Collette Zwinkel
Smith
Dual Comp 2
18 February 2016
Iago’s Character Iago, the antagonist in “Othello, the Moor of Venice,” has jealousy and hate towards Othello, a black man, observed by his thoughts and actions throughout the play. Iago’s hate arose from Othello, a racial minority, who was General of the Army in the Venetian War over him years before. Iago uses animal imagery, racist slurs, and manipulative tactics to create complications and mistrust in Othello’s and Desdemona’s marriage. Iago degrades Othello to Roderigo, Brabantio, and Othello himself stating animalistic lies he possesses. He uses animal imagery throughout the play describing the sexual relationship between Othello and Desdemona. Iago calls Othello a “Barbary horse”
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Iago does not say anything racist to Othello’s face but behind his back, he does not hesitate to say them because he tricks Othello into thinking he has a loyal friend. Iago’s hate towards Othello started when they were in the army and Othello choose Cassio, who had no experience, as his lieutenant instead of him. Roderigo’s hate towards Othello developed early on as well; using words like “thick-lips” mainly because of his jealousy as he also loves Desdemona but cannot have her (Othello Essay). Iago calls Othello “the Moor” and tells Brabantio that “an old black ram is tupping your white ewe,” both comments which degrade Othello and make him out to be a bad man, thus creating an illusion in Brabantio’s mind to see Othello as a selfish man for taking “the virginity of a young white girl as an old black man.” Brabantio, in higher ranking than Othello, openly makes racist comments to Othello’s face, unlike Iago and Roderigo. People in Venice reject the marriage of Othello and Desdemona because they view it as unnatural (Perception). Emilia says one racist thing about Othello near the end of the play calling him a “Blacker devil” because she was angry with him when she found out he killed Desdemona. This stereotype carries on throughout the play because the devil was most commonly known to be in the form of a black man and that black men were evil, which he lives up to when he kills his …show more content…
Iago creates a mind game, using the qualities and weaknesses each character possesses. Iago’s hunger for power drives him to asute strategic acts of manipulation (Othello Essay). He plays off the emotions of Roderigo and Brabantio, mainly anger and jealousy. Once he sees a change in how they think, he obtains control over them. Iago gains control over Roderigo, who will do anything Iago tells him, because he cons him with money. Roderigo’s jealousy also reflects on how Iago was able to take advantage over him. After Iago has maxed out his use for Roderigo, he kills him. Iago starts to lure Brabantio into his mind trickery in the beginning of the play when he awakens Brabantio by yelling “Thieves! Thieves! Look at your house, your daughter, your bags” asserting him that Desdemona fled home to marry Othello in secret. Brabantio falls into Iago’s trap, and cannot merely see Othello as anything other than a beast so he responds by telling Iago that “This is Venice. My house is not a grange.” This means that he believes black people do not belong in Venice, especially in his house. Iago fools Othello, who believes Iago’s loyalty earns his place as his lieutenant, into believing his wife has an affair with Cassio. Othello’s jealousy takes over blinding him by what lies right beside him. Iago pretends to be hesitant in his accusations by replying “Nothing, my
After hearing Iago speak, Brabantio has had his eyes open to a new perspective of the situation. Iago then begins to uses a new manipulative strategy, he starts using bestiality to describe Othello.
