hakespeares tragic heros dying words: loved not wisely, but too well, reflects the downfall of the fated general Othello

Iago argues that the romance had a violet commencement and therefore cannot last, which reflects his bitter and resentful attitude towards Desdemona's marriage to Othello. Iago is undoubtedly preoccupied with Othello's sexuality: " a Barbary horse", he refers to Othello in bestial terms. He portrays Othello as a person obsessed with sexual intercourse: "making the beast with two backs", this reflects the sexual imagery he uses to convince and manipulate Brabantio. Furthermore, one can suggest that he attempts to take Othello's individuality away from him using his rhetoric to consistently degrade him. Contrasts exist between the characters and their language, and we are also aware of the difference between Desdemona and her husband, she being the: "white ewe", while he the: "black ram". His references to: "an old black ram", "a Barbary horse" and "the beast with two backs" reinforce the idea that Desdemona has made an unnatural match and cast Othello as repugnant: "he is an animal", specifically a sexual animal. Race and sex are important issues. Iago's deprecation of the match is typical of his own bitterness character and associated with unpleasant animal imagery. Other characters like Roderigo echo Iago's thoughts: "lascivious moor", both stereotype Othello perpetuating the myth of the sub human black male. However, Iago's imagery is far cruder than either of the so- called gentlemen's speech (Brabantio and Roderigo).

Othello wavers between suspicion and loyalty as he struggles with himself to determine the truth. This proves to be an important turning point for him, as his character finds it difficult to release a notion once it is formed in his mind. In desperation he demands certainty: "give me the ocular proof", this reflects his unwillingness to at first believe in the accusations. Othello is inherently flawed due to jealousy. Iago tries to manipulate Othello into producing a visual image to what went on in Cassio's presence, he sarcastically remarks: "I cannot think it that he would steal away so- guilty- like", this reflects Iago's wit-full attempt to make it look like Cassio left because he does not want to be seen in the courtship of Desdemona. Othello's status as a tragic hero depends upon how an audience interprets his behaviour here. One may offer this passage in the play as evidence of Othello's pettiness, instability and suspicious nature, although it may equally be offered as evidence of his feelings of vulnerability, his sense of isolation and inferiority. Equally, one may decide that this is evidence of Iago's mastery of intrigue and deception, which reflects on the essential character of Othello.

Iago takes the opportunity to strengthen Othello's views of honesty and trust towards him by saying ironically: "Men should be what they seem", this reflects Iago's ability to work upon one of the tragic flaws of Othello. Othello is easily flawed as he has a tendency to take everything he sees and everything he is told at face value without questioning the circumstances. Othello may be seen as a noble and heroic figure that brings about his own destruction by one fatal error of judgement, or at the other extreme as little more than an arrogant and proud figure who, like Roderigo, is deceived by a clever and devious liar.

The audience learn the inner thoughts of Othello's character due to the act of soliloquy: "For other's uses", he implies that something should be done to Desdemona, so that others can't sleep with his wife, he has the idea of disposing of her. Othello's main preoccupation is other persons sleeping with his wife, he states: "I am abused", this reflects his perception of Desdemona having control over him. Othello has psychologically disowned her, and has given up to the fighting spirit of which he battled with for so long. For example: "If this be true", this quote reflects Othello as initially reluctant to believe in jealousy, and his wants for proof. Due to the force of his love for Desdemona he hates her equally with conviction: "humble love", this reflects the strength of his hate measured against his love for Desdemona. Othello is affected mentally by the idea of killing: "bloody thoughts", this reflects the way in which his thoughts are altered by Iago's accusations.

Othello loses sight of his downfall, unable to see what is happening, because he feels he is being betrayed and therefore expresses feelings of vengeance, these prevent him from thinking straight and he lacks vision. This is a typical characteristic of the tragic hero, who has reasons to doubt. The principles and morel of giving and taking is an issue of great significance: "Her honour is an essence that's not seen", this reflects the way in which Othello feels that Desdemona should treasure the gift of the handkerchief with honour. The handkerchief is of greater importance to Othello than even Desdemona's body, as this proves to be excessive evidence, and gives him more reason to doubt: "Fallen into an epilepsy", this reflects the way in which Othello is affected physically by jealousy, as he has an epileptic seizure. This is shown through the nature of language, as the character is speaking in pros, and there is a heavy use of punctuation, exclamation marks, repetitive words, which lead to a climate, for example: "Handkerchief- confession- handkerchief! Othello undergoes a mental struggle: " the world hath not a sweeter creature", this reflects Desdemona's character as pure and honest, although there is evidence that is the complete opposite. Othello is wanting and knows she is innocent, but the evidence again outweighs this. Due to the fact he has been made a fool and disrespected as his wife has been having an affair with his own officer whom he loved: "the justice of it pleases", by strangling Desdemona, Othello makes it more personal and it is more physical, therefore there is more of an impact and evidence to acknowledge. The imagery associated with the central theme jealousy suggests the destructive, terrifying and perhaps unnatural qualities of this emotion. The following metaphor: "green- eyed monster"' reflects the way in which jealousy is portrayed as a monster and is used as a comparison, this metaphor is extended: "meat in the person", consumed by Othello it makes the individual look stupid. Jealousy can be referred to as horrid, disfigured and associated with destruction. Iago suggests that if you don' love your wife you don't have jealousy: "Who dotes yet doubts, suspects yet fondly loves", he implies Desdemona is having an affair, using hints all of which add to make a perfect picture. Furthermore, the following quotes: "the meat it feeds on", allows one to suggest that there is a strong sense of devouring and being devoured in these images, which fits in with Iago's description of Othello as being: "eaten up with passion".

