A Devil in Disguise in the Play Othello, Theater, College Term Papers.com


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A Devil in Disguise in the Play Othello

A Devil in Disguise in the Play Othello As in any Shakespearean tragedy, there are opposing forces that bring about the tragic ending. William Shakespeare’s play Othello would not be one without an evil catalyst named Iago. He is a standard-bearer, or an “ancient” to the tragic hero Othello, who was a Moorish general in a Venetian army. In the play, Iago is the Satanic figure in whatever the word "evil" connotes. The word “evil” means that of which is morally bad or wrong, or that which causes harm, pain, or misery (Popkin, par. 1). There are several traits or characteristics that are common to both Iago and Satan. According Professor William Grace, of Fordham University, “Both Iago and Satan are skilled deceivers, accomplished liars, experts in applied psychology, and in the manipulation of the innocent” (par. 1). Theologically, however, Professor William Grace also generalizes that “Satan creates more havoc, waste, and suffering than Iago” (par. 1). It is true that Satan affects a larger worldwide scale than Iago. However, it could be proven that Iago’s thinking and ways creates an incarnation of Satan in the play. As Professor Andrew Bradley writes, “Evil has nowhere else been portrayed with such mastery as in the characters of Iago” (Brooke par. 4) Both Iago and Satan also rejected good ideas and beliefs. “The Moor […] is of a constant, loving, noble nature” (Oth. 2.1.310-311); Desdemona is “framed as fruitful/ As the free elements” (2.3.361-362). One can see that Iago recognizes beauty, truth, and goodness in an objective way, and he rejects and wishes to corrupt them. This is proven by the line in which he says, “So will I turn her virtue into pitch, And out of her own goodness the net That shall enmesh them all” (2.3.380-382). Iago again rejects goodness when he says, “Virtue! A fig! ‘Tis why, the power and corrigible authority of this lies in our wills” (1.3.313-318). This quote, which appears in an early monologue by Iago, shows how Iago sees virtue as meaningless, trivial, and insignificant and that personal will should rule one’s decision making. Also, by his simple condemnation of virtue, Iago is alienating himself from every aspect of goodness. Satan, on the other hand, was morally pure (Ezek. 28:12-15). Satan was formerly an angel of God and was also known as Lucifer or “the morning star” (Isa. 14:12). However, he rejected all of the following to be evil and rebelled against God, the image of goodness (Ezek. 28:15-16). Satan’s rebellion and his goal of corrupting the image of good is symbolically similar to Iago’s when Iago whispers: IAGO. […] I have’t. It is engender’d. Hell and night Must bring this monstrous birth to the world’s light (Oth. 1.3.446-447). In this scene, Iago exposes to the audience his diabolical view of corrupting the light of the world, which is also light of the glory of God (2 Cor. 4:6). According to Richard H. Popkin, “Evil is the privation, or absence, of good, as darkness is the absence of light” (par. 3). Iago intends to fulfill Satan’s goal, which is to destroy God and influence the world with corruption (Rev. 12:4a). Iago and Satan promoted immoral, corrupted, and evil ideas. Lance Morrow, from his article about “Evil,” unfolds another characteristic of Satan, which was exhibited by Iago: Satan and evil have many faces, a flashy variety. […] Evil can also be attractive because it has to do with conquest and domination and power. Evil has a perverse fascination that good somehow does not. Evil is entertaining. […] Evil is easier than good This quotation articulates that Satan has different appearances and personalities, which Iago displayed by acting differently towards the other characters in the play. It also illustrates how the power of evil is more attractive and is also benefiting, which Iago pursued. In the Bible, Satan’s disguise or appearances includes a snake (Gen. 3:1-6), a dragon (Rev. 12:3), an angel of light (2 Cor. 11:14), a lion (1 Pet. 5:8) and a wolf in sheep’s clothing (Matt. 7:15). Such disguises used by Satan show that evil has many faces. While Iago has also convinced himself and others, particularly Othello, of his supposed “honesty” (Oth. 3.3.136). This was his outer shell and what he wants Othello, the main character, to perceive him as such. Othello was easily led to his evil plots because of the trust that Othello easily granted to him. According to Professor Andrew Bradley, he stated in his criticism that, “His trust where he trusts, is absolute […] and they were misplaced trust” (par. 9). This quote proves how innocent individuals, who easily offer their trust, are easily manipulated. Iago plans to manipulate the destruction