Othello Essays (1453 words) - Othello, Iago, Emilia, Michael Cassio

Othello Othello, written by William Shakespeare is the story of Othello, the protagonist and tragic hero of the play. A Moor commanding the armies of Venice, he is a celebrated general and heroic figure whose free and open nature will enable Iago to twist his love for his wife Desdemona into a powerful jealousy. Iago is Othello's ensign, and Shakespeare's greatest villain. His public face of bravery and honesty conceals a Satanic delight in manipulation and destruction. Passed over for a promotion by his commander, he vows to destroy the Moor. If Iago is an artist of evil, then this scene is the finest canvas he paints. This is the crucial moment in the play, the scene where he, , deceives Othello and induces him to fall. He does so by expanding on the tactics used in prior scenes. Once the seed of doubt is planted in the Moor's mind with a quick Ha! I like not that (III.iii.35) (when they come upon Desdemona and Cassio) and a few probing questions about the ex-lieutenant's relationship to Othello's wife, Iago retreats into the guise he has adopted. He becomes honest Iago, again, as in the brawl in Act II, scene ii--the reluctant truth-teller who must have unpleasant news dragged from him by a determined Othello. The honesty suggested by his reluctance to speak is reinforced by the moralizing tone that he takes with his commander. Iago actually lectures Othello, warning him against jealousy (the green-eyed monster) and insisting that he will not speak slander: he that filches from me my good name / Robs of that which not enriches him / And makes me poor indeed (III.iii.158-61). At the same time, he plays upon the insecurities of the honest, noble African in sophisticated, decadent Venice by lecturing Othello on how Venetian women are deceitful and treacherous by nature. The overall effect is to pour verbal poison in his master's ear--not by lying, but by flavoring truth with innuendo. Othello will later declare that he is not easily jealous, and that assessment of his character seems to be shared by most of the figures around him in the play. The critical response is mixed--some critics insist that his claims to be innocent of jealousy are merely self-justifying, and certainly he slips easily into assuming his wife to be unfaithful. Other critics make the distinction between an inner, self-created jealousy, which he seems to lack, and a deep insecurity and trusting nature, as Iago puts it, which allow a clever manipulator to plant seeds of doubt. Behind his insecurity lies a man uneasy with his place in Venetian society: he may have married a white woman, a daughter of a Senator, but can he keep her? The seizure of the handkerchief is a great coup for Iago in his quest to destroy Othello, and he is aided by his wife, who apparently has no scruples about betraying her mistress in small matters. Shakespeare will eventually transform Emilia into a voice of moral outrage, and by the final scene the audience will applaud her role in Iago's destruction, but for now it is worth noticing that she is only Iago's accomplice. It will take a great shock to inspire outrage against him--a shock which comes too late. The scene ends with Iago triumphant, named as lieutenant (the rank to which he aspired from the beginning) to a man bent on destruction, and ready to join in that destruction himself--because in killing Cassio and Desdemona, Othello is killing himself. And that, of course, has been Iago's goal from the beginning. Othello's wild, violent behavior in front of Lodovico, in which he strikes his wife and abuses her for no apparent reason, demonstrate the perversion of order that Iago has brought about. There is no one to halt Othello's lawlessness, because he himself is the law in Cyprus. Othello's accusations and refusal to accept Desdemona's denials are brutal and unfair, but his language recovers some of the nobility that it had lost in previous scenes. Iago-like curses are replaced by sorrowful laments for what has been lost, and the audience is reminded the heroism and dignity that Othello possessed at the beginning of the play. His cry O, thou weed, / Who art so