Is Othello a 'noble hero' brought down by 'a devil of motiveless malignity' or is Othello 'flawed and selfregarding' and brought down by a 'worldly realist'?

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Is Othello a ‘noble hero’ brought down by ‘a devil of motiveless malignity’ or is Othello ‘flawed and self regarding’ and brought down by a ‘worldly realist’? 

As is shown above, there have been many differentiating opinions of the two most inscrutable characters in Shakespeare’s history. As both these characters never fully reveal their true selves or their motives, it has always been difficult to determine their disposition from just the play as a source. Yet, despite this many scholars have brought forward their suggestions for the nature of both Iago's and Othello’s characters.

One of the first examinations into the true characters of these players comes from the nineteenth century, proposed by the scholars Coleridge and Haditt. This suggestion was that Othello was the character of innocence, whilst Iago was the ‘devil’ ultimately responsible.
From the first time and the first words we hear from Othello it is obvious to the audience that he has a natural patience with people, and seems to be a laidback character. His first line can be termed, as composed “Tis better as it is” is what Othello answers, when hearing that men have spoken bad words of him. Iago is the one to inform him of this and even suggests that he should fight them about it. Since these are Othello’s first words it would be quite easy to determine that he is a peaceful man, and it could be considered unrealistic that he could kill his own wife without some one to bring him down.
Othello’s love for Desdemona is shown quite precisely in Act 1, Scene 3, where Othello explains that he has not won Brabantios daughter through any witchcraft but with tales of heroic defeats. “ She had loved me for the dangers I had passed, and I loved her that she did pity them”. Desdemona also portrays the intensity of her commitment in this scene “I saw Othello’s visage in my mind, and two his honours and his valiant parts” this shows that Desdemona is truly obedient to Othello through all his military work.
Throughout this scene allot of anger is intended for Othello and it is made clear. Compared to Brabantio, who is most understandably angered, Othello is calm and in control of his emotions even with the prospect of loving his beloved wife. This reflects that his true temperament is not that of a hotheaded man but of a composed character. Both the fact that he is patient and peaceful could be seen as a desirable quality and Othello can be seen as a “noble hero” here.

Again further on in the performance in Act 2, scene 3, Othello proves himself as a passive individual once again. This is when Othello willingly prevents a fight between Roderigo and Cassio, which was in fact stirred by Iago in the first place. “For Christian shame put by this barbarous brawl” Here Othello even describes this violence as shameful, which is ironic since he himself is yet to commit a much sinful act than this.
Looking at this evidence for Othello’s innocence could mean that to bring him down to the depleted level he reaches, would take a “devil of motiveless malignity “ in other words Iago. Well this is according to Colleridge and Haditt, who have not just brought forward their opinion on Othello’s character but on Iago’s also. To say that Iago is ‘motiveless’ in this play could be quite true, as the audience never get to know Iago’s motives. This is why we could also call him a ‘devil’; as to have to motives to stir such a tragedy up could be seen as an evil thing to do. However we do get a two possible motives for Iago, yet even these are inadequate, the first being jealousy. This in it self plays an enormous part in the play itself including the jealousy that Cassio has become lieutenant rather than Iago. And this is precisely what a possible motive for Iago could be, a reason for his hatred towards Othello. Iago proclaims his hatred in Act 1 Scene 1 “ Though I do hate him as I do hell-pains”. Yet even this is a bit of a feeble reason to do such diasatourous deeds as Iago commits. Another possible motive could be that according to Iago only, Othello is alleged to have slept with Iago’s wife.
Yet this is extremely weak as there is never any evidence for it, only that of Iago’s claim.
As Iago never reveals his true self it is difficult to find his true reasons for what he schemes, as he has a different face for a different character. To keep up such a vigorous appearance for such a long period of time seems quite impossible, so does the audience actually see Iago’s true nature all along, the nature that is evil?
Another reason for thinking Iago as this truly evil individual is the way he is constantly played as blasphemous. “ By Janus I think no” is one example of this, Janus was ironically a God with 2 heads, which could be reflected as a 2 faced image. Another example is where Iago talks of Gods blood “S’blood, but you’ll not hear me!” talking of Gods blood in this way would be like swearing in the present time.
Yet as Iago says himself “ I am not what I am”, in other words he never reveals truly who he is, yet what is left for us to think of him is the “devil of motiveless malignity”.

