Stella Ktenas

Othello:How does Shakespeare’s representation of the individual themes and characters support the plot of the play.

1. Appearance v Reality / Misunderstandings- how does this support the tragic irony of the play

It has been argued that the tragic plot of Shakespeare’s “Othello”, first performed in 1622, hinges on the ability of the villain, Iago to mislead and manipulate other characters to misinterpret what they see to fulfil his own gains. Hence, Shakespeare employs the theme of appearance versus reality in various ways throughout the plot to amplify the tragic irony of the plot to the audience.

Shakespeare’s “Othello”, describes the plight of the villainous “Iago” in manipulating the “Valliant Moor” Othello into thinking his wife, Desdemona has committed adultery in order to seek revenge on Othello for his status in the army. The play was written in Elizabethan England; an era known for extremely strict conformist social standards on marriage, women, religion and honour. Moreover, this era saw the beginning of the slave trade in England, as well as severe anti-Catholic and anti-Islam sentiment, as they threatened the conformist fabric of society. This was so much that in 1599 Queen Elizabeth issued edicts banning Moors from the coastline of Britain. The Moors were a people from North Africa who had been invading Spain since 900, and were strongly associated with spells, black magic and all things that threatened Elizabethan society. Hence, it can be argued that by using these two people as the centre for his work, Shakespeare further toils with the idea of ‘appearance versus reality’ to force Elizabethan audiences to question more deeply their motives, characters and values rather than their pre-disposed judgements.

A key way which Shakespeare uses the theme of appearance versus reality to help drive the plot of the play is through the abstruse characterisation of the antagonist, Iago. From the outset, Iago had been characterised as a very ambiguous character, as he presents constantly different views and attributes when speaking about his true intentions through soliloquys and asides, as compared to when having dialogue. Moreover, he also switches between verse and prose very easily, further highlighting his deceitful and ambiguous character. Hence, his contrast between his true evil he hides, and his falsified honour that he presents accentuates the theme of appearance versus reality. For example, when speaking in soliloquy, he reveals himself as a delusional villainous man. For example, in his first aside in ACT I SCENE 1, whilst in conversation with Rodriego he reveals “[h]eaven is my judge, not for love and duty...I am not what I am”. By drawing the metaphor of heaven and religion, something quite intrinsic and sacred to Elizabethan audiences, Shakespeare demonstrates an irony of disillusioned self-righteousness by Iago. Further to this by employing the paradox of ‘I am not what I am’ Shakespeare encourages his audience to have wary watchfulness of Iago’s proceeding actions, and to discern his ‘appearance’ from his ‘reality’. This also sets him up as a deceitful villain.

Further to this, throughout the play, Shakespeare elucidates Iago’s reality through his revelations to himself of his true purpose and evilness. For example, he represents his delusion further within his soliloquy in Act I scene 3 there he bluntly reveals “I hate the Moor “. The use of these truncated

Stella Ktenas

monosyllabic words accentuates his truthfulness and chilling villainy in this statement. Furthermore, Shakespeare highlights Iago’s villainy through employing his own delusion and paranoia through the theme of appearance versus reality. For example, in this same soliloquy he remarks about Othello “has done my office, I know not if it be true. Yet I, for mere suspicion in that kind will do it as if for surety”. Here, Iago acknowledges the lack of truth within the rumour of Othello and his wife Emilia’s affair. Yet despite this, he continues to condemn Othello for it out of pure paranoia and suspicion. Hence, through this Shakespeare not only adds to the purely evil characterisation of Iago, but he also explores the audience to recognise the futility of this action, and of all ‘misunderstandings’ within the play as they become the sole reason for its tragic end. Moreover, in this soliloquy Iago nonchalantly says “The Moor is of a free and open nature … he holds me well”. Consequently ,despite his admission and acceptance of Othello’s nobility, he still proceeds to condemn him and this furthers Iago’s villainy and accentuates the tragedy of misunderstanding within the plot of the play.

To further demonstrate the extent of Iago’s villainy, Shakespeare continues to make this revelation about his character throughout the play as late as ACT V SCENE I where he openly reveals “He hath daily beauty in his life that makes me ugly…now whether he kills Cassio or they kill each other, either way makes me gain”. Thus, we are further presented with the pure evil vindictiveness of Iago’s “reality”.

Therefore, when contrasting this to the glib casuistry he proceeds with when speaking with his victims, audiences may understand and recognise the importance of deciphering the reality behind his facade, and it furthers the tragic irony of the plot. For example, when Iago speaks to Othello to inform him of Cassio’s drunken behaviour in ACT II SCENE III he demurely proclaims “touch me not so near, I had rather have this tongue cut from my mouth than it should do offence to Michael Cassio”. Hence, Shakespeare represents him as a self-sacrificing man of integrity to attempts to attain his victim’s trust before he deceives them for his own gain. Thus, Shakespeare represents his appearance as the antithesis of what his true intentions are to accentuate the tragic irony of the plot being hinged on his falsified appearance of trust and goodness.

The tragic irony of appearance versus reality is further amplified when Iago swears his honesty to Othello “By Janus!”;, a two faced Roman god. Subesequently, he reveals his ‘two-faced’ nature. Yet due to the facade he has created Othello does not recognise this ‘reality’. Hence, this can also foil Othello’s gullibility; not being able to see the villainy in front of him as he has been corrupted thorough his façade of honestly and loyalty. Hence, this further justifies Othello’s tragic misunderstand of revering Iago as “[h]onest Iago, Good Iago, My Noble Ancient’ as late ACT V.

Moreover, Shakespeare further utilises the theme of appearance versus reality when Iago uses points to persuade his victims based on this theme, forcing them to question their own morality and reality e.g., when corrupting Othello into believing that Desdemona committed adultery he says “Dost thou say so? She did deceive her father marrying you”. The use of a rhetorical question probes Othello to question his reality, as well as the use of hortatory suggestions of emotional weight that probe Othello psychologically. Shakespeare does this in an attempt to accentuate the tragic irony of the plot.

Further to this, Shakespeare utilises the theme of appearance versus reality to support the tragedy of the plot during a scene of paramount importance to the outcome of the play. For example, in ACT V SCENE II when Othello is about to kill Desdemona. Prior to this Desdemona reveals to Emilia “I do not know thy

Stella Ktenas

lord”. Hence thorough employing the theme here he connotes the change within Othello, having fallen victim to Iago’s schemes. Before he threatens to kill her, Desdemona remarks “it your wife my lord; your true and loyal wife’ .The use of repetiton here and truncated sentences asserts Desdemona’s truthfulness, yet Othello is unable to see it due to his corruption, and instead remarks “ I took you for that cunning whore of Venice that married Othello”. The use of the 3rd person points to Othello’s disillusionment of his reality, and the corruption he has been thorough. Hence, the employment of the theme here accentuates the tragic irony and misunderstanding of the play.

Thus, it can be concluded that Shakespeare’s employment of the themes appearance v reality are of an indispensable role in the play as they are able to augment of concerns and issues he has raised to allow the audience to question the nature of honour, justness and morality

2. emales, love, objectification- Does the treatment of women support the plot that love was the motivation for the tragedy?

