthy can be morally ugly and therefore put forward a humanistic approach to every man notwithstanding the color of his skin.
To sum up, it must be said that the role of race as it occurs in Othello shouldnt be disregarded by any means as it functions as an important operator of composition, literary substance, greater ideas, and their realization in literary works totality. Some of the most important thoughts and ideas that can be taken from Shakespeares play such as the danger of self-confident moral judgments, hypocrisy, and the nature of human relations seems would have been impossible without their articulation in racial terms. In other words, Shakespeare made use of race as a means for manifesting the ugliness of his civilization, moral duplicity, artificial nature of religiosity, and inhumane behavior of civilized aristocracy.
References
Kennedy X.J. and Gioia D. Backpack Literature Edition, 2008.
Bartels, E. C Making More of the Moor: Aaron, Othello, and Renaissance Refashioning of Race. Shakespeare Quarterly 41: 454, 1990.
Jones, E. Othellos Countrymen. The African in English Renaissance Drama London: Oxford UP,1965.
Michael, N. Unproper Beds: Race, Adultery, and the Hideous in Othello. Shakespeare Quarterly, 40:409, 1989.
Shakespeare, W. Othello. The Complete Works of Shakespeare, ed. David Bevington, 3d edition. Glenview, IL: Scott, Foresman, 1980.
To begin with, from ancient times a theme of inner feelings and conflicts maintained in a mans soul and mind excite many people by the psychological nature of individuals who urge to find out a specific devotion and predestination in life. Here the extent of dramatic conversations appeared. This gave additional flow toward the evaluation of peoples actions in different situations with further truths about a right way of doing things. Tragedy in its nature is a genre that points out the fall of bygone marvelous and great man due to several reasons. In accordance with the most outstanding playwrights the source of such reasons is classically covered under the emotional and rational approaches of human psyche. The paper represents the evaluation of two plays which are very much alike of the main idea, but was written by two various authors working in quite different time frameworks. It is Sophocles Oedipus Rex and Shakespeares Othello.
Both playwrights were written by the authors in terms of better manifestation of prides doom in a man who is inclined to open doors of his/her heart for this trait of character. However, a sort of fate is represented as well, but the attempts of both heroes to overcome themselves in prescribed destination along with the right of succession, in case with Oedipus, and in career prospects, in Othellos case. This tragedy presupposes a desire of a man to achieve more within what life can propose and give sooner or later. Nevertheless, the authors were intended to depict the coloring of human feelings and shapes of behavioral disturbances. This approach was precious in literature in antique times, when human beings only began encompassing the variability of the philosophical thought implemented further not only in literature but also in many present widely-used sciences, as well as in epoch of Renaissance, when the most eminent luminaries tended to look back on the antique traditions and techniques while describing peoples characters and their states of soul. Here is the relative similarity of both plays.
The idea of mistakes and delusions is highly raised in both plays. Oedipus just does not look for the ways of his banishment resolving according to the prophecy which was told by an oracle, He hesitates in attempts to make something useful and turn back his real and deserved place under the sun, but the fate affairs are rather unpredictable and make people do something in form of logical reaction on circumstantial background. Othello, on the other hand, ignored the harmful motives coming from his foes. Robert Di Yanni in his anthology describes such attitudes of the heroes by their mistaking in points of further steps on the way to destination. He writes: Shakespeares Othello, for example, mistakes lago for an honest, loving friend; and he mistakes his faithful wife, Desdemona, for an adulteress. Sophocles Oedipus mistakes his own identity and misconstrues his destiny& (Di Yanni, p. 917).
With regards to the religious theme, it is necessary to point out differences in addressing pagan gods by Oedipus and devotion to Christian God by Desdemona. The wife of Othello is a suchlike behind-the-screens defender of Othello who always prays to God in order to provide invisible guard over Othello, especially in conditions of being on the active list. Within a religious approach G.K. Chesterton gave a special evaluation for Oedipus with a special point on his pagan dedication. He, in particular, called the tragedy of Sophocles play the monstrous innocence of Oedipus. (Cited in Schwartz, p. 230) Othello then can be called as one within a multiple number victims of chance. (Cited in Schwartz, p. 231).
