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The play Othello by William Shakespeare is based on an Italian story in Giraldi Cinthio\'s Hecatommithi (Grolier). In Othello we encounter Iago, one of Shakespeare’s most evil characters. Iago is an officer in Othello\'s army and is jealous of Cassio\'s promotion to Lieutenant. Through deception and appearance, we see unfolded many lies and clever schemes. The astonishing thing about Iago is that he seems to make up his malicious schemes as he goes along without any forethought. Noted writer Samuel Taylor Coleridge describes Iago\'s plan as “motive-hunting of a motiveless malignity” (Scott 413). Iago seizes every opportunity to further advance his plan to his advantage. Greed plays a major role as a motive for his various schemes and lies.
Throughout the story, Iago portrays himself as a Satan figure. In many ways, Iago can compare with Satan. Iago, like Satan, has proved himself to be a master of deception. He lies to everyone taking great care to disguise his own thoughts. For example, in Act 1 scene 2, when he is speaking to Othello about his feelings toward Cassio, he uses very strong language, while at the same time, he lies throughout the whole speech faking loyalty to a fellow soldier and all the while implying that he is reluctantly holding back the full truth: “I had rather have this tongue cut from my mouth. Than it should do offense to Michael Cassio” (I.ii.21-22). This deception impresses and convinces Othello that his officer is a good and loyal soldier. Iago also succeeds in deceiving Cassio. After Cassio\'s drunken fight, Iago counsels him to speak to Desdemona about trying to convince Othello to reinstate him as lieutenant, all the while knowing that this will only prove helpful to his plan of having Othello see him with Desdemona. Cassio answers him: “You advise me well . . . Goodnight, honest Iago” (II.iii.332/340). Thus, even Cassio is capable of being deceived by Iago. With all of this deception, it is a wonder that Iago is not Satan himself. He even gives an account to his plan of deception, in a soliloquy, in Act II. In comparing himself with Satan, he says:
When devils will the blackest sins put on. They do suggest at first with heavenly shows.
As I do now: for whiles this honest fool. Plies Desdemona to repair his fortunes. And
she for him pleads strongly to the Moor, I\'ll pour this pestilence into his ear. . .
Iago describes how Satan uses the appearance of something good to disguise the various temptations that we know are evil. He tells how he will do the same while Cassio is begging Desdemona to tell Othello to take him back, Iago then will start his destructive scheme. Satan also deceives by lying and twisting the truth. When he told Eve in the Garden of Eden “surely you will not die” (Gen.3: 4), he twisted the truth to deceive her. The
Apostle John calls him the father of liars: “ . . . for he is a liar, and the father of lies” (John 8:44). As you can see, Iago and Satan both use deception to further benefit themselves.
Through deception, Iago creates the appearance of good, which is what ultimately fools the people around him into thinking that he is loyal and honest. Being an officer is an honorable rank. Historically, an officer carried the company\'s banner, which he was never to desert. In battle, if the company\'s banner were threatened, all the soldiers had to fight to defend it and also its bearer. So by tradition and definition, he had to be well liked, brave, and trustful. Iago already has the appearance of being a good and honest man so he has an advantage when it comes to keeping that honest look about him throughout the story. Othello, it would seem, has fallen for this appearance when he tells Iago: “I am bound to thee forever” (III.iii.214). Othello relates this to Iago because he trusts him. Satan works in much the same way as Iago does. He creates something pleasant out of something totally evil by making it appear glorious. The apostle Paul makes a comparison between the appearance of men and Satan in II Corinthians: “For such
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Othello, Iago, Michael Cassio, Desdemona, Emilia, Otello
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