Love and Desire; Power and Control: An Analysis Of Othello’s Iago | Shawn Strack - omarcafini.info
Yes, Iago resents Cassio because Iago resents the privilege that Cassio represents, and Iago equates this with a lack of manliness. We see this in the opening. I will only be looking at Cassio and Othello because the fate of Iago's plans rest the relationship between Othello, Cassio, and Iago more interesting because. However, the personal relationship between Othello and Iago is much who instead bestowed the position of lieutenant on Michael Cassio.
Relationships in Othello - omarcafini.info
We must explain it either from the incidents of the play or from the words of the play, or from both. The incidents that take place at the opening of the play, at the same time as the change in the attitude of lago, are two, the courtship and marriage of Othello and Desdemona, and the promotion of Cassio to the position of lieutenant under Othello.
The words of Iago at the opening of the play show that he regards the latter as an offence to himself, and therefore makes it the ground of his hostility to Othello.
He complains that Cassio has "had the election," and that, "He in good time must his [Othello's] Lieutenant be, And I bless the mark his Moorship's Ancient. At a later time he comes to see some connection between the two incidents, and believes that Cassio got the appointment because of an old friendship with Desdemona, and probably because he carried messages between Othello and Desdemona during their courtship.
When Othello had occasion to appoint a lieutenant, "Three great ones of the city in personal suit" appealed to him on behalf of lago, only to find that he had already chosen Cassio.
It appeared to be a matter of personal preference only, for he could give no reason for the choice of Cassio. This capricious choice lago at once took as a very great slight upon him, and rightly so. As one of "the usual lunacies," so-called, in the interpretation of the play, however, Professor Bradley says, "It has been held, for example, that Othello treated lago abominably in preferring Cassio to him.
This is the basis of the complaint of lago, and arouses at once his suspicion and bitter resentment, and soon turns him into an abiding but very stealthy enemy.
Shakespeare's Othello - Othello's Relationship with Iago and Iago's Motive
If Othello can be capable of such gross violation of all military rules and practices, lago sees that he can no longer trust Othello, and that all confidence between them has virtually ceased to exist, and no longer can he hope for the intimate relationships of former days to continue. This rewarding of Cassio with a military position because of personal service to himself and Desdemona was a most dangerous thing for a general to do, and opened up all kinds of possibilities of trouble, not only with lago, but with the discipline of all his forces.
Only the fortune that favors fools could save him from disaster. But it was fatal when one of the disposition of lago was involved, for it turned him at once into an enemy, not only to himself, but to all the others connected with the insult, to Desdemona and Cassio, linking all three in his plan of revenge.
Here, then, is an outstanding fact that too few critics have even observed, and none have adequately explained. At this point in the lives of Othello and lago a great change comes over their relations.
It cannot be too much insisted upon that up to this time they had, been the warmest and closest friends, and that lago had been in fact the confidential officer of Othello.
Now all at once, for some reason that has not been understood, lago has been turned into the bitter enemy of his old friend, Othello, and as if to mark the importance of this for the interpretation of the play, the dramatist has chosen this point in their relations for the opening scene.
But in spite of all that has been observed about the importance of Shakespeare's opening scenes for the exposition of his dramatic art, little attention has been paid to this fact in respect to Othello.
The task of the critic at present, then, is to discover the cause of this great change in the relationships of these two men, and from this to trace the further development of the play. Ever since Coleridge it has been the common thing, though by no means universal, to attribute the whole trouble to the sudden and unmotived malignity of lago, or to forget the fact that it has been sudden and unlike anything heard of before on the part of lago, and to assume only the malignity.
Later critics, however, have not been able to overlook the emergence of the malignity at this time, and have attempted to explain it from their own imaginations rather than from the words of the play. Professor Bradley may be taken as voicing the best that can be said by those who would lay all the blame of the tragedy upon lago, but who feel they must account in some manner for this sudden malignity.
Not content with charging lago with the evil the play undoubtedly lays upon his shoulders, Professor Bradley suggests that lago has always been in reality a villain, and has worn his "honesty" only as a mask, which now he throws off, revealing suddenly the real villain that he is, his true nature.