It can be possible to mention that Othello in his soul conflict concerned with his wife and the stories of lago against her devotion and faithfulness is apt to put trust in Iagos words than to believe his wife. Lago convince Othello by words My lord, you know I love you. (Shakespeare, p. 178). This creates the contradictory character of the heros hesitation and searching for new ways of making these rumors. Othello being intricate in deceitful thoughts provided by lago rejects to listen to rational observation as of the situation and his friendship with Cassius. The plan of lago is underlined with ominous coloring and the positive reaction of Othello which causes his fall and destruction while being too close to a total success and good life in the future.
Oedipus knowing about the fact that he is that person determined by destiny to kill his father makes out his inability to change any harmful circumstance of this cruel prophecy. He strives to stand against, by the legend it is quite clear in what it will result then, but the irony is inserted in this episode when one realizes the fact that after such murder his mother simultaneously becomes also his wife. The hero says: Not then had I become My fathers murderer, Nor wedded her I have my being from: Whom now no God will bless& (Sophocles, Young, p. 48). This is crucial and amoral somehow effect does not leave Oedipus alone. He is able to make changes and ruin the destination of prophecy, but he simply ignores this fact.
Both characters by means of suffering and suchlike mental disturbance come through the process of perfection and show to the rest of the society the lessons of heart ventures which can cause a disaster in life. Such dramatic evaluation is distinctively described by Alfred Kreymborg with his personal depiction of the Sophocles play: Purified through suffering, Oedipus walks with Death and the gods in an immortal sphere where the dignity of man is triumphant. (Kreymborg, p. 68). Moreover, Othello as well as Oedipus made the main mistakes of their life due to a lack of feelings control and presence of common sense in their reasoning. These examples tend to illustrate the harms of emotional and mental disharmony and controversy on the whole. Both heroes are outlined as those who by virtues of murdering their relatives (father and wife respectively) were placed in the kingdom of everlasting sorrow and sadness of heart which is represented by the authors with a glimpse of the after-effect of the most significant reason as pride. Of course, fate and pride are the factors for the fall of both heroes. Still, as it can be worked out, the presence of pride is more apparent in both cases and its negative implementation is to a large extent predetermined by the straight and fixed stubbornness of Oedipus and Othello. In the case of Oedipus, it is expressed even with a mere indifference about the affairs to be done as prevention for predicted circumstances. All in all, these two plays became one of the most grateful examples of the tragedy genre ever known in the history of world literature. The entire implementation of values needful to a man in every epoch and under any circumstances is displayed on the examples of Othello and Oedipus Rex for further generations of people.
Works cited
DiYanni, Robert. Literature: Reading Fiction, Poetry, and Drama. New York. 6th ed. Boston: McGraw-Hill, 2007.
Kreymborg, Alfred, ed. Poetic Drama: An Anthology of Plays in Verse from the Ancient Greek to the Modern American. New York: Modern Age Books, 1941.
Schwartz, Joseph. Chesterton on the Idea of Christian Tragedy. Renascence: Essays on Values in Literature 53.3 (2001): 227.
Shakespeare, William. Othello. Vancouver. Simon & Schuster, 2004.
Notably, Othello is a drama about love, jealousy, and treachery. It depicts the narrative of a Moor, Othello, who marries a white woman named Desdemona, whom he murders because he is jealous. Nonetheless, to distinguish the genuine problematic marriage, it is essential to look at Iago and Emilia, a terrible ending similar to Desdemona and Othello (Rodrigues 47). Emilia is Iagos worldly wife; she is a type of lady-in-waiting or companion to Desdemona. Iago convinces Emilia to give him Desdemonas handkerchief, which he plants in Cassios quarters to persuade Othello that Desdemona has been unfaithful. Emilias cooperation in stealing the handkerchief leads to Othello accepting Iagos falsehoods. Emilia is deeply committed to Desdemona but also devoted to Iago. Thus, the readers may experience confusion about whether Emilia can be partly blamed for the tragic death of Desdemona. The essential question is whether Emilia is as naive as she appears in the play. Therefore, the essay demonstrates justifications for the idea that Emilia is not innocent as she seems regarding Iagos schemes.
