Category: Othello

Shakespeare explores the core themes of madness and jealousy in his tragedies, Hamlet and Othello, creating two similar yet immensely different protagonists. Despite their many shared distinctions, both plays prove successful in enabling the audience to interpret how lies and deceit lead to death and desperation. Shakespeare is able to perpetuate such impact through relationships. In Othello, Lago exploits the power of language to manipulate his family and friends and ruthlessly uses them his scheme of revenge. In Hamlet, the relationship is similarly one without trust, although is revealed in a deceiving way. The author transcends ideas of madness and jealousy throughout the two plays. In Hamlet, he loses his mind due to his paranoia and not being able to grasp reality anymore. Othello on the other hand is maddened by Iago, whose “motiveless malignity” is, a proof of his odd kind of lunacy. Stylistic devices such as characterisation, imagery and language have been applied in both plays to help impose these themes.

The exploration of madness and jealousy is portrayed through the use of characterization in Othello and Hamlet. In Othello, Shakespeare effectively highlights Othello as deceived and delusional. Iago, rather, is manipulative and desperately trying to impose revenge. However, Othello is not jealous or mad by nature, the cunning Iago makes him this way. In Act 1, Scene 1 Iago utilises crude language as a persuasive tactic, he speaks in aggressive terms to tempt Brabanzio to believe his words. A strong sense of prejudice is evoked through the use of derogatory references such as ‘old black ram’, ‘coursers for cousins’ and ‘jennets’. Metaphors like ‘courses’ and ‘jennets’ assists in dehumanizing Othello. It is evident that Iago is revealed as a jealous character, In Act 1 Scene 1 he complains that Cassio has been promoted instead of him “I am worth no worse a place”. Later he suggests that his hate towards Othello is ingrained in jealousy, “I know not if’t be true / But I for mere suspicion in that kind / Will do as if for surety” helping to illustrate that his jealousy is extremely powerful. Applicably, Iago takes revenge by using jealousy against Othello, “practicing upon his peace and quiet even to madness” (Act 2 Scene 1). Eventually, it can be implied that the manipulative Iago leads Othello to envy and insanity. Therefore, due to the detrimental effects of jealousy, Othello reaches destruction, specifically apparent when the Moor distrusts Desdemona, Cassio and Emilia and irrationally believes Iago instead. Similar to Hamlet, characterisation is used to display madness and jealousy. Originally, Hamlet acts mad to fool people into thinking he is harmless while investigating his father’s death. ‘Mad call I it; for, to define true madness, / What is’t but to be nothing else but mad?’ Polonius states, believing that Hamlet’s madness comes from his love towards Ophelia. As the play progresses, Hamlet’s behavior becomes erratic and his acting mad seems to cause hamlet to essentially become mad. Eventually, Hamlet declares “That I essentially am not in madness, but mad in craft”. Nonetheless, his true madness resulted in his death as his seeking for revenge against the man who killed his father ended in damage of his family. Like Othello, the characters get what they want through lies and deceit. The Characterisation was successfully employed within both plays to deliver the theme to the audience.

The imagery used to portray madness is varied in both plays. Unlike Iago’s uncouth language, Hamlet utilises imagery to efficiently persuade the audience that his anger and vengeance is truly allowed. This is because Hamlet’s revenge is mixed up with reality and not with manipulative lies. Shakespeare also utilises imagery to demonstrate Hamlet’s sadness as he feels his mother has betrayed ‘so excellent a king’. This imagery is important to emphasize betrayal, and by doing so the audience has an understanding of its significance. Nevertheless, Iago’s imagery is also successful in demonstrating how there is no true motive behind his quest for vengeance and has dehumanised himself, ‘Ere I would say, I would drown myself for the love of a guinea-hen, I would change my humanity with a baboon’ . Here he also argues that reason and intelligence are what separates humans from animals. Additionally, Hamlet is seen as mad, but his words contain more metaphysical meaning that those of Iago. The impression he generates through his language suggests that his intentions are focused. Unlike Iago’s futile animalistic imagery, Hamlet’s words tell a story, ‘you have my father much offended’. The personal pronoun ‘my’ emphasizes how he attempts to defend his anger. Consequently, Shakespeare has used the stylistic device of imagery to express betrayal and further madness.

Shakespeare’s Othello unveils the numerous ways a text can still be relevant and valued over time despite the development of society, aspects and new beliefs. The universal themes of jealousy and manipulation are predominant in the text and enlighten audiences both contemporary and Elizabethan.

Jealousy

At the beginning of the play, Othello was a general hero who was cool, calm and collected. However, through a series of illusions conjured by Iago, who deeply knew the destructiveness of jealousy, he destroyed Othello. “Trifles light as air are to the jealous confirmations strong as proofs of holy writ: this may do something. The Moor already changes with my poison”. Iago essentially swears to show Othello that there is proof that Desdemona is indeed cheating. His words portray double meanings and contain aspects of allusion which paint Iago’s language as evasive. It also highlights just how complex all of Iago’s illusions are.

In Act 3, Scene 3, Othello demands that Iago provide him with ‘ocular proof’ of Desdemona’s infidelity. But Iago instead provides the circumstantial evidence of the handkerchief, which Othello, consumed by his jealousy, accepts as a substitute for ‘ocular proof.’ Othello’s jealousy impedes his ability to distinguish between reality and appearance. This theme is considerably prominent in modern society. A typical example would be in relationships. When someone you like starts dating someone else. You’d feel jealousy and in certain cases, you’d start plotting to deteriorate the relationship. This, unfortunately, may result in bullying, disputes and in worse case scenario, suicide of the victim, similarly to Othello.

As Iago makes insinuations about Desdemona’s adultery and Othello pressures him to reveal what he knows, Iago warns Othello against succumbing to jealousy. “O, beware, my lord, of jealousy; It is the green-eyed monster, which doth mock/The meat it feeds on”. The metaphor used to compare jealousy to a monster, conjures an offensive visual that Iago knows will intensify Othello’s concern. Further, the symbolism of the colour ‘green’ links to the idea of jealousy and envy.

Manipulation

In the opening scene of this play, Iago utters “I am not what I am” during a conversation with Roderigo. On the surface, he signals that he is not what he appears to be. However, a deeper, more subversive message is also present. The phrase serves as a parodic allusion to a well-known biblical quote, where Moses asks God his name and God responds with: “I am that I am.” By transforming God’s words in a negative formulation, Iago indicates his identity as a diabolical figure. This theme of manipulation is relevant today as the current society suffers tremendously from the lack of realism. Facades are put on and others make themselves believe that the lives of others are better than their own. This environment surrounding Othello, is much like our modern society, supported by lies and deception, that ultimately lead to his downfall.

Act 4, scene 2 presents to the audience a heated conversation about the distressed Desdemona on the situation of being called a ‘whore’ by her husband. Meanwhile, Iago, a bystander ‘hasn’t’ the slightest idea what is happening. This is portrayed through the repetition of questions Iago asks Desdemona: “What is the matter, lady?”, “What name, madam?” and “Why did he do that?”. This facade evokes emotions of anger and annoyance from the reader. However, Iago then proceeds to comfort Desdemona and blames Othello’s foul mood on his “business of state”. Here, the dramatic irony further stimulates strong emotions from the reader. Shakespeare uses deception as a plot device in Othello to show the harsh consequences that can come from lies and to teach everyone that honesty is a virtue that should be cherished.

In the second act, Iago says to Cassio: “And, good lieutenant, I think you think I love you”. The addressing of Cassio as a ‘good lieutenant” gives his statement a positive ring and eases Cassio. He further uses the repetition of “think” to reinforce the trust of their relationship. Iago successfully inspires an atmosphere of goodwill and fraternity. Occurrences like this are common in our modern society. Politicians rely on propaganda, lies and deceptions to manipulate citizens to obtain a status they desire. This is reflected in Iago, who developed a status as “Honest Iago”, which allowed him to address other characters without failure.

