Iago can only do so due to Othello's "open" nature, which allows him to attribute an honesty within men that is actually not there. This honesty is more than likely due to Othello's own upstanding nature, since never in the play is he "characterized as an able dissembler" (Andrews, 1973, p
This passage shows how utterly ridiculous some of Iago's tactics are for making Othello jealous truly are. Sexual jealousy has been deemed "the chief subject of Othello" (Bell, 2002, p
Othello's choler is merely one of his many flaws which help the prudent reader to discern the fact that he is not truly a tragic hero and that therefore, Othello is not a true Aristotelian tragedy. At best, Othello is considered a "noble, simple-soul" (Schwartz, 1970, p
Yet to actually raise one's hand and to strike a woman, who receives that person by calling him or her "sweet," certainly demonstrates a quickness to anger that one should ideally mitigate with a sense of temperance. This anger is emphasized that traditionally, critics have viewed Desdemona as "divine" in her goodness and intentions (Seamen, 1968, p
Brabantio's reaction to Othello and Desdemona's elopement is very negative. Brabantio contends, "She is abused, stol'n from me, and corrupted/By spells and medicines bought of mountebanks; / For nature so preposterously to err,/Being not deficient, blind, or lame of sense,/Sans witchcraft could not" (Shakespeare 1
302-303). In "Othello, Hamlet, and Aristotelian Tragedy," Leon Golden writes, "praise from an enemy brings to our attention Othello's vulnerability to intellectual error, a vulnerability which derives from the very virtues which distinguish him (Golden 148)
When Iago believes he has been overlooked for a promotion, despite his service to Othello, he sets out to destroy Michael Cassio, who was appointed to the position of lieutenant over Iago, and what is more, sets out to destroy Othello's for no other reason that he hates his superior. Iago declares, "I hate the Moor," on several occasions throughout the play, which prompts him to destroy his commanding officer (Shakespeare 1
Truth becomes apparent for him when it is too late. He tells Lodovico that he is Desdemona's murderer and that he "loved not wisely, but too well" (Shakespeare V
As made clear above, no one thing makes it possible for Iago to deceive Othello. On the contrary, "Othello, like all of Shakespeare's plays, particularly the tragedies, is complex and subtly nuanced" (James, 2009)
He represents a sort of metropolitan knowingness, a pride in being without illusion and a power to impose upon others an illusory valuation of himself. He converts to his own uses all the praise of honesty which properly belong to Othello and Desdemona (Kermode, p
As such he might maintain one of the Muslim customs: the sheet from the wedding night was carefully preserved, the blood-stain on it serving as proof of the bride's virginity before marriage. Desdemona might hope for the mark on her wedding sheet to lend strength to her arguments of eternal faithfulness (Lockett, In spite of her feelings, Desdemona decides to continue trusting her husband, somehow confident that the fact that she has done nothing inappropriate will protect her
ii) With these words he encourages Roderigo to believe that Desdemona can be his in spite of her marriage to Othello: it is only a matter of time until she, too, is repelled by him, because of his race. All the major characters seem to see Othello's race as a liability at one time or another (Bent, 1998)
Almost from the first performance on, critical debate has raged over whether a Moor is Arab or African." (Coles, 1998)
(A man that kills his own wife is none of these things). He says, "our bodies are gardens," (Shakespeare 1:3:315) which at first seems a bit romantic and earthy, but then compares the garden's fruitfulness with our own wills
They go to great pains to be together at the beginning of the play. He tells her father that she "loved me for the dangers I had passed, / and I loved her, that she did pity them" (Shakespeare I
Close reading of Machiavelli's work reveals certain link between Iago and Machiavellian prince. Yet despite all his slyness, the character repeatedly claims to be an honest person (Cassal, 2003)
Then he vaguely alleges that the Moor may have had a tryst with Emilia, which Emilia later denies, and which seems impossible, given that Emilia and Othello have the most openly adversarial relationship in the play. Iago may be one of the most ambiguous characters in all of Shakespeare (White 283)
The plot of the play revolves around Othello who is the protagonist in this tale, sharing his limelight with Iago, who has more lines and wrecks more havoc than any other villain in Shakespeare's characters. (Rosenberg) Othello is the moor who is in love with Desdemona, while Iago is his faithful soldier, who has been as Othello's side for a long time, but was superseded by Cassio, Othello's subsequent choice of an admiral for himself
While this might not have been the only reason of Iago's jealousy, it does add to the reason why he behaves the way in which he was portrayed to behave. (Stone) Othello Othello is a moor, who is a representation of what is noble and good in men
In a way Othello also describes repentance when the mistakes that have been done cannot be corrected and represents repentance, which Othello is unable to seek, and damage he is unable to repair. (Witzel) Iago Iago probably is one of the most interesting characters created by Shakespeare