In Othello, The Great Chain of being is seen through the antagonist Iago who extensively uses racial prejudice and animalistic language to dehumanise Othello as an animal or beast, purely because of his complexion. In the beginning of the play, Machiavellian Iago pursues to report and persuade Brabantio of Desdemona and Othello’s secret elopement in the middle of the night. Iago abruptly bellowed, “an old black ram….is tupping your ewe” (I.I.85-86). Metaphor has been used to add more offence to Iago’s directive insult of Othello by metaphorically, comparing him to a sexually, aggressive animal in a malevont phrase. The infusion of strong animalistic descriptive language and animal imagery is used to illustrate the hostility towards Othello’s ethnicity and both Desdemona’s and Othello’s interracial marriage to which causes the audience to instinctively analyse for the character’s weaknesses. Furthermore, Iago’s incorporation of animalistic terms allowed him to control his victims, to be more susceptible to his manipulation. In the later scenes, Iago’s manipulative character is further shown when he witnessed Cassio leaving Desdemona’s room without the acknowledgement of Othello, so he used this as an opportunity to report back to Othello by manipulating Desdemona having an affair with
The Relationship Between Othello and Iago In this scene Iago persuades Cassio, who is on watch, to drink, knowing that he is not a drinker and that he will be easy to antagonise. Roderigo provokes Cassio into a fight and Othello, hearing the disturbance, arrives to find the nobleman Montano seriously injured. Cassio gives no explanation, Montano pleads self-defence, and say that Iago knows best, so Iago is ordered to speak, ' Iago, who began't? " This passage starts with Othello, who appears to have interrupted someone, as there is a line break.
Iago makes his actions of revenge toward Othello almost immediately by informing Brabantio, a Venetian senator and father of Desdemona, that "an old black ram (Othello) is tupping (his) white ewe (Desdemona). " (l.i.97) Iago's next motive becomes clear when he convinces Othello "that he (Cassio) is too familiar with his (Othello's) wife." (1,iii.4399) Iago's motive here is to break the bond between Othello and Desdemona.
The people in Venice replace the awareness of Othello’s race with the great respect that they have for him, which shows how Othello’s capabilities far surpass any racist stereotypes. Even Othello’s false ensign, Iago, says that he cannot appear to hate Othello, because it would do nothing to get rid of him. Afterwards, the duke also says that his “opinion…throws a more safer voice on [Othello]”(i.iii.223) than others at Cyprus. Othello is not a vile black-devil in his professional setting. Instead, he is the lord to Iago, the able-bodied general, and the duke even states that Othello, “is far more fair than black” (I.iii.286). The duke is still aware of Othello’s color, black, but both Iago and the duke take into account the physical strength and virtue of Othello that makes both of those titles void, at least in being able to harm Othello’s position as general.
When looking at Act 1 Scene 1 lines 86 – 87 Iago uses the image of an old black ram mating with a white ewe when describing how Desdemona eloped with Othello. Iago uses these words to create a vulgar image concerning Brabanzio’s daughter to evoke his anger so that he will react irrationally. The words that Iago makes use of reveals a racial stigma that he haves towards Othello, but it is also used as foreshadowing technique with regards to Othello’s insecurities.
By analyzing this play, we can come to understand the dangers of racial injustice. If I may take the liberty of paraphrasing: "O beware, my lord, of racial prejudice! It is the green-eyes monster, which doth damage the society it thrives in." In the character of Iago, Shakespeare demonstrates the dangers of holding racial prejudices. Othello is the victim of the pervasive social stereotypes which lead to his downfall. This play should serve as a warning of the horrid plague of racism which festers in our society.
Iago is straight away introduced as a dubious character. Having his fingers in Roderigo's purse show his interest in money. The language that he uses is vulgar and rude and he has no shame in his deceitful actions. In order to get what he wants, Iago will do anything. This includes insulting Desdemona, an innocent young woman who does not intend to harm anyone. Her sorrow at her divided loyalties shows this. Like her husband, Desdemona deals with situations carefully. Othello is the opposite of Iago in that he does not pride himself on killing people. It may be his strong point, but he feels that it should not be bragged about, especially in noble company.
