Shakespeare Essay, Research Paper
Othello: Good and Evil, A Classic Battle
Othello, as he appears in the Shakespeare drama of the same name, is a Moresque general in the service of the metropolis of Venice. He is good known by the people of Venice as an honest soldier and a worthy leader. In this drama we are presented with a authoritative battle between good and evil. Othello & # 8217 ; s antediluvian, Iago, a craft, untrusty, coveting retainer, and Iago & # 8217 ; s henchman Roderigo, the despised suer of Othello & # 8217 ; s married woman, Desdemona, represent immorality. Good is to the full represented within Desdemona a forgiving, honest, and guiltless individual and is besides represented in the good Cassio who starts the drama as Othello & # 8217 ; s Lieutenant, a sympathetic and trusty soldier. Desdemona and Cassio fight to delight Othello and remain in his good graces while Iago poisons the Moor & # 8217 ; s mind against the two in an effort to win the lieutenancy and penalize those he feels have wronged him.
From the start of the drama we are good cognizant of Iago & # 8217 ; s intriguing ability and his ill will for Othello. Iago uses the failings of Othello, specifically jealousy and his devotedness to his ethical motives and the standing he has worked hard for, to get the better of the resistance and anchoring force in Othello & # 8217 ; s life, the good Desdemona. Iago has been appointed to the place of antediluvian, or retainer, to Othello alternatively of the more esteemed place of lieutenant. Michael Cassio a adult male with a good trade of instruction but small experience as compared to the conflict hardened Iago, has been promoted to this station. Iago feels betrayed because he considers himself more qualified than Cassio to function as lieutenant. Iago so explains his programs for Othello to Roderigo, & # 8220 ; O, sir, content you. / I follow him to function my bend upon him ( Act I, Scene I ) & # 8221 ; . Iago intends to hold retaliation for the publicity of Cassio over himself, an action he perceives as a rebuff against himself by Othello. Iago takes for granted that Othello thinks of him as an honest and loyal adult male and uses this to his advantage. Roderigo, a former suer of Desdemona, is used by Iago as a flunky and tool person to make the nasty and difficult work, such as assailing Cassio. Roderigo is naively unsuspicious and believes that Iago plants for him and with him non to run into his ain terminals and so dispose of Roderigo as he sees fit. Iago convinces Roderigo to state Brabantio, Desdemona & # 8217 ; s male parent, about Othello and Desdemona & # 8217 ; s elopement. Iago continues his secret plan successfully, doing saps of the others, and harvesting wagess upon himself. Except for his simple confederate Roderigo, no 1 is cognizant of Iago & # 8217 ; s programs. In fact Iago has convinced the others, Othello, Cassio, and Desdemona that he is an honorable adult male loyal to his higher-ups and a friend to all. Emilia, Iago & # 8217 ; s married woman, is besides incognizant of her hubby & # 8217 ; s genuinely evil purpose and becomes a pawn in her hubby & # 8217 ; s magnificently and brightly executed strategy of retaliation. The fact that Othello himself views Iago as trustworthy and honest gives Iago an easy and absolutely unsuspicious victim for his strategies. When Othello is summoned to contend at Cyprus he entrusts his married woman & # 8217 ; s good being to the crafty Iago and sets out to conflict.
As the drama displacements from Venice to Cyprus, and Othello emerges winning from the conflict that is settled by the sinking of the enemy during the storm, there is an interesting contrast. Venice, a respectful and honest town is overshadowed by the war lacerate small towns of Cyprus. It could be said that Venice represents good or more specifically, Desdemona, and that Cyprus represents the immorality that is invariably shown in Iago. Desdemona, the immature bride, has been taken from her peaceable scene, conveyed by Iago in fact, and brought onto the evidences of immorality. Iago commits the greatest of his Acts of the Apostless of fraudulence in Cyprus. The chance to assail Othello through Desdemona is one enticement that Iago can non defy. He creates the feeling that Desdemona is holding an matter with Cassio in order to stir the green-eyed monster within Othello. Iago feigns friendly relationship to Cassio and plies him with drink to the point where he may be instigated to contend by the dishonest Roderigo. During the proceeding Iago confides to Montano, an functionary of Cyprus, that Cassio is frequently intoxicated and prevarications awake for hours if he does non imbibe. When asked to state of the battle and the actions of Cassio, he once more plays the friend. & # 8220 ; I would instead hold this lingua cut from my mouth/ Than it should offense to Michael Cassio. & # 8221 ; ( Act 2, Sc. 3 ) He proclaims all the piece trusting that Cassio will come out much worse for this brush, and come out worse he does when Othello strips him of his lieutenancy.