Shakespeare’s tragedy Othello explores how the frailty of the human condition can engender dire consequences, and significantly contributes to the play’s relevance across changing societies. Othello’s vulnerability causes his susceptibility to overwhelming jealousy, which compels his transformation from a noble to wicked character. The overpowering nature of jealousy caused the internal collapse of Othello, evoking his descent from a virtuous general to a volatile murderer. Human frailty is further depicted through Iago’s deception, which instigates Othello’s conflicted identities. Iago’s used his deceptive and deceitful nature to carefully manipulate Othello and others, through his trustworthy appearance and malevolent reality. Both Othello and Iago are motivated to betray those that place trust in them, and ultimately results in devastating and tragic consequences. Shakespeare’s consideration of these facets of the human condition contribute to the enduring relevance of his play.

The frailty of the human condition can allow overwhelming jealousy to cause a transformation in character with tragic consequences. The consuming essence of jealousy is seen in Shakespeare’s play through Othello’s descent from an honourable general to a wicked murderer. Othello’s “valiant” and “noble” temperament is described by the Duke and senators of Venice in the introduction of the play. However, he gradually becomes more rash and volatile, as a result of being consumed by jealousy over his wife, Desdemona, and he violently claims that he would “tear her to pieces”. This metaphor suggests that human frailty can lead all-consuming and transformative jealousy, elucidated through Othello’s progressive irrationality despite his initial noble and honourable nature and eventually resulting his murder of his wife. His final soliloquy provides insight to a contemplative Othello, as he reflects on his homicidal actions and compares himself to being “like the base Indian” who “threw a pearl away richer than his tribe”. This simile is implicative of Othello’s realisation of the tragic consequences of allowing himself to be controlled by jealousy. Shakespeare’s exploration of the nature of jealousy has enduring relevance across both his contemporary and our modern-day audience as the human condition remains constant over changing societies. Critic Axel Kruse states that “Othello is seen to be possessed and transformed by jealousy in a way which evokes the ideals of evil and satanic possession”, further supporting Othello’s drastic change in character as a result of his jealousy. Iago’s metaphoric description of Othello as a “green-eyed monster” insinuates that jealousy is overwhelming and transforms Othello into a monstrous character, where his personification of jealousy further suggests the devastating consequences of human frailty. Shakespeare depicts Othello’s vulnerability to explore how human frailty can result in overwhelming jealousy, with dire and tragic consequences.

Human frailty can allow deception to engender conflicted identities, resulting in uncertainty over appearances and reality which can cause devastating consequences. This is suggested through Iago’s deceptive nature, where manipulating Othello’s trust in him to eventually instigate the murder of Desdemona and further explores human frailty to elucidate the enduring relevance of Shakespeare’s play. Othello describes Iago as having a “learned spirit of human dealings” with “exceeding honesty” suggesting Iago’s appearance as obliging and supportive. This misleading faith and trust allows Iago to utilise his deceptive nature to manipulate Othello’s insecurities, causing Othello’s conflict between his nobility and wickedness. Iago’s deception is further elucidated in his plans to “pour this pestilence into his ear” and cause Othello’s downfall, metaphorically indicating Iago’s contrasting trustworthy appearance and his true deceitful character. Iago’s desire to continuously manipulate Othello is depicted in his extended metaphor of ‘ear’ as he plots “to abuse Othello’s ear”. Othello’s human frailty results in his susceptibility to Iago’s deception, and indicates the enduring relevance of Shakepeare’s play through the depiction of vulnerable and deceptive nature of the human condition, which persists across changing contexts.

The vulnerability and frailty of the human condition can induce tragic consequences by allowing motivations for betrayal to transpire. This is portrayed through both Othello and Iago, whose catalysts for betrayal are fuelled by jealousy and hatred respectively, ultimately resulting in a distingration of trust and loyalty. Othello’s betrayal of Desdemona is driven by Iago’s manipulation of his fatal flaw of jealousy, indicated as he begins to question his trust in Desdemona when exclaiming, “My life upon her faith!’. Othello’s human frailty leads to his progressively betrayal of Desdemona, suggested through his biblical allusion when he claims, “If she be false, O then heaven mocks itself, I’ll not believe it”, revealing how his loyalty to Desdemona is disintegrating due to his human frailty. Iago’s motivations for betrayal were driven by hatred, prejudice and anger towards Othello. Iago’s fragmented language when he claims, “I hate the Moor. My cause is hearted” insinuates Iago’s discriminatory attitude and anger towards Othello by calling him a ‘Moor’, suggesting his motivations to cause Othello’s downfall. Iago’s simile when comparing his contempt to being “like a poisonous mineral gnaw my inwards” is further implicative of Iago’s motivations of malevolence again Othello, and is in accordance with critic Nevill Cognill’s suggestion that “psychologically Iago is a slighted man, powerfully possessed by hatred against a master who (as he thinks) has kept him down”. Iago’s animalistic metaphor of Othello as ‘an old black ram is tupping’ the ‘white ewe’ is further discriminatory Iago’s characterisation as a racist character indicates the enduring relevance of Shakepeare’s play as the prevalence of discrimation spans across varying societal contexts. Through Othello and Iago’s motivations for betrayal, Shakespeare implies that human frailty can lead to devastating consequences and further suggests the surviving relevance of his play.

Shakespeare’s play Othello explores how human frailty can cause devastating consequences, and remains relevant to societies overtime. Othello’s human frailty causes him to be prone to overwhelming jealousy, which transforms him from an honourable general to volatile murderer. Human frailty is further revealed through deception, particularly in Iago, which provokes conflicted identities within Othello. Both Othello and Iago are motivated to betray those that have faith in them, eventually resulting in devastating consequences. Shakespeare’s incorporation of these views of the human frailty contribute to the lasting relevance of his

The play “Othello” by William Shakespeare, demonstrates how jealousy brings irreparable consequences, revealing the importance of one’s need for ‘independent thinking’. Shakespeare wrote the play with the central idea of emphasize humanity, worship of humanity, fully express humanity and human desires.

Firstly, the impulse is the beginning of the destruction of a person. In the play, Othello is the victim of impulsiveness. Othello “Ay, let her rot, and perish, and be damned to-night; for she shall not live. No, my heart is turned to stone; I strike it, and it hurts my hand. O, the world hath not a sweeter creature. She might lie by an emperor’s side and command him tasks.”(Othello, P207-175). Although Othello does not have the heart to kill Desdemona, he is completely controlled by Iago’s lies, treating Desdemona as rude as a beast. Illustrating his impulsive and extreme character. Everyone has two sides, Othello is a successful soldier in the play. He has a strong sense of professionalism and responsibility through his whole life of bright. However, no one is perfect, the defection of Othello’s personality is flawed by the inferiority of the innate grace, and living with such defects in the society at that time led to his late generation of shakes and credulous personality traits. People respect him is only because of that he has the ability to protect them. He has very strong self-consciousness, it causes that he is unconfident about his marriage. He is jealous that Cassio looks better than him, so he trusts the lies that Iago told him. Othello’s tragedy is caused by the defects of personality and social discrimination. Independent thinking is the most fundamental of one’s thinking. People should know the world by using their natural talent. If a man attaches his mind to others, he becomes a slave to their ideas. A person who always considers others’ opinions and suggestions is the one who has personal thinking, but if the person is easy to believe others’ words may have the same tragedy as Othello. Independent thinking is to grasp everything by ourselves and take all the risks that might have. People in anger will not be awake, even they will not be able to save themselves. Moreover, Othello“I kiss’d thee era I kill’d thee. No way but this, killing myself, to die upon a kiss.”(P289-360). Suicide is the consequence of Othello‘s impulsive action. It looks like he is making amends to Desdemona, but he is actually doing something more impulsive. Othello paid for the price of impulse with life. In our daily life, people always meet all kinds of pressures and problems, the emergence of these things is a test for everyone. It constantly beats us, reminds us, slowly destroys our determination and tries to ‘kill’ us. In this state, people tend to become irritated, extremely furious, or depressed. At this time, most people give up on themselves. But if we have the opportunity to go back and look at the behavior we have done, we can easily find that the things that destroy us are not the big disasters, but our uncontrollable emotions. People in anger will not be awake, even they will not be able to save themselves. Calmness is the spirit that every age needs, also the belief that everyone should stick to it.

