To what extent is Iago responsible for the tragic happenings in Shakespeare's Othello?

Iago is the smartest villain among all the villains. Though Iago is mostly responsible for the tragic happenings in the lives of most of the leading characters in Othello, he proves himself as an ambidextrous manipulator.  As a villain Iago has almost supernatural ability to manipulate the other characters of the play. He manipulates the other characters into following their own agendas and all the while coming closer to his goal of bringing Othello to his downfall. 

The villainy of Iago is great in the sense that he had an elaborate plan, using every character in the story and manipulating their minds to the point where everyone was believing lies. He did all of this so that he could get what he wanted-the destruction of Othello. Through Iago’s subtle manipulation each event moves along the plot and has a direct effect on the emotional responses of the characters. The decisions that are made prepare the dramatic conditions for the next tragic event.   Right from the beginning of the play, Iago’s involvement in the play is evident.

The play begins with a conversation between Iago and Roderigo. From their conversation it appears that Iago has been overlooked by Othello for a promotion. This makes him vengeful and his first action is to tell Brabantio that Othello has eloped with his daughter, Desdemona.   Iago’s behaviour and method of disclosure is designed to deliberately alarm Brabantio and give him a dreadful shock. Iago wants to poison Brabantio’s mind against Othello. Here Iago appears as a racist. Iago uses racism as a spark to inflame Desdemona’s father, Senator Brabantio, against Othello..After Iago and Roderigo raise a clamor outside Brabantio’s house late one evening, the senator awakens and comes to a window. Iago then uses vulgar animal imagery to slur Othello, telling Brabantio that the black Moor has seized his greatest treasure, his daughter, and at that very moment is defiling her. 

Iago shouts to  Brabantio

... now, very now, an old black ram 
Is tupping⁵ your white ewe⁶. Arise, arise! 

There is an obvious racism in this quote. When Brabantio reacts with incredulity, Iago replies with a metaphor that this time compares Othello to a horse: ‘you’ll have your daughter covered with a Barbary horse.’

But here Iago fails to achieve his end namely the fall of Othello. The court declares Othello innocent and consents to the marriage between Othello and Desdemona. But Iago is not the man to give up. Iago follows Othello like a shadow. And it is Iago who plants the seeds of suspicion and jealousy in Othello’s mind and brings down the ultimate tragedy in the play. 

Iago goes to Cyprus and his next concern at Cyprus is to bring Cassio into disrepute which he proposes to effect by making Cassio drunk. Iago gives to Montano the impression that Cassio is a habitual drunkard and therefore unfit to be Othello’s lieutenant. Asked if Cassio often gets drunk, Iago replies that Cassio cannot sleep without heavy drinking. He here tells a brazen lie but in such a possible manner that Montano, he prepares that man to fight with Cassio, just as he has already  prepared Roderigo, also by telling him lies, to provoke Cassio into a quarrel. After having suggested to Cassio to seek Desdemona’s help, Iago sets forth his strategy in a soliloquy. He will draw the Moor apart for a while and then bring him precisely when he can see Cassio “soliciting” Desdemona at a distance.

Iago has an amazing genius for plotting and for manipulation. Apart from the credulity of his victims, he succeeds because of his fertility of mind in inventing lies and falsehoods and in lending plausibility to whatever he says or invents. He drives Othello desperate and almost mad with jealousy. Iago’s whole manner of talking to Othello in the great “temptation scene” is so plausible, so persuasive, and so skillful that Othello easily falls into the trap. The Act 3,Scene 3; often called the "temptation scene," is the most important scene in the entire play and one of the most well-known scenes in all drama. In it, Iago speaks carefully and at length with Othello and plants the seeds of suspicion and jealousy which eventually bring about the tragic events of the play.

Iago arranges to be walking with Othello when they just "happen" to see Desdemona and Cassio talking quietly. Iago causes Othello to see the infidelity of his young and beautiful wife, Desdemona, with his favorite lieutenant, Michael Cassio. Indeed, Othello does not see the gap between appearance and reality. His "Ha! I like not that!" (35) is a blatant lie; this fraudulent tsk-tsking hides Iago's true delight; nothing could satisfy his perversity more. But because Othello sees nothing amiss, Iago must make a show of not wanting to speak of it, or of Cassio, while all the time insinuating that Cassio was not just leaving, but that he was "steal[ing] away so guilty-like" (39). Iago's words here are filled with forceful innuendo, and as he pretends to be a man who cannot believe what he sees, he reintroduces jealousy into Othello's subconscious.