With Cassio no longer in the place O
degree Fahrenheit lieutenant, Iago finds the chance to more efficaciously interact with and pull strings Othello. This new interaction is really of import because it is the point in the drama where Iago begins to set up his use of Othello. Cassio, after motivating and advice from his imposter friend, Iago, feels that it is necessary to seek the aid of Desdemona in order to recover his place of lieutenant and therefore meets with her, in private, to discourse this possibility. Iago and Othello enter the scene merely after Cassio leaves, and Iago makes it look, to Othello that Cassio has left because he does non desire to be seen in the wooing of Desdemona. Iago comments: “Cassio, my Godhead? No, certain, I can non believe it That he would steal off so guilty-like, Sing your coming.” ( Act 3, Sc. 3 ) He succeeds in seting a seed of uncertainty in the baronial Moor’s head while at the same clip reaffirming, in Othello’s eyes, his honestness and trueness by protecting and purportedly believing the best of Cassio. When Desdemona leaves, after recognizing her Godhead and reaffirming his uncertainty by reasoning for Cassio, note that she does this out of the kindness of her bosom and non for the love Iago accuses and Othello uncertainties, Iago once more takes chance as he sees it. He attempts and succeeds to beef up Othello’s positions of honestness and trust in his character by stating, ironically from a readers prospective, “Men should be what they seem ; / Or those that be non, would they might look none! ” ( Act 3, Sc. 3 ) . This inventiveness by Iago works upon one of the tragic defects of Othello. Othello has a inclination to take everything he is told, by person he trusts, at face value without oppugning the fortunes. Iago admirations why person would feign to be something they are non, while in fact that is the exact thing he represents.
Iago continues to feed upon Othello & # 8217 ; s anxiousness and uncertainty. He takes advantage of these feelings by being blunt with Othello about his married woman Desdemona and her suspected infidelity. Iago suggests that she is holding sexual dealingss with other work forces, perchance, and most likely, Cassio, and so continues the conversation as if nil has happened. This suggestion puts Othello into a province of such emotional convulsion that he is lost in a enchantment. Iago & # 8217 ; s command over Othello is so strong now that he convinces him to see acquiring rid of Desdemona and even suggests methods of killing her. Iago, so proud of his achievements, says aside: & # 8220 ; Work on. My med & # 8217 ; cine work! / Therefore credulous saps are caught, / And many worthy and chaste dolls even therefore, / All guiltless, run into reproach. & # 8221 ; ( Act 4, Sc. 1 ) Othello in this province commits his first act of force against Desdemona, after she once more pleads for him to reconstruct to Cassio his lieutenancy, by hitting her. This shows Othello & # 8217 ; s other tragic defect. He has made himself susceptible to Iago and the green-eyed monster within him begins to take to his death and the devastation of others. By his actions, hitting Desdemona, depriving Cassio of his rank, Othello has isolated himself from everyone except Iago. This gives Iago the perfect chance to finish his strategy. Iago does non digest any intervention in his programs ; he murders Roderigo after he has failed to make as Iago instructed and threatens to convey the whole program crashing down. Finally, Othello, so infuriated by the prevarications told to him by Iago slayings his married woman. Desdemona, the representative of good, is faithful and loyal to the last. She goes every bit far as to fault her decease on herself instead than tarnish Othello. Iago & # 8217 ; s married woman, Emilia, hapless pawn that she has been, becomes the ultimate undoing of Iago. After her true moral centre and strength is shown by her disclosure Iago & # 8217 ; s secret plan to Othello, Iago kills her. This, the slaying of his ain married woman, is one of the Acts of the Apostless that most evidently shows the true immorality that Iago represents.
Othello eventually realizes that he has been fooled into slaying: & # 8220 ; I look down towards his pess & # 8212 ; but that & # 8217 ; s a fable If that 1000 be & # 8217 ; st a Satan, I can non kill thee. & # 8221 ; ( Act 5, Sc. 2 ) He attacks the reticent Iago, seeking to deliver his act of killing the pure and guiltless Desdemona by killing her opposite the evil Iago. Othello begs for forgiveness from Cassio, who has someway survived Iago & # 8217 ; s plotting, and so he commits suicide. Cassio is made commanding officer of Cyprus and Iago is turned over to him for the penalty that he so rightly deserves. In the terminal trueness and kindness wins through advancing Cassio back to his rank and higher while Iago is condemned to decease. Though it was a ferocious conflict with many tragic deceases, good is the master and evil finds itself one time once more harvesting no wagess but penalty alternatively.