In Shakespeare’s Othello, Iago is portrayed as a cruel puppet master, using his high order critical analysis and manipulative skills to exact on those he believe wronged him; as he weaves a web of deceit to ensnare the play’s protagonist (and namesake of the play) Othello. Various movie adaptations have portrayed the characters in different ways, often resulting in a fusion of the context of the age, artistic license and Shakespeare’s character. One such fusion is Stuart Burge’s 1965 filmic portrayal of Iago in his Othello. Act II, scene I is a prime example of how Iago can be adapted for film.
Other characters within the play assist in Iago’s plot by revealing their weaknesses. Cassio, who speaks of Desdemona as the “Divine Desdemona,” a name accompanied by a change in lighting to symbolise divinity, greets her with a kiss on the hand, excusing his courteous upbringing while doing so; having just spoken of her overtly positively with “Most fortunately. He hath achieved a maid/That paragons description and wild fame,/One that excels the quirks of blazoning pens,/And in th' essential vesture of creation/Does tire the ingener.” Cassio also kisses his hands when he references Desdemona, showing his obvious attraction towards her. This gives Iago both an insight to his character and a tool to exploit with his schemes. Other characters often mistake his cruel, truthful words to be in jest and light-hearted, with his rant about Emilia and women in general being shrugged off by the characters in the scene, or met with false complaints. Iago’s constant walking around during the banter indicates nonchalance towards what he’s saying, which is reaffirmed by his complete lack of eye contact. However, the Shakespearian play has the possibi...
... middle of paper ...
...enge. The foreshadowing present in “If it were now to die, t’were now to be most happy” is met with an ironic reply from Desdemona, considering their fate at the hands of Iago. Othello exits the scene using Iago as a workhorse, which is not befitting of Iago’s self image but his willingness to help indicates his will for revenge.
Iago’s subtle manipulation of those around him creates a classic villain who thrives on the misery of others by weaving a web of deceit. His characteristics allow him to manipulate others to a high degree in order to achieve his goal, and he shows no remorse in doing so. Stuart Burge’s filmic adaption displays him as the manipulative and vengeful character that Shakespeare wrote him as. Iago’s own words are particularly exceptional in describing his character, in “Knavery’s plain face is never seen till used.”
Works Cited
Wikipedia
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:
Othello and Iago are diverse in their characters and in their colors. It could be said additionally, notwithstanding, that they are comparative because of their untrustworthiness. Iago is overcome with his longing for vengeance to such a degree that he places it vigorously. Othello 's adoration and possessiveness of Desdemona assume control him until he in the long run would rather murder her than permit any other person to have her. In this way, despite their differentiations, Iago and Othello both speak to the furthest point of the same thing - human emotion.
Act iii, scene iii, lines 108-131 of William Shakespeare’s “Othello” unquestionably shows Iago’s trickery and deceptiveness which is masked through his reputation for honesty, reliability and direct speaking. This section not only shows Iago’s slow but powerful act of deception, but also shows the jealousy and insecurities slowly depriving Othello’s inner peace and balance.
...ituation Iago is finding ways to twist the innocent actions of Desdemona and Cassio to make it seem as if they are flirting and carrying on this affair for almost everyone to see. Enraged and eventually consumed by his emotions Othello’s takes Desdemona’s life due to the manipulation of this so called friend and confidant. A ‘friend and confidant’ who has been to battle with Othello and fought side by side, yet Iago is the one who ultimately uses and betrays Othello.
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
Shakespearian tales always leave us with a plethora to ponder about the Elizabethan age and Shakespeare himself. “Othello” is no break in this mold, leaving us to ponder the roll of Iago within the harsh tale of love and murder. Iago is the one to tell Othello of his wife’s betrayal with Cassio, hence making up a story that will work to his favor yet betray those around him. Iago betrays his wife, Emilia, but not only her as he drags Othello, Desdemona, and Cassio into the mix of lies and the hatred he is spreading to improve his rank with Othello. But were Iago’s acts unjust and done for the sake of it? Is he a heartless man who’s only happiness is to bring sorrow upon others? No, Iago has a just reason for what he does, even though he causes the deaths of Cassio, Emilia, and Desdemona in his search for revenge; Iago is not a heartless fiend, just a man wronged.
After witnessing Desdemona proclaim her love to Othello and Brabantio, her father, acknowledging their marriage, Roderigo, suitor of Desdemona, tells Iago that he is going to drown himself. However, Iago intervenes, saying “Our bodies are our gardens, to the which our / wills are gardeners.”(1.3.363-364,) persuading Roderigo not to commit suicide but, to take care of himself. Then Iago upholds his words with more persuasions, to further uplift Roderigo. Roderigo then drops his idea of killing himself and when asked by Iago to leave with him to Cyprus and commanded to “Put money in thy purse.”(1.3.182), he does so willingly. Iago’s power of language shines here in that not only does he saves Roderigo from killing himself, but he gains his trust to use let him be used by Iago however he
Geoffrey Sax's interpretation of William Shakespeare's wicked villain Iago is extraordinary. While reading the play, I envisioned Iago precisely as Christopher Eccleston portrayed him--diabolical and amoral--the pathetic antagonist of Othello, bursting with frustration and dominance throughout the text and film. Iago, or Ben Jago--the characters name in the film--is the backbone of both works, moving the plot along with his deceit and mendacity, progressively leading the audience to the tragic climax.