Emilia exhibits ambivalence or opposing viewpoints; nevertheless, she tends to accept what her spouse says. Amri and Maylani emphasize that Emilia displays submission and vulnerability with her husband; on the other hand, the maid frequently criticizes and shares her thoughts opposing mens dominance (16). As the character with the highest social rank among the others, Desdemona can speak more than Emilia. Iagos demeanor, which claims that women are constantly placed below respect for males, is controversial. It is evident when Emilia gets along with Desdemona because she demonstrates her support of womens alleged oppression at the hands of males. Rodrigues states that unlike other women of her day, Emilia is not entirely submissive to her husband (48). Her thoughts become increasingly uneasy, and while she advises Desdemona, it is difficult to tell if she is speaking about her maidens position or her marital problems. Despite her passionate loyalty to her mistress, Desdemona, Emilia accidentally causes her to become entangled in Iagos trap; her efforts to extricate her are too late. When Emilia hands Iago the famed handkerchief, she immediately suspects his motivation for requesting it.
Moreover, Emilia has the power to reverse all of Iagos machinations and deceit. Even though she told Othello the truth before he committed murder, he decided not to believe her (Rodrigues 50). Finally, having revealed the truth about all that had been muddled by her husbands whispers, Iagos own intentions collapse since he does not recognize the depth of his wifes character. Even though she had every reason to mistrust him, she chose not to until there was no other option (Rodrigues 50). Unfortunately, Emilia does not recognize her husband as a criminal until it is too late. When she discovers that Othello has murdered her innocent mistress, Emilia cries out, O, the more angel she, / And you the blacker devil! (Othello 5.2.12930). Nevertheless, by the conclusion of the play, darkness has come to relate to character depravity, not to Othello, but to Iago; he is now viewed as totally demonic.
Furthermore, Emilia elevates women to the same level as men. She says, Let husbands know / Their wives have sense like them (Othello 4.3.70-71) and concludes with a direct accusation against their husbands: if a wife sins, it is because she learned it from her husband. Emilia is aware of her husbands plotting nature at all times, but she does not fully realize the scope of Iagos vicious plans. Finally, Emilia has the information that will unravel Iagos lies and is bold enough to disclose the truth, even though it means breaking her obedience: Tis proper I obey him, but not now (Othello 5.2.208). In Act IV, Scene II, Emilia reveals Iagos whole plot by alleging that some wretch, some villainous knave, has devised this slander against Desdemona (Othello 4.2.153-165). She eventually emerges as the storys voice of truth, claiming her voice and adopting a pivotal part in the plays conclusion. She eventually meets the same destiny as Desdemona, as her rebellion is completed with the ultimate sacrifice, namely death.
Emilia assisted Iago in convincing Othello of Desdemonas guilt, and while she cannot reverse Desdemonas murder, she may at least bear testimony to the reality of what transpired. Emilia dies with the hope that her final bravery will atone for her prior passivity and obedience. Significantly, when her life is coming to an end, and her husband wields the deadly knife, she does not hold him accountable; instead, she blames herself for prompting him to execute such a heinous act. Therefore, Emilia is not innocent since when she discovers that Othello has murdered Desdemona, she only decides to go against her spouse and reveal her knowledge. Emilia has been enslaved to male dominance; not even in her last breath can she see beyond the blinders that patriarchy has placed in front of her eyes.
Works Cited
Amri, Siti Hardiyanti, and Isna Maylani. Paradoxality of Women Positions in Othello by Shakespeare. JELITA, vol. 1, no. 2, 2020, pp. 12-20. Web.
