To what extent does Iago contribute to the tragedy of Othello?

To what extent does Iago n contribute to the tragedy of Othello?

Joe Stanford

Iago explains in Act 1, Scene 3, how ‘Virtue’ is ‘A fig!’ and ‘’Tis in ourselves that we are thus, or thus’; he believes how ‘Our bodies are gardens’ and ‘our wills are gardeners’. This demonstrates Iago’s profound understanding of human nature, and his belief that one’s ‘will’ or strength of character is a powerful tool to control oneself.

Iago uses his knowledge of ‘will’ advantageously; using it to manipulate characters’ minds. Underpinning his manipulation lies what Coleridge cited as ‘motiveless malignity’, yet one might say his chief motives are clear. In Act 1, Scene 1, Iago is angered by Othello ‘already cho[osing] [his] officer’, Michael Cassio. Iago failed to attain the promotion, especially by a man who has ‘never set a squadron in the field’ of war. Not only does Iago strive for the position of lieutenant, but Cassio’s advancement renders a hatred for Cassio. It is revealed in Act 5, Scene 1, that Cassio owns ‘a daily beauty…which makes me [Iago] ugly’. Another motive charged by jealousy. In Act 1, Scene 3, Iago states ‘I hate the Moor’ as he believes Othello has slept with Emilia – ‘done my office’. This motive reinforces Coleridge’s view of ‘motiveless malignity’ for Iago ‘know[s] not if’t be true’. Seemingly, however, Iago has a drive fuelled by jealousy and greed.

Iago’s witty, strong orchestration of events conveys a sense of the formidabile to the audience. Iago’s masterful handling renders further hatred from the audience; the heroic qualities of wit and subtlety attributed to a deceiving villain. The pivotal Act III, Scene iii, explores Iago’s orchestration, and how Othello descends into madness; from love to jealousy. This is the result of Iago’s manipulation and the seeding of unbecoming ideas into Othello’s mind. When Cassio exits in Act III, Scene iii, Iago abruptly shouts ‘Ha! I like not that’ which sparks curiosity in Othello – this is evident from his questioning. Iago first seeds the idea of Cassio’s impropriety through describing Cassio’s exit as ‘guilty-like’. Iago’s manipulation ranges in magnitude: in Act II, Scene iii, Iago ‘cannot think it’ Cassio; whereas in Act IV, Scene I, Iago candidly states how Cassio had lain ‘with her [or] on her’. Othello now viewing Iago as a source of insight into the affair builds a certain trust for Iago, rendered by Othello’s insecurities or lack of knowledge. This making Iago’s manipulation affect stronger upon Othello.

Throughout Othello, Iago tries to reinforce, or play, his deceptive ‘innocent’ persona. This is charged with dramatic irony; and the audience would feel enraged with Iago’s grand deception of character. Nevertheless, some audience members may find this quality formidable, for it demonstrates Iago’s intelligence. Iago assumes this persona to his advantage. In Act V, Scene i, Iago decides to ‘bind [Cassio’s wound] with [his] shirt’ – ironically after he was Roderigo’s commander to pursue Cassio. Iago’s innocence and trustworthy nature contribute to the tragedy of Othello for they allow events to unfold, and thus more events to be engendered. Iago’s ...

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Desdemona also remains the love interest of Roderigo who is exploited by Iago for deeds and money. From the very first scene, Iago, as he explains in his first soliloquy, is ‘mak[ing] [his] fool [his] purse’. This illustrates Iago’s dominion over Roderigo, and his manipulative relationship with him. Whilst Roderigo believes he is nearing the arms of Desdemona through the medium of Iago, Iago uses Roderigo’s affection advantageously: to rid of Cassio for Othello. Roderigo’s motives are thus false due to Iago’s ruse, yet Roderigo pursues Cassio – instead of Iago. This provides Iago’s security in that the act further removes Iago from the tragedy.

Deception remains a fundamental characteristic of Iago’s villainous nature. His actions not only illustrate his nature, but so does his language. Even the very forms of Iago’s language – his asides and soliloquies – demonstrate Iago has power; while Iago is driving the action, he is even able to comment on it using the theatrical conventions. Iago is quite theatrical as a character – like an actor. His sudden adaptations to the situation by changing his mood are most befitting of an actor. For instance, Iago can be branding Roderigo a ‘murderous slave’ and stab him, yet is able to make himself appear caring while calling for the ‘bloody thieves’ in his next line. Another aspect to Iago is his black, almost evil, nature. The hellish imagery he adopts in a soliloquy in Act II, Scene iii, reinforces his dark nature. He admits to being a ‘devil’ putting on one of his ‘heavenly shows’; and being in the realms of the ‘Divinity of hell!’. This almost makes him like the Devil himself – supporting his villainous nature. In addition, his misogynistic and racist-fuelled hatred advocate his darkness. Iago describes Othello in an animalistic way, as an ‘old black ram’. Iago’s hatred for the Moor presents an irony in that Iago, fundamentally, yearns to be Othello’s lieutenant. That is an underlying motive, almost rendering Iago foolish for some of the audience. Iago’s misogynistic attitudes unveil such as when he describes a woman’s life as having to ‘rise to play and go to bed for work’.