These lines suggest the exact quality of Othello's monumental jealousy; once he became convinced that his wife is unfaithful, his jealousy does indeed feed itself, leading the hero to behave monstrously. Jealousy is also deeply humiliating in Othello; Iago is correct when he says that it is: "A passion most un-suiting such a man", as the noble moor of Venice Iago's words have a significant and substantial affect on Othello both psychologically and physically. For example, Iago suggests that Desdemona is having sexual relations with other men, possibly Cassio. These suggestions put Othello into a state of emotional turmoil that he is lost in a trance. Iago's control over Othello is so strong now that he convinces him to consider getting rid of Desdemona and even suggests methods of killing her. Iago is extremely proud of his accomplishments of underhandedness: "My medicine woks". Othello in this state commits his first act of violence against Desdemona by hitting her; his temper is fuelled by jealousy, the outburst is a result of Desdemona's mention of Cassio. This shows now Othello's other tragic flaw. He made himself susceptible to Iago and the jealousy within him begins to lead to the demise of others. By his actions Othello has violated himself from everyone except Iago. Jealousy is a self- propelled emotion, which fuels itself upon its own existence not necessarily upon the truth.

Iago is successful as a character, because he can play a number of roles convincingly, and is able to adapt his tone and style to suit any occasion. He enjoys his ability to persuade others into believing he is honest. With Cassio he is coarse and genial. He also offers the lieutenant plausible practical advice; he adopts a similar sympathetic approach when he deals with Desdemona: "weep not, all things shall be well". With Montano and Lodovico he makes a point of emphasising that he has Othello's and the Venetian states best interest at heart. There seems to be an absence of ego or somewhat humility in all his dealings with these characters, which are socially and professionally superior to him. However, this is deliberate: with his inferiors (Roderigo and Emila) Iago can afford to be less circumspect and selfless. Iago only bothers to speak to his wife pleasantly when he thinks she has something he wants; otherwise his tone is cold and contemptuous. By hesitating Iago makes Othello believe what he says is truthful: "I do not know", this reflects the way in which Iago hesitantly describes his 'friend' Cassio's part in the evening's events; furthermore his show of reluctance is also devastatingly effective, and the way he seems most anxious about the consequences of the brawl: "are you hurt, lieutenant". By pretending that he doesn't wish to divulge his thoughts he manoeuvres himself into a position where he is able to poison Othello's mind thoroughly. Iago's timing can be referred to as convenient, for example: "Sneak away so guilty like", this is just one of many of Iago's devious suggestions of Cassio's wrong doing. Iago's role-playing enables him to become stage manager and dramatist, controlling his victims' fates increasingly effortlessly, until he is revealed by his wife whose obedience he ironically took for granted. A good example of his setting up, directing and then decoding events for his victims occurs in act 4 scene 1: "mark the fleers, the gibes, and notable scorns", this reflects the way in which Iago persuades Othello to eavesdrop on his conversation with Cassio. Othello is not only told what to do; he is also told how to interpret Cassio's looks and gesture. Iago persistently talks about Cassio and is manipulative in the sense he implies from others viewpoints. Iago's strongest quality is his power to persuade and convince people. One can compare him to a catalyst, as he does not change the nature of the reaction but speeds it up.

Othello's relationship with Desdemona becomes insecure, due to his personal fears, which cause him to become outraged with jealousy. Othello finds it difficult to speak naturally and courteously to his wife, he speaks to Desdemona in an impatient manner: "Is't lost? Is't gone?" this reflects the way in which Othello denies Desdemona's attempt to change the subject to the reinstatement of Cassio. Othello's comment about Desdemona's 'moist' palm echoes a contemporary belief that this indicated lustful desires: "This hand is moist", which shows that he is already predisposed to look for evidence to support his belief that she is unfaithful. Desdemona initially makes the assumption that Othello is angry and impatient, and as a result she fears this and lies: "It is not lost", this shows how Desdemona lies about the whereabouts of the handkerchief. One can imply that she avoids telling Othello because she does not wish to hurt his feelings, as the handkerchief might yet turn up. Furthermore, one can imply that she is frightened by seeing a hitherto, unknown and aggressive side of her husband's character. Desdemona acknowledged that their relationship has become somewhat distant and she doesn't familiarise herself with him anymore: "My lord is not my lord", Desdemona is reluctant to talk to Othello about the situation. Othello's temperament has become hesitate and resentful: "Hath puddle his clear spirit", this shows the change he has undergone and is now unable to be approached. At this precise moment in time Desdemona is confused and ambiguous to how to interpret her husbands' unusual behaviour: "Heaven keep that monster from Othello's mind", this reflects the way in which Desdemona hopes and fears that his behaviour has not been altered as a result of jealousy, as she recognises the destruction that it could generate.

