Troubled Iago
Unquestionably the most perfidious character within the cast of Shakespeare’s Othello is the cunning Iago. He spends his life, it would seem, taking revenge on the general and destroying nearly everyone around himself.
Helen Gardner in “Othello: A Tragedy of Beauty and Fortune” elaborates on Iago’s exact function and place in the play:
. . . Iago ruins Othello by insinuating into his mind the question, ‘How do you know?’ The tragic experience with which this play is concerned is loss of faith, and Iago is the instrument to bring Othello to this crisis of his being. His task is made possible by his being an old and trusted companion, while husband and wife are virtually strangers, bound only by passion and faith; and by the fact that great joy bewilders, leaving the heart apt to doubt the reality of its joy. The strange and extraordinary, the heroic, what is beyond nature, can be made to seem the unnatural, what is against nature. This is one of Iago’s tricks. (143)
Iago’s very language reveals the level at which his evil mind works. Francis Ferguson in “Two Worldviews Echo Each Other” describes the types of base, loathsome imagery used by the antagonist Iago when he “slips his mask aside” while awakening Brabantio:
Iago is letting loose the wicked passion inside him, as he does from time to time throughout the play, when he slips his mask aside. At such moments he always resorts to this imagery of money-bags, treachery, and animal lust and violence. So he expresses his own faithless, envious spirit, and, by the same token, his vision of the populous city of Venice – Iago’s “world,” as it has been called. . . .(132)
Iago is the “perfect” bad guy in the sense that his type is just what ...
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...is. “Two Worldviews Echo Each Other.” Readings on The Tragedies. Ed. Clarice Swisher. San Diego: Greenhaven Press, 1996. Reprint from Shakespeare: The Pattern in His Carpet. N.p.: n.p., 1970.
Gardner, Helen. “Othello: A Tragedy of Beauty and Fortune.” Readings on The Tragedies. Ed. Clarice Swisher. San Diego: Greenhaven Press, 1996. Reprint from “The Noble Moor.” British Academy Lectures, no. 9, 1955.
Shakespeare, William. Othello. In The Electric Shakespeare. Princeton University. 1996. http://www.eiu.edu/~multilit/studyabroad/othello/othello_all.html No line nos.
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.
As we didn’t know too much on Technicolor we were quite eager and wanted to broaden our knowledge on the subject.
How Reality TV affects the audience and the characters who were participating into it? Does it really give knowledge to people who were watching and supporting? Or is it just the sake of money and exposing their appearance on television? When it comes to watching television, people at home can choose which types of program they want to want for many reasons. Some people look to television for inspiration; others want to be kept informed about their surroundings and the world. In the article entitled, “Reality TV and Culture” by Jack Perry, he argues, there are some good points to how reality television are formed and offered. Perry explains that, not all of the shows are designed to encourage and promote dangerous and unrealistic. However,
“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’
Sidney Carton’s conversation with Lucie Manette is an example of foreshadowing. Mr. Carton confesses to Lucie that he loves her and also states, “ For you, and any dear to you, I would do anything” (Dickens 117). Even though Carton does not distinctly know that he will be sacrificing his life, this phrase foreshadows the ending of the novel, which requires Mr. Carton sacrificing himself to save Darnay. In the chapter when Mr. Carton and Charles Darnay are switching places, Sidney Carton has Darnay write to Lucie, “’I am thankful that the time has come, when I can prove them. That I do so is no subject for regret or grief’” (Dickens 273). Mr. Carton does something for Lucie like he previously stated he would. At the end of the novel, Sidney Carton feels like he achieved and fulfilled his purpose in life by saving Darnay for Lucie.
At the same time, he condoles his victims, showing true empathy. Iago struggles with what seems to be multiple personality disorders. He is constantly flopping between several different viewpoints. To the faces of his fellow characters, he seems to show support and act as a loyal friend. On the other hand, he is very two faced, speaking with himself about the awful things he has done or plans to do to the people around him.
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
Fred West addresses the fact of Iago misrepresentation, “It is not sufficient to simply drape Iago in allegorical trappings and proclaim him Mister Evil or a Machiavel or a Vice. Such a limited view of Iago is an injustice to the complexity of his character, since Shakespeare’s studies in personality are acclaimed by psychologists for their accuracy and profundity” (27). West seems to be reminding us that just seeing Iago as the representation of evil within the play of “Othello” is the wrong way to paint him. Iago is a man wronged by Othello in the fact that he was not chosen to be Othello’s lieutenant, which is what put the dastardly idea into Iago’s head to trick them all and bring them to their knees. As Iago tells Roderigo within the first act and scene of “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.
Iago, the villain in Shakespeare’s Othello, is a round character of great depth and many dimensions. Iago works towards an aim that is constantly changing and becomes progressively more tragic. Yet, at times, "honest" Iago does actually seem honest. This essay will explore the complex character of "honest Iago.
Iago's manipulative nature has a profound effect on the decisions made by other characters in Shakespeare's ‘Othello’. Through his relations with those around him Shakespear characterizes him as a man full of malice, vengeance and dishonesty that is wholly inspired by jealousy. Furthermore it would appear that Iago has an exceptional ability to scheme, a talent which he uses to snake his way into the lives of others and exploit them through their weaknesses. Whether he does this for profit or for pleasure is a separate issue.
Reality TV has been a very popular part of American society since its conception, but does it go farther than being simply entertainment? As it has progressed, the content of these shows has become increasingly raunchy on and off screen. The producers and “actors” on these shows are hungry for money and attention, a hunger that grows exponentially as the possibilities of reality TV do. The question, often asked is, does reality TV have a negative effect on our society? The answer is simple: absolutely! Reality TV is produced and directed by people that know exactly how to manipulate the truth. Run by those who lie to the public's face and can legally get away with it. The shows reach out to a very impressionable society and deeply implants immorality, negative self-images and other issues that threaten American society. Reality TV damages those that find themselves in the unfortunate, yet common, situation of being exploited on these shows and it does so purposefully for the sake of money and ratings.
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.
Iago’s magnificent intelligence and superiority make him a very intriguing character. Iago is not just any villain that comes into a town, with a black cape and knife that scares everyone, he destroys and “kills” by using creative tactics that could only be thought of by someone who is brilliant. He deceives, strategizes, and twists the truth with amazing ease. Iago maintains his on point intelligence by staying completely unconflicted about being evil. Iago is completely committed as he states, “[He will] turn her virtue into pitch, / And… make the net / That shall enmesh them all” (II. Ii. 366-368). Iago is considered a cross between God and the Devil, as shown in the, “Divinity of Hell!” (!!. ii. 356)
Iago is very determined and emotionless. He brings negative outcomes to every character he comes in contact with. Although Iago characterizes himself as noble, the reader can see him for the villain he is. Throughout the play Iago’s every decision is on how
In conclusion, Iago, the notorious mastermind that Shakespeare has constructed, is one of the most complex villains of Shakespearean literature. Through his abilities to manipulate, understand one’s mind and love for oneself, Iago’s natural evil is illustrated. By single handedly causing the deaths of many innocent characters, Iago proves to the audience that he is in complete control. Iago as the master puppeteer is surprisingly caught in the end but even then, the deaths he has caused cannot be resolved. ‘Honest” Iago embodies evil and as shown throughout the events of the play, evil cannot be