of Othello that he revealed when he said, “that I put the Moor at least into a jealousy so strong that judgment cannot cure” (Oth. 2.1.322-324). These words indeed are revelations of his evil intentions. With Cassio, Roderigo, and even Desdemona, he also acted as a friend (2.3.134-136), a supporter (3.4.155-159), and a comforter (2.3.285-295). However, behind their backs, he was egoistically using them to pursue his goal and to destroy them all (2.3.380-382). In another dialogue with Roderigo, Iago says, "I am not what I am” (1.1.74). In other words, Iago also reveals that the outward appearance that he gives to the world bears no relation to the reality inside. Emilia, his wife, was treated as a tool to do his evil deeds and as a sex object. In one scene, Iago asked Emilia to steal Desdemona’s handkerchief, in which she obeyed to do so: What will you do with ‘t, that you have been so IAGO. [snatching it] Why what is that to you? This scene shows Iago’s ill treatment, manipulation, and the way he acted towards Emilia. In addition, it also introduces the next trait that Satan and Iago have in common that is the ability to use another individual. For example, the audience sees Iago’s contemptuous comments on characters like Roderigo when he says that he is a “snipe” only to be used for “sport and profit” (Oth. 1.3.428-429). These views of Iago reveal to the audience that he takes advantage of friendships, and that he regards them for his own gain. Whatever Satan’s disguise, his goal is the same; it is to counterfeit the person and the plan of God and deceive people (2 Thess. 2:10). Satan can deceive and make others do his evil deeds. Satan caused a third of heaven to fall with him by influencing other angelic beings to make a war against God (Rev. 12:4a). As William Grace looks at the theme of appearance versus reality she states that “, True good and ‘seeming good’ may be poles apart, and the universe is full of potential deception”. "[…] Men should be what they seem," Othello observes, unaware of his own position relative to that of Iago (Oth. 3.3.147). Such power to influence and use another being was expressed by Iago when he persuaded Emilia to steal that handkerchief. Roderigo, Desdemona, and Cassio all had something in common. They all turned to Iago for the assistance that they believed he could honestly provide. Roderigo, a suitor of Desdemona, for example, needed to gain her love and hand in marriage (Oth.1.3.359-360); Cassio wanted to regain his title of lieutenancy from Othello (2.3.325); and Desdemona wanted to aid Cassio to regain his title (3.3.23-29). As a result, they were more receptive to Iago’s evil intentions. By offering his help and comfort, Iago was able to gain their trust and friendship. Another trait includes the state of immortality, which was both possessed by Iago and Satan. In the last act, the audience witnesses how Iago is stabbed and lives: Where is the viper? Bring the villain forth. [Iago is brought forward] I look down towards his feet; but that’s a fable.- If that thou be’st a devil, I cannot kill thee. [He stabs Iago] LODOVICO. Wrench his sword from him. The other characters’ reactions, in this scene, reveal Iago’s true self. Othello can’t even believe what he sees, and he characterizes what he sees as a “fable” and calls him a “devil” (5.2.336-337). Lodorvico, a Venetian gentleman, even uses the word “villain” and “viper” to identify him (5.2.335). Another connection can be made between Satan and Iago. A viper is a snake, which was Satan’s first disguise to elude Adam and Eve to eat the fruit that caused them to sin (Gen. 3:1-7). Nonetheless, Iago is comparable to Satan, having such similar characteristics. One could see how Shakespeare perfectly captured the devil into his tragic play. These characteristics, which include having ideas of evil, rejecting good beliefs, the skill to change personalities and outward appearances, being able to manipulate other individuals, and immortality, prove that Iago is indeed a Satan figure. Bibliography: Works Cited Bokenkotter, Thomas. Dynamic Catholicism, New York: Bantam Doubleday Dell Publishing Group, Inc., 1985, 1986. Bradley, Andrew. Shakespearean Tragedy, New York: Meridan Books, 1955. Brooke, Tucker. “Romantic Iago.” online posting 23 July 98 , 1918. Grace, William. “Critical Commentary.” online posting. 7 June 1999 Bureau of Electronic Publishing, 1963-1990. Morrow, Lance. “Evil”. Time. Time Inc., 1991 Popkin, Richard. “Evil” Microsoft® Encarta® 97 Interactive Encyclopedia. © 1993-1996 Microsoft Corporation. Shakespeare, William. Othello. Mowat, Barbara A., ed. And Westine, ed. New York: Washington Square Press, 1992. The New American Bible, Stephen J. Hartdegen, O.F.M., S.S.L., gen. ed., Christian P. Cereoke, ed. New York: Catholic Book Publishing Co., 1986.

Word Count: 1530