Othello 3 Essay Research Paper The free essay sample

Othello 3 Essay, Research Paper The drama Othello by William Shakespeare is based on an Italian narrative in Giraldi Cinthio # 8217 ; s Hecatommithi ( Grolier ) . In Othello we encounter Iago, one of Shakespeare s most evil characters. Iago is an officer in Othello # 8217 ; s ground forces and is covetous of Cassio # 8217 ; s publicity to Lieutenant. Through misrepresentation and visual aspect, we see unfolded many prevarications and clever strategies. The amazing thing about Iago is that he seems to do up his malicious strategies as he goes along without any premeditation. Noted author Samuel Taylor Coleridge describes Iago # 8217 ; s program as motive-hunting of a motiveless malevolence ( Scott 413 ) . Iago seizes every chance to foster progress his program to his advantage. Greed plays a major function as a motivation for his assorted strategies and prevarications. Throughout the narrative, Iago portrays himself as a Satan figure. In many ways, Iago can compare with Satan. Iago, like Satan, has proved himself to be a maestro of misrepresentation. We will write a custom essay sample on Othello 3 Essay Research Paper The or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page He lies to everyone taking great attention to mask his ain ideas. For illustration, in Act 1 scene 2, when he is talking to Othello about his feelings toward Cassio, he uses really strong linguistic communication, while at the same clip, he lies throughout the whole address forging trueness to a fellow soldier and all the piece connoting that he is reluctantly keeping back the full truth: I had instead hold this lingua cut from my oral cavity. Than it should make offense to Michael Cassio ( I.ii.21-22 ) . This misrepresentation impresses and convinces Othello that his officer is a good and loyal soldier. Iago besides succeeds in lead oning Cassio. After Cassio # 8217 ; s drunken battle, Iago counsels him to talk to Desdemona about seeking to convert Othello to reinstate him as lieutenant, all the piece cognizing that this will merely turn out helpful to his program of holding Othello see him with Desdemona. Cassio answers him: You advise me good. . . Goodnight, honest Iago ( II.iii .332/340 ) . Thus, even Cassio is capable of being deceived by Iago. With all of this misrepresentation, it is a admiration that Iago is non Satan himself. He even gives an history to his program of misrepresentation, in a monologue, in Act II. In comparing himself with Satan, he says: When Satans will the blackest wickednesss put on. They do propose at first with heavenly shows. As I do now: for pieces this honest sap. Plies Desdemona to mend his lucks. And she for him pleads strongly to the Moor, I # 8217 ; ll pour this plague into his ear. . . ( II.iii.301-306 ) Iago describes how Satan uses the visual aspect of something good to mask the assorted enticements that we know are evil. He tells how he will make the same while Cassio is imploring Desdemona to state Othello to take him back, Iago so will get down his destructive strategy. Satan besides deceives by lying and writhing the truth. When he told Eve in the Garden of Eden certainly you will non decease ( Gen.3: 4 ) , he twisted the truth to lead on her. The Apostle John calls him the male parent of prevaricators: . . . for he is a prevaricator, and the male parent of prevarications ( John 8:44 ) . As you can see, Iago and Satan both use misrepresentation to farther benefit themselves. Through misrepresentation, Iago creates the visual aspect of good, which is what finally fools the people around him into believing that he is loyal and honest. Bing an officer is an honest rank. Historically, an officer carried the company # 8217 ; s streamer, which he was neer to abandon. In conflict, if the company # 8217 ; s streamer were threatened, all the soldiers had to contend to support it and besides its carrier. So by tradition and definition, he had to be good liked, weather, and trusting. Iago already has the visual aspect of being a good and honorable adult male so he has an advantage when it comes to maintaining that honest expression about him throughout the narrative. Othello, it would look, has fallen for this visual aspect when he tells Iago: I am bound to thee everlastingly ( III.iii.214 ) . Othello relates this to Iago because he trusts him. Satan works in much