Secondly, too much reliance on a relationship can lead to a loss of self-worth, even one’s ability to think independently. In the play, Desdemona is the victim of jealousy and the patriarchal system of feudal society. Desdemona “Nay, we must think men are not gods, nor of them look for such observances as fits the bridal. Beshrew me much, Emilia, I was an unhandsome warrior as I am, arraigning his unkindness with my soul; but now I find I had suborn’d the witness, and he’s indicted falsely.”(P185-150). Although Othello does not recognize his mistake, treats her rudely as a beast, she still blame on herself. It shows the blind obedience of Desdemona to Othello, also reflects the fact that she is stunned by love. Desdemona’s love for Othello has transcended the forgiveness of human nature, which is her firm expression of love. Desdemona is a contradictory figure. At the beginning of the story, she is confident, straightforward, brave in resisting the wishes of her father and the secular concept of confronting society. Regardless of the gap between race, money, appearance, etc. She insists on being with the Moors and showing full respect to her father Barbantio, but by no means yielding obedience. However, in marriage, she becomes ignorant in the face of love, fully reflecting the social status of women. From a confrontation with destiny to the weakness, unable to resist at the end, such a dramatic turning point. Illustrating that Desdemona bravely take the first step of women’s liberation, but she does not persist. The tragedy of women in Shakespeare’s works is unable to shake off the influence of patriarchal consciousness. He is negative about the idea that women have equal rights and believes that women are the embodiment of evil and ugliness, and the root of male degeneration. He praised the valuables of women, but still deeply influenced by male rights. Also, Desdemona “Nobody；I myself. Farewell. Command me to my kind lord. O, farewell!”(P275-125) Desdemona still chooses to protect her lover at the last moment of her life, even though this person end her life. The readers can feel the symbolic revelation of the pain: the pure beauty is destroyed by the unreasonable original power. Her concealment shows her courage and determination to love. Reflecting the tragedy of women in society. Desdemona is an elegant princess, but her position in front of Othello is even much lower than a slave. Her blindness in marriage led to her own depreciation, and a noble princess finally fell into the fall of feudal society. The reason for this is not the specific individual, but the entire living environment and feudalism Caused by thoughts. In medieval Europe, the status of women is very contradictory. It contains evils such as Eve to induce Adam to steal the forbidden fruit, and also contains the noble status of the Virgin Mary. Shakespeare portrays these two extreme phenomena on Desdemona. Despite the high social status of the aristocratic women at the time, they were not allowed to appear informal and important occasions.

Finally, use independent thoughts and unique perspectives to judge what others are saying is much more necessary than blindly loyal to others. In the play, Emilia is the victim of greedy. Emilia “No, faith; she let it drop by negligence, and to the advantage, I, being here, took it up. Look, here it is.”(P159-311) For Iago, Emilia is just a tool to help him finish his plans. The handkerchief in this play is a factor that brings the story to the climax. Her tragedy inadvertently becomes Iago’s accomplice while fawning over him, and the personal insults and trampling of love from Iago. Emilia knows that she cannot do anything with this society which is full of gender discrimination, so she change herself, she helps her husband to do anything that she can, even though her husband always put bad words on her and blame on her. All she wants is to let Iago become successful like Othello. She has always been a greedy person, but Shakespeare did not overstate her desires. Shakespeare’s works usually reveal the nature of humanity.In his creation of Othello, it was the era of dramatic changes in British society. At that time, he was suffering, and the characters he created were painful. They woke up from the old days and saw the hope of rebirth under the light of humanism. They urgently changed themselves, but they were unable against the power of hostile forces. They were powerless because of their own defects. So they suffered defeat and sacrifice in this struggle. Moreover, Emilia “O, thou dull Moor, that handkerchief thou speak’st of I found by fortune, and did give my husband; for often with a solemn earnestness, more than indeed belonged to such a trifle. He begged of me to steal it.”(P281-225). Othello, a brave person, who becomes small at this moment. In the process, Emilia is gradually enriched, and its important position in the play is also displayed. The contrast between Emilia’s personality changes reflects the awakening of female consciousness. Emilia bravely debunks Iago’s lies. She understands what kind of person Iago is, so she no longer fears the threat of her husband. At this moment, she wants to be an upright person, leaving all the distractions, just to let everyone know the truth, even though the result for this is to be killed, she does not hesitate. She exchanges her physical demise for the freedom of the soul. She is like a mirror of Iago, Reflecting the truth at the end of the story. Shakespeare wrote a lot of works about the inequalities that criticized society, including the inequalities for women. However, at the end of the story, women always hard to escape the tragic fate of being killed. By weakening the power of women and diluting women’s sense of existence, establishing a male subjective consciousness and patriarchal systems, is Shakespeare’s maintenance of the patriarchal society. This is because the great influence of the patriarchal systems in his mind that is uneasy to be changed.

In conclusion, in Shakespeare’s tragedy, characters die who do not deserve their unfortunate fates is because of their blindness to the truth.

Written by William Shakespeare opens in Venice shortly after newly elected general, Othello, marries the Senator’s daughter, Desdemona. A well-respected Florentine, Micheal Cassio, receives the lieutenant position while a jealous and arrogant flag-bearer, Iago, does not. A wealthy gentleman from Venice named Roderigo unconvincingly woos Desdemona, so Iago uses Roderigo as his pawn to ultimately get the promotion he wants. Although the cause of jealousy alters throughout the novel, the servant of Desdemona, Emilia, and Iago’s perception of jealousy compares to monsters and poison. Clearly, the author also endorses another view of jealousy as occurring from nothing but itself. Shakespeare depicts romantic and professional jealousy as monstrous, poisonous, and self-generating.

Shakespeare compares jealousy to its malignity by comparing it to a monster. When talking to Othello, Iago refers to jealousy as a “(Shakespeare 3.3.195). This perception of jealousy as monstrous is portrayed by Iago while convincing Othello that he should be aware of jealousy, yet get jealous at Desdemona. When Emilia realizes Othello’s jealousy, Emilia talks to Desdemona. Emilia describes jealousy as a “monster” (3.4.182-183). Desdemona agrees to the perception of jealousy relating to monsters and wishes for Othello’s jealousy to be nonexistent by wishing “Heaven to keep the monster from Othello’s mind!” (3.4.184). On the other hand, Shakespeare implies jealousy as a monster, but also dehumanizes the possessor of jealousy to the extent where the pronouns change to “creature.” In this case, Desdemona refers to Othello and his soul “As jealous creatures are” (3.4.28). This one example qualifies as Shakespeare expressing jealousy to represent a monster rather than a human. This would make sense because multiple times throughout the novel Shakespeare compares jealousy to a monster. Overall, jealousy adequately compares to a monster from several passages to count monstrosity as a key function of jealousy.