Venetian society has a certain attitude towards women. Men were far superior, and wives, in essence, belonged to their husbands. Emilia and Iago’s relationship clearly illustrates this. Due to social function, Emilia is obedient to Iago. Emilia is a chief example of how Iago does not contribute to the tragedy of Othello. Emilia has significant responsibility for the tragedy, due to her theft of the handkerchief – which subsequently acted as the ‘ocular proof’ for the false affair.

Othello also is a significant contributor to his own downfall. Othello is ‘eaten up with passion’ and disregards all reasonable thought. During Act, III, Scene iii, Othello begins to slur his colour and age; he becomes very emotional during his soliloquy, illustrating the profound effect of his passion overriding him. Perhaps Othello is more to blame. Perhaps he should have inquired more into these allegations, or have had firmer foundations in his knowledge of his wife and Cassio.

Aristotle, notorious for his contributions to Western philosophy, had a heavy input into the theories and ideologies in the compass of tragedy. One, theoretically, should experience catharsis at the end of a tragedy. In Othello, one experiences the catharsis of pity and fear brought out by the suicide of Othello. Aristotle also introduced the hamartia idea; the error that rendered the hero’s downfall. What contributed more to Othello’s tragedy? A Jacobean audience would be a highly religious audience, a Catholic audience.. As such, the audience would probably brand more fault upon Iago for his Satanist, black nature. However, I believe that Othello is more at fault. Such a ‘noble Moor’ should have investigated into the situation further, disallowing passion to consume him. Othello rendered himself susceptible to tragedy. His naïve knowledge of Iago being an ‘honest man’ overall cost him his love and life. Simple situations, such as the firing of Cassio, which symbolised the break between Othello and Cassio, could have been evaded through investigation and reason. Iago acted as a catalyst to the tragedy, and merely induced the passion within Othello. Iago directly pursued little. Othello is, ultimately, a play of misunderstanding. Misunderstanding others and oneself. Socrates said ‘From the deepest desires often comes the deadliest hate’, which demonstrates perfectly that feeling and emotion are dangerous instruments.

Peer Reviews

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groat

23rd of Apr 2012

Quality of writing

This essay has an okay structure. The introduction does little to offer a definition of tragedy or pose a convincing argument, and the conclusion seems jumbled. I liked how Aristotle was included, with his views of catharsis being significant. However, I feel that this is not placed correctly in the conclusion. These should be pivotal to the argument, looking at how Othello arguably has no hamartia if it weren't for Iago engineering his downfall. By placing them at the argument, they seem as an afterthought rather than being weaved into the analysis. Similarly with the reference to the Jacobean audience. It's important that you don't make comments about context after the analysis, but rather integrate it. For example "the audience would probably brand more fault upon Iago for his Satanist, black nature." would be relevant when discussing the hellish imagery, but it is out of place in the conclusion. The style here is good, and it reads very well. Spelling, punctuation and grammar are great.

Level of analysis

The analysis here is good. The paragraph discussing deception is great, looking at the dramatic device of soliloquies and how Shakespeare manipulates these to show Iago's power. There are plenty of points in this one paragraph which could be padded out to make a coherent argument, meaning the weaker points can be removed. If I were writing this essay, I would dedicate a whole paragraph to Iago's soliloquies foreshadowing and engineering Othello's downfall. The hellish imagery can be expanded upon to mention satan and the connotations of Iago as a devil. The point about Othello causing his own downfall is interesting, as I feel Shakespeare presents no internal conflict in him, and this is evident through his lack of soliloquies. Some of the points aren't strong enough to have a convincing argument, and this is often through the lack of evidence when assertions are made. For example "Perhaps Othello is more to blame" is not convincing with no evidence. Language needs to be closely analysed more here, and looking at how Shakespeare has Othello's language mimic that of Iago's later in the play is a great way to discuss this. The analytical ability is present here, it just needs to be more focused on the question for examiners to give credit.

Response to question

This essay responds averagely to the task. Despite looking at Iago's presentation as a villain, which is strong here, there is little argument surrounding Iago's influence on Othello's tragedy. I would recommend with a question like this to define tragedy. This can be Aristotle's views, Stoppard's or any other viewpoint which works to fit your argument, but it is essential you have a sharp focus. I have read many Examiners' Reports at A-Level, and the biggest downfall for English Literature coursework and exams is the lack of focus and clarity of argument. Paragraphs starting "Venetian society has a certain attitude towards women" seem to have little relevance to the question, and so this focus is not evident here. There are times where this essay switches arguments, saying that Shakespeare's technique "removes Iago from the tragedy". You cannot sit on the fence at A-Level, and whilst there may be points which disregard your argument, it is better to acknowledge them and explain why they are weaker than to give them equal consideration.

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