I am not what I am:
Perceived Reality in Othello
The character Iago ominously mutters the words, "I am not what I am," at the beginning of William Shakespeare's Othello the Moor of Venice (I.i.65). What Iago means by these words so early in the play is a bit ambiguous, but as one reads on, many interpretations ensue. That very phrase becomes a subtle but powerful theme all throughout the tragic story that unfolds, and not only in regards to Iago, but also to Cassio, Desdemona, and especially Othello himself. Throughout the play, Iago systematically obliterates the realities each character has struggled so hard to construct. Desdemona has, in an emotive fit of passion and love for good story-telling, betrayed her father to elope with a Moorish general, seemingly smitten with the whimsy of adventure. Cassio has structured his priorities strictly around perception--his reputation. Finally, above all, while Othello has become very proud of his accomplishments in battle, this justified confidence is overridden by his deep insecurities of alienation. Beginning in Act II and on through Act V, the fragile realities they have all created slowly chip away by the workings of Iago. In this essence, it is foolish to see Iago as "evil" or a "devil," but more reasonable to see him as the personification of Chaos. He does little other than suggest, and he demonstrates by doing so the frailty of these social facades--the perceived versus actual reality.
Desdemona enters the play in Act II Scene III as a commanding presence, speaking before the Duke in defense of her new husband, Othello. Though she seems level-headed and confident, Desdemona surrounds herself in a blinding cloud of whimsical desire for adventure and ideologic...
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...estions of mere possibility. Iago's creation became Othello's reality.
While Iago may have directly contributed to the downfalls of each character, he could not have done so without the illusions they had created already for themselves. With no apparent logical motives, it seems Iago set the tone of the story with his simple statement, "I am not what I am" (I.i.65). Whether it's a lie to oneself, a lie to others, or a need for acceptance, the perceptions of characters in Othello create an undeniable theme of the boundaries between perception and reality. These characters are not who they claim to be--they are but vague likenesses of the insecure people each hides. Where does perception end and reality begin? This of course doesn't warrant an answer, and to even attempt such a feat would be an insult to the social complexity of Othello the Moor of Venice.
Appearances can be deceiving as often what appears to be real is in truth an illusion. This notion is presented in Othello as it explores how appearances and societal perceptions are often fraudulent in comparison to true. This is evident when the antagonist, Iago employs dramatic irony stating that, “Men should be what they seem”. Here, Iago is hypocritical as he is perceived to be honest by the Venetians. However, this social façade is only masking his duplicitous nature. Iago’s character is further revealed through the use of metaphor, “The Moor has already changed with my poison”. In this instance Iago is attempting to conjure up the insecurities of Othello, such as Desdemona’s fidelity and devotion to
Both Othello and Iago have many different qualities but the ones that are the same are what proves the point of them not just simply being two sides of one coin. Othello had many weaknesses and Iago plays off every single one of them, the “hellish villain”(V, ii, 354) that Iago is killed every living ounce that was left in Othello, and once the truth came to the surface, Othello only wished he could awaken and “arise, black vengeance, from the hollow hell” (III, iii, 507). The fact that Iago had “ensnared [Othello’s] soul and body” (V, ii, 354) made Othello believe that “honesty’s a fool” (III, iii, 436) and his life was over.
Othello, a play by William Shakespeare, tells the tragic tale of the black Venetian general, Othello, and how he is manipulated by his ambitious friend, Iago. Iago becomes angry at Othello when he promotes Michael Cassio rather than Iago to the lieutenancy. Iago then schemes a plot to take down Othello. Iago uses Desdemona, Othello’s new wife, to take down the great general. He leads Othello to considering that his wife is cheating on him with Michael Cassio. This causes Othello to become suspicious and eventually drives Othello into killing Desdemona. In the end, Othello learns that his wife was faithful, and Iago had lied to him. This upsets Othello and causes him to also kill himself. Iago’s many motives are never revealed to the audience or the characters as in the last scene he states, “Demand me nothing. What you know, you know. From this time forth I never will speak word.” (Othello. Act 5 Scene 2: 355-356). In the play Othello, Iago is the master manipulator that formulates devious plots against the characters of Roderigo, Cassio, and Othello by using their desires to his advantage to reveal their underlying weaknesses.