Shakspeare compares jealousy to poison, by signaling the power and destructibility of itself. Iago uses jealousy to the point that when he talks to himself, he imagines jealousy as powerful as poison. As Othello falls to the ground, Iago tells himself, “My medicine, work!” (4.1.56). Iago imagines the medicine as poison and jealousy while realizing the power and destructibility one has when making another jealous. Iago says, “I’ll pour this pestilence into his ear” (2.3.376). The pestilence represents the poison, and by this Shakspeare compares the poisonous lies Othello tells to how overcome with jealousy Othello will feel after hearing Iago. When Iago uses his “poison” on Othello, the depiction of jealousy suffices to the comparison when Iago says “The Moor already changes with my poison” (3.3.373). This quote displays how Shakespeare continuously compares jealousy to poison. The conceits Iago tells are the lies that ultimately make Othello jealous, and the jealousy that makes the poison jealousy: “Dangerous conceits are in their natures poisons” (3.3.374). The destructibility factor Shakespeare notions to poison because in Shakespeare’s mind, both are significantly harmful.

Shakspeare exemplifies the self-generating aspect of jealousy, and how it forms from its inherent nature. Emilia, Desdemona’s caretaker, comforts her when Othello’s jealousy takes over her, and he says cruel things. Emilia comforts her by saying jealous souls are “They are not ever jealous for the cause” (3.4.181). Emilia means that jealous people are inherently jealous, and are never jealous for the reason they think. When Emilia says this, she comforts Desdemona by saying this, but also says this to explain the reason behind Othello’s jealousy. Secondly, Emilia describes the reason for jealous souls not because of any reason, “But jealous for they’re jealous” (3.4.182). What Shakspeare attempts to portray through Emilia is the concept of jealousy coming from an inherently jealous person, rather than Othello acting jealous towards Desdemona. In addition, Emilia tells Desdemona of jealousy as self-generating. Again, Emilia tries to convince Desdemona of jealousy always connecting to its inherent and self-generating attribute. Jealousy will always come from one who is born jealous, not because of any particular reason. Iago uses manipulation to bring Othello into a jealous stage “That judgment cannot cure” (2.1.324). Iago means how Othello will be so jealous, that nothing will prevent himself from jealousy, and ultimately kill Desdemona. Iago’s perspective on jealousy connects to its inherent self, because if one feels so jealous then the inherent place of jealousy arises. One who feels so jealous that not even judgment can cure, must be inherently jealous. After connecting jealousy to its inherent and self-generating nature, all aspects have been crossed off the mechanics of jealousy in

Shakspeare connects jealousy to a self-generating, poisonous monster. Iago uses his manipulation and lies, to use Othello as his innocent victim. Understanding what Shakespeare compares jealousy to, allows the reader to understand better. The mechanics of jealousy are very important for the reader to know, because jealousy is more than just through the ideology of romantic and professionalism.

The main character in the poem, Othello, starts out as this noble, naive, and trusting person, to a foolish, jealous, murderer. Throughout the poem, the villain Iago is setting up his attempt to ruin Othello’s life. Iago eventually sets into action his deviously complex and twisted plot to ruin Othello. As Iago’s plans start unfolding, Othello’s character slowly changes. Iago’s ultimate plan is to attack Othello’s insecurity about his wife’s loyalty, to set her up, and to hurt him. Only this break-up story is unlike most.

Many characters die over this dramatic tale of Desdemona cheating on Othello with Cassio. Including Roderigo who was killed by Cassio. Emilia was killed by Iago. Desdemona was killed by Othello. And Othello who killed himself. At the beginning of the play, Iago starts to lay out his twisted plot. “Cassio’s a proper man. Let me see now: to get his place and to plume up my will in double knavery– how, how? Let’s see. After some time, to abuse Othello’s ear That he is too familiar with his wife”(act 1, scene 3) this quote is a silique from Iago sharing with the audience his plot. He will “plump up my will in double knavery”, meaning he will metaphorically stab both Cassio and Othello in the back. How he will do so, from “abuse to Othello’s ear that he is too familiar with his wife”. Meaning he will make it look like Cassio and Desdemona have a thing going on, making Othello jealous. In the middle of the play, Iago starts to have Othello fooled, but Othello still needs more proof to be sure.

Iago describes Othello blindly being molded into his plan. “ the moor already changes with my poison; dangerous conceits are in their natures poisons, which at the first are scarcely found in distaste”.(act 1, scene 3) Iago is comparing his plan to poison, he states that Othello has already been poisoned and he is changing already. Iago understands at this point Othello is easily manipulated with jealousy. Proof that Iago is right about this, in the same scene Othello describes his wife, “her name, that was as fresh as Dian’s visage is now begrimed and black as mine own face”.(act 1, scene 3) meaning Othello would have described Desdemona at one point as having a good reputation but now she has a more twisted and dark reputation. This tells the audience Iago’s plan is working.

By the end of the play, Othello is completely convinced Desdemona was cheating on him with Cassio, this leads to Othello suffocating her out of anger and hatred. Only to realize it was all a lie constructed from Iago’s design. Leading to his suicide at the end of the play. “yet i’ll not shed her blood nor scar that whiter skin of hers as snow, yet she must die.”(act 5, scene 2). This lets the audience know not only does Othello completely believe and is fooled Iago but that he is so angry that he would take her life. Othello in this quote describes how he will kill her. He won’t bruise or make her bleed. Actually how he does it is by suffocating her using pillows.

After Othello kills her, he realizes Iago was lying the whole time about everything, Iago’s plot comes out. As Othello realizes this he states, I kissed thee ere I killed thee; no way but this; Killing myself, to die upon a kiss. This means Othello kills himself after kissing Desdemona for realizing that he had just killed the love of his wife and that the affair she had with Cassio was all a lie. Othello’s character changes throughout the play. In the beginning, he is nice and respectable. But his inability to trust his wife and foolish persona leads to his downfall. As Iago’s poison sets into his mind Othello become jealous and petty until it leads to such anger as to where he murders his own wife based on suspensions and paranoia. In the poem, Shakespeare uses dialog from characters to other characters, as well as characters bluntly stating their motives to the audience to transform characters motives and the way the audience perceives such characters, in order to add excitement and entertainment, and emotion to the dramatic tale.

In regard to appearance versus reality, the theme of Othello is jealousy. One can reach this theme through analyzing different scenes throughout the play. Evidence for this is found in other characters and events all throughout the story. This paper will explore different ideas that cement the theme of this tale.

One event that displays the theme of jealousy is when Iago is speaking to Othello about reputation and says, “O, beware, my lord, of jealousy! It is the green-eyed monster which doth mock The meat it feeds on” (Shakespeare 3.3.165-167) shows the theme quite explicitly through a conversation. Iago warns his lord of jealousy through the use of a metaphor. Iago points out that reputation is often hurt by jealousy. Iago goes on to describe jealousy as a monster to highlight the fact that jealous behavior helps nobody. As Iago makes implications about Desdemona’s infidelity and Othello compels him to uncover what he knows, Iago cautions Othello against capitulating to desire. Obviously, Iago gives this admonition with a boastful demeanor. That is, he realizes that colloquialism ‘envy’ and conjuring a hostile visual picture will increase Othello’s worry. Iago’s personification of envy as a ‘green-looked at beast’ is well known, and his utilization of the shading green stems from a Renaissance conviction that green was a ‘bilious tint,’ connected to an unevenness of the humors that caused dread and desire.

“Jealousy is often referred to as the Green-Eyed Monster. This phrase comes from William Shakespeare’s play Othello. Othello thinks that his wife is having an affair. He becomes so possessed by his thoughts that he can’t separate what is real from what he imagines.” (Gard p.17)

Another place in the story that supports this theme is when Iago says, “Trifles light as air Are to the jealous confirmations strong As proofs of holy writ: this may do something” (Shakespeare 3.3.322-324) In this scene, the theme is shown because Iago conveys these lines in a short monologue where he advises the group of spectators regarding his arrangement to plant Desdemona’s hanky in Cassio’s room. Here, the hanky is simply A metaphor for ‘trifle light as air.’ the cloth implies nothing. In any case, realizing that Othello’s jealousy has just increased, Iago predicts that Othello will overestimate the cloth’s importance, accepting it as a ‘proof of holy writ’, as proof direct from the Bible.