Shakespeare tragedy “Othello; the Moor Of Venice”, was first performed in 1622, and “depicts the plight of the villainous “Iago” in manipulating the “Valliant Moor” Othello into thinking his wife, Desdemona has committed adultery in order to seek revenge on Othello for his status in the army. Thus, Love is evidently at the centre of the tragedy as it is Rodriego’s love for Desdemona that inspires Iago to seek revenge on Othello for his promotion in the army, and it is in fact Othello’s and Desdemona’s love that he tries to ruin. However, there has been much critical debate of Shakespeare’s representation of women who’s love is so sought after, with many critics arguing that they are repressed and objectified rather than admired and lionised.

Contextually, the play was written in Elizabethan England; an era known for extremely strict conformist social standards on marriage, women, religion and honour and known to be highly racist. Hence, during the 16th century the role of women reflected a patriarchal society where they were to be suppliant to men.

These patriarchal values are instantly evident when Shakespeare exposes the audience to Brabantio’s patriarchal attitudes towards marriage in Act 1 Scene II, notably before the introduction and demonstration of Othello and Desdemona’s love. This manipulation of structure therefore elevates his views, allowing the audience to make judgements on their love before witnessing it. With spitting anger which can be felt through monosyllabic words such as ‘O thou foul thief,’ Brabantio presents an opinion of marriage, one which favours convenience and values, wealth rather than passion and connection; and can be related with the popular, stereotypical beliefs of the Elizabethan period. Further, he in fact, is unable to comprehend why Desdemona has ‘shunned the wealthy curled darlings’ of Venice and declares it unnatural for her to seek ‘the sooty bosom of such a thing’. The adjective ‘sooty’ brings to mind the derogatory comment against Othello’s race. In addition he remarks ", where hast thou towed my daughter Damned as thou art, thou hast enchanted her!’ and ‘dead… ay to me, she is abused, stol’n from me, and corrupt”. Hence, he suggests he does not believe she can think for herself, and thus presents an oppressive patriarchal value of the repression of females. Moreover, it has been suggested that the requirement of the Duke and Brabantio to give their consent for the marriage of Othello and Desdemona suggest that the she is an object to be used to her husband’s advantage.

Stella Ktenas

Further to this, Shakespeare’s repressed representation of women can be highlighted through Desdemona’s “testimony’ for her love to Iago, where she reflects the patriarchal values she is abiding by. For example, she says “My noble father, I do perceive here a divided duty. To you I am bound for life and education…But here’s my husband…I may profess Due to the Moor my lord”. Desdemona’s calm and measured tone suggests her almost comfortableness with this situation of suppliance. The fact that Desdemona is questioned about her "duty" reveals that, in the world of the play, women are not considered people in their own right, but only ever exist in relation to men, and thus it not their ‘love’ that is sought after, rather their ‘posesssion’.

Moreover, Shakespeare’s representation of women can also be seen through Othello’s speech when he describes the nature of their love in ACT I SCENE II. He says that Desdemona “devoured up by my discourse...for my pains she gave a world of sighs… she loved me for the dangers I had passed. Hence, Desdemona intrigue to Othello’s journeys suggests a yearn she has for adventure, yet she cannot achieve this first hand, due to her role as a suppliant woman, thus only passively through her husband.

Additionally, Shakespeare presents a misogynistic and repressed view of women through the antagonist Iago. Iago’s soliloquies offer a valuable insight into his psychotic and perverse mind- we see him reduce love and women into a crude, lust-driven weakness of the will typical of an antagonist in the line ‘raging motions, our carnal desires, our unbitted lusts’. Using natural imagery, Iago suggests that our bodies are gardens and ‘our wills are gardeners’ to persuade Roderigo that we need not be overwhelmed by love, but control it. Iago’s character is mirrored in his attitude towards love and women: pragmatic, cold, and shunning all emotion except lust and anger. He can only understand love to be something of ‘sensuality’ and body, and hence women have no stance in anything. The repeated motif ‘put money in thy purse’ perfectly intertwines his character and intentions with his attitude towards love- that it is a fool’s emotion, which can be utilised for one’s own gain. Further, it can be argued that this is a metaphor to objectify women, as he equates their affection with something that can be purchased. This objectification of women can also be seen through the recurring motif of the ‘handkerchief’ which was a symbol of a woman’s virginity, chastity and overall faithfulness, to which the absence of it leads Othello to kill Desdemona e.g. “that handkerchief which I love so gave thee to Cassio”, demonstrating the lack of trust in women and a preoccupation in their ownership and control rather than affection.

Furthermore, Iago also openly sexualises and degrades women to Desdemona, representing an inherent and overt hatred and misogynistic attitude e.g. in ACT II SCENE II he proclaims “[t]here none so foul and foolish thereunto, but does foul pranks which fair and wise ones do”. Here he is not only sexualising women for their only superficial purpose, he also degrades them and suggests that they can only ‘play tricks’.

Moreover, Iago continues to represent misogynistic ideals in a more jovial setting. Iago teases his ideas of a wife’s role, ‘housewives’ in your beds’, and describes a wife’s role as more of an object than a faithful and loving partner. For example, ‘[b]ells in your parlours’ depicts wives as an empty vessel which produces repetitive, irritating sounds. He places them firmly in household positions- ‘your parlours’, ‘your kitchens’, ‘your housewifery’, ‘your beds’, presenting a particularly patriarchal argument for where a woman should belong.

Stella Ktenas

Another evident way which Shakespeare represents a woman’s role through both Emilia and Desdemona is when they yearn for their husband’s love and approval and the suffering they must endure. E.g. in ACT II SCENE II Emilia’s urgency to please Iago by seizing the handkerchief. This is also demonstrated as well in Desdemona’s constant loyalty to her “noble” lord; even upon her death bed where even dying she proclaims “a guiltless death I die…nobody but myself; farewell”. Hence this highlights her eternal suppliance and reverence. Thus, the evidence of repression and objectification of women contradicts the notion that true love is the centre of the tragedy. It is rather a manifest greediness of patriarchal men who believe women are mere objects for acquisition. Although, it can be argued that Shakespeare purposefully placed these misogynistic attitudes to instead highlight their irony. He presents both Desdemona and Emilia as strong women who have a voice and are assertive of their iniquity, hence to present to audience’s question of female roles.

For example, Desdemona questions her fate” that there be women do abuse their husbands in such grand kind?”. As well as Emilia being very adamant about the iniquity she has suffered e.g. “[t]is not a year or two shows us a man. They are all but stomachs, and we all but food. To eat us hungrily, and when they are full, they belch us. Look you, Cassio and my husband! “(Emelia 3.4/ “Let husbands know Their wives have sense like them. They see and smell and have their palates both for sweet and sour. As husbands have. (Emelia 4.3)” “Why should he call her a whore? The Moor is abused by some villainous knave”. Hence, through Shakespeare giving them both a voice and a stance he allows the audience to be presented with the sheer iniquity on these women and probes them to question the actual morality within these patriarchal oppressive values.

Further this can be further augmented through the demonstration of an initial equal pure love between Othello and Desdemona e.g. Othello says “Let her have thy voice”. For example, the love presented between Othello and Desdemona proves to be of a pure nature. The passionate connection presented between Othello and Desdemona, who defy all convention and expectation to consolidate their love in marriage, is portrayed as the purest form of love – they view themselves as soulmates. A sematic field of religion is also used throughout the description of their love to depict it as holy, pure, sanctified by God and to contradict Iago’s devilish and animalistic ideas: ‘consecrate’, ‘peace’, ‘rites’, ‘heaven’, ‘light-wing’d toys / of feather’d Cupid’, ‘souls’. By using the imagery of God and Cupid, Othello’s view of marriage is presented as something being romantically designed by Fate, therefore suggesting it is beyond his control and thus the love and mutual reverence is of a true nature .