Dramatic irony is used to draw pity from the audience, for example: "My lord", Desdemona's response maintains an assertive manner, which reflects the substantial respect she portrays for Othello. The striking of Desdemona is particularly shocking, the more so because we know and she says herself - that she does not deserve this humiliating (public) degradation: " I have not deserved this", this reflects Desdemona's response to Othello's physical violence. The way in which she predicts her own death also draws pity from the audience: "those same sheets", the dramatic irony is that Desdemona does die and non- coincidently on the very sheets she predicted. Furthermore, during Othello's attempt to kill Desdemona, she revives and calls out, reasserting her innocence: "falsely murdered". Desdemona assumes responsibility for her own death and asks to be commended to her husband: "Commend me to my kind live". One can imply that her reply is characteristically generous. The whiteness of Desdemona's skin symbolises her inner purity and innocence, which Othello ironically says he cannot bear to mark: "scar that whiter skin of hers than snow". Dramatic irony is used a numerous amount of times to succeed scenes, for example in spite of the fact that she lies to her husband about the loss of the handkerchief, the audience are likely to feel much sympathy for Desdemona, as she does not appreciate the danger she is in. This is signified by her words: "Is't possible", this reflects Desdemona's response to her husband's description of the handkerchief and his repeated requests to see it, as she is alarmed.

There is a strong mixture in the scene of the public figure of Othello, doing his duty, and the intensely personal emotions of the man, for example he describes Desdemona's skin as appearing: "smooth as monumental alabaster", also various other compliments: "she is rose", and "her balmy breath" almost persuades him to abandon his act. Othello sees his killing of Desdemona as: "justice" for her foul deeds. Desdemona's physical beauty still has a powerful effect on him, swaying him momentarily from his purpose. Othello is drawn to kiss her and weep, but he insists his tears must be: "cruel tears". Othello does not want to murder her unprepared spirit: "have you prayed tonight", this causes Desdemona to become scared and anxious to resolve what disturbs Othello. Othello believes that he is purifying her of her sins and is doing it due to the nature of love; also he will redeem her own weakness. He believes she will become pure as a result of her death: "Love thee after", this reflects the way in which he thinks he will come back and love her again. Furthermore, he believes that he is making a sacrifice out of love for her: "A murder, which I thought a sacrifice", this reflects his initial intention of protecting her and performing a sacrifice, but realises soon after it can only be referred to as a murder. Therefore, the final conclusion is that Othello did kill Desdemona out of love but was caused by jealousy and his own fury and hate, all of which he brought upon himself.

During the coarse of the play, Othello loses all self- knowledge and patience. A once reasonable and confident man turns to violence and acts out of rage, something that would never have occurred before. He loses his self- control and falls victim to his own jealousy and ignorance. His breakdown of character was one that was unexpected and shocking, as he was once a man looked upon with such dignity and truth by others, and was now reduced to a murderer. Othello had announced: "My life upon her faith", this reflects the way in which he has gone back on his word, as his patience and respect was no longer. Iago cleverly manipulated Othello's near obsession, his idealistic and naïve love for Desdemona. However, after realizing he had been tricked into believing the lies of Iago, Othello could not handle the anguish of knowing he had murdered in jealousy rather than for justice. This deterioration in Othello's character brought the strong warrior back into the scene. Where he transformed into his own judge, jury and sentenced himself: "loved not wisely but too well", one may suggest this reflects Othello's redeemed nature. From this it is possible to suggest that the audience forgives Othello for killing Desdemona.

One person in particular who responds very strongly to Othello's treatment towards Desdemona is Lodovico. He is deeply shocked by what he has witnessed; he cannot believe that this is the: "noble moor whom passion could not shake?" After the general has departed, almost incomprehensible in his rage, Iago tells Lodovico, with assumed reluctance, that Othello has been guilty of worse actions than striking his wife: "What I have seen and known", one can imply Lodovico's comments about Othello's strange behaviour gives Iago the perfect opportunity to undermine his stature further. Lodovico cannot believe that these are heroic qualities and that this is the same man who fought on the battlefield to pronounce his country with victory, would murder his wife. Lodovico's judgement of Othello can be referred to as accurate, as Othello was not in a normal state of mind but was acting according to jealousy, which caused other emotions to come into play. The nature of anger caused him to become short-tempered and aggressive, also hatred, which did not allow him to be considerate, and as a result he suffered. Furthermore, Othello's gullibility allowed him to believe accusations made by the manipulative Iago, and therefore could not distinguish fact from fiction.

English Literature 1

Nadir Jagvani