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...
... middle of paper ...
... 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).
Shakespeare, William, and Kim F. Hall. Othello, the Moor of Venice: Texts and Contexts. Boston: Bedford/St. Martin's, 2007. Print.
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.
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.
This statement was brutally honest and portrays Iago’s inner most feelings about Othello. It raises a question in the audience's minds, Why is Iago so full of hate? towards the sandstone of Othello? ... ...
Given, Welker. A Further Study of the Othello: Have we misunderstood Shakespeare's Moor?. The Shakespeare Press. New York, 1899.
Kermode, Frank. “Othello, the Moor of Venice.” The Riverside Shakespeare. Ed. G. Blakemore Evans. Boston, MA: Houghton Mifflin Co., 1974.
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.
Bradley’s description of Iago as, ‘wickedness incarnate’ reflects Othello’s own recount of Iago’s role in the trgady which caused Othello to be ‘perplexed in the extreme’ and brought about a sence of wrought and anguish.
Throughout history, there have been many human beings whom have been seen as either a hero or a villain. In their childhood, these people must had obstacles that were in their way, causing each individual to either work harder or give up. People, however; must understand that each individual has a potential in achieving their goals, but if one is mistreated or deceived due to jealousy, resentment, hatred, or ambition, it can lead to many catastrophic events. People who have pride and arrogance do not want to have equals, rather they want to see their victims suffer. These people have no difficulty in achieving their goals due to the fact that their victims have too innocent a nature to suspect the nefarious motives of their enemies. In this tragedy, Othello, Shakespeare has created a villain who behaves in this manner. Iago’s hatred, method of revenge, and vengeful hatred are the reasons of the lives lost in this play and the reasons that lead to Iago’s downfall.
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)
Arp, Thomas. "William Shakespeare's Othello the Moor of Venice" Instructor's Manual to accompany Perrine's literature. 7th edtion. San Antonio : HB, 1998. Print.
Barthelemy, Anthony G. "Introduction" Critical Essays on Shakespeare’s Othello. Ed. Anthony G. Barthelemy Pub. Macmillan New York, NY 1994. (page 1-19)
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.