“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’
Iago proceeds to tell the news of Desdemona and Othello's marriage to a shocked Brabantio. He uses offensive imagery, showing the extent to which he will go to win Brabantio's support against Othello. While not in the company of either Othello or Brabantio, Iago debases the marria...
Iago is a powerful predator who exploits those around him by infecting their perceptions of truth with carefully chosen fallacy. His skill in finding the proverbial chinks in others' armor allows him to skillfully weave his machinations of destroying Othello into their minds and actions; by manipulating character's perceptions of Desdemona, Iago gains the leverage he needs to exploit each character. No one is impervious to Iago's seething purpose; even Othello falls prey to Iago's suggestions and insinuations about Desdemona. Iago's constant presence as the stager, as well as his ceaseless - but subtle - reinforcement of events through narration, allows him to be the pivotal force that directs Shakespeare's Othello.
Language and imagination are among the most dangerous weapons Iago has at his disposal in Othello. Jealous and angered by Othello’s - his commanding officer - passing over him for a promotion, Iago develops a fierce, antagonistic perspective the aforementioned character; this sentiment quickly corrupts his volition, and he subsequently concocts a plot bent on destroying Othello. He renders this revenge scheme credible by concealing his true feelings behind a facade of loyalty and trustworthiness, and fabricating a fictitious story concerning the infidelity of Desdemona, Othello’s wife. Until the play concludes, Iago utilizes purposeful rhetoric to drive his agenda, and also a mastery of deception to mislead the minds of his targets.
In William Shakespeare’s The Tragedy of Othello, Iago demonstrates a mastery of manipulation over people who had previously trusted and confided in him. His sudden turn from Othello’s loyal ensign to rage-filled villain seems indicative of a man who can no longer accept his position in life. Iago’s plotting of Othello’s demise starts as idle talk of a disgruntled 28 year-old career military man passed over for promotion. Iago believes that such a promotion may never come after Othello rejects his candidacy and makes it clear that he did not believe him suitable. He sees Othello is only concerned with personal and political gain with his choice of Cassio as lieutenant. When Iago teams with love-scorned and desperate Roderigo, he begins to construct Othello’s downfall. Iago is declaring an all-out covert war on Othello, Cassio, and anyone else who gets in his way. In Iago’s first speech in Act I Scene II, he proclaims hatred for Othello and lays out his plan for seeking vengeance. “After some time, to abuse Othello’s ears that he is too familiar with his wife (Shakespeare 1473).”
Throughout history, there have been many human beings whom have been seen as either a hero or a villain. In their childhood, these people must had obstacles that were in their way, causing each individual to either work harder or give up. People, however; must understand that each individual has a potential in achieving their goals, but if one is mistreated or deceived due to jealousy, resentment, hatred, or ambition, it can lead to many catastrophic events. People who have pride and arrogance do not want to have equals, rather they want to see their victims suffer. These people have no difficulty in achieving their goals due to the fact that their victims have too innocent a nature to suspect the nefarious motives of their enemies. In this tragedy, Othello, Shakespeare has created a villain who behaves in this manner. Iago’s hatred, method of revenge, and vengeful hatred are the reasons of the lives lost in this play and the reasons that lead to Iago’s downfall.
Logically so each decision comes with a consequence as well. With his mind set Othello makes off to kill Desdemona. However, despite all the times he has cursed her name, he still seems convinced that she be cleared in her death. Insisting in Act 5, Scene 2, Lines 28-30 “If you bethink yourself of any crime unreconciled as yet to heaven and grace, solicit for it straight.” and in the very same act and scene Lines 32-34 “Well, do it, and be brief. I will walk by. I would not kill thy unpreparèd spirit. No, heavens forfend, I would not kill thy soul!” While he plans to kill her, he refuses to accept the chance of sending her to Hell. When Othello finally learned of what Iago had done, Iago killing his own wife Emilia for telling, he stabs him in revenge saying “ I look down towards his feet, but that’s a fable. If that thou be’st a devil, I cannot kill thee.” (Act 5, Scene 2, Lines 299-300) though Iago does not die. When Othello’s blade is taken from him he refuses to apologize for this action, instead choosing to say “I am not sorry neither. I’d have thee live, for in my sense ’tis happiness to die.” (Act 5, Scene 2, Lines 302-303) Othello has accepted that death would be a far better choice than being forced to live with the knowledge of his own actions and chooses to take his life, saying in his final words. “No more of that. I pray you, in your letters, When you shall these unlucky deeds relate, speak of me as I am.