Iago makes suggestive comments to Othello about Cassio's way with the women and his relationship with Desdemona. When Iago is alone with Othello, he resumes his attack on his general's soul. Out of seemingly idle curiosity, he asks if Desdemona was correct when she referred to the days when Othello was courting her; did Cassio indeed "know of your love?" (95). Here he prods Othello's memory to recall that Desdemona and Cassio have known each other for some time. Then again playing the reluctant confidant, he begs, as it were, not to be pressed about certain of his dark thoughts. One can see how skillfully Iago makes use of his public reputation for honesty.

Iago is a misogynist, who warns Othello to watch his wife closely (so that he will notice all the ways in which Iago plans to frame Desdemona and Cassio). He reminds Othello that Desdemona is a Venetian lady and "in Venice they [wives] do not let [even God] see the pranks / They dare not show their husbands" (202–203). In other words, the faithless wife is a well-known member of Venetian society. Iago also attempts to frame Emilia as a duplicitous woman, indeed all women, as one who would "rise to play and go to bed to work"(113).

In achieving his goal namely the fall of Othello, Iago employs various devices. He later drops Desdemona’s handkerchief in Cassio’s apartment and then tells Othello that he saw Cassio wiping his beard with it. He invents a dream in which Cassio is supposed to have made love to Desdemona and to have cursed the Moor. He questions Cassio about Bianca and makes Othello believe that he is talking to Cassio about Desdemona. And he arranges matter in such a way that Cassio should not meet Othello face to face because a meeting between them is likely to lead to an exposure of Iago’s falsehoods. His designs against Cassio and Roderigo are also well-executed. His last move against Cassio and Roderigo is one of the masterpieces of his devilry, though unhappily for him, it miscarries. Here he literally wanted to kill two birds with one stone.  Besides he remains perfectly cool and composed throughout. Except once and then also for a few moments, he does not lose his nerve at any stage throughout the play. In having brought about the destruction of Othello and Desdemona he does not feel the least regret or remorse. He is a totally unrepentant evil-doer. His cruelty is remarkable. He feels not the least pity for the innocent and trustful Desdemona; nor does he shrink from stabbing to death his own wife or Roderigo.

No doubt Iago is the most contemptuous character in the play Othello. But as a character he has some remarkable qualities. Iago possesses a vast knowledge of human nature and human dealings; otherwise he could not have been such an effective schemer and manipulator. He gives us, in the course of play, several generalizations which, if read apart from the context, would seem to be unquestionable truths. His remarks about how promotions are granted on the basis of the personal preferences of the employer, his comments on virtue and on reputation, his references to false appearances which people put on and to the foul thoughts which enter even the noblest minds-all these carry conviction.

If one looks in modern day cinema, one will see the trite villain, evil to the core. Shakespeare took his villains to a higher level. He did not make them transparent like the villains of modern cinema. He gave his villains depth and spirit. Iago is a perfect example of "Shakespeare's villain." His amorality and cynicism give, what would be a very dull character, life. the villainy of Iago did cause a lot of despair and cost many characters their lives in Othello.

An Interpretation of the Temptation Scene (Act 3, Scene 3) in Othello

The Act 3, Scene 3 in Othello, in which honest Othello is tempted by the ‘serpent’ Iago to the damnation emotion of jealousy, constitutes the central scene of the play. This very long scene is mainly a long study in temptation and damnation. Here Iago, the master villain is in his best and tempts Othello and leads him,bit by bit , to the damnation. Here Iago speaks carefully with Othello and plants the seeds of suspicion and jealousy which eventually bring about the tragic events of the play.