The simple honesty and purity of Othello’s untainted love is conveyed by Shakespeare through a rhythmic and flowing style that is free from fragmentation, which would defer from his calm and collected nature. Equally, the faith that Desdemona inspires in her husband is impressively demonstrated through his bold statement ‘my life upon her faith’, a response to Brabantio’s churlish allegation that she may deceive him. Valuing Desdemona’s word as much as his own, ‘Here comes the lady; let her witness it’, Othello’s wholly trusting nature in his wife is exemplified – the prepositional phrase ‘upon her faith’ shows the audience that his life and being depend on her honesty, loyalty or perhaps the value she places in him. Furthermore, ‘upon’ surpasses the typical attitude of a Jacobean male – Othello has passed the power to Desdemona.

Stella Ktenas

Hence, it can be concluded that within Shakespeare’s “Othello”, he presents varying views of representations of women and the reality of the love around them. However, this was evidently done in an effort by Shakespeare to explore these values and within surrounding women, to encourage the audience to question the expected female role.

3. Race - To What extent does Shakspeares representation of Othello’s race support the hatred against him

Shakespeare tragedy “Othello; the Moor Of Venice”, was first performed in 1622, and ”, elucidates the plight of the villainous “Iago” in manipulating the “Valliant Moor” Othello into thinking his wife, Desdemona has committed adultery in order to seek revenge on Othello for his status in the army. However, over the century’s there has been much critical debate whether or not Othello’s race was the driving factor for the villainy and jealousy around him which led to the ultimate tragedy of the play; whether it was the racism against Othello that made him a target, or that this was a deliberate choice by Shakespeare to in turn amplify the villainy around him and foil the tragedy.

Contextually, the play was written in Elizabethan England; an era known for extremely strict conformist social standards on marriage, women, religion and honour and known to be highly racist. For example, there was severe anti-Catholic and anti-Islam sentiment, as they threatened the conformist fabric of society. This was so much that in 1599 Queen Elizabeth issued edicts banning Moors from the coastline of Britain. The Moors were a people from North Africa who had been invading Spain since 900, and were strongly associated with spells, black magic and all things that threatened Elizabethan society. Hence, it can be argued concluded that Elizabethan audiences would have had predisposed prejudices against Othello, for being a moor. However, this would have been the same to the “white” characters of the play as they were Catholics. Moreover, in the 16th century a person’s job was seen to be a true reflection of their career and character; hence being in the army was a position of honourability and integrity. Hence, the conclusion of whether or not the actions against Othello were racially motivated needs to be examined carefully.

A superficial reading of the play, would deduce that race had a factor germane in the hatred proliferated to Othello. For example, racism as a catalyst for the hatred against Othello is instantly represented in ACT I SCENE II, where Othello is brought before Brabantio for marrying his daughter, Desdemona. Brabantio is unable to comprehend why Desdemona has ‘shunned the wealthy curled darlings’ of Venice and declares it unnatural for her to seek ‘the sooty bosom of such a thing’. The adjective ‘sooty’ brings to mind the derogatory associations with Othello’s race; ‘moors’ were widely believed to possess a ‘soul black like his face’, and therefore a devilish and demonic descent from the ‘burning brimstone’ of hell, whilst also making reference to Brabantio’s perception of the dirty and unclean nature of their relationship. Thus, his logical conclusion from the news that his only daughter has married ‘the Moor’ is that she is ‘in the chains of magic’ from Othello’s ‘practices of cunning hell’. This repulsion towards an inter- racial marriage would have been found within most Elizabethan audience, and therefore the prejudices of contemporaneous society are epitomised in Brabantio’s outburst. Hence, this supports the notion of Othello’s race being a large mitigating factor for the hatred around him. Moreover, throughout the play when Rodriego and Iago speak of Othello, it Is always with derogatory terms regarding his race e.g. “Thick lips”, “Old black ram”

Stella Ktenas

“Lascivious Moor, even Emilia, after Othello kills Desdemona refers to him as “blacker than the devil”, suggesting much of the hatred was racially motivated.

Further to enhance the racially motivated hatred Shakespeare employs many metaphors around Othello as being likened to animals to further affirm that racism is a reason for the hatred around him e.g. in act II Iago says ‘And will as tenderly be led by th' nose”… As asses are." And "I'll [...] make the Moor thank me, love me, and reward me” for making him egregiously an ass.

Furthermore, it can also be argued that Shakespeare’s representation of good and evil likened to light versus dark further asserts the racism against Othello for his black skin e.g. The darkness of the scene ACT I SCENE I (the play opens at night) is symbolic of the evil and danger as well as the scene before Iago killing Rodgriego and Cassio beginning at night. Further when truth is wanted Brabantio’s says “[s]trike on the tinder, ho!/Give me a taper! [...] Light, I say! light!’, to connote goodness. Moreover, Othello uses much light imagery surrounding Desdemona, insinuating her goodness e.g. in ACT V SCENE II “put out the light and then put out the light, I can again restore thy former light”, hence before he kills her he also puts out the light, suggesting darkness is associated with evilness. Hence, this affirms that the racial slurs to Othello’s darkness insinuate his race and represents him as depraved and inferior.

Although this is seemingly disproven when Othello enters to prove his honourability in this situation. He first reveals “[h]er father loved me, oft’ invited me”, where he tells how Brabantio was pleased and respectful of him. Hence, this points to the racist remarks Brabantio stated as perhaps being rather out of anger due to the insult losing his daughter without consent as to his manhood, rather than pure racism and hatred to Othello. Moreover, Othello presented himself as a man of integrity and honour, the antithesis to the racial stereotypes presented about him. For example, he says “[s]he loved me for the dangers I had passes, and I loved her that she did pity them. This is the only witchcraft I had used”. His measured speech of iambic pentameter suggests his calm and honest personality. Moreover, the use of earnestness ‘the only witchcraft I used’ suggests Othello’s honesty and presents him as antithetical to the racial stereotypes. The Duke of Venice then proclaims “your son-in-law is far more fair than black”, as well as other people in the play praising Othello for his honourability and not being reproachful him for his race, e.g. the senator refers to him as “valiant moor” as well as the Herald proclaiming him as “noble and valiant general” which suggests that Shakespeare did not intend the play to be racist.

Yet this brings in another line of argument, that as all compliments towards Othello do contain his race, the issue of racism was present. However, the reason as to why only racist remarks are shared by Iago and his accomplices is to foil the villainy and hatred of Iago, due to his jealousy, and urge audiences to realise the futility in predisposing judgement.

The issue of racism becomes more apposite in the last two acts of the play when Othello spirals downwards when he has fallen into Iago’s plan into believing his evil deeds. He begins to affirm the racism, and blames it as a catalyst for his misery. For example, in Act II SCENE IV he questions Desdemona on the whereabouts of the handkerchief and remarks “did an Egyptian to my mother give, she was a charmer who could almost read minds... tis true there a magic in the web of it”. Hence, Othello draws a metaphor to the hanky being an image of spells black magic, images that were initially used by Brabantio to degrade him and that he already disproved were false accusations. Hence, this represents the way which Iago’s

Stella Ktenas

machinations have manipulated him, yet also supports the notion of his race being viewed as a negative and insecure quality. This is further presented in ACT IV SCENE I when he refers to himself as "A horned man's a monster and a beast’, hence further degrading himself on racial grounds.

Ultimately, it can be deduced that Shakespeare, being a man of his time, has surveyed the racial issues of Othello with extreme caution in order to allow the audience to view and question the nature of racism and prejudice as a meaning of justness and nobility.

4. What aspects of the play support a psychological reading?

A psychological reading involves examining the plays from the perspective of its impacts on the character’s psychology and though process. This can evidently be applied to Shakespeare tragedy “Othello; the Moor Of Venice”, which first performed in 1622. The play accounts for the plight of the villainous “Iago” in manipulating the “Valliant Moor” Othello into thinking his wife, Desdemona has committed adultery in order to seek revenge on Othello for his status in the army. Hence viewing it psychologically can shed light on the character true intentions, traits and essentially the way the human spirit responds to issues of temptation, deceit and villainy.

The play was written in Elizabethan England; an era known for extremely strict conformist social standards on marriage, women, religion and honour. Moreover, this era saw the beginning of the slave trade in England, as well as server anti-Catholic and anti-Islam sentiment, as they threatened the conformist fabric of society. This was so much that in 1599 Queen Elizabeth issued edicts banning Moors from the coastline of Britain. The Moors were a people from North Africa who had been invading Spain since 900, and were strongly associated with spells, black magic and all things that threatened Elizabethan society. Hence, the play surveys and question these societal values.

An evident way which a psychological reading may be placed on “Othello” is through the examination of the antagonist Iago. From the outset, Iago had been characterised as a very ambiguous character, as he presents constantly different views and attributes when speaking about his true intentions through soliloquys and asides as compared to when having dialogue. Moreover, he also switches between verse and prose very easily, further highlighting his deceitful and ambiguous character. Hence, his contrast between his true evil he hides, and his falsified honour that he presents accentuates the theme of appearance versus reality and is suggestive of a psychological disorder. For example, when speaking in soliloquy, he reveals himself as a delusional villainous man. For example, in his first aside in ACT I SCENE 1, whilst in conversation with Rodriego he reveals “[h]eaven is my judge, not for love and duty...i am not what I am”. By drawing the metaphor of heaven and religion, something quite intrinsic and sacred to Elizabethan audiences, Shakespeare demonstrates an irony of disillusioned self-righteousness by Iago. Further to this by employing the paradox of ‘I am not what I am’ Shakespeare encourages his audience to

Stella Ktenas

have wary watchfulness of Iago’s proceeding actions, and recognise what a deceitful villain who suffers from internal delusion.

Further to this, throughout the play, Shakespeare elucidates Iago’s reality through his revelations to himself of his true purpose and evilness. For example, he represents his delusion further within his soliloquy in Act I scene 3 there he bluntly reveals “I hate the Moor “. The use of these truncated monosyllabic words accentuates his truthfulness and chilling villainy in this statement. Furthermore, Shakespeare highlights Iago’s villainy through employing his own delusion and paranoia through the theme of appearance versus reality. For example, in this same soliloquy he remarks about Othello “has done my office, I know not if it be true. Yet I, for mere suspicion in that kind will do it as if for surety”. Here, Iago acknowledges the lack of truth within the rumour of Othello and his wife Emilia’s affair. Yet despite this, he continues to condemn Othello for it out of pure paranoia and suspicion.. Moreover, in this soliloquy Iago nonchalantly says “The Moor is of a free and open nature … he holds me well”. Hence despite his admission and acceptance of Othello’s nobility, he still proceeds to condemn him and this furthers Iago’s villainy ,suspicion, paranoia and overall mental state .

To further demonstrate the extent of Iago’s villainy, Shakespeare continues to make this revelation about his character throughout the play as late as ACT V SCENE I where he openly reveals “He hath daily beauty in his life that makes me ugly…now whether he kills Cassio or they kill each other, either way makes me gain”. Thus, we are further presented with the pure evil vindictiveness of Iago’s “reality” and the inner workings of his mind.

Hence, when contrasting this to the glib casuistry he proceeds with when speaking with his victims, audiences may understand and recognise the importance of deciphering the reality behind his facade, and it furthers the tragic irony of the plot. For example, when Iago speaks to Othello to inform him of Cassio’s drunken behaviour in ACT II SCENE III he demurely proclaims “touch me not so near, I had rather have this tongue cut from my mouth than it should do offence to Michael Cassio”. Hence, Shakespeare represents him as a self-sacrificing man of integrity to attempts to attain his victim’s trust before he deceives them for his own gain. Thus, Shakespeare represents his appearance as the antithesis of what his true intentions are to accentuate the tragic irony of the plot being hinged on his falsified appearance of trust and goodness as well as Iagos depraved mental state.

The tragic irony of appearance versus reality is further amplified when Iago swears his honesty to Othello “By Janus!”, a two faced Roman god”. Hence he reveals his ‘two-faced’ nature. Yet due to the facade he has created Othello does not recognise this ‘reality’. Hence, this can also foil Othello’s gullibility; not being able to see the villainy in front of him as he has been corrupted thorough his façade of honestly and loyalty. Hence, this further justifies Othello’s tragic misunderstand of revering Iago as “[h]onest Iago, Good Iago, My Noble Ancient’ as late ACT V.

Further, Iago’s use of manipulation further elucidates his own psychology, he uses points to persuade his victims based on this theme, forcing them to question their own morality and reality e.g., when corrupting Othello into believing that Desdemona committed adultery he says “Dost thou say so? She did deceive her father marrying you”. The use of a rhetorical question probes Othello to question his reality, as well as the

Stella Ktenas

use of hortatory suggestions of emotional weight that probe Othello psychologically. Shakespeare does this in an attempt to accentuate the tragic irony of the plot.

Hence, a psychological radar may further be applied through examining its effects on Othello. Othello was initially presented as a noble character, of measured speech and modesty and respect for Desdemona e.g. in ACT I SCENE II’ "Rude am I in my speech, And little bless'd with the soft phrase of peace”/ “Oh I love thy gentle Desdemona”. However after Iago’s deception his psychological state changes, represent through this discursion into prose where he presents the antithesis of this previous nobility e.g. his language hasher more rash and “ How shall I murder him Iago…Ay! Let her rot and perish”. This is completely the antithesis of his previous mind sets.

Moreover, his use of succinct cries and curses “Oh misery!...farewell the tranquil mind” is relevant. His language also becomes self-destructive eh “happy for I am black- that we call these delicate creatures ours and not their appetites” his he begins to affirm the racism, and blames it as a catalyst for his misery. For example, in Act II SCENE IV he questions Desdemona on the whereabouts of the handkerchief and remarks “ did an Egyptian to my mother give, she was a charmer who could almost read minds.. tis true there a magic in the web of it”. Hence, Othello draws a metaphor to the hanky being an image of spells black magic, images that were initially used by Brabantio to degrade him and that he already disproved were false accusations. Hence, this represents the way which Iago’s machinations have manipulated him, yet also supports the notion of his race being viewed as a negative and insecure quality as well as the psychological impact on him . This is further presented in ACT IV SCENE I when he refers to himself as "[a] horned man's a monster and a beast’ ; hence further degrading himself on racial grounds and this consequently points to the effect on his mental state

This is all epitomised in a scene of paramount importance to the outcome of the play, for example, in ACT V SCENE II, when Othello is about to kill Desdemona. Prior to this Desdemona reveals to Emilia “I do not know thy lord”. Hence thorough employing the theme here he connotes the change within Othello, having fallen victim to Iago’s schemes. Before he threatens to kill her Desdemona, he remarks “it your wife my lord; your true and loyal wife’. The use of repetition here and truncated sentences asserts Desdemona’s truthfulness, yet Othello is unable to see it due to his corruption, and instead remarks “I took you for that cunning whore of Venice that married Othello”. The use of the 3rd person points to Othello’s disillusionment of his reality, and the corruption he has been thorough. Hence, the employment of the theme here accentuates the tragic irony and misunderstanding of the play.