He has always been, says Professor Bradley, "a thoroughly bad, cold man, who is at last tempted to let loose the forces within him. The second scene that aids in illustrating this point is the one in which Iago convinces Roderigo to start a fight with Cassio when they are drunk in Cyprus. The notable difference in the two scenes, however, lies in the aftermath of each.
In Venice, Othello must answer to the Duke, and in that scene, Iago, notably, is not questioned, nor does he even utter a public line. That said, when the play moves to Cyprus, Iago, in turn, moves closer to Othello and the inner circle.
Iago controls this power over Roderigo to use him as a pawn; for example, the aforementioned scene in which Iago gives Roderigo a direct order.
Iago prompts Cassio to direct his affection toward Desdemona: What an eye she has! Methinks it sound a parley to provocation. An inviting eye; and yet methinks right modest. And when she speaks, is it not an alarum to love?Iago's Monolouge
She is indeed perfection. I know our country disposition well: In Act 3 scene 4, Iago and Othello seal their relationship when 15 they make the mutual bond to kill Cassio and Desdemona.
The film shows the two men on their knees when they make the pact; both Othello and Iago cut their hands with a dagger, and then they shake hands and embrace. In the homosocial sphere they are now even since they are plotting a scheme together and have sealed their evenness with blood. Through his manipulation, Iago fed his desires and climbed to the top of the hierarchy, and after a close evaluation of his character, we can begin to understand why.
Iago has a deep lust for power. He wants to be in the inner circle and control those around him, and the pathway that he takes to attain this is by attempting to attain a homosocial love from Othello. In order to do this, however, he needs to work his way up the homosocial hierarchy. He manipulates Cassio, Roderigo, and Othello to trust and love him, but since he does not know how to love, he underestimates the seriousness of the emotion, resulting in the tragedy.
By looking at where Iago both literally and figuratively stands, we can more deeply understand his intentions. After the play moves from Venice to Cyprus, the minimized hierarchy allows Iago to 16 move through social functions unnoticed; it also brings him closer to the inner circle of which he wishes to be a part.
Work will be assessed according to the following three benchmarks: Be that as it may, your research is vital to this final essay. Ultimately, your references to Gajowski, Holland, and Sedgwick help clarify a direction for your claims about Iago and love.
See my comments in number two. In short, I strong bibliography, though I would like you to flesh out some of the very short entries. You assert that subconsciously, Iago seeks what he lacks: This is hard to credit because Iago is so thoroughly aware of his own deceptiveness and is so clearly an agnostic about love.
However—and this is crucial—when you introduce Holland and Sedgwick, the argument begins to solidify. The essay would be far stronger if you were to introduce Holland earlier. This would ground your claims about the 17 subconscious. By that same token, you should bring Sedgwick in earlier, because you could then maintain that male homosocial love is what Iago seeks.
Note that Sedgwick describes the critical role that women play in the homosocial network among men. Some of her commentary in that regard could help clarify how Iago uses her to get to Othello.
Relationships in Othello
The paper is fine and certainly passes, but would be stronger if you implemented these changes. At the very least, do clean up some of the editing issues, per my changes above. Margreta Grazia de and Stanley Wells. Cambridge University Press, Provides a focused perspective of theatrical culture in the Elizabethan era.
Several strokes of good fortune the handkerchief etc help Iago keep Othello on side until the murder of Desdamona but ultimately it is his genius for manipulation and trickery that ensures his success.
Desdemona and Othello - True Love? In marrying a 'Moor', Desdemona flies in the face of convention and faces familial and societal criticism for her bold choice. Her father is shocked and dismayed: She fell in love with his stories of valour; "These things to hear would Desdemona seriously incline". This also shows that she is not a passive, submissive character in that she decided she wanted him and she pursued him. On the subject of her relationship with Othello, Desdemona says: That I did love the Moor to live with him, My downright violence and storm of fortunes May trumpet to the world: I saw Othello's visage in his mind, And to his honour and his valiant parts Did I my soul and fortunes consecrate.
While Othello appears confident of her love for him in Act 1 deep down he is insecure in the relationship.
He can't quite believe how happy he is that she loves him: If it were now to die, 'Twere now to be most happy; for I fear, My soul hath her content so absolute That not another comfort like to this Succeeds in unknown fate.
When Iago starts making vague suggestions of Cassio's untrustworthy nature Othello's confidence is knocked sideways very rapidly: