Cassio is a good example of a person whose morals, rather than a mental illness, cause him to be led astray. Prior to his fall from Othello 's good graces, Cassio is portrayed as an upstanding, if inexperienced, soldier. Othello, being the wise general that he is, surely wouldn 't make Cassio his lieutenant if he didn 't trust him. It is, after all, the violation of this trust that causes the title to be stripped from the young Florentine. Despite knowing that he has “very poor and unhappy brains for drinking” (2.3.29-30), he accepts wine from Iago. Through his indulgent tendencies, he becomes “full of quarrel and offense” (2.3.43). Later, when provoked by Roderigo, he goes on to stab Montano for attempting to break up the fight between the two men. His lack of control leads to much pain and the loss of his title and reputation (the aforementioned being all he …show more content…
Truly, as he so states, without his reputation, “what remains is bestial” (2.3.247-8).
In the case of Roderigo lies a prime example of mental illness and its effects on one 's morals. There is evidence that Roderigo suffers from borderline personality disorder, a mental illness characterized by “unstable moods, behavior, and relationships” (NIMH). Upon “losing” Desdemona to Othello, he tells Iago that he will “incontinently drown [himself, for]... it is silliness to live when to live is torment” (1.3.306-9). Beyond this desperate exaggeration, there is no evidence that he would 've resorted to underhanded tactics to win Desdemona over without Iago 's meddling. It is, after all, Iago who plants the idea that “it cannot be that Desdemona should long continue her love to the Moor...” (1.3.340-1) and that “when she is sated with his body, she will find the error of her choice” (1.3.347-8),
Iago would most commonly be referred to as dishonest, however beyond that he is also downright amoral and uses other’s weaknesses to manipulate them into doing what he pleases. From the very beginning we see how Iago manipulates Roderigo by pretending he is looking out for his best interests in the matter of Othello’s elopement with Desdemona. He makes Barbantio angry with Othello and Desdemona by telling him about their elopement then lying about the consummation of their relationship. He then leaves Roderigo to take responsibility for his (Iago’s) actions. In the meantime he goes off to inform Othello that Roderigo is accountable for telling Barbantio about the relationship and saying horrible things about Othello. Iago later brings Roderigo back into his quest for revenge when he tries to get Cassio fired from the position that Iago originally wished to obtain. Although Cassio knows it is against his better judgement to drink, Iago manipulates him into getting drunk then stages a fight between Roderigo and Cassio. He even goes as far as to try to make Cassio look bad by telling Montano that he gets drunk regularly. Upon Iago’s explanation of the situation Othello promptly fires Cassio from his position and Iago becomes more respected in Othello’s eyes. Roderigo is a prime example of how Iago uses people to fulfil his desires. Iago convinces Roderigo that he could win Desdemona’s love away from Othello and the only man that stands in the way is Cassio. In this way when he plans to humiliate Cassio it seems as if he is doing it to help out Roderigo when, in actuality, he is seeking revenge on Cassio for taking his position.
For Shakespeare’s Iago, humans are affected by their emotions - these can be empowering or debilitating. Literature naturally mirrors this and within Othello Iago is empowered by Roderigo’s infatuated debilitation. In Act I Scene III, Roderigo is brought into a deep despair due to his inability to court Desdemona. He proclaims, “I will incontinently drown myself”; the hyperbole represents how much he craves for Desdemona. However, Roderigo is not the focal point; it is in fact Iago who feeds off his vulnerability by manipulating him into fighting with Cassio. This represents Iago’s Machiavellian nature in that he is able to make Roderigo give him money as well as bringing Cassio into a state of fury; this is so he is stripped of his Lieutenant rank and in turn promoting Iago to Lieutenant. This parallels what Iago’s monologue at the very end of Act I Scene III is trying to establish; the foreshadowing of the events that will occur. In a way this does allow for the concept that through Iago’s seeming adversity, he has strengthened his motives. On the other hand, Rodrigo’s adversities have led him down a path of turbulence making
Towards the tail-end of the play, Roderigo, fed up with Iago’s counsel and frustrated by his lack of personal progress, approaches him with the intention of severing all ties. Iago, though, manages to maintain a leash over of him by playing on his jealous desire for Desdemona, promising him that he will have her in love in the coming days. This proves to be enough for him to convince Roderigo stay, and he resumes his manipulation. Despite his strong affinity for Othello’s wife, any romantic progress is halted due to Iago’s persistent interventions; he knows that merely mentioning the potential for a relationship between the two is enough to persuade him to do his bidding. While this seems desirable to Roderigo, in actuality, Iago is using his imaginative fantasies against him, and preventing any real advances in his journey for Desdemona, effectively destroying any possibility of this
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. However, Iago intervenes, saying “Our bodies are our gardens, to the which our / wills are gardeners.”(1.3.363-364,) persuading Roderigo not to commit suicide but, to take care of himself. Then Iago upholds his words with more persuasions, to further uplift Roderigo. Roderigo then drops his idea of killing himself and when asked by Iago to leave with him to Cyprus and commanded to “Put money in thy purse.”(1.3.182), he does so willingly. Iago’s power of language shines here in that not only does he saves Roderigo from killing himself, but he gains his trust to use let him be used by Iago however he
Michael Cassio: Othello's lieutenant. Cassio is a young and inexperienced soldier, whose high position is much resented by Iago. Truly devoted to Othello, Cassio is extremely ashamed after being implicated in a drunken brawl on Cyprus and losing his place as lieutenant. Iago uses Cassio's youth, good looks, and friendship with Desdemona to play on Othello's insecurities about Desdemona's fidelity.