Stella Ktenas

“O Spartan dog... look at the tragic loading of this bed, this is thy work” – Lovidico 5.2

o 5. To What extent do you agree with this interpretation of the play Othello? o Who is more to blame for the outcome of the play- Iago/ Othello? o ‘ Othello’s foolishness rather than Iago’s cleverness leads to the tragedy of Shakespeare’s Othello.’ (Does Othello’s

foolishness rather than Iago’s cleverness lead to the tragedy of Shakespeare’s Othello?)o ‘Othello is a true tragic hero’ (Is Othello a true tragic hero?)o ‘Othello is essentially a noble character, flawed by insecurity and a nature that is naive and unsophisticated.’ (Is

Othello a noble character, flawed by insecurity and a nature that is naive and unsophisticated?)

The argument whether or not Othello, in Shakespeare’s 1622 play “Othello: the Moor of Venice” is the chief person to blame for his tragedy has been debated extensively by critics. Some critics argue it is Othello’s gullibility and inevitability as a tragic hero which forced this eventual tragic outcome, whilst others argue the manipulation by Iago’s villainy transpired to result in the sole reason why this occurred- The quotation “O Spartan dog... look at the tragic loading of this bed, this is thy work” –By Lovidico in ACT V SCNE II presents the perspective that it was in fact, Iago, who was solely responsible for the misfortune at the end of the play. However, one must consider to what extent this is statement is true within the context of the play.

Shakespeare’s “Othello”, was written in Elizabethan England; an era known for extremely strict conformist social standards on marriage, women, religion and honour. Moreover, this era saw the beginning of the slave trade in England, as well as severe anti-Catholic and anti-Islam sentiment, as they threatened the conformist fabric of society. This was so much that in 1599 Queen Elizabeth issued edicts banning Moors from the coastline of Britain. The Moors were a people from North Africa who had been invading Spain since 900, and were strongly associated with spells, black magic and all things that threatened Elizabethan society. Hence, within the play, Shakespeare utilises the themes of love, deceit and appearance versus reality to elucidate to the audience the reasons why the tragedy unfolded to ultimately probe them to think of their own reality and facing of these issues. The play describes the plight of the villainous “Iago” in manipulating the “Valliant Moor” Othello into thinking his wife, Desdemona has committed adultery in order to seek revenge on Othello for his status in the army, resulting in Othello, eventually killing his wife and then himself.

Stella Ktenas

Hence, a superficial reading of the play would affirm that Othello was responsible for the actions of the tragic plot. This is since it was his direct actions that killed Desdemona e.g. “She must die or else she will betray more men”; the pinnacle event of the tragedy. Additionally, it was Othello’s gullibility and jealousy to agree with Iago’s machinations and manipulations that resulted in the tragic outcome e.g. he takes them as axiomatic and proceeds to conduct ravaging actions with them e.g. “I am abused and my relief must be to loath her”. Hence, this suggests that due to Othello’s own initiative to conduct these tragic actions Iago and his machinations are just subordinates to the plays tragic outcome.

Yet, it must be considered Shakespeare’s intention for these results and attributes; Othello’s representation as a tragic hero, which points to the blame not being on him, rather as a result of the impact of the villainy around him. This was something familiar to Elizabethan audiences and thus may have assisted Shakespeare in explaining his warning and message of the futility in deceit and jealousy. Othello’s characterisation is consistent with the Aristotelian model of tragedy and tragic heroes. Aristotle defined tragedy as a play of direct action, told in a dramatic way, containing a character that has a serious fall from a position of high status. This fall occurs because of the character’s own fatal flaw (hamartia), which in Othello’s case is, arguably, jealousy e.g. She deceives me past thought”…”I am abused and my relief must be to loath her”, which he adopts after Iago’s villainous suggestions.

Thus, the audience spends the entirety of the play willing Othello to find out the truth and for Iago to be punished, whilst the audience feels sympathy and pity for the tragic hero due to their inherent good qualities. However, one is prohibiting them from seeing their reality. Moreover, through this, Shakespeare is able to elucidate moral lessons on the nature of love, deception and the importance of understanding the truth behind a façade. Thus, this means that Othello was not the sole cause of his calamity; rather a tragic victim, a noble man who inevitably succumbed to the villainy around him. Shakespeare radiates this message to the audience.

This is supported since, Othello, was initially presented as a noble character of measured speech and modesty and respect for people e.g. in ACT I SCENE II’ "Rude am I in my speech, And little bless'd with the soft phrase of peace”/ “Oh I love thy gentle Desdemona”. The use of measured Iambic pentameter, always in verse, an earnest tine, as well as a soft ambiance produced by dental consonants suggests to the audience the true nobility and earnestness within his character. This is further presented to this reverence and respect for Desdemona, as arguably almost an equal, especially considering the contextually concerns regarding a woman’s role e.g. Othello says “Let her have thy voice”. This short succinct phrase expresses the honesty and assertiveness in this request. Equally, the faith that Desdemona inspires in her husband is impressively demonstrated through his bold statement ‘my life upon her faith’, a response to Brabantio’s churlish allegation that she may deceive him. Valuing Desdemona’s word as much as his own, ‘Here comes the lady; let her witness it’, Othello’s wholly trusting nature in his wife is exemplified – the prepositional phrase ‘upon her faith’ shows the audience that his life and being depend on her honesty, loyalty or perhaps the value she places in him. Furthermore, ‘upon’ surpasses the typical attitude of a Elizabethan male – Othello has passed the power to Desdemona.

Moreover, Othello presented himself as a man of integrity and honour through demonstrating the antithesis to the racial stereotypes presented about him. For example, he says “[s]he loved me for the dangers I had passes, and I loved her that she did pity them. This is the only witchcraft I had used”. His

Stella Ktenas

measured speech of iambic pentameter suggests his calm and honest personality. Moreover, the use of earnestness ‘the only witchcraft I used’ suggests Othello’s honesty and presents him as antithetical to the racial stereotypes and rather a noble honest character.

Further to this, Othello’s honourability is confirmed by various characters in the play e.g. The Duke of Venice then proclaims “your son-in-law is far more fair than black”, as well as other people in the play praising Othello for his honourability and not being reproachful to him for his race, e.g. the senator refers to him as “valiant moor” as well as the Herald proclaiming him as “noble and valiant general”.

Further, this can be argued thought the reference to fate and gods surrounding Othello’s and his eventual downfall to Iago’s schemes e.g. ACT V “who can control his fate” “I cry you mercy” This was an intrinsic aspect to Elizabethan audiences, thus Shakespeare employs this to suggest his actions are out of his control and hence he is not the author of his own demise.

Hence, this supports Othello’s characterisation as a tragic hero who falls victim to Iago’s schemes, which are presented by Shakespeare to be duplicities and reveal his inevitable fatal flaw.

