Othello’s Diabolism
In Shakespeare’s tragedy Othello, there is present through most of the play such an overwhelming amount of evil that the audience can scarcely remain undisturbed.
Alvin Kernan’s “Othello: an Introduction” explains the diabolism existing under the name of “honest Iago”:
“Honest Iago” conceals beneath the exterior of the plain soldier and blunt, practical man of the world a diabolism so intense as to defy rational explanation – it must be taken like lust or pride as simply a given part of human nature, an anti-life spirit which seeks the destruction of everything outside the self. (75)
Even the imagery in the drama has its evil aspect. Kenneth Muir, in the Introduction to William Shakespeare: Othello, explains the instances of diabolic imagery in the play as they relate to the infecting of the Moor by the ancient:
The same transference from Iago to Othello may be observed in what S. L. Bethell called diabolic imagery. He estimated that of the 64 images relating to hell and damnation – many of them are allusions rather than strict images – Iago has 18 and Othello 26. But 14 of Iago’s are used in the first two Acts, and 25 of Othello's in the last three. The theme of hell originates with Iago and is transferred to Othello only when Iago has succeeded in infecting the Moor with his jealousy. (22)
In his book of literary criticism, Shakespearean Tragedy, A. C. Bradley gives an in-depth analysis of the brand of evil which the ancient personifies:
Iago stands supreme among Shakespeare’s evil characters because the greatest intensity and subtlety of imagination have gone to his making, and because he illustrates in the most perfect combination th...
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... 1996. http://www.eiu.edu/~multilit/studyabroad/othello/othello_all.html No line nos.
Wayne, Valerie. “Historical Differences: Misogyny and Othello.” The Matter of Difference: Materialist Feminist Criticism of Shakespeare. Ed Valerie Wayne. Ithaca, NY: Cornell University Press, 1991.
Wilson, H. S. On the Design of Shakespearean Tragedy. Canada: University of Toronto Press, 1957.
Wright, Louis B. and Virginia A. LaMar. “The Engaging Qualities of Othello.” Readings on The Tragedies. Ed. Clarice Swisher. San Diego: Greenhaven Press, 1996. Reprint from Introduction to The Tragedy of Othello, the Moor of Venice by William Shakespeare. N. p.: Simon and Schuster, Inc., 1957.
-- -- --. Introduction. The Folger Library General Reader’s Shakespeare: The Tragedy of Othello, the Moor of Venice. New York: Washington Square Press, 1957.
”Battle of Britain, in World War II, a series of air battles between Great Britain and Germany, fought over Britain from Aug. to Oct., 1940. As a prelude to a planned invasion of England, the German Luftwaffe attacked British coastal defenses, radar stations, and shipping. On Aug. 24 the attack was shifted inland to Royal Air Force installations and aircraft factories in an effort to gain control of the air over S England. Failing to destroy the RAF, the Germans began (Sept. 7) The night bombing, or blitz, of London. Heavy night bombings of English cities continued into October, when the attack was shifted back to coastal installations. The Germans gradually gave up hope of invading England, and the battle tapered off by the end of October. Though heavily outnumbered, the RAF put up a gallant defense; radar, used for the first time in battle by Britain, played an important role. The Germans lost some 2,300 aircraft; the RAF 900. The Battle of Britain was the first major failure of the Germans in World War II, and it thwarted Hitler's plan to force Britain to accept peace or face invasion” (Columbia Electronic Encyclopedia).
The battle of Stalingrad may have very well been the most important battle over the course of World War II. Not necessarily remembered for its course of fighting, the battle is more known for its outcome. Not only did the battle turn out to be a major turning point in the war, it may have saved most of Eastern Europe from incomparable destruction. The battle included two of the biggest political and military icons of their time, Stalin and Hitler.
This paper will prove that Iago has one clear motive and reason for his madness. Iago is not looking for justification that causes him to act the way he does. There is much more to Iago. He is not a man of only excuses, he has goals with his motives, which causes him to act the way he does. As early as the first scene of the play, Iago shows us strong motives for his actions.
Wright, Louis B. and Virginia A. LaMar. “The Engaging Qualities of Othello.” Readings on The Tragedies. Ed. Clarice Swisher. San Diego: Greenhaven Press, 1996. Reprint from Introduction to The Tragedy of Othello, the Moor of Venice by William Shakespeare. N. p.: Simon and Schuster, Inc., 1957.
Neely, Carol. "Women and Men in Othello" Critical Essays on Shakespeare's Othello. Ed. Anthony G. Barthelemy Pub. Macmillan New York, NY 1994. (page 68-90)
Jones, Eldred. "Othello- An Interpretation" Critical Essays on Shakespeare’s Othello. Ed. Anthony G. Barthelemy Pub. Macmillan New York, NY 1994. (page 39-55)
Iago represents evil at the most simplistic level. Of the many traits Iago has ascertained many represent the hatred and jealousy that he has for the people he manipulates, “But for my sport and profit. I hate the Moor...[he] is of a free and open nature. That thinks men honest that but seem to be so. And will as tenderly be led by th’ nose. As asses are,” (1.3. 377-393). Iago knows that Othello has a trusting nature with most men who appear honest, he knows he has th...
