Through this process, Othello becomes assimilated to, and motivated by, his racial "type"—becomes the monstrous Moor easily made jealous—and Iago escapes our human categories altogether, becoming unknowable, Iagos ego in othello by william shakespeare essay motiveless malignity.
Notes 1 Quotations follow the Arden edition of Othello, edited by M. I offer the following reading of that representation as a thought-experiment with two aims: Iago did not understand the power of love and affection, out of love for the dead Desdemona, Emilia exposes the villainy of her husband to others.
The tragedian gets caught in the tragedy of his own making. And in fact he has: And in response, he effectively neutralizes the erotic potency that mocks his own lack. Again and again Iago imagines the body filled with liquid putrefaction, with contents that can and should be vomited out or excreted.
He is the dramatist, chief actor as well as the choreographer of this devilish drama. Othello trusts Iago and mad with jealousy he asks Iago to help him kill Cassio and Desdemona. Roderigo is the first person to fall to his deceitful ways.
His first use of the language of black and white is in his call to Brabantio: Meanwhile, Othello kills Desdemona. He begins as a noble man who is a respected soldier and a loving husband. She is a cynical woman, who is loyal to her mistress. The City College,; and Orgel, Early in the play, poor Roderigo is a "sick fool.
His mind is as fathomless as his purpose seems dark and without motive. Arise, arise; Awake the snorting citizens with the bell, Or else the devil will make a grandsire of you. Iago is a flesh and blood human being, although his action moves on a plane that makes him an elusive character, a kind of psychological impossibility.
The capacity to give and to preserve life is felt as the greatest gift and therefore creativeness becomes the deepest cause for envy. If Iago imagines himself enacting a substitute birth, making the world conform to the shape of his envy by undoing the contours of the already-existing generative world, Emilia expresses the wish behind his metaphor: When Roderigo follows through with the plan Iago has set on him, Cassio is made to look like an irresponsible fool, resulting in his termination as lieutenant.
But, in the words of Harold Boris, a contemporary post-Kleinian analyst of envy, "the infant who cannot, sooner or later, feed the hand from which it feeds. To ensure that a business plan is complete makes Klein notes that excessive use of projective identification results in the "weakening and impoverishment of the ego"; in the words of Betty Joseph, "at times the mind can be.
But the trope through which Iago imagines that destruction makes Iago himself into the monstrous progenitor, filled with a dark conception that only darkness can bring forth: As the embodiment of what Iago would avoid, Roderigo exists largely to give Iago repeated occasions on which to display his mastery over both self and other: Inner wealth derives from having assimilated the good object so that the individual becomes able to share its gifts with others.
For the first long minutes of the play, we know only that the Moor, "the thicklips" 1.
Methuen, ],esp. Nevertheless, during the play Othello changes and becomes a jealous and villainous person because of his trustfulness. It is quite interesting to follow the tortuous path through which Iago leads Othello from calm self-confidence about love into a tempestuous mood of jealousy.
Methuen, esp. For his repetition signals a compulsive need to fill himself with objects in order to compensate for the contamination and chaos inside: The role he plays is rather unique and complex, far from what one might expect. He has been considered one of the most villainous characters of all time.
If Iago succeeds in transferring his own sense of hidden contamination to Desdemona, localizing it in her body, the sense of the hideous thing within—monstrous birth or foul intruder—begins with him. In this manner, Iago proves to be a tragic character himself, who gets caught in the web of fate and is destroyed.
Beside him, even Othello seems to be a lackluster character. Howard and Marion F.
After Othello has killed Desdemona and himself the Venetian authority seizes Iago and demands an explanation of his villainous acts. My account differs from those cited here largely in giving projection a body and in specifying the mechanisms of projective identification at work in the play.
London and New York: It is amazing to watch how quick and smart Iago can be with the other characters.In William Shakespeare’s play, Othello, the character Iago lacks a superego which allowed his id to run free and this caused him to lack any form of sympathy and to become a.
Othello Homework Help Questions. Discuss Shakespeare's portrayal of Venice as setting for Othello in I.i-iii. The most significant purpose for Venice being the setting of Othello.
Iago's Motivation in Shakespeare's Othello Essay - Iago's Motivation in Othello Iago is a "moral pyromaniac." Harold C. Goddard writes that Iago consciously and unconsciously seeks to destroy the lives of others, especially others with. Iago in William Shakespeare's Othello Essay.
Iago in William Shakespeare's Othello The most fascinating and curious character in the tragic play "Othello", by William Shakespeare, is "Honest" Iago. In the play his nature.
Iago’s ego has been hurt by Othello claiming Cassio as his lieutenant and passing up Iago. Iago feels that he has way more experience in battle than Cassio and just pretends to serve Othello until he can get his revenge (). Essay: Iago in Shakespeare’s Othello Perhaps the most interesting and exotic character in the tragic play “Othello,” by William Shakespeare, is “Honest” Iago.
Through some carefully thought-out words and actions, Iago is able to manipulate others to do things in a way that benefits him and moves him closer toward his goals.Download