As time went on to the twentieth century there became more varied opinions of the make-up of Othello and Iago. It seems that the opinions have reversed in this period of time as Othello is now thought as the foolish one the “flawed and self regarding” man and Iago the “worldly realist”.
To now see Othello in a reversal of roles seems quite un -likely after all the evidence just mentioned of his character naturally being reserved and peaceful. Yet this is only to be seen at the very start and very end of the play, the rest of the time it seems that Othello is being influenced greatly to become something else. For example in Act 3, Scene 3, “Set on thy wife to observe” this is a while into the play and therefore a sufficient amount of time in which Othello has lost control. What he is asking Iago to do is literally to spy on his own wife .The fact that Othello does not give Desdemona the chance to justify her actions reflects how egotistic and therefore would back up this twentieth century view of him. It is this and other example's that shows Othello to be easily influenced and this is just one that shows just how low he can sink.
Yet earlier on in the scene, when first hearing of Desdemona’s ‘affair’ for the first time Othello seems quite intent on only believing Iagos word with some kind of proof “I’ll see before I doubt; when I doubt, prove;” yet Othello fails to keep to his word as he becomes angered by the mere thought of his wife deceiving him. It is due to this that he asks Iago to examine Desdemona to seek out the truth, yet the truth never is found. It is only the lies that Othello seems to believe and this seems to be because Othello is uncomfortable with himself, it is only the lies that seem plausible to Othello because he fears the worst. Nearing the end of Act 3, scene 3 Othello has worked into a frenzy and threatens to “…tear her all to pieces” in other words he threatens to kill her, this is again without solid proof and with only the word of Iago. In the book ‘Letts Explore’ for Othello it explains “ The prejudice against Othello in the play is one of the sources of his own self-doubt and insecurity…” The fact that Othello’s race is such a big deal to him and others makes it seem quite possible that Desdemona would leave him for this reason. And all it takes is for Iago to amplify this prospect and Othello is hanging on his every word. Othello could be seen as ‘flawed and self regarding’ yet this could be due to his extreme lack of self- assurance.

The way Iago is determined a “worldly realist” seems to have a lack of evidence. Although on some basis you could back this up, there is not much else to make it a worthy possibility. If it was however a description that Iago was being realistic, it would still not give him a right to make up that Desdemona was having affair or to use the people that trusted him to get his way. If it was so that everyone except for Iago was living a dream like life and Iago saw this as a reason to change it and open there eyes then this may be a possible reason to describe him like this. An example is the way Iago spots in the first scene that Cassio is “a great arithmetician… that never set a squadron in the field”, could it be this that makes Iago so angry? That Othello has ‘unrealistically’ picked someone unsuitable for the job that Iago would otherwise be suited for. Even if this were so would it really be a logical reason to go through such an evil scheme and deception. Another illustration is where Iago gives the audience an ‘analogy of life’, this is basically that we have choices and we can act as we would like, could this be a realists point of view. This is put across in Act 1 scene 3, where he gives the analogy of the gardener “ Our bodies are our gardens, to which our wills are gardeners”. Iago also gives his views on love, a highly topical theme of Othello, “Our …lusts, where of I take this that you call love to be sect or scion” in interpretation what Iago is saying could be that love is something that Is fixed on you and it can be controlled, almost referring it as a nuisance or not an emotion. Again this could be a motive for Iago, the fact that Othello is so attached to Desdemona could seem pathetic, and with the added annoyance of choosing the wrong person for lieutenant, this could make Iago want to teach Othello a realistic view on life. As we can see by blasphemous behaviour from Iago, such as “S’blood, but you’ll not hear me”, he is clearly not a religious person like allot of others of his time, but is a logical thinker.
Yet this seems still weak for a reason to go to so much effort to bring about a mans downfall.