“Therefore, the preferred method for coping with their jealousy, incessant rage and humiliation is violence with the expectation that the female kin should be punished rather than allowed to change her behaviour and assume responsibility resorting to previous informal relations.” (Daily Times p. 10)

In addition, the theme of jealousy is displayed when Emilia says, “But jealous souls will not be answer’d so; They are not ever jealous for the cause, But jealous for they are jealous: ’tis a monster Begot upon itself, born on itself.” (Shakespeare 3.4.159-164) This supports the theme because Emilia says these words to Desdemona trying to clarify the silly idea of jealousy. Despite the fact that jealous people may give an explanation behind their envy, but jealousy is itself and has no real reasons to support it . At the end of the day, desirous individuals are intrinsically jealous. Emilia uses metaphors by perplexing a picture of envy as a beast that brings forth itself. Emilia’s picture reviews Iago’s ‘green-eyed monster.’ It additionally reviews the old image of the ouroboros, which portrays a snake gulping its own tail and subsequently stuck in a self-sustaining circle.

In case report: Tiapride for pathological jealousy (Othello syndrome) in elderly patients by Taijiro MUKAI he writes, “The symptoms of this patient were diagnosed as those typical of pathological jealousy, also known as Othello Syndrome. Over several months, he doubted the faithfulness of his wife but did not have any clear evidence.” (Mukai p.133)

Works Cited

1. Shakespeare, William. Othello. Edited by Edward Pechter, 2nd Norton Critical Edition, W.W. Norton, 2017.
2. Mukai, Taijiro. “Tiapride for Pathological Jealousy (Othello Syndrome) in Elderly Patients.” Psychogeriatrics, vol. 3, no. 3, 2003, pp. 132–134., doi:10.1111/j.1479-8301.2003.00019.x.
3. Gard, Carolyn. “Taming Jealousy — ‘The Green-Eyed Monster.’” Current Health 2, vol. 25, no. 7, Mar. 1999, p. 26. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=f6h&AN=1632356&site=eds-live.
4. “Othello’s Jealousy.” Daily Times (Pakistan), 9 June 2014. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=n5h&AN=BKM2DTP20140609.XIII.158.00016&site=eds-live.

Racism is a theory. According to this theory, there are human races that present biological differences justifying relations of domination between them and rejection or aggressive behaviors. Racism is the belief in the superiority of a human group. Defined as a race, this group would be superior to all others. Racism is the hatred of one of these human groups. In common parlance, the term ‘racism’ most often refers to xenophobia, which is its most obvious manifestation. Therefore, we can read much discrimination based on races in Shakespeare’s book Othello. Othello was a West African man, and he was a moor which is an ethnic from Africa. Othello was not familiar with racism, or he never suffered racism. however, he was manipulated in a bad way by Iago who is another personage of the book. Othello has suffered racism because he wanted to be at the top of white society. In this essay, the main purpose is to demonstrate the role of racism in Othello.

In Shakespeare’s play, we can see many ideas that are also supported racism and sexism. Sexism is discrimination based on sex. This means that the person is discriminated against in a certain area since their sex is considered inferior because of their characteristics. Othello was treating his wife Desdemona like property. For example, when Othello said that ‘’ I won his daughter’’, he was trying to justify why Desdemona has to be his wife like property. Desdemona also is a good example of an abused woman who suffers in silence because of her husband’s behavior. Othello was threatening her like not a person. Moreover, to support this idea, Othello also mentioned that to Iago ‘’ That we can call these delicate creatures ours and not their appetites’’

However, the central point of this pal is racism. Iago was manipulated everybody by using Othello’s race to destroy him. Iago was mad at Othello because Othello gave the title of lieutenant to Cassio. Even the Moors are generally Muslim, Othello was considered a Christian. Iago made a racist comment on Othello to Brabantio. Brabantio was Desdemona’s father, and Iago told to him that ‘’Even now, now, very now, an old Black ram is tupping your ewe.’’ Iago also was trying to make Brabantio mad. For example, Iago told to Desdemona’s father that Desdemona and Othello are now doing the beast with two backs. The Black Moors were viewing like animal exotic aliens by the Elizabethans. Furthermore, Emilia also made a racist comment about Othello by saying that ‘’ O, the more angel she, and you the blacker devil’’.

While the question of Othello’s role in reinforcing or challenging racism is concerned, He is was not different from the Venetians who accompany him to Cyprus. However, he was smart and competent. Othello got the same emotion (anger and jealousy) as every Venetian who had known that his wife was cheating. Otherwise, we can see that Othello was a good man. I think the story of Othello was created by Willian Shakespeare to help racist people, who will read Othello, stop doing their act.

In conclusion, In the world there is only one race: it is the human race. We cannot divide humanity in a hierarchical way, that is to consider that there are superior men compared to other men who would be placed in a lower class based on race. The story of Othello can really help the modern audience. If a racist person watches the play or reads the story, that person will simply focus on the fact that a black man killed his white wife. However, if a person is not racist, that person will think differently. He will think that the man was stupid and jealous that why he killed his wife and regretted it. There are bad people in every race, so we do not have to base on the race to do something.

Written in 1603, William Shakespeare’s tragedy Othello is based on the story of Un Capitano Moro by a disciple of Boccaccio which was previously first published in 1565. The presentation of women in Shakespeare’s Othello is an issue that cannot be ignored when interpreting the text. Examining how women were treated in Elizabethan Italy, with the three female characters being either virtuous or licentious, three theses can be: Women as angels or whores, Women as possessions, and Women as assertive.

Women as angels or whores

As Gilbert and Gubar state in their essay The Queen’s Looking Glass: Female Creativity, Male Images of Women, and the Metaphor of Literary Paternity, ‘For every glowing portrait of submissive women enshrined in domesticity, there exists an equally important negative image that embodies the sacrilegious fiendishness of what William Blake called the “Female Will.”’. This duality is clearly seen in the presentation of the female characters in Othello. In Elizabethan society, women were expected to live accordingly to the virtues of ‘obedience, chastity, silence and piety’; those who did not were seen as a challenge to the patriarchal society. It can be said that Elizabethan portrayals often reduce women to mothers, saints, or whores and the women in Othello are synonymous with these norms, specifically in that they are either lauded as the perfect depiction of a female – an angel – or the opposite – a whore.

Indeed, the presentation of women as one or the other is a literary trope that permeates all texts, and thus is it no surprise that Emilia, Bianca, and Desdemona fall into these stereotypical categories in the eyes of the men that surround them. Looking firstly Desdemona, the daughter of the Venetian Senator Brabantio is a character who occupies contradictory positions. Desdemona remains resolutely loyal throughout the play, yet is unjustly accused of adultery, and the entire tragedy of the play revolves around Othello’s erroneous belief that Desdemona has been unfaithful. In the exposition Othello, after being warned by Desdemona’s father to be wary of her and how faithful she will be as a wife, declares his trust in his love by the words; ‘My life upon her faith.’ Desdemona’s father held possession of her, but she went against the patriarchal ways to be with Othello. Othello’s declaration of trust is heavily loaded with irony, as after revealing his trust and faith towards his wife he literally gives his life for what he believes is Desdemona’s absence of trust. The audience is able to see that actually what tarnishes Othello’s worthiness of Desdemona is Iago who doubts Othello and causes him to lack faith in Desdemona’s worthiness. This evidently shows how women can be labeled as angels, yet opinions can be changed so drastically. We see this through Othello’s views on Desdemona and how he initially had all confidence and high regard, which soon tarnished ever so quickly in Iago’s tragic and cunning plot.