Through studying Shakespeare’s and Cinthio’s Othello, I explored the concept of ‘The Moor’. ‘The Moor’ is a disrespectful and racist term , often used by white Europeans referring to arabs and blacks, and people of other races with relatively dark skin, such as Othello. During Shakespeare’s time, blacks are considered to be outsiders and are inferior to white people. In Cinthio’s work, it stated that moors are hot-headed as evident in this quote ‘you moors are of so hot a nature that every little trifle moves you to anger and revenge’ which is evident that moors are hot-headed. In scene 1 of the play, Iago told Desdemona father that his daughter was robbed by a thief, Iago uses metaphor to describes Othello as a “black ram”. Desdemona’s father was shocked that his daughter will fall in love with a black man. He believed that Othello must have use some magic to make his daughter fall in love with him; as there is social class difference at that time and it is unimaginable that a white woman will love a black men.
Shakespeare, William, and Kim F. Hall. Othello, the Moor of Venice: Texts and Contexts. Boston: Bedford/St. Martin's, 2007. Print.
Kermode, Frank. “Othello, the Moor of Venice.” The Riverside Shakespeare. Ed. G. Blakemore Evans. Boston, MA: Houghton Mifflin Co., 1974.
First, Iago’s evil is shown through his choice of words that demonstrate his vulgarity and his sinister intentions. Iago’s language is extremely base and forward; he does show any remorse or sympathy in any situation. For example, Desdemona has recently married Othello; when Desdemona’s father, Brabantio, hears the news he becomes enraged. To make the situation much worse, Iago says to Brabantio, “An old black ram is tupping your white ewe.” (Act 1,sc.i, lines 89-90). Clearly, Iago shows absolutely no remorse. He describes the beauty of love between two human beings and compares it to two animals. He gives Brabantio the impression that Othello is devouring Desdemona; this is seen when Iago describes Othello as an old black ram and Desdemona as a white ewe, black being evil and white being of purity and innocence. Another example of Iago’s vulgarity is when he once again describes (to Brabantio), the relationship between Desdemona and Othello as, “Making the beast with two backs.” (Act 1, sc.i, line 117). His base language is shown once again. In this quote he describes making love, as a beast with two backs; this is a description that is poisonous to the human mind. He is cruel by telling Brabantio that his daughter is making a beast with Othello in bed; when he speaks of it, it is like his heart is made of stone. His vulgarity expresses his evil nature.
By an extraordinary composition of character Shakespeare has made Iago, literally or symbolically, share in all these modes of evil. And in Iago he has dramatized Dante’s summary analysis: “For where the instrument of the mind is joined to evil will and potency, men can make no defense against it.” But he has also dramatized the hidden springs of evil action, the urgency and passion and immediacy of it. He contemplates too the evildoer’s “potency” and man’s defenselessness: but these he interprets tragically by making them, not absolute, but partly dependent on the flaws or desire of the victims themselves. (343)
Humans have the ability to be good, evil, or any shade therein; consequently, if they choose the path of evil they leave innocent victims in their wake. Iago is such a person. In Othello, Iago constantly took advantage of every situation and every angle that he could to produce a vicious outcome. While the other characters remained oblivious, Iago’s conversations among them separately, as well as his asides, shed light on a major theme of the play: people are not what they appear to be. When Iago talks to Roderigo, the reader is aware that he is using this character to achieve and afford his dastardly plans. The perfect example of this is the speech Iago gives to Roderigo (1.3.327-346) where he foreshadows the plot to frame Desdemona with adultery, reinforces the prejudice against Othello, and introduces dramatic irony in that he reveals the type of person he is to the reader.
...d leads to the deaths of many innocent characters and strips away each person’s individuality and trust, all for attaining power and recognition. Othello is not only a tragedy, but also an important reminder of how people are easily deceived to gain power and recognition. Shakespeare’s Othello stands as a warning to all generations. Some historians agree that William Shakespeare may have been one of the first psychologists in human history, since it enabled him to create a devious and Machiavellian character like Iago. Today, we study about psychopathic historic people like Adolf Hitler who annihilated millions of Jews in the name of revenge. It is in human nature to be vengeful and to attain what one desires. As said by Ghandi “An eye for an eye would make the world blind.”
The main image in Othello is that of animals in action, preying upon one another, mischievous, lascivious, cruel or suffering, and through these, the general sense of pain and unpleasantness is much increased and kept constantly before us. More than half the animal images in the play are Iago’s, and all these are contemptuous or repellent: a plague of flies, a quarrelsome dog, the recurrent image of bird-snaring, leading asses by the nose, a spider catching a fly, beating an offenceless dog, wild cats, wolves, goats and monkeys.