In my opinion I would agree with all statements to some extent, yet the nineteenth century view seems more plausible and matches with the plays evidence more closely. The way both characters are portrayed relates to these views more specifically than that of the twentieth century and since the play is the only evidence available it seems realistic to go for these examinations.

  In William Shaspeare play Othello, Iago make Othello believe that Desdemona is having an affair with Cassio. He does by taking advantage of any situation to make of Othello doubt. Iago make Othello thing a lot of crazy thing on his head, Othello got so jelous leading him to kill his own wife, Desdemona, satisfying iago obseccion for revenge.

The Reason why Iago develop such as evil plan is because Iago suspect that Othello is having an affair with his wife Emilia. He cited when he said "And it is thought abroad that 'twist my sheets he's done my office." The irony behind this line is that he then says, "I know not if't be true, but I, for mere suspicion in that kind, will do as if for surety." That mean, He is not sure that Othello is having an affair with his wife but he will pay anyhow, this show that Iago is so blind with his jealousy that he will do anything on his reach to make Othello for such act no sure committed.

Iago elaborates a master plan to get Cassio position as a lieutenant. Iago get Cassio drunk so he could fight Roderigo. Othello then discharge Cassio from the lieutenant position when he says, How must poor Cassio have felt? To lose all he had worked for, working up his reputation that any half-hearted human can tell he earned and deserved. Iago know that Othello who ask him about the deed because of he fame of being a honest man. Iago tell Othello about the deed winning his trust that is when Iago starts to crab Othello by his weak point his Love for Desdemona.

The first part of the plant start when Cassio is drunk, and cassio but the plan begin to develop a little more when Cassio is dismissed from his position. Cassio sad because he reputation has gone under the hill with the act the he committed unfortunately Iago uses Cassio as a puppet to go ahead with his evil plan. Iago suggest Cassio to try to speak with Desdemona to Convince Othello. Iago knows that Desdemona it a very naïve woman and she will be a very valuable piece to continue his evil game.

At the castle ground, Cassio meet with Desdemona and exhorted her to ask Othello to take him back. Situation that Iago utilized to his advantages Iago put ideas
Of Desdemona and Cassio having a affair in Othello’s mind. Desdemona insist Othello on giving Cassio position back. What make Othello doubt more and more that Desdemona is been faithful.

With all those declaration of love and kindness honesty to Othello Iago fool each a every character in the play. Iago plays with Othello manipulate him as puppet, playing games with Othello mind attacking Othello mind like a Trojan horse. For example when Iago says: "I think you think I love you...I protest, in the sincerity of love and honest kindness." And Othello replied ““Thy honesty and love doth mince this matter...My friend, thy husband, honest, honest Iago.” Cassio: “Good night honest Iago...I never knew a Florentine more kind and honest.” Helping Iago plan that Othello believes on each and everything that he tells to him, because Othello will think that he love me so much that he did not want nobody to take me as fool when really the one that was taking Othello as a fool was it loyal servant Iago.

Othello despair with all of Iago has told him as Iago to give a more solid prove of Desdemona unfaithfulness. Unfortunately, that is when Emilia Iago’s wife gave Iago Desdemona handkerchief that she has found in the palace hall. Iago put the handkerchief on Iago locker And made his way that Othello see Iago with it. Othello no sastified with this prove Iago proposed Othello to bring Cassio to an area to the castle and question him about his affair with Desdemona. Iago say: “Ply Desdemona well, and you are sure on’t now, if this uit lay in Bianca’s power, how quickly should you speed! Making Othello believe that Cassio where referring to Bianca bring as consequence the murder of Desdemona by Othello hand. At the End of the play when Othello realized that he has been fooling by Iago when emilia told how her husband, Iago obtained the handkerchief Othello. Iago crab a Emilia and murder her. Then Othello kill Iago and then kill himself.

In short, Iago is what we call a true manipulator it is jelousy lead him to provoked the death Desdemona, Othello, Emilia and his own. Theme of the story is that no matter you often you lie to someone sooner or later your true feeling will be reveal.