A character who is able to break the societal confines of passivity for women is spoken of in Act I scene II 24-28 when Iago tells Othello that Brabantio will try to annul Desdemona’s marriage. Othello makes clear Desdemona’s angelic characteristics, and how his love is so strong that he gives up his freedom to be with her:

‘But that I love the gentle Desdemona,

I would not my unhoused free condition

Put into circumscription and confine

For the sea’s worth’

Being the play’s protagonist and an army general he values his freedom and authority highly. However, it is evident that he is infatuated by Desdemona and her qualities that he values her as his priority, above all else. Even the duplicitous character of Iago, who tries to corrupt the angelic image created of Desdemona throughout the play says in Act I scene II 50-51:

‘Faith, he tonight hath boarded a land carack

If it proves a lawful prize, he’s made forever

Although initially, it seems Iago is trying deviance, by saying Othello is in love with Desdemona for her family’s money, it is evident that Iago too can appreciate Desdemona’s beauty, and angelic properties referring her to as a ‘prize.’ This reveals how Desdemona is a character that portrays purity and is the epitome of innocent love. This is ironic, as the whole conflict of the play arises from Iago’s manipulation of her image into the polar opposite. Even after Iago leads Othello to believe Desdemona has been unfaithful with Cassio, the missing handkerchief a stark symbol of her deceit, Othello oscillates between debasing and exalting his wife, saying in Act 4.1 177-180:

‘Ay, let her rot and perish and be

damned tonight, for she shall not live. No, my

heart is turned to stone. I strike it and it

hurts my hand. Oh, the world hath not a sweeter creature,’

As Othello plots his wife’s murder, he cannot help but revert to his previous appraisal of her as perfect, beautiful, and loving. Othello’s earnest love and trust have been corrupted by Iago’s cunning and calculating plan and he realizes that in his murder he must harden his heart and turn against her. Thus, she must become nothing more than a whore in his eyes. It is not until after her death that Desdemona is seen anew; in the denouement of the play, Othello’s epiphany reverts Desdemona to her previous status, by saying in Act 5.5 347-348 that he, ‘Like the base Indian, threw a pearl away/ Richer than all his tribe.’ The symbolism of the pearl is interesting; Desdemona’s unblemished beauty, purity, and worth are tragically clear to her husband only once it is too late. In the end, the audience feels great sadness not only for the tragedy but as a result of the transformation of Desdemona’s character, from an outspoken to a smothered wife. Initially witty and compelling on stage, once accused of infidelity her arguments are silenced when she needed her voice the most, thus leading to her death. This reveals how women had to abide by the ways of society, and Desdemona was a character who was regarded as both angelic and whore like.

The character of Bianca is more problematic as her characterization is subtler and the audience is left questioning her position within Venetian society. Her interactions center primarily around Cassio in her role as a suspected prostitute. Although loyal and loving to Cassio, she is condemned by society and seen as a whore, with Iago even dehumanizing her as a ‘creature’ and explicitly naming her as a prostitute. Ironically, given her blemished reputation, Bianca is given a name representing purity, white, and innocence, perhaps to show how women were subjected to being either a whore, or an angel. Even the women in society are seen to look down on Bianca, with Emilia calling her a ‘strumpet’, revealing everyone’s suspicions. Bianca denies this accusation and retorts, in Act 5.1 P120-121:

“I am no strumpet but of life as honest

As you that thus abuse me”

Despite her society deeming her an outcast, it must be noted that Bianca defends herself, taking offense at the pejorative term and refusing to allow Emilia to diminish her. She will not allow the accusation of being of a baser nature, or her life one of shame, making her character admirable. Unlike the other female characters, whose roles are largely defined by their connection to their husbands or father, no man has ‘ownership’ of Bianca; society therefore would have suspected her of being untrustworthy, believing that prostitutes had the potential to overpower men and disrupt the norms. It is important to note that Bianca is able to be forceful in her beliefs and who she is, but society holds a different opinion.

Finally, in assessing the ways in which women are categorized as either angels or whores, it is important to consider the role Emilia plays. She can too be described as a loyal wife despite the fact that Emilia is a cynical character who is constantly disrespected and mistreated by Iago. She believes she is innocent but if she was to speak more, she would no doubt be silenced and spoke over by a male figure. However, she is unable to fully go against the standards expected during the era and despite her innocence she holds, is subservient. In Act V Scene II, the falling action, before Iago kills Emilia for revealing him, he says: ‘Villainous Whore’ after Emilia has told the truth about her involvement in the handkerchief scheme and identifies her husband as a guilty man, Emilia, despite being truthful is still deemed as that of a promiscuous woman and disregarded by Iago who she was fully loyal too.

Iago, a character whose incentives and motivations have mystified theatergoers and critics for years, is a character who is undeniably an extreme misogynist. The audience sees him too often label women as ‘whores’; the pejorative appears thirteen times in the text. Historical readings may be able to examine his depiction of females as a product of his era and cultural means, particularly the way women were viewed in Elizabethan times as sexually immoral compounds and how creditable Roderigo and Othello find Iago’s portrayal of Desdemona. Iago’s belief that Desdemona will betray Othello is, in his eyes, a ‘most pregnant and unforced position. His pointed language, referring to female reproduction, reminds us of society’s archetype of the perfect yet paradoxical woman – the virgin mother. Women were both judged and labeled for their actions, very often their sexual actions, while being held to an impossible ideal. Iago preys upon this standard, using it to his own vengeful, callous villainous ends, while many of the characters believe in his misogynist actions. It is significant that he frequently speaks on behalf of other men and against women. Furthermore, he believes ‘‘It is a common thing…To have a foolish wife” in Act III. III P86 305-307, thus revealing his total disregard and disrespect toward Emilia. His inexplicable wrath against females is a representation of how society considered and depicted women at the time.

Women as Possessions

Within Venetian society in the Elizabethan age, the conventional ideology was that women were submissive to men and men had possession over them. Women were deemed to be passive objects, men active subjects, or as stated by Carroll Camden ‘Man is the agent, woman the patient’. At the time, it was a woman’s role to swear her allegiance to her father, and later her spouse. The utmost important activity for a woman was to stay loyal and be obedient to a man. Under English law, women were perceived as legal property that could be possessed, bought, and owned just like any other household item with no power to own land or themselves. It is evident that all three female characters have little say over the men, but the men have an enormous say over the women.

In the exposition, when the audience is introduced to the character of Desdemona her father believes he still holds ownership over her. A male is always in control of her, and her ways are shaped by a man. Brabantio blindly describes his daughter as a maiden never bold,’ and reacts to Desdemona secretly marrying Othello in Act I.II P42 62:

‘O thou foul thief, where hast thou strow’d my daughter?’

Brabantio reveals that he believes his daughter is his property, implying that Othello has stolen something that is in fact his. Desdemona has acted against the norms of patriarchal society through her extra-endogamous marriage and by disregarding her father’s authority. Through her marriage, Desdemona appears to have replaced one possessor with another. After Desdemona is granted permission to accompany Othello overseas in Cyprus, her husband’s words are ‘to [Iago’s] conveyance I assign my wife’ as if she is an object that must be protected and transported by a male figure. This averts any suggestion of Desdemona being a woman able to stand on her own ground and on her own decisions. However, the irony of this Othello and Desdemona’s marriage initially seems equal with both deeply in love. In Act II. In P60 184-188, Othello says:

‘If it were now to die,

‘Twere now to be most happy; for I fear

My soul hath her consent so absolute’

They are a couple who have gone against what the European society deemed as the norm, given their racial differences. Nevertheless, despite this passion, it seems as though Othello views Desdemona in the traditional Venetian way. When leaving to go to bed, Othello speaks to Desdemona in a way that, regardless of outward appearances of devotion, belies a worrying mentality. He says to his wife (Act II.III P64 7-10):

“Come, my dear love,

The purchase made, the fruits are to ensue:

The profit’s yet to come ‘tween me and you.”

