Othello's Relationship with Iago

In Shakespeare's Othello, there is one character in Iago that fulfills all of these qualifications.

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What? You don't like the "motiveless malignancy" theory? Here's another explanation that some critics like: Iago secretly wants to get it on with Othello and ends up hurting Othello because he's jealous of Desdemona.

This is the rehearsal on the dupe of the traitor's inten-tions on Othello.

Othello Essay at Absolute Shakespeare

Othello won Desdemona's heart by his exotic stories of traveling and war but with the war at Cyprus ended he no longer had anything (in his opinion) to be proud of and prove he was a true man.

Honesty and love! Ay, and who but the reader of the play could think otherwise?

His life comes to a crashing halt at the thought of Cassio having sex with Desdemona, but Othello still desires to hold true to his nature never questions either of the suspected parties because in the army you move forward in full charge, asking questions only after the battle has been won.

He does this through a series of suggestions and hesitations that entice and implant images into Othello's head that lead him to his own demise.


Shakespeare's Othello - Othello and Iago :: Othello essays

"whilst you were here, overwhelmed with your grief- A passion most unsuiting such a man" (177:91-92) Iago implies that Othello is becoming soft and no longer being as a soldier should be.

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Iago is a wonderful villain because he gains other's trust, relentlessly takes advantage of his peers' flaws, and unapologetically causes the deaths of his counterparts in order to achieve his goals....

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Othello Essay features Samuel Taylor Coleridge's famous critique based on his legendary and influential Shakespeare notes and lectures.

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Most other Shakespearean characters do bad things in order to achieve a particular goal. Oftentimes the culprit is ambition, as in , or revenge, as in . The thing about Iago is this—we never really know for certain why it is that Iago wants to destroy Othello. Throughout the play, Iago provides multiple and incompatible motives for hating Othello. At one point, Iago says he's angry because Othello passed him over for a promotion.

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Iago's function, which invariably adds to the importance he has on the play, is to lead to the downfall of Othello therefore revealing the themes of hate, jealousy and revenge....

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Roderigo turns off to Othello; and here comes one, if not the only, seeming justification of our blackamoor or negro Othello. Even if we supposed this an uninterrupted tradition of the theatre, and that Shakspeare himself, from want of scenes, and the experience that nothing could be made too marked for the senses of his audience, had practically sanctioned it,—would this prove aught concerning his own intention as a poet for all ages? Can we imagine him so utterly ignorant as to make a barbarous negro plead royal birth,—at a time, too, when negroes were not known except as slaves?—As for Iago's language to Brabantio, it implies merely that Othello was a Moor, that is, black. Though I think the rivalry of Roderigo sufficient to account for his wilful confusion of Moor and Negro,—yet, even if compelled to give this up, I should think it only adapted for the acting of the day, and should complain of an enormity built on a single word, in direct contradiction to Iago's 'Barbary horse.' Besides, if we could in good earnest believe Shakspeare ignorant of the distinction, still why should we adopt one disagreeable possibility instead of a ten times greater and more pleasing probability? It is a common error to mistake the epithets applied by the dramatis personae to each other, as truly descriptive of what the audience ought to see or know. No doubt Desdemona saw Othello's visage in his mind; yet, as we are constituted, and most surely as an English audience was disposed in the beginning of the seventeenth century, it would be something monstrous to conceive this beautiful Venetian girl falling in love with a veritable negro.