Rodrigues, Karen Danielle Lima. Emilias Voice: Shakespeares Take on Feminism in Othello. Revista Fronteira Digital, vol.7, 2018. Web.
Shakespeare, William. (2015). Othello. In Sterling Publishing (Ed.), The Complete Works of William Shakespeare (pp. 818-857). Barnes & Noble, Inc.
Iago is no doubt the personification of evil and takes contentment in destroying virtue in him and others. The first and most significant thing we note in Iago is that, in comparison with the other characters of the play, he is highly intellectual and strong willed. The fundamental attribute of his nature is self-love which dispels all other affections. The theme of revenge is a unvarying one throughout the play William Shakespeares play Othello. The dramatist portrayed the theme revenge through the character of Iago. According to Iago revenge is a great source of motivation in his hatred toward Othello.
Analyzing the play William Shakespeares Othello a reader can easily find that the dramatist has presented Iago as powerful and intellectual villain. His motives reveal the profundity of his revenge against Othello and others. Against Othello, Iago suggests three grievances. They are Othellos act of having sidelined him and promoted Casio to the post of lieutenant, Iagos suspicion that Othello has been making love to his wife Emilia, and finally his presumption that he is in love with Desdemona.
Iago is fully conscious of his intellectual superiority over others that he has grown contemptuous of the weak wills of others. Igo never betrays his real nature, and not a trace of nervousness is visible in him even in the most dangerous moments of his plot when the least slip would have disastrous consequences. A reader can see this especially when Othello takes him by the throat and when he is attacked in the end. Suspicion, Fear and extreme jealous are the root cause of Iagos revenge and this forced him to behave like an intellectual devil. Anthony Hughes gives helpful comments to the reader about Iagos revenge against Othello and his family. The author remarks; When Othello decides to give the position to Cassio, a younger and less experienced individual, Iago becomes determined to destroy Othello and his family. (Hughes 4).
The necessity for revenge on Iagos side compels him to abolish his healthy relation with Othello, the deep affection between Othello and Desdemona, and the love and trust between the young man Casio and Othello. Critics comments that the key catalyst to revenge, as portrayed in Shakespeare, is frequently infidelity. Iago often feels betrayed, so Iago feels a heavy need to precise his revenge. Iago never seen inactive and would never allow pleasures to disturb with his goals. Iagos motives are reasonable, but they never satisfy Iago himself. Cassios promotion sets him to the formation of a secret plan against Cassio and Othello. Love of power and happiness in playing with others lives revel Iagos extreme revenge against Othello.
Iagos consciousness that he is looked down up on by others for his lack of birth and education coupled d with his intellectual superiority has turned him in to a cynic and a dangerous hypocrite. Iago is poor and married Desdemonas servant, and is compelled to spend his time with Rodrigo. Iago has climbed the steps of success with his own hard work and effort, but then he realizes his progression checked by his lack of birth and education. This leads him to make uncivilized plot against Othello and Desdemona. When he asked his wife Emilia to take the handkerchief of Desdemona Iago has numerous plans to break the relation between Othello and Desdemona. On can see that Iago does not love villainy for itself or follow evil its own sake, But when he discovers goodness unprofitable he go rounds to evil. Iagos revengeful nature is and secret plots forced the reader to reach the idea is that he is diabolic intellect who is impelled by motiveless malignity. Wherever Iago sees innocence or goodness, he not only hates them, but also blackens them. According to him self sacrifice is sin, all true love and goodness unbelievable.