It covers perhaps the widest range of feelings from happiness, innocence, and trust to torment and revenge. It begins with Desdemona’s well meaning assurances to Cassio and ends with Othello’s determination to swiftly kill "the fair devil". It is the most important scene in the play, for it brings out the jealousy, the fatal flaw, of Othello, which will lead to his undoing and the tragic end of the play.

But apart from the theme of the sexual jealousy ,the scene draws our attention to other things such as the pressure group complicity, the chance happenings ,the prevailing notion about women etc which helped Iago have his job done. The scene is also an excellent example of Shakespeare’s use of imagery.

Sometimes the villainy gives us pleasure .It is nowhere more true than in the scene. It is interesting as well as pathetic to see the master villainy of Iago. Iago anticipates and manipulates the other characters so skillfully that they seem to be acting simultaneously of their own free will and as Iago’s puppets. Now let us see how Iago makes Othello a fallen man and what are the things that precipitated the tragedy are.

The scene is divided into seven parts.

Sub-scene 1

The temptation scene opens in the loveliest scene in the entire play: the garden of the Cyprian castle. Desdemona is talking with Cassio and tells him that she is sure that she can influence her husband in Cassio's behalf. Emilia also hopes that Desdemona will be successful. Desdemona is most reassuring and jests to Cassio saying: As Cassio's solicitor, she would "rather die / Than give [his] cause away" (27–28).These last word with Cassio will ultimately prove to be prophetic.

Sub-scene 2

Emilia then notes that Othello and Iago are approaching. When the Moor and Iago enter, Cassio excuses himself hurriedly, saying that he is too ill at ease to speak with the general at this time. And it is at this point that Iago, who is ready to make the most of every incident and occasion, begins to taint Othello's belief in Desdemona's fidelity.

Iago: Ha, I like not that.

Othello: What dost thou say?

Iago: Nothing ,my lord or if – I know not what.

Othello: Was not that Cassio parted from my wife?

Iago: Cassioo,my lord?..no,sure ,I cannot think it,

That he would sneak away so guilty-like,

Seeing you coming.

Iago represents himself as an honest, but reluctant, witness. His "Ha! I like not that!" (35) is a blatant lie; this fraudulent tsk-tsking hides Iago's true delight; nothing could satisfy his perversity more. But because Othello sees nothing amiss, Iago must make a show of not wanting to speak of it, or of Cassio, while all the time insinuating that Cassio was not just leaving, but that he was "steal[ing] away so guilty-like" (39). Iago's words here are filled with forceful innuendo, and as he pretends to be a man who cannot believe what he sees, he introduces jealousy into Othello's subconscious.By pretending to be reluctant to articulate his suspicions ,Iago encourages Othello to question what he has observed.

Sub-scene 3

Desdemona greets her husband and, without guilt, introduces Cassio's name into their conversation. Here, fate plays a major role in this tragedy; not even Iago wholly arranged this swift, coincidental confrontation of Othello, Desdemona, and Cassio, and certainly the pathos of Desdemona's position here is largely due to no other factor than fate. Desdemona could not purposely have chosen a worse time to mention Cassio's name to her husband. In addition, she innocently refers to Cassio as a "suitor." All these coincidences will fester later in Othello's subconscious as Iago continues to fire the Moor's jealousy. But for now, Othello is without suspicion and seems to be concerned with other matters. Obviously, he will do what his wife asks, but his thoughts are on other things. He does not wish to call Cassio back at the moment, but Desdemona is insistent. Even though she did promise Cassio not to delay speaking to Othello about the matter, such annoying insistence seems unnecessary, and it leads to Othello's becoming mildly vexed with his wife's childish pestering: "Prithee, no more; let him come when he will, / I will deny thee nothing" (74–75).

Desdemona realizes that Othello's answer is curt, and she emphasizes that this is an important matter and not a trifle that she is asking. To this, Othello stresses again that he will deny her nothing, but, in return, he asks for a bit of time so that he can be alone; he will join her shortly.