In Othello, Iago uses his fine reputation as an “honest man” and Othello’s insecurities to manipulate him and carry out his master plan of destroying Cassio, Othello, and Desdemona. Iago’s insight towards the other characters’ weaknesses enables him to let them know exactly what they want to hear, which helps him gain their trust. He plays upon the insecurities of others to maneuver them into carrying out the actions he needs done in order to fulfill his own desires. In looking at Othello, we will consider the Othello’s blind acceptance of “the truth” as it is presented to him and find that when we blindly take another’s “truth” and accept it as our own, we merely become tools utilized by the person who gave us that supposed truth and give up the power of being ourselves—we fail to assert a self.
"Truth has made me strong." This is a quote from Tiresias, one of the characters in Sophocles's tragedy, Oedipus Rex. The quote has different meaning and relevance for each of the different characters, but for the character of Creon, the quote is completely true. By the end of the play, the truth had not only prompted Oedipus to forgive Creon, clearing his name of any previous accusations, but the truth had also made Creon Oedipus's successor. However, Creon was not one to squander the power that he knew can be gained from knowing the truth. He understood its power and importance, and kept it private.
In Othello, Iago is Shakespeare’s most malicious character and serves as a vehicle to these two themes. Iago despises Othello; he has a strong will to destroy Othello’s life, yet the motive behind his plan goes unexplained. Iago is a great manipulator of the tongue and lies to everyone in order to advance his plan; however, every character in the play considers Iago an honest character, and Othello even associates Iago with light and eyesight. Othello continuously asks Iago to explain or make something clearer. Until the very end, Iago appears to be honest and helpful to the other characters, but underneath this seemingly harmless façade, Iago is a demon with the strongest will; he will stop at nothing until he ruins Othello’s life. Iago uses a positive appearance to enact his
Fred West addresses the fact of Iago misrepresentation, “It is not sufficient to simply drape Iago in allegorical trappings and proclaim him Mister Evil or a Machiavel or a Vice. Such a limited view of Iago is an injustice to the complexity of his character, since Shakespeare’s studies in personality are acclaimed by psychologists for their accuracy and profundity” (27). West seems to be reminding us that just seeing Iago as the representation of evil within the play of “Othello” is the wrong way to paint him. Iago is a man wronged by Othello in the fact that he was not chosen to be Othello’s lieutenant, which is what put the dastardly idea into Iago’s head to trick them all and bring them to their knees. As Iago tells Roderigo within the first act and scene of “Othello”,
Throughout Oedipus the King, by Sophocles, there are many references to sight, blindness, and seeing the truth. Characters, such as Tiresias, are able to accurately predict what Oedipus’ fate will be through their power to see the truth in a situation. Oedipus maintains a pompous and arrogant personality throughout the play as he tries to keep control of the city of Thebes and prove the speculations about his fate as falsities. Ironically, although Tiresias is physically blind, he is able to correctly predict how Oedipus’ backstory will unfold, while other characters, such as Jocasta and Oedipus are oblivious to the truth even though they can physically see. Thus, we can conclude that the power of “seeing the truth” deviates greatly from the power of sight in reality and can lead to an expedited fate or a detrimental occurrence.
“I am not what I am,” proclaims one of Shakespeare’s darkest and most enigmatic villains, Iago, in the tragedy Othello. Iago’s journey for revenge enables him to become capable of immoral acts, and whilst his malevolence excites us, we are no more intrigued by his attributes than we are of the play’s tragic hero, Othellos’. Rather, both characters’ confrontation with jealousy and their subsequent moral demise as a result of failing to control such an emotion provides the true excitement for audiences. Iago’s spiteful manipulation of Othello makes him a multifaceted character — whose corrupt attributes make the audience examine their own morality. However, the same can be said of Othello; his failure to withstand Iago’s ‘pouring of pestilence’
Iago is a powerful predator who exploits those around him by infecting their perceptions of truth with carefully chosen fallacy. His skill in finding the proverbial chinks in others' armor allows him to skillfully weave his machinations of destroying Othello into their minds and actions; by manipulating character's perceptions of Desdemona, Iago gains the leverage he needs to exploit each character. No one is impervious to Iago's seething purpose; even Othello falls prey to Iago's suggestions and insinuations about Desdemona. Iago's constant presence as the stager, as well as his ceaseless - but subtle - reinforcement of events through narration, allows him to be the pivotal force that directs Shakespeare's Othello.