Iago has used women for the satisfaction of his revenge against Othello and Cassio. He seeks Emilias help to gain his goal, but he does not vacillate to stab her to death. Revenge makes him as a monster and one can see that Iago even forgets his wife. As a great craftsman William Shakespeare gives numerous situations and events which provide convincing reasons to the reader to identify Iago, a revengeful villain in the play Othello. In the opening scene of the play Shakespeares Othello one can see that Emilia, Iagos wife and Roderigo are sheer tools in the hands of the mighty villain Iago. Iago prepares Roderigo like a mortal weapon in his plot against Othello. Iago is envious of all who are more fortunate or better than himself. In case of Iago envy and revenge are interrelated. Incase of other men envy is checked by love, Iago feels no such bounds at all, for he is incompetent of loving. He puts the mask of an honest soldier who is the friend of all. Illegal relation between Othello and Emilia rubs salt on Iagos revenge. Iagos words are chosen to torture and he goes on till Othello is tempted to murder his wife Desdemona. Iago invokes the help of the Devil for the success of his wicked plot against Othello. Like Devils Iago put on the appearance of heavenly virtue when the time of advising Cassio for regaining Othellos favour. Iagos advise will appear beneficial to Cassio, who without a shadow of suspicion about Iagos real intentions. It is crystal clear that Iago prepares the plot with maximum perfection that reveals the intensity of his revenge Iago cries; Divinity of hell, When devils will their blackest sins put on, They do suggest at first with heavenly shows; As I do now. (Shakespeare 466).
When Iago begins to be successful in his game, he is thrilled at the thought of his victim lying helpless in his hand. In his conversation with Ro derigo, Iago mentions that Othello has avoid his claims to the post of lieutenancy and appointed Cassio unfairly over his head. Iago is able to direct anyone who gets in the way of his plans. Iago uses all the characters to wipe out Othello and take his revenge. This provides endless revenge to the mind of Iago against Othello and Cassio. Iago suspects both Othello and Cassio to have tampered with his wife Emilia. This jealousy seems to be influence him on in his barbarous plot. Iago used trust as an effective weapon for taking his revenge. Shakespeare presented Iago as a very cunning man and he plays the other character5s in the play like a chess board. He uses his different wagers to do the evil action so as to abolish Othello and Desdemona. Iagos revenge reaches its zenith when he asked Emilia to steal the handkerchief of Desdemona. Then He informs Othello about the handkerchief and pulls him to endless suffering and adversities. All his actions in the play reveal his extreme revenge against the General and his family. His diabolic actions such as advising Cassio, conversation with Desdemona, tempting Othello, friendship with Roderigo and his attitude towards his wife Emilia are the apparent expressions his revenge. Iago is fully aware of his extraordinary ingenuity and he is annoyed at it being unused. The greatest pleasure to such a revengeful person would be something that gave extreme satisfaction to his sense of power; especially it implicated the workings of his abilities. After a deep analysis a reader can see that Iagos sense of superiority has been offended when Cassio has been promoted over him, and his anger found satisfaction when Cassio and Othello, the very persons who had disrespected it, were subjected to his wish. At the end of the play Iago kills his wife Emilia. One can see that Iago became a mad person because of extreme revenge against Othello.
Through the given words Iago reveals his revenge against his general Othello. He says that he would follow him as a faithful servant. But he serves Othello not for hi8s masters sake. He serves for himself.
One can see that Shakespeare gives number of contexts which reveal Iagos revengeful nature. In the opening scene of the first Act Iago says; But I will wear My heart up on my sleeve, For daws peck at: I am not what I am. (Othello: 1:1:66) It means Iago cannot reveal himself to others. In the same scene He again says; In following him I follow but my self Heaven is my judge, not I for love and duty, But seeming so far my peculiar end. (Othello: 1:1:60-61). Iago serve Othello not for love and duty but for his personal intentions. This also reveals his extreme revenge.
In the second scene of the first Act Iago calls: By Janus, I think no& (Othello: 1:2:33). Janus is a Roman god with two faces. Like Janus Iago has two faces, one is a faithful servant and other is a revengeful villain.
Conclusion
To conclude, Shakespeare presented the character of Iago as a symbol of evil and revenge. Iago makes others as a weapon for his plot. He uses all his intellect for the success of his wicked plan against Othello. His revenge towards Othello and Cassio makes hi8m a mad person with extreme revenge.
