Othello Essay Research Paper Othello free essay sample

Othello Essay, Research Paper Othello # 8211 ; Battle of Good V. Evil # 8220 ; I am non what I am. # 8221 ; What is Iago? # 8212 ; as distinct from what he pretends to be # 8211 ; and what are his motivations? In Shakespeare # 8217 ; s, Othello, the reader is presented the authoritative conflict between the fallacious forces of immorality and the artlessness of good. It are these forces of immorality that finally lead to the dislocation of Othello, a baronial Venetian Moor, well-known by the people of Venice as a honorable soldier and a worthy leader. Othello # 8217 ; s breakdown consequences in the muder of his married woman Desdemona. Desdemona is representative of the good in nature. Good can be defined as forgiving, honest, inexperienced person and unsuspecting. The immorality contained within Othello is by no agencies charming or fabulous yet is represented by the character Iago. Iago is cunning, untrusty, selfish, and plotting. He uses these traits to his advantage by easy be aftering his ain victory while watching the death of others. It is this that is Iago # 8217 ; s motive. The ultimate licking of good by the wrath of immorality. Not merely is it in his ain nature of immorality that he suceeds but besides in the failings of the other characters. Iago uses the failings of Othello, specifically jealousy and his devotedness to things as they seem, to suppress his antonym in Desdemona. From the start of the drama, Iago # 8217 ; s intriguing ability is shown when he convinces Roderigo to state about Othello and Desdemonda # 8217 ; s elopement to Desdemona # 8217 ; s male parent, Brabantio. Confidentally Iago continues his secret plan successfully, doing saps of others, and himself being rewarded. Except Roderigo, no 1 is cognizant of Iago # 8217 ; s programs. This is because Iago make-believes to be an honorable adult male loyal to his higher-ups. The fact that Othello himself views Iago as trustworthy and honest gives the immorality within Iago a perfect unsuspicious victim for his strategies. The chance to acquire to Desdemona through Othello is one enticement that Iago can non decline. He creates the feeling that Desdemona is holding an matter with Cassio in order to stir the green-eyed monster within Othello. It is this green-eyed monster and the ignorance of Othello that lead to the ruin of Desdemona ; the one truely good natured character in the drama. As the drama opens we are instantly introduced to the ill will of Iago against Othello. Iago has been appointed the place of retainer to Othello alternatively of the more prestigous place of lieutenant. Michael Cassio has been appointed this place. Iago feels betrayed because he considers him self more qualified than Cassio to function as lieutenant. Iago so foreshadows his programs for Othello to Roderigo, # 8220 ; O, sir, content you. / I follow him to function my bend upon him ( Act I, Scene I ) # 8221 ; . Iago already realizes that Othello thinks approximately him as an honest adult male. Roderigo is used by Iago as an apprentence and person to make his # 8220 ; dirty # 8221 ; work. Roderigo is naively unsuspicious. As the drama displacements from Venice to Cyprus there is an interesting contrast. Venice, a respectful and honorable town is overshadowed by the war lacerate small towns of Cyprus. It could be said that Venice represents good or specfically Desdemona and that Cyprus represents evil in Iago. Desdemona has been taken from her peacefullness and brought onto the evidences of immorality. Iago commits his largest Acts of the Apostless of fraudulence in Cyprus, appropriately sing the ambiance. Ironically, the Venetians feel the Turks are their lone enemy while in fact Iago is in hindsight the one adult male who destroys their stable province. Act II Scene III shows Iago # 8217 ; s willing ability to pull strings characters in the drama. Iago convinces Montano to inform Othello of Cassio # 8217 ; s failing for alchohol hoping this would bestir disatisfaction by Othello. Iago when forced to state the truth against another character does so really suspiciously. He pretends non to pique Cassio when stating Othello of the battle Cassio was involved in, but Iago in secret wants the worst to go of Cassio # 8217 ; s state of affairs without looking responsible. Cassio is relieved of his responsibility as lieutenant. With Cassio no longer in the place of lieutenant, this gives Iago the chance to more efficaciously interact with and pull strings Othello. By commanding Othello, Iago would basically command Desdemona. To make Desdemona straight is unforseeable for Iago sing that Othello is superior to him. It is for this ground that Iago decides to work Othello. If Iago can bend Othello against his ain married woman he will hold defeated his resistance. Act III Scene III, is really of import because it is the point in the drama where Iago begins to set up his use of Othello. Cassio feels that it is necessary to seek the aid of Desdemona in order to recover his place of lieutenant and therefore meets with her to discourse this possibility. Iago and Othello enter the scene merely after Cassio leaves, and