As from the outset, Iago had been characterised as a delusional villainous man who’s deceit is so deep , and thus it is capable of corrupting even the noblest of men. For example, in his first aside in ACT I SCENE 1, whilst in conversation with Rodriego he reveals “[h]eaven is my judge, not for love and duty...I am not what I am”. By drawing the metaphor of heaven and religion, something quite intrinsic and sacred to Elizabethan audiences, Shakespeare demonstrates an irony of disillusioned self-righteousness by Iago. Further to this by employing the paradox of ‘I am not what I am’ Shakespeare encourages his audience to have wary watchfulness of Iago’s proceeding actions, and to discern his ‘appearance’ from his ‘reality’. This also sets him up as a deceitful villain who will reap much evil on the tragic hero.

Further to this, throughout the play, Shakespeare elucidates Iago’s reality through his revelations to himself of his true purpose and evilness. For example, he represents his delusion further within his soliloquy in Act I scene III there he bluntly reveals “I hate the Moor “. The use of these truncated monosyllabic words accentuates his truthfulness and chilling villainy in this statement. Furthermore, Shakespeare highlights Iago’s villainy through employing his own delusion and paranoia through the theme of appearance versus reality. For example, in this same soliloquy he remarks about Othello “has done my office, I know not if it be true. Yet I, for mere suspicion in that kind will do it as if for surety”. Here, Iago acknowledges the lack of truth within the rumour of Othello and his wife Emilia’s affair. Yet despite this, he continues to condemn Othello for it out of pure paranoia and suspicion. Hence, through this Shakespeare not only adds to the purely evil characterisation of Iago, but he also explores the audience to recognise the futility of this action, and of all ‘misunderstandings’ within the play as they become the sole reason for its tragic end. Moreover, in this soliloquy Iago nonchalantly says “The Moor is of a free and open nature … he holds me well”. Consequently, despite his admission and acceptance of Othello’s nobility, he still proceeds to condemn him and this furthers Iago’s villainy and accentuates the tragedy of misunderstanding within the plot of the play and the extent he will go to bout Othello.

To further demonstrate the extent of Iago’s villainy, Shakespeare continues to make this revelation about his character throughout the play as late as ACT V SCENE I where he openly reveals “He hath daily beauty

Stella Ktenas

in his life that makes me ugly…now whether he kills Cassio or they kill each other, either way makes me gain”. Thus, we are further presented with the pure evil vindictiveness of Iago’s “reality”.

Therefore, when contrasting this to the glib casuistry he proceeds with when speaking with his victims, audiences may understand and recognise the importance of deciphering the reality behind his facade, and it furthers the tragic irony of the plot and thus elucidates why a noble man such as Othello falls victim to his schemes. For example, when Iago speaks to Othello to inform him of Cassio’s drunken behaviour in ACT II SCENE III he demurely proclaims “touch me not so near, I had rather have this tongue cut from my mouth than it should do offence to Michael Cassio”. Hence, Shakespeare represents him as a self-sacrificing man of integrity to attempts to attain his victim’s trust before he deceives them for his own gain. Thus, Shakespeare represents his appearance as the antithesis of what his true intentions are to accentuate the tragic irony of the plot being hinged on his falsified appearance of trust and goodness, which Othello, tragically falls victim to.

The tragic irony of which Othello is corrupted by is further amplified when Iago swears his honesty to Othello “By Janus!”; a two faced Roman god. Subsequently, he reveals his ‘two-faced’ nature. Yet due to the facade he has created Othello does not recognise this ‘reality’. Hence, this can also foil Othello’s gullibility; not being able to see the villainy in front of him as he has been corrupted thorough his façade of honestly and loyalty. Thus, this justifies his tragic corruption which results in Othello revering Iago as “[h]onest Iago, Good Iago, My Noble Ancient’ as late ACT V.

Further, Iago’s use of manipulation further elucidates the extent of his villainy and the impact on Othello, as, he uses points to persuade his victims based on this theme, forcing them to question their own morality and reality e.g., when corrupting Othello into believing that Desdemona committed adultery he says “Dost thou say so? She did deceive her father marrying you”. The use of a rhetorical question probes Othello to question his reality, as well as the use of hortatory suggestions of emotional weight that probe Othello psychologically. Shakespeare does this in an attempt to accentuate the tragic irony of the plot and highlight the inevitability of Othello’s tragic downfall as it sparks his fatal flaw of jealousy which he could not control. Although, to further the irony and the tragedy, Iago warns him about ‘O, beware, my lord, of jealousy! It is the green-eyed monster, which doth mock the meat it feeds on."

It can be further affirmed that Othello was not the chief cause and it was rather Iago’s villainy by examining the fact that Iago’s villainy did not only prove to corrupt and drive Othello to madness, but manipulate other characters, for example, his wife Emelia. Even though he degrades her thoroughly e.g. Iago continues to represent misogynistic ideals in a more jovial setting. Iago teases his ideas of a wife’s role, ‘housewives’ in your beds’, and describes a wife’s role as more of an object than a faithful and loving partner, and Emilia is evidently not happy about this e.g. in ACT IV she remarks to Desdemona about her husband “they are all but stomachs, we are all but food, they eat usfrily and when they are full, they belch us”. Yet, ACT II SCENE II Emilia demonstrates a sense urgency to please Iago by seizing the handkerchief. Thus, this connotes the hold he has on her. Further, he tricks Cassio into losing his military rank in order to reap revenge on Othello e.g. in prose Cassio cried “reputation! Reputation! Oh! I have lost my reputation” while Iago ‘consuls’ him by attempting to plan a reconciliation through Desdemona. This results in his skewed perception as “Honest Iago”. Further, he manipulates Roderigo to scheme against Othello for Desdemona’s affection e.g. he preys on his desperation as demonstrated by “wilt thou be fast to my hopes,

Stella Ktenas

if I depend on the issue?” and manipulates him through the repeated phrase “the moors wills are interchangeable- fill thy purse with money”, to encourage Roderigo to scheme against Othello’s Ultimately, Iago’s actions cause their deaths in ACT V, which serves to highlight the extent of his villainy in deception that he is able to corrupt and manipulate all characters.

Hence, it is evident that through Othello’s characterisation as a tragic hero who falls victim to the insidious malicious schemes of Iago that evidently pervade the whole play, and thus is not the reason for his own downfall. Yet, despite this characterisation and assumption, there can be arguments raised to contradict this; that in fact Othello is not inherently good and thus not a tragic hero, hence he plays a critical role in his demise.

For example within the play, there are hints that Othello is not inherently ‘good’, nor does he have a genuine tragic flaw and hence does not conform to a tragic hero. It is suggested that he had an affair with Emilia e.g. “he has done my office” Moreover, his tragic flaw of jealousy or monomania is not a traditional flaw in personality because it is not something we can be born with – it is a trait that is developed over time. It is more likely that he is a victim of insecurity due to his differences in race, appearance, and perceived character, emphasised continuously by Roderigo, Brabantio and Iago by referring to him as ‘the Moor’ ‘thick lips’ and sarcastically as ‘his Moorship’. Further signs that hint to him not being an inherently noble and a tragic hero include in ACT II SCENE II where his passionate vindictive streak is revealed when he was brought into settle the brawl e.g. “zounds, if I strir or do but lift this arm, the best of you shall sink in my rebuke”. This harsh threatening tone is quite antithetical to his previous measured nobility. Thus it can be argued that all these signs point to his intention to represent Othello as a not inherently good character who’s negative temper and jealousy actively contribute to his own demines, perhaps in an effort to further strengthen his message of the futility deceit and jealousy can cause.