A tragedy

 has many definitions, but the Merriam-Webster version defines it as: “a serious drama typically describing a conflict between the protagonist and a superior force (as destiny) and having a sorrowful or disastrous conclusion that excites pity or terror.” The latter part, about disastrous conclusion is true for Shakespeare’s tragedies, and Othello is no exception.

Roderigo blindly follows Iago’s lead and while his contribution to the disaster is minimal at best, he still is able to feed Iago’s desire for revenge, as all the characters do. The only difference between Roderigo and the other characters is how he does it. Roderigo is madly in love with Desdemona and wants her for himself. The first sign of Roderigo’s desires comes from Barbantio when he speaks: “I have charged thee not to haunt my doors:/In honest plainness thou hast heard me say/My daughter is not for thee…”(I, i)

Iago seduces Roderigo’s compliance in the disaster by dripping sweetened words of his attempts to sway Desdemona away from Othello. Roderigo, in his naïve and loving mind, give Iago the financial means to further his plot of disaster. Iago tells Roderigo that the money and jewels he spends go to Desdemona, but there is little evidence of this. And it seems unlikely that Iago needed large sums of money to exact his revenge on the Moor. He does it with words and a handkerchief, not rubies and emeralds.

But Roderigo’s lust for Desdemona leads to his attempt to kill Cassio. After Iago has convinced Cassio to plea to Desdemona for his rank back, Iago is then able to convince Roderigo that the way to take Desdemona is to kill Cassio (IV, ii) because, according to Iago, Cassio and Desdemona are now sleeping together.

It is ultimately his attempts to defile and kill Cassio that contribute the most to the tragedy. He causes Cassio to lose his rank (II, iii) and then attempts to kill him. The question Roderigo should’ve been asking himself is this: “If Desdemona is such a lovely, innocent creature, why does she jump from bed to bed? What makes me think that she’d stay in mine?”

Emilia’s role in the tragedy seems very small at first. Iago mentions suspicions of unfaithfulness very early on (I, iii) but it is not these suspicions that Emilia contributes to her death and the death of others. Rather, it is the very simple action of picking up a handkerchief and giving it to her husband (III, iii). She does this because of her loyalty to her husband. “And give `t Iago: what he will do with it/Heaven knows not I;/I nothing but to please his fantasy.”

While the stealing of the handkerchief itself is significant to the plot, Emilia’s decision not to say anything about the fact that she has stolen it when Othello confronts Desdemona about the missing handkerchief (III, iv) has more significance. Emilia further doesn’t say anything until after Desdemona is dead. Her silence is interesting. The idea of loyalty to her husband could be the reason for it, but she seems more loyal to Desdemona throughout the play than to her husband.

What drives her silence is most likely fear of disapproval and repercussions from Desdemona and Othello. She sees that Othello can be a jealous and angry man (III, iv) and doesn’t want to disappoint her lady by displaying disloyalty.
Desdemona is a “…most exquisite lady,” (II, iii) is a “…fresh and delicate creature” (II, iii) and cares about people (II, i). Iago uses this kindness to his full advantage to make it appear that Desdemona is in love with, and sleeping with, Cassio. Iago plants the seeds of doubt within Othello’s mind, but it is Desdemona that encourages the growth of the seeds.

With her good heart, Desdemona hears Cassio’s pleas for reinstatement of rank, and makes an effort to convince Othello that Cassio has done no wrong when he was drunk on the watch and fought with Roderigo (II, iii). Sadly, she chooses a bad time to hear Cassio’s pleas and, worse yet, tries to convince Othello to reinstate Cassio when Othello is interrogating her about the missing handkerchief (III, iv).

Her timing is poor because of two reasons. The first being the fact that Othello, with Iago’s assistance, has seen and overheard Cassio’s attempt to gain Desdemona’s support. The second fact is her defending of Cassio during the handkerchief interrogation and her refusal to discuss the handkerchief issue makes it appear to Othello, with Iago’s seeds of doubt, that Desdemona cares more for Cassio then she does for Othello. Her good heart kills Desdemona, providing further evidence that no good deed goes unpunished.