Othello uses financial language when speaking of his marriage as a purchase, and she as a newfound piece of property. He may hold this ‘object’ with pride, and dignity but it is always prevalent that he owns her and will always have her as a possession. Although it does not seem as if Othello intentionally or explicitly calls her thus, it is clear men have a troubling perception of women. It is important to note the initial power dynamic, with Desdemona being ‘half the wooer’. However, as soon as Othello’s jealousy is aroused, the power balance shifts beyond Desdemona’s control. The passionate partnership crumbles at the first hurdle. Desdemona is a character whose protestations of innocence are ignored by her husband; Othello is a character who shows the audience how women and their reputations can be manipulated and distorted by male characters.

As addressed earlier, the character of Iago is at the heart of misogyny in the play and this may in fact stem from a fear that his own wife has been claimed by another. He says of Othello in Act I.III P54 381-384 in his soliloquy:

‘it is thought abroad that ‘twixt my sheets

He’s done my office. I know

Not it is true,

But I for mere suspicion in that kind.’

He is quick to accuse his own wife Emilia of sleeping with Othello, perceiving women as objects that can be traded and swapped between men whenever they please, mere commodities. Iago reveals to the audience his reasons for hating Othello, as well as being overlooked for promotion, he uses these things as his motive for his deviant behavior toward Cassio, Othello, and Desdemona. The words hint toward Iago’s inherently evil nature, and that he is motivation is purely incidental. It is ironic that Iago is able to change Othello into a man who judges on what she hears instead of what he sees just from the rumors Iago heard. The words of Iago show how he and other men of the era portrayed women to be and how content they were in objectifying women. From his wife’s perspective, we see Emilia discussing marriage and men, depicting the harsh reality for women in the Italian Court. She says in Act III.IV P94 101-104:

“Tis not a year or two shows a man.

They are all but stomachs, and we are all but food:

They eat us hungrily, and when they are full

They belch us”

The implication in her words shows her awareness that men thoughtlessly use women to satisfy their sexual desires. She uses ‘belch’, a form of excretion, to reveal how men often find it easy to simply expel women from their lives with little remorse. The euphemism of sex being food, and how men are hungry for their needs with women sexually but can have little repentance nor guilt in so. This is telling, as it conveys to the audience how males perceived women during the era.

In the play, it can be said that the females all portray loyal attitudes towards their husbands and partners. The inflicts the audience to feel sympathetic to the way in which the females are controlled over and treated, despite their allegiance.

Women as assertive

Despite the fact that women in Othello are in many ways defined by their relationships with the male characters, they are, at times, commanding, assertive characters in their own right. In the falling action of the play, Emilia is unable to accept her standing within society. Until this point, she has been portrayed as an obedient wife to Iago, even in the face of her suspicions of his scheming. When Iago’s wicked deeds are revealed, she refuses to be silenced and disregards Iago’s authority over her. She denounces her husband after realizing his villainy, declaring in Act V.II 197-199):

‘Good gentleman let me have leave to speak

Tis proper I obey him, but not now

Perchance, Iago, I will ne’er go home’

This is a noteworthy act for Emilia; it is evident she is a confident, forceful woman who wants to stand alone as her true self, which lay silenced due to her controlling marriage. Emilia is not just assertive in regard to herself but is insistent that other women do indeed suffer as a result of their husbands. She confesses to Desdemona in Act IV, Sc III “I do think it is their husband’s faults / If wives do fall” Emilais is experienced and knowledgeable about men, she holds a cynical view of human relationships and shows her pessimistic view of marriage and fidelity. It is evident here that, she is not happy in her and Iago’s marriage. Her opinions perhaps can be interpreted as subverting the sexual politics within the era, and they offer fairer and challenges the double standards relating to male and female sexual conduct. Here, according to Emilia if women act against the man or are unfaithful to their husband then it is likely to be due to their actions that have provoked them to act in such a manner. Her character has adapted to become cynical and perceptive due to her relationship with Iago and his callous treatment towards her, but it is refreshing she is able to act assertively against him in the denouement. Tragically, however, Emilia is murdered by Iago, with her final words a scathing denouncement:

‘O murderous coxcomb! What should such a fool

Do with so good a wife?’

Conversely, while Emilia gains strength and assertiveness, Desdemona loses it throughout the course of the action. In the exposition when the audience first meets Desdemona, she is described as ‘half the wooer’ in her courtship with Othello, an unexpected position for a woman in Venetian society. The inequality that threaded through society is highlighted by Brabantio’s disdain of Othello, a Moor, and the marriage between the two seems to be shameful, in the sense that it represents a deviation from the norms of Elizabethan times. However, Desdemona’s willingness to stand against her father and her independence is revealed by her words ‘So much I challenge that I may profess / Due to the Moor my lord’ revealing her ability to act against the expected and be a woman of her own decisions. She speaks to the Duke of the sexual nature of her love for Othello, something that women even now are discouraged to do. This shows the audience the outspoken and independent ways of Desdemona.

Further to this, in the early scenes, Desdemona is witty and tenacious; she stands up to the character of Iago declaring in Act II, ScI 116 ‘O fie upon thee, slandered.’ She directly accuses of him lying with the specific intent to cause harm to Emilia’s reputation. She is bold and astute, traits that universally can be admired. However, her tenacity and loyalty perhaps can be viewed as her downfall; in her determination to defend Cassio to her husband, suspicions are aroused and she begins her trajectory to a silenced wife. When she is accused of adultery, she defends herself simply, saying ‘I have not deserved this.’ She knew she was being wrongly accused and made no effort to prove this as she wasn’t to be an obedient wife that was supportive of her husband no matter what.

The concept of tragedy within plays is to highlight the dramatic style of humanity, through our encounters with sorrow and terrible events. Specifically, in Elizabethan and Jacobean tragedies, this approach to tragedy was filled with dynamics based upon the characters of the plays actions. Often, the source of such tragedies stemmed from the conspiring roles of villains. The existence of villains is a term that has constantly become defined through labels in literary, historical and movie groups throughout history. Often though, these labels can be subjective and often vague when using terms such as hero vs villain. To see beyond these labels and stifled understandings of such roles, one must consider the creators intention of these villainous characters, through the characters past, intentions, principles and prejudices. Villains often always drive the force of evil or dramatics in literature and film, an obvious genre being that of tragedy. Regarding tragedy plays, we describe villains as usually unredeemable, as they are typically constructed to warn the audience against such negative actions. Villains regarding fiction, commonly play the role of an adversary whose sole intention is to collide and destroy the heroes story arc, either through killing them or damaging them in some other way. The villain is portrayed as an obstacle and a source of conflict for the hero to fight and struggle to overcome. In most cases, the villain is the polar opposite of the hero, holding negative traits compared to the hero’s positive traits.

Regarding our understanding of modernity, villains have grown to become almost loveable, in the sense that we as the audience can identify and relate to the character through their flaws. An example of this archetype stems from Shakespearian style villains, which some argue originated the complexity of villains in the three-dimensional sense. Shakespeare was known to use the role of his villains to warn his audience of the consequences following one’s misdeeds. Yet along with this concept, Shakespeare showed no mercy to other non-villainous characters, causing them to suffer similar fates to the villains. Hence the genre of tragedy, Shakespeare expressed this theme by involving all characters in the violence and drama of the play, a confusing notion to moralists of the Enlightenment.

