Othello’s Evil Character
William Shakespeare’s Othello gives the audience a full measure or dose of evil, mostly in the person of the sinister Iago, whose evil influence penetrates the lives of the victims around him.
In The Riverside Shakespeare Frank Kermode explains the type of evil peculiar to the ancient:
Over the ancient figure of the Vice – a familiar shape for abstract evil – Iago wears the garb of a modern devil. Iago’s naturalist ethic, as expounded to Roderigo at the close of Act I, is a wicked man’s version of Montaigne, an instance of the way in which men convert to evil the precepts of a common sense supported by no act of faith. (1200)
Even the imagery in the drama has its evil aspect. Kenneth Muir, in the Introduction to William Shakespeare: Othello, explains the instances of diabolic imagery in the play as they relate to the infecting of the Moor by the ancient:
The same transference from Iago to Othello may be observed in what S. L. Bethell called diabolic imagery. He estimated that of the 64 images relating to hell and damnation – many of them are allusions rather than strict images – Iago has 18 and Othello 26. But 14 of Iago’s are used in the first two Acts, and 25 of Othello's in the last three. The theme of hell originates with Iago and is transferred to Othello only when Iago has succeeded in infecting the Moor with his jealousy. (22)
In his book of literary criticism, Shakespearean Tragedy, A. C. Bradley gives an in-depth analysis of the brand of evil which the ancient personifies:
Iago stands supreme among Shakespeare’s evil characters because the greatest intensity and subtlety of imagination have gone to his making, and because ...
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Wayne, Valerie. “Historical Differences: Misogyny and Othello.” The Matter of Difference: Materialist Feminist Criticism of Shakespeare. Ed Valerie Wayne. Ithaca, NY: Cornell University Press, 1991.
Wilson, H. S. On the Design of Shakespearean Tragedy. Canada: University of Toronto Press, 1957.
Wright, Louis B. and Virginia A. LaMar. “The Engaging Qualities of Othello.” Readings on The Tragedies. Ed. Clarice Swisher. San Diego: Greenhaven Press, 1996. Reprint from Introduction to The Tragedy of Othello, the Moor of Venice by William Shakespeare. N. p.: Simon and Schuster, Inc., 1957.
The music of the Baroque period was focused on having music be a tool of communication to its listeners; conveying an arousal of emotions. Composers of this time thought to use this tool to have this effect or one similar to it to correctly match music from the Roman time period. One composer that goes by the name of Georg Phillip Telemann. He was a German composer born in 1681, he was known as one of the most prolific composers of the Baroque era, “At the age of just ten years old he was able to play four different instruments and had written arias, motets and instrumental works”(Norton Grove Concise Encyclopedia of Music, 756). As well as learning many skills at a young age, his fame grew immensely in Germany becoming a very famous composer and was even assigned four times as much space as the famous J.S. Bach in some contemporary dictionaries. Telemann composed in all varieties of forms and styles, from Italian-style concertos to French-style overture suites and quartets. The Sonata in F minor was one of his pieces that was played at the concert. The piece first given appearance in 1728 in a German musical periodical; though it was originally written for a bassoon and continuo the piece was altered by the performers to be played with a bass trombone and piano. One way that an individual could tell it is a piec...
While driving On Rte10 through the town of Hamden what seems to be an ordinary ride can become a scenic view of our nation’s bird. On a tall skinny Birch tree over 40 ft in the air is lives a bald eagle in its natural habitat. In this nest lives a male adult and female adult with an Eaglet. The nest is located in a farming open field along a river bank. This field and river provides the eagles with a source of food. The eagles mostly eat fish, the adult eagle will swoop down to the water and grab a fish all in one motion flying the meal back to the nest to feed its family. The field is posted to prevent people from ruining the habitat, since the natural reproduction of this eagle is very important to its recovery from being endangered. I was able to view this community form the road and was able to watch the nest and occasionally watch the adult eagle fly away most likely looking for food to feed his family. The nest form my view was huge at least 3 feet in diameter perched up about 40 ft high on a birch tree. The surrounding area of the nest was clear of any branches or trees creating a clear access way for the birds to land. Below the nest was a large open field on the bank of an active river.
While the harmonies throughout the concerto seem simplistic enough to be, within reason, of a classical caliber and each movement sound accordingly traditional to the average listener, the concerto itself presents an idea more musically complex
Iago, the antagonist of Shakespeare’s work, Othello, is often considered purely evil or sociopathic. At first glance, Iago appears to be a static, two-dimensional villain, but he is much more. Shakespeare, renown for his awareness of the human condition, leaves many important aspects of Iago’s life up to interpretation. In published works and critical interpretations, Iago is commonly attached to a myriad of mental illnesses and personality disorders. Because it seems that Iago’s life revolves around Othello and Desdemona, it is understandable how people may suggest that Iago is in love with Othello, or that he is a psychopath with no true motives. Shakespeare never discloses much about Iago’s past, raising the questions:
Wayne, Valerie. “Historical Differences: Misogyny and Othello.” The Matter of Difference: Materialist Feminist Criticism of Shakespeare. Ed Valerie Wayne. Ithaca, NY: Cornell University Press, 1991.