Works Cited
Hughes, Anthony. Revenge in Othello. 2009. Web.
Shakespeare, William. The plays of William Shakespeare, Volume 8: Othello: Act 2. Longman and Co., 1847.
Othello is Shakespeares play driven by its characters whose traits, moods, or relationships are told by the words, rhythm, and structure of the drama. The story therein is about a general in the army fooled into questioning his wife of adultery; and his name was Othello, so he is considered to be a tragedy of sexual jealousy. The play also examines racial prejudice and envy through false implications. Roderigo is one of the characters in this book having significance and dramatic purposes.
There are several incidences where the purposes of Roderigo are portrayed in Shakespeares play. Roderigo portrays the power of love and manipulation when he falls victim to Iago as a result of the love he had for Desdemona (Galland, 2019). Love made him ready to do anything for her, and this made him be manipulated by Iago, who was evil. Due to this, Iago guides him to fight with Cassio making him lose his job in the army (Gale, 2018). Roderigo is also used by Shakespeare to bring about the theme of jealousy in the drama. Roderigo was jealous of Othello to the extent that he saw him as an enemy making him compete with the aim of winning the girls heart.
Through Roderigo, the dramatic purpose of being a one-sided lover is revealed. His life was used by the author to represent people living in their own assumed reality, making them one-sided lovers. Roderigo had fed himself with illusion to the point that he did not want to see the love that Desdemona had for Othello and chose to have desires for her unreasonably (Galland, 2019). He had an imaginary and shallow idea on the subject of love that led him to engage himself in vain attempts and allowed crafty Iago to easily use him for his own selfish ambitions.
Shakespeare, in his drama, uses Roderigo to display the timidity in people. The man was a coward such that he could not lead his own life (Galland, 2019). He instead preferred to be in control of Iago, and he let him make decisions for the actions he was to take for his own life. This was so evident to the point that even his wealth was used to exploit him when Iago cheated him about his money and gifts and pretended that he would forward them to Desdemona. When Iago asked him to fight with Cassio in the street, he agreed without a second thought (Galland, 2019). This made him be used for accomplishing filthy acts that had no basis.
Through the acts of Roderigo, as displayed in the drama, readers get to know about how lack of moral judgment can be. This character had no ability for moral judgment to the extent that he stooped so low to the level of attempting to kill Cassio without any cause (Galland, 2019). He did not seem to know the fact that Iago had no integrity, and so he could not spare him from his malice. His thoughtlessness gets worse when Iago kills him and when he sees that he is going to get killed, that is when he understands what is happening, and he ends up crying (Miller, 2018). Roderigo enables the audience to understand how Iago operates through his foolishness.
He has very poor judgment, and his acts are dreadful since he did not even try to understand whether Cassio deserved to die or not. His continual pursuit of Desdemona can also be questioned since he chose to chase an adulterous relationship and thought that he could win her through his favors (Miller, 2018). Roderigo also described Othello by his race, revealing his poor morals.
Characters in a play serve different purposes and can be used to hold the attention of the audience while provoking an emotional response from them within a short time. They help in extending and prolonging the plot of a drama while making it readable and interesting. A set of characters to be used in a play are the most key element since it ranks the most above other elements. It is through them that the audience gets to understand the themes that the author is trying to put across with their effects in real life. Through Roderigo is when one understands the danger of one-sided love and lack of moral judgment. Players are a driving force of the story since they create and push the plot forward, and their interactions make the audience experience the world that was created in it.
References
Gale, C. L. (2018). A Study Guide for William Shakespeares Othello (1995 lit-to-film). Gale, Cengage Learning.
Galland, N. (2019). Play review: Othello. Cahiers Élisabéthains, 98(1), 102104. Web.
Miller, G. (2018). Othello by Shakespeares Globe. Shakespeare Bulletin, 36(4), 695-699.