A common trait used in Shakespearian villains was also that of making the character an outsider that is isolated from the rest of the world. Whether this is through his or her appearance, their social standing or their past. Though there are cases in which the hero is actually the outsider, as seen in the role of Othello. Shakespeare inspired this concept of fleshed out villains through characters such as Iago in his play ‘Othello’.

Iago is a Venetian soldier throughout the play, now serving under the newly promoted lieutenant Othello, the Moor hero of the play. Considered being one of the most tragic and cruelest villains in Shakespeare’s plays, Iago is a bizarre villain because his actions are expressed in a secretive manner, and come from a place in his mind that is not easily identifiable. A master manipulator, Iago is capable of identifying people’s weakness and using it against them. As seen in his manipulation of Othello through his wife and Cassio’s intolerance for drinking alcohol. Iago is manipulative in an often humorous sense, as seen in scenes between him and the naïve Roderigo. ‘Roderigo: ‘Wilt thou be fast to my hopes if I depend on the issue?’; Iago: ‘Thou art sure of me’” (Act 1, Scene 3). This strange dynamic almost sheds a positive light on Iago, who seems to entertain the audience by manipulating this oblivious character. These interactions also reveal unreasonable and somewhat cowardly traits in Iago.

From the first scenes of the play, we see that Iago is bitter towards Othello, for having superseded him in the position of lieutenant. “But he, sir, had the election; And I, of whom his eyes had seen the proof/ He, in good time, must his lieutenant be” (Act 1, Scene 1). This shows a somewhat childish aspect to Iago, as he is overcome with the feeling of having lost to Othello, which causes this to become a driving force behind his tragedy. Iago later also claims that Othello slept with his wife, Emilia, an accusation that is backed by no evidence, proving his unreasonable behavior. “Twixt my sheets / He has done my office” (Act 1, Scene 3). In response to his suspicions, Iago then claims to be lusting after Othello’s wife, Desdemona, as a “wife for wife” (Act 2, Scene 1) style of revenge. Through manipulations of his wife, Iago convinced her to steal Desdemona’s precious handkerchief to frame her to cause harm to Othello. Due to Othello’s trust in his friend, Iago is able to orchestrate his plot through the lethality of Othello’s faith in him. “I follow him to serve mine own turn” (Act 1 Scene 1). Yet Iago acts not only out against Othello, but has shown to act in anger against any provocation from the surrounding people. Iago murdered his wife Emilia after she revealed to Othello her role in Desdemona’s murder, therefore outing Iago’s scheme. Taking this as a betrayal, Iago stabbed his wife in the final act. Iago’s murder of his wife is also theorized to be an act of hatred against women. We can see this in Iago’s domineering behavior and his contempt for her intelligence and feminist attitudes. Iago’s general disgust for people around him led to his manipulations of others to create himself as a powerful figure and to execute his plans.

In some varying analysis, Iago is considered to carry some psychopathic traits, due to his lack of concern for the lives of the people he affects and his exploitation of weaknesses. Iago is also capable of having others believe him to be a decent man, which leads to the other character’s asking Iago to assist them when matters go wrong. In secret, Iago would belittle those who placed their trust in him and others. “The Moor is of a free and open nature, That thinks men honest that but seem to be so, And will as tenderly be led by th’ nose. As asses are” (Act 1, Scene 3).

Despite being a complex character regarding his motives, an obvious motivator is Iago’s drive towards revenge against Othello along with Cassio. As noted earlier, this likely stems from the Moor having chosen Othello for lieutenant over him. “And what’s he that says I play the villain, When this advice is free I give and honest, Probal to thinking, and to the course. To win the Moor again?” (Act 2, Scene 3)

Iago’s function in the play is majorly to do with the villain in disguise, through his exploitation of the other characters and his plots. By the end of the play, he has been directly responsible for multiple deaths in pursuing his revenge against Othello.

Shakespeare presents an unusual dynamic between Othello and Iago regarding their peculiar friendship. What appears to be initially a typical friendship, is soon to be revealed to be one founded on lies through Iago’s manipulative nature. Shakespeare shows the viewers how Othello is blinded by his trust for his friend, despite Iago faking his loyalty to Othello for his own gain. Despite this negative character trait, Shakespeare still presents Iago in a complex light, by almost inviting the audience to like Iago through the characters wit and cleverness. The role of Othello is essentially the main motivation behind all of Iago’s plans, despite having done him doing very little to antagonize or offend Iago. The relationship between these two characters set up the main structure for the story, to create further tragedy at the hands of the two men fighting against one another.

Such a dynamic between villains and heroes, is not always so tangible, or at least obvious through their own personal relations to one another. Comparatively, John Webster’s play ‘The Duchess of Malfi’ features a character known as Bosola, who is in some ways disconnected to the protagonist. Bosola follows a similar theme of complexity as seen in Shakespeare’s Iago. Yet in an unusual twist of roles, Bosola comes to play both the villain and hero, as he fights to avenge the duchess he destroyed.

Bosola is a spy sent by Ferdinand to watch the Duchess as her Provisor of Horse. He is later assigned to murder the Duchess for Ferdinand and the Cardinal. Though in a somewhat redeemable quality, Bosola is aware of the evil and corruption he is in the middle of. As opposed to Iago, who is the orchestrator, Bosola is the one doing the dirty work.

There is a strange mixture of compassion and selfishness that also enables him to feel pity for the Duchess, resulting in him attempting to revive her but to no avail. “She stirs; here’s life: -Return, fair soul, from darkness, and lead mine. Out of this sensible hell: – she’s warm, she breathes” (Act 4, Scene 2). Though he only took action regarding revenge for the Duchess when Ferdinand refused to pay him, proving he is still ultimately blinded by self-interest.

The audience knows of Bosola’s capabilities to murder and that he is inherently not a good person. Despite this, Antonia states “he’s very valiant” (Act 1, Scene 1), proving in the beginning of the play he holds some good traits, yet his role in spying on the Duchess will “poison all his goodness” (Act 1, Scene 1).

Bosola holds several functions that play out in a strategic style presented through Webster’s writing. Bosola creates a response that contrasts his words which are portrayed as attractive, as opposed to his actions which are unattractive and perceived as negative. Throughout the play, this causes the audience confusion, as to Bosola’s true character and whether he is truly a villain, or if he is simply caught up with the wrong crowd. This is when Webster uses a strategy known as coup-de-theatre, wherein there is a sudden twist, seen through Bosola changing sides. “Revenge for the Duchess of Malfi, murder’d by the Arragonian brethren; for Antonio, Slain by this hand; for lustful Julia, Poison’d by this man; and lastly for myself” (Act 5, Scene 5). As a result, this causes Bosola to now be seen as a sympathetic villain and is therefore loved despite his faults.

Webster goes beyond the timeframe his play is set in and expands his characters story by giving them a tangible past. For example, we discover in the beginning of the play that Bosola was in prison due to the Cardinal, “I fell into the gallies in your service” (Act 1, Scene 1). As a result, Webster solidifies Bosola’s character and gives him a sense of realism that wasn’t always prevalent in plays. Bosola is also one of the few characters of the play who presents a deeper insight into his true intentions which contrast with the lies he tells other characters. This also makes Bosola a more convincing character, by showing the complex workings of his actions. Some argue Webster created the play as social satire, of which can be seen in Bosola’s role in political manipulation.

Both characters are in similar contexts responsible for their own downfall. Through Iago’s determination in creating chaos even when it seemed unwarranted, led to his wife betraying him after he manipulated her and caused her to go against her close friend and the wife of Othello. Bosola, despite appearing more compassionate in comparison to Iago, was still aware of his wrongdoings but continued doing so anyway, to improve his own life and for self-gain.