Jealousy In Shakespeare's Othello

William Shakespeare’s, Othello, written in 1603, is a tragic play based on the key concepts of jealousy, manipulation and deception. The concepts explored are established furthermore through the multiple physical and verbal exchanges throughout the play between the eponymous protagonist and villainous Iago, constructing a dramatic setting, further enticing audiences to explore the play.

The key concept of jealousy, explored throughout the play establishes the villainous character of Iago. Iago uses the metaphor “O beware my lord of jealousy; it is the green eyed monster which doth mock the meat it feeds on” compares jealousy to a monster capable of hunting prey, feeding on the havoc it creates. The taunting tone Iago conveys this statement

Throughout the beginning of the tragic play, Roderigo is unaware of the cunning devices of Iago, as shown throughout his eagerness to please Iago by following his demands “Here is her father’s house; I’ll call aloud”, exposes the first step of Iago’s meticulous plan to destroy the relationship between the eponymous protagonist and his beloved wife, Desdemona. This further constructs the characterisation of Iago, as a duplicitous human, capable of convincing the lovestruck Roderigo to destroy the relationship between the married couple. Consequently, Roderigo’s unrequited love helps play a part in his manipulation and eventual downfall. Towards the end of the play, Roderigo’s susceptibility further increases as a result of Iago’s deviousness and malicious intentions, to ruin the reputation and marriage of Othello. The dramatic irony “Thou hast taken against me … I protest I have dealt directly in they affair” coupled with the metaphorical exclamation “O damn’d Iago!O inhuman dog!” reveals the extent of Iago’s manipulation and the proficiency of Iago’s actions in creating chaos, conveying the fragile emotions of Roderigo and his tragic demise.The hyperbole of Iago before Roderigo’s death at the end of the play of “damn’d human!” and “inhuman dog!” further helps to portray the imagery of Iago as a creature of hell, capable of