Most readers see Iago as the simple “deceptive villain” while neglecting to see that Iago represents an unprecedented flair for deception and making others suffer or, as Schwartz describes Iago, “an embodiment of the ineradicable evil in Nature and of the malevolence in human nature.” Iago’s
In Othello, Iago is Shakespeare’s most malicious character and serves as a vehicle to these two themes. Iago despises Othello; he has a strong will to destroy Othello’s life, yet the motive behind his plan goes unexplained. Iago is a great manipulator of the tongue and lies to everyone in order to advance his plan; however, every character in the play considers Iago an honest character, and Othello even associates Iago with light and eyesight. Othello continuously asks Iago to explain or make something clearer. Until the very end, Iago appears to be honest and helpful to the other characters, but underneath this seemingly harmless façade, Iago is a demon with the strongest will; he will stop at nothing until he ruins Othello’s life. Iago uses a positive appearance to enact his
The Baroque era presented music that experimented with different textures and harmonies. Composers of this era had a way of intertwining old and new styles. Composers were given the option of constructing an acapella or concerto scoring. The concerto scoring could be enhanced with independent instrumental parts that worked to complement instead of double the
Have you ever met a devil who does evil for his own sake? Iago in William Shakespeare's Othello could seem like he has good motives, but I feel that he uses them as his excuses. The first thing that I did was uncovered Iago's motives. Iago is the most controversial character in Othello. He is able to keep his true thoughts and motives from everyone. Are his motives only excuses for his actions? Iago pretends to have so many motives that they seem more like excuses. Iago then uses these excuses to justify his actions, which are pure evil. I also feel that Iago has motives and actions that cause his actions. Does Iago have many different excuses, or does he only have one? This paper will prove that Iago has one clear motive and reason for his madness. Iago is not looking for justification that causes him to act the way he does. There is much more though to Iago. He is not a man of only excuses, he has goals with his motives, which causes him to act the way he does.
“I am not what I am,” proclaims one of Shakespeare’s darkest and most enigmatic villains, Iago, in the tragedy Othello. Iago’s journey for revenge enables him to become capable of immoral acts, and whilst his malevolence excites us, we are no more intrigued by his attributes than we are of the play’s tragic hero, Othellos’. Rather, both characters’ confrontation with jealousy and their subsequent moral demise as a result of failing to control such an emotion provides the true excitement for audiences. Iago’s spiteful manipulation of Othello makes him a multifaceted character — whose corrupt attributes make the audience examine their own morality. However, the same can be said of Othello; his failure to withstand Iago’s ‘pouring of pestilence’
Little House on the Prairie was first challenged in 1993 by parents of students at Lafourche Parish elementary schools in Thibodaux, Louisiana. They were requesting the novel be removed on the grounds of it being "offensive to Indians." Parents recited excerpts from the book supporting their objections as follows: "naked wild men", "terrible men", and "glittering black eyes". A phrase repeated several times the Ingalls neighbor, Mrs. Scott, was also cited, "The only good Indian is a dead Indian." Further, another quote was given to the school board from when Ma and the girls were alone in the cabin since Pa was gone hunting. Two men from the Osage tribe visited the cabin in which Laura describes them as, "Those Indians were dirty and scowling and mean. They acted as if the house belonged to them." Wilder then goes on to describe how the Indians went through their cupboards and began to take food and tobacco and fur that was to be traded for plows and seeds until the Indian's companion stopped him. The school board denied the request and the book was retained. In 1994, the book was banned from elementary schools in Sturgis, South Dakota again on the grounds that "it contains statements that are considered derogatory to Native Americans." The objection presented to the Sturgis School Board were mainly cited in the Lafourche Parish challenge, and Sturgis evidenced significantly greater public support for the ban.
Neely, Carol. "Women and Men in Othello" Critical Essays on Shakespeare’s Othello. Ed. Anthony G. Barthelemy Pub. Macmillan New York, NY 1994. (page 68-90)
William Shakespeare’s drama Othello is one concentrated contest between the forces of the morally good and the morally bad. Let us analyze this contest in detail in this essay.
Garner, Shirley Nelson, and Madelon Sprengnether, eds. Shakespearean Tragedy and Gender. Bloomington, Indianapolis: Indian U, 1996.
Plaths Poetry can be understood through the psychoanalytic model. The motifs of oral fixation, sadomasochism and the desire to return to primary narcissism are consistent throughout Plaths Poetry. Overall these motifs represent the desire to return to the state of primary narcissism and to be reunited with the incestuous love object.