Finally, Desdemona’s murder is not ‘accidental ’or committed without intent. Othello plots to commit murder by smothering her, regardless of the fact that he believes she is guilty of a crime and he was acting out of ‘honour’ e.g. despite her professing “it is you wife my lord; your true and loyal wife” he continues to kill her and feels justified in the end e.g. ”an honourable murder if you will”. He is not remorseful for his actions as a tragic hero would be, rather he is concerned with his own mind e.g. “oh farewell tranquil mind”/”I have lost my reputation”. Also this can be concluded from his final speech where he is concerned about his own legacy e.g. “one that loved not wisely; but too well; of one, not easily jealousy, but being wrought and perplexed in the extreme” where rather blames others for his tragedy. Also, this realisation can insinuate he understood what he had fallen into and consequently disproves the inevitably fell into Iago’s schemes, rather actively chose to do so.

Thus, it can be concluded that the arguments as to whether or not Othello was the sole reason for his own demise vary greatly. There is evidence to prove he was in fact a tragic hero who fell victim to Iago’ schemes. Yet conversely, this can be disputed as there are signs that prove Othello to not be inherently moral. Hence, perhaps Shakespeare intended this to further underline his message of the futility that can arise through a lack of understanding of reality, ones’ self, deceit and jealousy.

Stella Ktenas

5. Using a psychological reading examining the impact on the characters state of mind, who is more to blame for the tragedy of the play

- examine Othello as a tragic hero- and iago in probing this- however, also Othello’s straight out villainy

A psychological reading involves examining the plays from the perspective of its impacts on the character’s psychology and thought process. This can evidently be applied to Shakespeare tragedy “Othello; the Moor Of Venice”, which first performed in 1622. The play accounts for the plight of the villainous “Iago” in manipulating the “Valliant Moor” Othello into thinking his wife, Desdemona has committed adultery in order to seek revenge on Othello for his status in the army. Hence, viewing it psychologically can shed light on the character true intentions, traits and essentially the way the human spirit responds to issues of temptation, deceit and villainy and ultimately deduce who in fact was responsible for the tragic outcome .

The play was written in Elizabethan England; an era known for extremely strict conformist social standards on marriage, women, religion and honour. Moreover, this era saw the beginning of the slave trade in England, as well as server anti-Catholic and anti-Islam sentiment, as they threatened the conformist fabric of society. This was so much that in 1599 Queen Elizabeth issued edicts banning Moors from the coastline of Britain. The Moors were a people from North Africa who had been invading Spain since 900, and were strongly associated with spells, black magic and all things that threatened Elizabethan society. Hence, the play surveys and question these societal values.

A superficial reading of the play would affirm that Othello was responsible for the actions of the tragic plot. This is since it was his direct actions that killed Desdemona e.g. “She must die or else she will betray more men”; the pinnacle event of the tragedy. Additionally, it was Othello’s gullibility and jealousy to agree with Iago’s machinations and manipulations that resulted in the tragic outcome e.g. he takes them as axiomatic and proceeds to conduct ravaging actions with them e.g. “I am abused and my relief must be to loath her”. Hence, this suggests that due to Othello’s own initiative to conduct these tragic actions and Iago and his machinations are just subordinates to the plays tragic outcome. Although, through the examination through a psychological reading it may shed light on the true motivation of Othello and the psychological impacts of the machinations of Iago and hence affirm his perverse intentions were the sole cause for the tragedy.

For instance, it must be considered that Shakespeare’s intention for Othello was to be represented as a tragic hero, which points to the blame not being on him, rather as a result of the impact of the villainy around him. This was something familiar to Elizabethan audiences and thus may have assisted Shakespeare in explaining his warning and message of the futility in deceit and jealousy. Othello’s characterisation is consistent with the Aristotelian model of tragedy and tragic heroes. Aristotle defined tragedy as a play of direct action, told in a dramatic way, containing a character that has a serious fall from a position of high status. This fall occurs because of the character’s own fatal flaw (hamartia), which in Othello’s case is, arguably, jealousy e.g. She deceives me past thought”…”I am abused and my relief must be to loath her”, which he adopts after Iago’s villainous suggestions.

Stella Ktenas

This is supported since, Othello, was initially presented as a noble character of measured speech and modesty and respect for people e.g. in ACT I SCENE II’ "Rude am I in my speech, And little bless'd with the soft phrase of peace”/ “Oh I love thy gentle Desdemona”. The use of measured Iambic pentameter, always in verse, an earnest tone, as well as a soft ambiance produced by dental consonants suggests to the audience the true nobility and earnestness within his character. This is further presented to this reverence and respect for Desdemona, as arguably almost an equal, especially considering the contextually concerns regarding a woman’s role e.g. Othello says “Let her have thy voice”. This short succinct phrase expresses the honesty and assertiveness in this request. Equally, the faith that Desdemona inspires in her husband is impressively demonstrated through his bold statement ‘my life upon her faith’, a response to Brabantio’s churlish allegation that she may deceive him. Valuing Desdemona’s word as much as his own, ‘Here comes the lady; let her witness it’, Othello’s wholly trusting nature in his wife is exemplified – the prepositional phrase ‘upon her faith’ shows the audience that his life and being depend on her honesty, loyalty or perhaps the value she places in him. Furthermore, ‘upon’ surpasses the typical attitude of a Elizabethan male – Othello has passed the power to Desdemona.

Further to this, Othello’s honourability is confirmed by various characters in the play e.g. The Duke of Venice then proclaims “your son-in-law is far more fair than black”, as well as other people in the play praising Othello for his honourability and not being reproachful to him for his race, e.g. the senator refers to him as “valiant moor” as well as the Herald proclaiming him as “noble and valiant general”.

Conversely, by placing a psychological reading on the antagonist Iago, it may shed light on to the extent of his villainy and how it was able to corrupt Othello . From the outset, Iago had been characterised as a very ambiguous character, as he presents constantly different views and attributes when speaking about his true intentions through soliloquys and asides as compared to when having dialogue. Moreover, he also switches between verse and prose very easily, further highlighting his deceitful and ambiguous character. Hence, his contrast between his true evil he hides, and his falsified honour that he presents accentuates the theme of appearance versus reality and is suggestive of a psychological disorder which is able to fool the tragic hero. For example, when speaking in soliloquy, he reveals himself as a delusional villainous man. For example, in his first aside in ACT I SCENE 1, whilst in conversation with Rodriego he reveals “[h]eaven is my judge, not for love and duty...i am not what I am”. By drawing the metaphor of heaven and religion, something quite intrinsic and sacred to Elizabethan audiences, Shakespeare demonstrates an irony of disillusioned self-righteousness by Iago. Further to this by employing the paradox of ‘I am not what I am’ Shakespeare encourages his audience to have wary watchfulness of Iago’s proceeding actions, and recognise what a deceitful villain who suffers from internal delusion who’s villainy is able to corrupt the noble mind.

Further to this, throughout the play, Shakespeare elucidates Iago’s reality through his revelations to himself of his true purpose and evilness. For example, he represents his delusion further within his soliloquy in Act I scene 3 there he bluntly reveals “I hate the Moor “. The use of these truncated monosyllabic words accentuates his truthfulness and chilling villainy in this statement. Furthermore, Shakespeare highlights Iago’s villainy through employing his own delusion and paranoia through the theme of appearance versus reality. For example, in this same soliloquy he remarks about Othello “has done my office, I know not if it be true. Yet I, for mere suspicion in that kind will do it as if for surety”. Here, Iago

Stella Ktenas

acknowledges the lack of truth within the rumour of Othello and his wife Emilia’s affair. Yet despite this, he continues to condemn Othello for it out of pure paranoia and suspicion.. Moreover, in this soliloquy Iago nonchalantly says “The Moor is of a free and open nature … he holds me well”. Hence despite his admission and acceptance of Othello’s nobility, he still proceeds to condemn him and this furthers Iago’s villainy ,suspicion, paranoia and overall mental state which leads to such a tragic outcome.