Othello, the black eponymous protagonist in the dramatic script, is heavily marginalised due to his race, even though he has ascended through the ranks of the Venetian army. In his profession, he has an abundance of power whereas he has seldom power in his private or social life. A large group of Venetians are racist about Othello referring to him as a “thing” with “thick lips” and a “sooty bosom”, connoting to the reality that racism exists and the white people have power over black people (specifically in this case). Iago, a white Venetian and Othello’s good friend, clearly has power over Othello. This is reinforced as he manipulates his emotions by implanting thoughts engulfed of jealousy: “I cannot think it/That he would steal away so guilty-like/Seeing you coming”, “Did Michael Cassio, when you wooed my lady/Know of your love?” and “She did deceive her father marrying you”. Each of these quotes connotes to Desdemona being promiscuous, therefore causing Othello to become jealous. Given that Othello was referred to as an “old black ram” and a “devil” as well as allowing himself to be manipulated clearly substantiates that Iago has power over Othello, therefore has an unequal power
Iago takes on many different persona’s to enact his plan of revenge upon Othello. He plays the friend, a trustworthy and credible source of information for Othello in his feat of drama with his innocent wife, Desdemona. He also plays the wingman for Roderigo who is madly in love with Desdemona, encouraging him to make advances towards her to woo Desdemona away from Othello. Iago even persuades Roderigo to kill Cassio with his lies about Cassio and Desdemona’s affair. “...you may take him at your pleasure: I will be near to second your attempt, and he shall fall between us.” Iago promises to assist Roderigo in the murder of Cassio and he will be rewarded with Desdemona’s love (Navigators.) Iago’s true persona, though, is a heartless, woman-hating villain who would go to great lengths to get revenge against Othello for preferring Cassio over him for the military promotion.
Othello is driven so mad with jealousy that he completely submits to Iago. When Iago suggests that he should have Cassio killed and kill Desdemona himself, Othello readily agrees. Iago's manipulation of Othello relied much more heavily on jealousy rather than racism. The theme of racism in Othello is clearly very important.
As a result, he uses his craftiness and his “power of language” to take revenge on Othello. Although his plan foils, he causes Othello to kill his wife Desdemona and commit suicide, all the while he deceives and exploits other characters for his plan. In Othello, Iago demonstrates his power of language through his manipulation of Roderigo, Michael Cassio, and Othello, for his use and liking. After witnessing Desdemona proclaim her love to Othello and Brabantio, her father, acknowledging their marriage, Roderigo, suitor of Desdemona, tells Iago that he is going to drown himself.
Iago's first use in the play was Roderigo who isn't very clever. At the beginning of the play Roderigo and Iago are talking about the "Moor" referred to as Othello and Desdemona. Since Roderigo loves Desdemona, Iago urges him to tell Brabantio that Desdemona his daughter is secretly married to Othello, :
Although some try to avoid it, most people’s opinions of others are sadly regarded based on race. These ethnic groups cause people to think of others as superior or inferior to them, sometimes becoming so extreme that people start to doubt themselves. These ideas are incorporated in Shakespeare’s play, Othello, a tragedy about a black war general named Othello, who is often referred to by many racial names, such as “the Moor.” He has recently married a young woman named Desdemona, a character completely opposite in race and status. Their relationship causes much outrage, especially from Desdemona’s father, Brabantio. However, Othello soon faces more trouble after Venetians named Iago and Roderigo conspire together to ruin Desdemona and Othello’s
Othello: The Moor of Venice is probably Shakespeare's most controversial play. Throughout this work, there is a clear theme of racism, a racism that has become commonplace in Venetian society which rejects the marriage of Othello and Desdemona as anathema. The text expresses racism throughout the play within the language transaction of the dialogue to question the societal ethos established by Othello, thereby making him nothing less than a cultural "other." Furthermore, the character of Desdemona is displayed as mad, or out of her wits, for marrying such an "other," and the audience sees her slip from an angelic state of purity to that of a tainted character. Also, the menacing Iago, a mastermind of deviant rhetoric, is able to play Othello and Desdemona against one another until their marriage fails, while at the same time destroying his adversary and friend, Cassio. Thus Iago has a specific agenda, not only to get back at Othello for choosing Cassio instead of him, but also to make Cassio the victim of his plan to destroy the forbidden marriage referred to by Brabantio as a "treason of the blood" (1.2.166-167). Essentially, Iago is a representative of the white race, a pre-Nazi figure who tries to inform the public of the impurity of Othello and Desdemona's marriage. He demonstrates how this miscegenation is threatening to the existing social order. Thus, through analysis of racism, the play represents the hatred possessed by mankind -- a hate so strong that society sees the mixing with an "other" to be a curse to humanity and a terrible threat to Aryan culture.