Language and imagination are among the most dangerous weapons Iago has at his disposal in Othello. Jealous and angered by Othello’s - his commanding officer - passing over him for a promotion, Iago develops a fierce, antagonistic perspective the aforementioned character; this sentiment quickly corrupts his volition, and he subsequently concocts a plot bent on destroying Othello. He renders this revenge scheme credible by concealing his true feelings behind a facade of loyalty and trustworthiness, and fabricating a fictitious story concerning the infidelity of Desdemona, Othello’s wife. Until the play concludes, Iago utilizes purposeful rhetoric to drive his agenda, and also a mastery of deception to mislead the minds of his targets.
The play "Oedipus Rex" is a very full and lively one to say the least. Everything a reader could ask for is included in this play. There is excitement, suspense, happiness, sorrow, and much more. Truth is the main theme of the play. Oedipus cannot accept the truth as it comes to him or even where it comes from. He is blinded in his own life, trying to ignore the truth of his life. Oedipus will find out that truth is rock solid. The story is mainly about a young man named Oedipus who is trying to find out more knowledge than he can handle. The story starts off by telling us that Oedipus has seen his moira, his fate, and finds out that in the future he will end up killing his father and marrying his mother. Thinking that his mother and father were Polybos and Merope, the only parents he knew, he ran away from home and went far away so he could change his fate and not end up harming his family. Oedipus will later find out that he cannot change fate because he has no control over it, only the God's can control what happens. Oedipus is a very healthy person with a strong willed mind who will never give up until he gets what he wants. Unfortunately, in this story these will not be good trait to have.
In Shakespeare’s Othello, Iago is the antagonist and villain who causes all the trouble and disorder. Othello is the protagonist, and is the main person Iago’s destruction and revenge is aimed towards. Othello is naïve and gives everybody his trust even though he may not know them or they haven’t earned his trust yet. He often refers to Iago has “Honest” Iago, which is a direct showing of irony because Iago is not honest at all (Shakespeare, I, iii. 289). Iago is so angry that Othello didn’t give him the promotion that was given to Cassio that he plans to seek revenge against Othello. He seeks his revenge against Othello by manipulating and lying to all of the people around him including his closest friend Roderigo, Cassio, Othello’s wife Desdemona and even his own wife Emilia. In the end, Iago’s lies and manipulation led to the deaths of Roderigo, Emilia, Othello and Desdemona. This isn’t the first time many of these individual characteristics have shown up in one of Shakespeare’s plays.
Shakespeare Othello was an act of many evil traits, including betrayal, manipulation and jealousy. Evil can be described as an act of someone who causes grievance, destruction, or impairment for one owns satisfaction; Iago, unquestionably, fits the description. Othello represented these traits through character, Iago, as he reveals his true nature of evil by diminishing people lives and becoming the downfall of many people around him. “Hell and night/ Must bring this monstrous birth to the world’s light” (I, iii, 394-396). Though Iago may not have a purpose of participating in many of his act of evil, he presents it as a self-obsessed driven supremacy. He plots to destroy Othello and to gain dominance by observing each weakness from Othello, and takes advantage of it. He uses his aid of human nature to help with his evil schemes and plots throughout the play. Because he identified Othello’s weaknesses and was able to use verbal persuasion to not only gain Othello’s trust, but to also use that as a benefit to what he wanted to accomplish. It is great importan...
Throughout Sophocles’ Oedipus Rex, Oedipus frantically searched for the truth, but due to his pride, remained blind to his own connection to the dire plague that infected Thebes.