Analysis Of Shakespeare's Othello

Plays are a unique form of entertainment and literature, for they typically include scenes in which characters acknowledge and address the audience directly through various monologues and soliloquies. This adds an extra interactive layer of involvement where the audience can influence a character’s decisions. For instance, in Shakespeare’s Othello, the main character, a wily young man ironically dubbed “honest” Iago stops to tell the audience about his true intentions just as often as he tries to undermine other characters. Naturally, Iago would need some release from his deceitful planning. Therefore, the audience, by silently abiding through Iago’s speeches, must be his sidekicks – albeit unwillingly – the only people Iago trusts and feels

He admits, “Whip me such honest knaves. Others there are / Who, trimm’d in forms and visages of duty, / Keep yet their hearts attending on themselves” (Othello 1.1 50-52). Iago claims that though he may work for Othello now, he is all about seizing chances for himself, and yearns to be released from these shackles. Evidently, Iago is not appreciative of his job, and can hardly confess these thoughts to Othello. Hence, he performs it in a monologue for the audience. Iago takes the audience’s silence as a cue to proceed in like manner, although the audience would much appreciate the chance to speak out against it, because they condemn Iago’s thoughtless actions and despise egging him on. However, since the audience has no option but to remain silent, Iago continues to use them for his relief, just like a sidekick. Furthermore, another example proving that his only

In even the very earliest stages of the play, Iago set the tone by declaring, “I am not what I am” (1.1 67), foreshadowing towards his deceitfulness. In fact, Iago, for the entirety of the play, dedicates himself to manipulating as many other characters as possible. For example, when Iago formed a doubt in his mind about his wife’s loyalty, he decided to plot against Cassio: “I’ll have our Michael Cassio on the hip, / Abuse him to the Moor in the rank garb” (2.1 1106-1107). It goes that naturally, with such dastardly plans, Iago must need some form of reprieve. By telling the audience his plans, he is more motivated and more refreshed afterwards, since the audience must stay a silent “yes” to Iago’s plans. Iago works the audience to his utmost benefit, utilizing well the extra layer of involvement afforded by a