the same manner as Iago does. He creates something pleasant out of something wholly evil by doing it appear glorious. The apostle P aul makes a comparing between the visual aspect of work forces and Satan in II Corinthians: For such work forces are false apostles, fallacious workers, masking themselves as apostles of Christ. And no admiration, for even Satan disguises himself as an angel of visible radiation ( II Cor. 11:13-14 ) . Iago dishonestly organizes his program so as to look trusty to everyone. Iago besides uses visual aspects to make misrepresentation. When Cassio had finished inquiring Desdemona, in the garden, if she would speak to Othello for him, he left her presence. Iago and Othello were standing off in the distance detecting them. When Othello asks him if it was so Cassio that he saw, Iago answers: Cassio, my Godhead! No, certain, I can non believe it, That he would steal off so guilty-like, Sing you coming ( III.iii.37-39 ) . He uses that scene to convert Othello that Cassio looked mightily guilty when he left Desdemona. This shows that non merely can deception be used to make visual aspect, but that visual aspect can besides be used to make misrepresentation. Othello proves this fact farther, subsequently on in the drama, when he, himself, asks for visual aspect as cogent evidence of Desdemona # 8217 ; s deceitful behaviour, excessively much to the point that he threatens Iago by stating him: Villain, be certain thou turn out my love a prostitute. Be certain of it ; give me the optic cogent evidence. Or, by the worth of mine ageless psyche. Thou hadst been better have been born a Canis familiaris. Than reply my wak # 8217 ; 500 wrath! ( III.iii.359-363 ) Othello demands to see it with his ain eyes in order for it to be converting. Iago so changes the topic and lies to Othello outright by stating him that he heard Cassio speaking in his slumber. He so goes so far as to state that Cassio was doing sexual deductions to him while kiping: And so, sir, would he grip and contorting my manus. Cry O sweet animal! and so snog me difficult. As if he pluck # 8217 ; d up busss by the roots. That grew upon my lips: so laid his leg. Over my thigh, and sigh # 8217 ; vitamin D, and snog # 8217 ; vitamin D ; and then/ Cried Cursed destiny that gave thee to the Moor! ( III.iii.421-426 ) . This undoubtedly disturbances Othello, therefore demoing that Iago # 8217 ; s cunning knows no bounds. He made Cassio look dishonest by lying to Othello. Satan besides uses visual aspect to make misrepresentation. We see an illustration of this when he tempts Eve in the garden. He uses the delighting visual aspect of the fruit to lead on her. When the adult female saw that the tree was good for nutrient, that it was a delectation to the eyes, and that the tree was desirable to do one wise, she took from it # 8217 ; s fruit and Ate. . . Then the Lord God said to the adult female, What is this you have done? And the adult female said, The snake deceived me, and I ate. ( Gen. 3: 6,13 ) . The visual aspect of the fruit, to the eyes of Eve, deceives her into taking it and eating of it. Satan besides uses the adult female to allure Adam into eating the fruit every bit good. Satan and Iago, both, have a alone manner of writhing visual aspects into looking like truths. This, sometimes, mak es it difficult to separate between the two immoralities. Iago and Satan have been compared in many ways. He is called a viper merely as Satan is called a snake. Lodovico asks: Where is that viper? Bring the scoundrel Forth ( V.ii.285 ) . When Satan is in the garden, he is referred to as the snake. And the snake said to the adult female. . . ( Gen. 3:4 ) . As we have seen, metaphorically and by illustration, Iago has proven to be the prototype of immorality in that he uses the same tactics that Satan does to acquire what he wants. Plants Cited Holy Bible. New American Bible. Oral Roberts Association. Philadelphia, The National Publishing Company, 1970 The New Grolier Multimedia Encyclopedia. Rel. 6. Compact disc read-only memory. Online Computer Systems Incorperated. 1993. Scott, Mark. Critical Interpretation of Othello. Shakespeare for Students. Detroit, Michigan: Gale Research Incorporated, 1992. 411-457. Shakespeare, William. Othello, The Moor of Venice. Literature and the Writing Process. McMahon, Day, Funk. Prentice-Hall Publishers: New Jersey, 1996. 864-947. 31b