To further demonstrate the extent of Iago’s villainy, Shakespeare continues to make this revelation about his character throughout the play as late as ACT V SCENE I where he openly reveals “He hath daily beauty in his life that makes me ugly…now whether he kills Cassio or they kill each other, either way makes me gain”. Thus, we are further presented with the pure evil vindictiveness of Iago’s “reality” and the inner workings of his mind.

Hence, when contrasting this to the glib casuistry he proceeds with when speaking with his victims, audiences may understand and recognise the importance of deciphering the reality behind his facade, and it furthers the result tragic irony of the plot in fooling Othello . For example, when Iago speaks to Othello to inform him of Cassio’s drunken behaviour in ACT II SCENE III he demurely proclaims “touch me not so near, I had rather have this tongue cut from my mouth than it should do offence to Michael Cassio”. Hence, Shakespeare represents him as a self-sacrificing man of integrity to attempts to attain his victim’s trust before he deceives them for his own gain. Thus, Shakespeare represents his appearance as the antithesis of what his true intentions are to accentuate the tragic irony of the plot being hinged on his falsified appearance of trust and goodness as well as Iago’s depraved mental state.

The tragic irony of appearance versus reality is further amplified when Iago swears his honesty to Othello “By Janus!”, a two faced Roman god”. Hence he reveals his ‘two-faced’ nature. Yet due to the facade he has created Othello does not recognise this ‘reality’. Hence, this can also foil Othello’s gullibility; not being able to see the villainy in front of him as he has been corrupted thorough his façade of honestly and loyalty. Hence, this further justifies Othello’s tragic misunderstand of revering Iago as “[h]onest Iago, Good Iago, My Noble Ancient’ as late ACT V.

Further, Iago’s use of manipulation further elucidates his own psychology, he uses points to persuade his victims based on this theme, forcing them to question their own morality and reality e.g., when corrupting Othello into believing that Desdemona committed adultery he says “Dost thou say so? She did deceive her father marrying you”. The use of a rhetorical question probes Othello to question his reality, as well as the use of hortatory suggestions of emotional weight that probe Othello psychologically. Shakespeare does this in an attempt to accentuate the tragic irony of the plot and demonstrate to the readers the reason why Othello fell victim as a tragic hero.

Hence, it may be further understood why Othello was the tragic hero by amplifying the psychological affects Iago had on him, which was seemingly out of his control . For example, in contrast to his previous honourable disposition, after Iago’s deception his psychological state changes. This is represented through this discursion into prose where he presents the antithesis of this previous nobility e.g. his language hasher more rash and “ How shall I murder him Iago…Ay! Let her rot and perish”. This is completely the antithesis

Stella Ktenas

of his previous mind sets and affirms his characteristics as a tragic hero; goodness being corrupted to a state of no return.

Moreover, his use of succinct cries and curses “Oh misery!...farewell the tranquil mind” is relevant. His language also becomes self-destructive eh “happy for I am black- that we call these delicate creatures ours and not their appetites” his he begins to affirm the racism, and blames it as a catalyst for his misery. For example, in Act II SCENE IV he questions Desdemona on the whereabouts of the handkerchief and remarks “ did an Egyptian to my mother give, she was a charmer who could almost read minds.. tis true there a magic in the web of it”. Hence, Othello draws a metaphor to the hanky being an image of spells black magic, images that were initially used by Brabantio to degrade him and that he already disproved were false accusations. Hence, this represents the way which Iago’s machinations have manipulated him, yet also supports the notion of his race being viewed as a negative and insecure quality as well as the psychological impact on him . This is further presented in ACT IV SCENE I when he refers to himself as "[a] horned man's a monster and a beast’ ; hence further degrading himself on racial grounds and this consequently points to the effect on his mental state and consequently the level of corruption he underwent, which is not his burden.

This is all epitomised in a scene of paramount importance to the outcome of the play, for example, in ACT V SCENE II, when Othello is about to kill Desdemona. Prior to this Desdemona reveals to Emilia “I do not know thy lord”. Hence thorough employing the theme here he connotes the change within Othello, having fallen victim to Iago’s schemes. Before he threatens to kill her Desdemona, he remarks “it your wife my lord; your true and loyal wife’. The use of repetition here and truncated sentences asserts Desdemona’s truthfulness, yet Othello is unable to see it due to his corruption, and instead remarks “I took you for that cunning whore of Venice that married Othello”. The use of the 3rd person points to Othello’s disillusionment of his reality, and the corruption he has been through. Hence, the employment of the theme here accentuates the tragic irony and misunderstanding of the play and the impact as a result of Iago on Othello and the tragedy that manifested .

Yet, this can bring in a new line of argument, that by examining the complete turn of personality of Othello, it may suggest he was not in fact a tragic hero; that Othello is not inherently good and thus not corrupted by Iago alone, that his psychology played a critical role in his demise.

For example, within the play, there are hints that Othello is not inherently ‘good’, nor does he have a genuine tragic flaw and hence does not conform to a tragic hero. It is suggested that he had an affair with Emilia e.g. “he has done my office” Moreover, his tragic flaw of jealousy or monomania is not a traditional flaw in personality because it is not something we can be born with – it is a trait that is developed over time. It is more likely that he is a victim of insecurity due to his differences in race, appearance, and perceived character, emphasised continuously by Roderigo, Brabantio and Iago by referring to him as ‘the Moor’ ‘thick lips’ and sarcastically as ‘his Moorship’. Further signs that hint to him not being an inherently noble and a tragic hero include in ACT II SCENE II where his passionate vindictive streak is revealed when he was brought into settle the brawl e.g. “zounds, if I strir or do but lift this arm, the best of you shall sink in my rebuke”. This harsh threatening tone is quite antithetical to his previous measured nobility. Thus it can be argued that all these signs point to his intention to represent Othello as a not inherently good character

Stella Ktenas

who’s negative temper and jealousy actively contribute to his own demines, perhaps in an effort to further strengthen his message of the futility deceit and jealousy can cause.

Finally, Desdemona’s murder is not ‘accidental ’or committed without intent. Othello plots to commit murder by smothering her, regardless of the fact that he believes she is guilty of a crime and he was acting out of ‘honour’ e.g. despite her professing “it is you wife my lord; your true and loyal wife” he continues to kill her and feels justified in the end e.g. ”an honourable murder if you will”. He is not remorseful for his actions as a tragic hero would be, rather he is concerned with his own mind e.g. “oh farewell tranquil mind”/”I have lost my reputation”. Also, this can be concluded from his final speech where he is concerned about his own legacy e.g. “one that loved not wisely; but too well; of one, not easily jealousy, but being wrought and perplexed in the extreme” where rather blames others for his tragedy. Also, this realisation can insinuate he understood what he had fallen into and consequently disproves the inevitably fell into Iago’s schemes, rather actively chose to do so. Hence, through this aspect of the psychological reading it can be argued Othello’s; initial sense of not being inherently moral suggests that he was not corrupted, rather a terrible root was amplified upon which resulted in his villainy.