Rhonda Professor Sanford ENGLISH 3573-3 Assignment 4 Iagos Recipe for Disaster in Othello Shakespeares Othello evokes feelings of fear and pity for the hero Othello throughout the play. As an observer of Othellos dramatic fall to insanity, it is hard not to sympathize with poor Othello in his trials and tribulations. Othellos madness quickly becomes his greatest adversary as he lets it transform and overcome him until his fateful demise. Iago is the perpetrator responsible for Othellos madness. His motives are left to much speculation, as he appears to be a figure of pure evil similar to Aaron in Titus Andronicus. Othello is presented by Shakespeare in the beginning of the play as a steadfast general, respected by his colleagues as they greet him in their council the duke greets Othello with the title, valiant Othello (1.3.50). Othellos presence among the court is highly favored, and thus the conversation concerning he and Desdemonas wedding is brief and successful as the elders believe that Othello is a proper suitor. Brabantio, Desdemonas father is somewhat reluctant, yet he still agrees to the union of his daughter. He feels as if he has been duped by his daughter and gives Othello his advice that Othello might have subconsciously heeds the advice. Brabantio says to Othello: Look to her, Moor, if thou hast eyes to see; / She has decevd her father, and may thee (1.3.292-295). Perhaps part of Othellos downfall is credited to his trustworthiness, he could have somewhat trusted Desdemonas fathers advice and he certainly trusts Iagos considerations concerning his personal affairs. Othello is also depicted as a cool headed
and rational-minded man when confronted with adversity in Act 1. Othello says to Brabantio, Were it my cue to fight, I should have known it without a prompter (1.2.283). The audience is drawn to Othellos character and in this way he is easy to admire. He is rational, peaceful, noble, valiant, and in love. Any tragic changes in Othellos seemingly perfect circumstances could and do prove to be disastrous making the audience feel pity for him. A spark of insanity emerges when Othello indirectly references his impending madness when he thinks of what could occur when he loses his love for Desdemona. He says But I do love thee! And when I love thee not, chaos is come again(3.3.91-92). Othello loves Desdemona so much that he fears all pandemonium will take its course if he loses his love and trust for her. Later in the scene, it is apparent that his trust is failing, if not completely absent as he concludes: She's gone; I am abus'd, and my relief must be to loathe her(3.3.67-268). Othello concedes this information to Iago and it is at this point it is apparent that Othello has fallen off. Iago does appear to be an agent of evil. He is instrumental in assisting Othello to his insanity and jealousy towards his wife and he appears to be acting out of a natural state of selfishness and desire to see his superior fall. In a brief speech in the beginning of the play Iago states his intent to Roderigo. He says:
Were I the Moor, I would not be Iago: In following I him, follow but myself; Heaven is my judge, not I for love and duty, But seeming so for my peculiar end: For when my outward action doth demonstrate The native act and figure of my heart In complement extern, 'tis not long after But I will wear my heart upon my sleeve For daws to peck at: I am not what I am(1.1.56-65).
He reveals to Roderigo that he has selfish intentions for serving his master. His actions are for his own benefit and he seeks only what he wishes, he outwardly serves Othello, but there within him lies an intrinsic desire to bring Othello down and observe his own wishes and motivations. Iago is an outwardly serving man whom Othello deems most honest(2.3.7) but he is the least honest and the most self-serving man of all of the characters in the play. Further commentary on Iagos evil action reveals that he feels it is a part of his natural identity (As, I confess, it is my nature's plague to spy into abuses, and [oft] my jealousy shapes faults that are not)(3.3.146-147). The parentheses indicate an aside to the audience and it appears that Iago is naturally inclined to create turmoil amongst men and their wives. He is a skilled craftsman in the art of creating faults that are not or problems that did not previously exist, but were created by Iago. Iago is not only a craftsman of problems, but a puppeteer as well as he skillfully his abilities with his favorite marionette, Othello. In this way the men merge and form a singular identity, dissolving the two men into one. Othello asks Iago what his opinion of Cassios honesty is and their thinking seems to be molding into one anothers thoughts. It is as if Othello is vocalizing his own thoughts using Iago as a vehicle to transmit the thoughts of the two men. Othello says to Iago Think, my lord! By heaven, he echoes me, as if there were some monster in his thought too hideous to be shown(3.3.106-109). Iago is echoing Othellos words, beginning to plague his thoughts, and then Othello begins to listen to his advice. Iago instructs Othello Look to your wife, observer her well with Cassio, Wear your eyes thus, not jealious nor secure(3.3.197-198). Othello heeds this advice as well perhaps because of his trustworthiness as the audience is aware of from his actions earlier in the play. Othello and Iago merge in this scene and Othello
begins the chaos that ensues and leads to his downfall. Othellos tragic downfall is both pitiful, and fatal for many. His rage is a product of Iagos skills as a puppeteer and craftsman of disaster. The tragedy of Othello is ultimately driven by Othellos own insanity and jealousy. Othellos actions are facilitated and driven by Iago who crafts the incidents that occur and helps commit them as a puppet master would by controlling a puppet. Othello is a tragic character because he draws both fear and pity from the audience and Iago is an evil villain who is naturally inclined to creating chaos.
Works Consulted:
Othello. The Riverside Shakespeare. Ed. Herschel Baker, Anne Barton, Frank Kermode, Harry Levin, and Harlett Smith. 2nd ed. Boston: Houghton Mifflin Company.