The tragic hero, Othello, is a trusting and good person, but it his trust and insecurities that cause him to believe Iago over his own wife. “Ha! I like not that.” (III, iii) is Iago’s first actual move to discredit Desdemona in the eyes of her husband. Barbantio also plants his seeds of doubt two acts earlier: “She has deceived her father, and may thee.”(I, iii) Othello ignores Barbantio’s seeds, but Iago, honest Iago’s seeds are taken for true because Iago provides a fine example of Desdemona and Cassio’s affair, without even having Cassio mention Desdemona or uses a good intention and spins it to his own benefit (IV, i, III, iii).

Othello buys into all of this because Iago is honest and is perceived as such. He ignores Iago’s warnings at first, but after mulling over it for a small white, Othello becomes convinced. Iago preys on the Moors uneasiness in a white society as a way to create unrest in the otherwise peaceful soul of Othello. Othello’s doubts about his place in society and his belief in those who feel can be trusted cause him to kill Desdemona and, upon discovering himself to
be played for the fool, himself.

Iago is villain with a motive, a strong financial backing provided by Roderigo, a cunning mind, and to his greatest benefit, his perceived honesty and loyalty. This doesn’t explain his desire for revenge, which is never really fully developed. Jealousy at Cassio’s promotion when he felt he was more suited for the position of lieutenant: “And I, of whom his eyes have seen the proof/At Rhodes, at Cyprus, and on other grounds/Christian and heathen, must be be-lee’d and calm’d/By debitor and creditor; this counter-caster,/He, in good time, must his lieutenant be/And I – God bless the mark! – his Moorship’s ancient.” (I, i)

He also mentions fears of paranoia of his wife sleeping with others, including Othello and Cassio. But Iago seems to have been planning this for some time, or at least thinking of ways to tear Othello down, as Emilia makes mention when picking up the handkerchief, Iago has been harassing her about it for some time. This fact points to the idea that Iago has been planning something for a while now, but the marriage of Othello and Desdemona allows for him the best way to have his revenge.

Race doesn’t seem to be a huge issue, or at least a driving one for Iago. He makes vulgar and callous remarks about Othello and his skin color, but it doesn’t appear to be a major concern in any of his monologues or soliloquies. Othello’s skin color just seems to be a mean to an end. Racism most likely is not a factor.

So what drives Iago to commit all these acts? Jealousy is a major portion, but perhaps Iago views this all as a game as well. He prides himself on his wit and cunning and is appreciated for it by his peers. Perhaps it is ego that drives Iago to do all of this, a test of his skills to see if he can keep so many threads playing together and for his benefit.

Almost all of his actions, plantings seeds of doubt (III, iii) or giving dangerous instructions (II, iii) lead to the tragic ending of the play. Even at the end, Iago refuses to explain his motives, by simply saying, “What you know, you know.” (V, ii). Perhaps this was Shakespeare’s way of saying not to look for a reason, but rather to appreciate what an amazing amount of cunning and patience this would’ve taken to pull off.

In the end, Iago’s last words perhaps best suit the play. “What you know, you know.” Everything is presented for the entire world to see, with little hidden meanings to things and actions. Roderigo’s lust, Emilia’s fear and loyalty, Desdemona’s purity, Othello’s trust and insecurities, and Iago’s jealousy and ego contribute to the “disastrous conclusion that excites pity or terror.

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 The events that occur in the first half of Act 1 are all in anticipation of the lead character Othello who we are not immediately introduced too. We learn Iago’s name in the second line of the play and Roderigo’s soon after, but Othello is not mentioned by his name once. Instead he is referred to as ‘he’, ‘him’ and is frequently described as ‘the moor’ (1.1.58) he is also described as having ‘thick lips’ (1.1.67) and later as being a ‘Barbary horse’ (1.1.111) is continuously described by his critics, mainly Iago, as a ‘moor’, demonstrating Iago’s frequently concerning ...

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