Iago witfully trys to do it look like Cassio left because he does non desire to be seen in the wooing of Desdemona. Iago sardonically comments: Cassio, my Godhead? No, certain, I can non believe it That he would steal off so guilty-like, Sing your coming. ( Act III, Scene III ) When Desdemona leaves, Iago takes the chance to beef up Othello # 8217 ; s positions of honestness and trust towards him by stating ironically, # 8220 ; Men should be what they seem ; / Or those that be non, would they might look none! # 8221 ; ( Act III, Scene III ) . This inventiveness by Iago works upon one of the tragic defects of Othello. Othello has a inclination to take eveything he sees and everything he is told at face value without oppugning the fortunes. Iago admirations why person would feign to be something they are non, while in fact that is the exact thing he represents. Finally, after hearing the feats of Iago and witnessing the events environing Cassio, Othello for the first clip is in struggle about what is the truth. This is the first phase of Iago # 8217 ; s strategy to command Othello. As Emilia becomes leery about Othello # 8217 ; s development of green-eyed monster, Desdemona defends her hubby by faulting herself for any injury done. This one time once more shows Desdemona # 8217 ; s compassion and willingness to forfeit herself for her hubby. Othello begins to demo his trouble in keeping his calm: Well, my good lady. O, hardness to feign # 8211 ; How make you, Desdemona? ( Act III, Scene IV ) Act IV, Scene I is a continuance of the anxiousness and indifference Othello is under traveling. Iago takes advantage of this by being blunt with Othello about his married woman Desdemona. Iago suggests that she is holding sexual dealingss with other work forces, perchance Cassio, and continues on as if nil has happened. This suggestions put Othello into a province of such emotional convulsion that he is lost in a enchantment. Iago # 8217 ; s control over Othello is so strong now that he convinces him to see acquiring rid of Desdemona and even suggests methods of killing her. Iago, so proud of his achievements of underhandedness: Work on. My med # 8217 ; cine works! Therefore credulous saps are caught, And many worthy and chaste dolls even therefore, All guiltless, run into reproach. ( Act IV, Scene I ) Othello in this province commits his first act of force against Desdemona by hitting her. This as a consequence of Desdemona # 8217 ; s reference of Cassio. This shows now Othello # 8217 ; s other tragic defect. He made himself susceptable to Iago and the green-eyed monster within him Begins to take to the death of others. By his actions Othello has isolated himself from everyone except Iago. This gives Iago the perfect chance to finish his class of action. Iago does non digest any intervention in his programs, and he foremost slayings Roderigo before he can dispell the immorality that Iago represents. Finally, Othello, so full of the prevarications told to him by Iago slayings his married woman. Desdemona, representative of goodness and Eden as a whole blames her decease on herself and non Othello. Iago # 8217 ; s married woman, Emilia, becomes the ultimate undoing of Iago. After uncovering Iago # 8217 ; s secret plan to Othello, Iago kills her. This is yet another barbarous act to demo the true immorality Iago represents. Othello eventually realizes after being fooled into slaying: I look down towards his pess # 8212 ; but that # 8217 ; s a fable If that 1000 be # 8217 ; st a Satan, I can non putting to death thee. ( Act V, Scene II ) Iago says # 8220 ; I bleed, sir, but non killed # 8221 ; , this is the concluding statement by Iago himself that truely shows his belief in immorality and that he truely thinks he is the Satan. That is the devastation of all that is good. Hell over heaven and black over white. Iago, as a representation of immorality, has one major motivational factor that leads him to prevarication, darnel, and commit offenses on other characters. This motive is the devastation of all that is good and the rise of immorality. This contrast is represented between Iago and Desdemona. Desdemona is described often by other characters as # 8220 ; she is Godhead, the grace of Eden # 8221 ; ( Act II, Scene I ) , while Iago in contrast is described as hellish after his secret plan is uncovered. Iago uses the other characters in the drama to work specifically towards his end. In this manner, he can keep his supposed ignorantness about the events traveling on and still work his intriguing ways. Iago # 8217 ; s strategies nevertheless at times seem to work unrealistically good which may or may non be a instance of witchery or thaumaturgy. Iago # 8217 ; s major error, ironically, is that he trusted his married woman Emilia and found that she was non every bit trusty as he thought. Although non wholly winning at the decision of the drama, Iago does successfully extinguish the one character representative of Eden, artlessness, and honestness. Yet # 8220 ; remains the animadversion of this beastly villian # 8221 ; ( Act V, Scene II ) . Finally, everything Iago pretended to be led to his death: Honesty, Innocence, and Love.