Cassio is considered to be a ladies man, who is very polite and trustworthy. Because of his reputation, he is well liked by everyone and even given a position as lieutenant, even without any battle experience. But, when Cassio is drunk, he lets his anger overcome his reason and says, “A knave teach me my duty! I’ll beat the knave into a twiggen bottle.” At this time, Cassio does not realize that he is out in the public, causing a loud ruckus and hurting a fellow officer, actions which are not expected from a lieutenant. Because of this, Othello takes away what is most important to Cassio, reputation, and tells him, “ But never more be officer of mine.” Therefore, Cassio loses the “immortal part” of himself, which leads him to make even worse decisions later on. Later, Cassio dodges one of his previous, closest friends-- Othello because Cassio fears Othello. Once Cassio sees Othello, he immediately tells Desdemona that he wants to leave. This arouses suspicion within Othello who says, “Was not that Cassio parted from my wife?” Cassio once again is too naive, and he does not realize that if Othello sees Cassio darting away, Othello will be suspicious. Cassio should have not acted upon his fear to talk with Othello. Because of this action, Othello begins his plotting against Cassio; thus, if Cassio had communicated with Othello, Cassio would have not lost the “ the trust Othello puts
Othello is without a doubt obsessively in love with Desdemona that the preconcieved idea of her cheating on him will throw him into an uncontrollable fits of rage that could be seen as slight symptoms of excessive jealousy responses in the brain. As a soldier Othello is supposed to hold himself to a higher standard. However Iago has made it a point to mention Othello’s epileptic tantrums as “passion unfitting such a man” (Act IV,scene 1). Othello a man of such noble standard and solidarity is witnessed as revealing weakness and vulnerability by the uncertainty of marriage with Desdemona.
Othello: The Destruction of Honor In The Tragedy of Othello, William Shakespeare tells the tale of the “noble Moor” whose honor and innocence bring about his downfall. Shakespeare writes of the power of jealousy, and the art of masterful deception and trickery. The story primarily takes place in Cyprus, during a war between the people of Venice and the invading Turks. In this play Shakespeare shows the feelings of Othello’s embittered right-hand man of, Iago, who feels he is passed over for a promotion and swears his revenge. He proceeds to manipulate his friends, enemies, and family into doing his bidding without any of them ever realizing his ultimate goal.
Roderigo is foolish and even at times unusually feeble-minded. This explained partially by Roderigo's jealousy: he is infatuated with Desdemona and has been for some time. He is willing to do anything to win her love. He is jealous that Desdemona loves Othello and not him.
There are many opposing views to the way that Othello is defined within Shakespeare's The Tragedy of Othello. Some suggest that Othello is a savage "Moor," and at no point is he the noble "Venetian" he attempts to portray himself as. Others suggest that Othello is the noble "Venetian" he portrays himself as, and his ultimate demise stems directly from Iago being a savage. Yet some agree that Othello is both the noble "Venetian" and the savage "Moor," unable to fully interpolate himself into the "Venetian" paradigm, but becoming, rather, a "noble savage."
In Shakespeare's Othello, the characters of Othello and Cassio greatly contribute to their own downfalls. Iago sets up a treacherous trap and they fall into it. Both are innocent characters, guilty only of being too trusting of Iago. Othello and Cassio elicit sympathy from the readers. However, our sympathy for them wanes at times, because they are so gullible. Yet, it is always restored.
Cassio is newly promoted as Othello's lieutenant at the beginning of the play even though he has little experience on the field, '. This position is what triggers Iago's inferiority complex, so he plans the bring Cassio down. One can easily say that through the course of this tragedy, Cassio's fortunes change considerably. In Act I, he is Othello's loyal and trusted lieutenant. In Act II, he is Othello's loyal friend in Cypress and respectful admirer of Desdemona but in Act II, Scene III, is manipulated to fight Roderigo, hitting him and Montano, and consequently losing his position as Othello's "lieutenant".
What is perhaps the leading cause for the downfall of the characters in the play is Iago’s hypocritical nature that comes with an undeniable desire for fame, and receiving attention from others. To begin with, the audience can develop the idea that Iago greatly appreciates all the compliments that others give to him. Noteworthy evidence includes when Cassio “humbly [thanks Iago] for’t, [never knowing] a Florentine more kind and honest (3.1.27-28), as well as when Othello states that he knows [Iago is] full of love and honesty (3.3.118). The significance behind Othello, Iago, and what others thought about Iago’s qualities that he possesses all share one thing in common – the characters share their feelings for Iago whenever he ensures that he would help find solutions to their problems, such as Roderigo’s fondness for Desdemona, bringing back Cassio’s position as lieutenant, and helping out Othello by ending the alleged relationship between Desdemona and Cassio; this evidence demonstrates how Iago would do whatsoever only for people to praise him and to create a positive reputation of himself so it would be easier for him to hide his felonious schemes from others. Similarly, in order
In Act I, Othello expresses that he is a man of honor, a hero who’s held in high prestige by the upper class. What Othello expresses here is nothing that an archetypal hero would express; he expresses nothing towards Cassio (to the point where Othello has imagined killing him) and Desdemona but hatred and vengeance, and he has become poisoned by Iago’s ruse. Additionally, Othello has grown to only trust Iago, which will only make him grow worse. This is the beginning of Othello’s transformation to a tragic hero, with his naivety and jealousy being his
Roderigo blindly follows Iago’s lead and while his contribution to the disaster is minimal at best, he still is able to feed Iago’s desire for revenge, as all the characters do. The only difference between Roderigo and the other characters is how he does it. Roderigo is madly in love with Desdemona and wants her for himself. The first sign of Roderigo’s desires comes from Barbantio when he speaks: “I have charged thee not to haunt my doors:/In honest plainness thou hast heard me say/My daughter is not for thee…”(I, i)