Sub-scene 4

As Desdemona leaves, Othello chides himself for being irritated by his wife. Lovingly he sighs, "Excellent wretch! Perdition catch my soul, / But I do love thee! and when I love thee not, / Chaos is come again" (90–92). Othello seems far more comfortable expressing his love for Desdemona when she is absent. Perhaps this is because her presence makes him conscious of her claim upon him and of his obligation to honor her requests, or perhaps this is because he is more in love with some idea or image of Desdemona than he is with Desdemona herself. The lines just quoted indicate how much his image of her means to him: if he stops loving her, the entire universe stops making sense for him, and the world is reduced to “Chaos.”

There is an element of prophecy here not only in Desdemona's and Othello's farewells to one another, but also in their lines and in the remainder of the Moor's first speech after Desdemona leaves. In a metaphorical sense, perdition will soon catch Othello's soul, and chaos will soon replace order in his life.

When Iago is alone with Othello, he resumes his attack on his general's soul. Out of seemingly idle curiosity, he asks if Desdemona was correct when she referred to the days when Othello was courting her; did Cassio indeed "know of your love?" (95). Here he prods Othello's memory to recall that Desdemona and Cassio have known each other for some time. Then again playing the reluctant confidant, he begs, as it were, not to be pressed about certain of his dark thoughts. One can see how skillfully Iago makes use of his public reputation for honesty.

Othello is alarmed by Iago's hesitations and "pursed brow".Othello is convinced that Iago is withholding something and asks for his ruminations, the "worst of thoughts / The worst of words" (132–133). What Iago is doing, of course, is making Othello believe that Iago's honor is at stake if he confesses his fears. Thus he lies to Othello again, saying that he is unwilling to speak further because he may be "vicious in [his] guess" (145).

One should never doubt that Iago will speak the "worst of thoughts" (132), although at first he does not answer directly. First, he speaks only the word "jealousy" aloud, fixing it in Othello's imagination; then, sanctimoniously, he warns his general against this evil, this "green ey'd monster" (166), and refers to the "wisdom" of Othello, implying that the general is not one to be trapped by his emotions.Iago urges his master not be jealous,without telling him directly why he should be jealous.Othello insists that he is not given to jealousy ,but we see that his mind is clearly moving in the very direction Iago intended.

Iago knows he has ensnared his victim.Then in order to drve home the advantage he has gained, Iago uses the cultural prejudice against women to further fuel Othello’s suspicion.He reminds Othello that Desdemona is a Venetian lady and "in Venice they [wives] do not let [even God] see the pranks / They dare not show their husbands" (202–203). In other words, the faithless wife is a well-known member of Venetian society.Iago also urges Othello to recall that Desdemona deceived her own father by marrying Othello. To Brabantio, Desdemona pretended to be afraid of Othello's dark looks; she pretended to shake and tremble at Othello's exotic demeanor, yet "she lov'd them [Othello's features] most" (207). The implication is clear; Iago does not have to state it: If Desdemona deceived her own flesh and blood, she might just as naturally deceive her husband.The logic of these lines is forceful, and Iago is astute enough to pause now and then, begging his superior's forgiveness, and, at the same time, attributing his own frankness to his devotion and regard for Othello. When we hear the Moor say, "I am bound to thee for ever" (213), we feel that indeed he has been irrevocably trapped. Apart from the cultural prejudice against women,Iago also subtly instills the inferiority complex into Othello’s mind for his low racial identity.

Sub-scene 5

Now we hear Othello in a soliloquy (258–277), and the range of the imagery he uses underscores the appalling change in his character.He suffers from the infriority complex for his identity as well as for his age. Othello's mind and soul are torn with irrational images of Desdemona's infidelity and of his own unworthiness. Othello is deeply insecure about his personal qualities and his marriage, as insecurity becomes a theme that weakens his resolve not to doubt Desdemona. Othello uses his black skin as a symbol for how poorly spoken and unattractive he thinks he is. All of his claims are very much beside the point; his words are actually more complex and beautiful than those spoken by any other character in the play. Othello doubts that Desdemona could love him, because of his misconception of himself as being uncouth, poorly spoken, and old; and because he begins to believe that Desdemona cannot love him, he starts to believe her guilty of infidelity. The leap is great, but it is all a product of Othello's own insecurities and his incorrect conception of himself, another theme of the play. How Othello sees himself directly influences how he views Desdemona's love, though there should be a disconnection between these two things.

Othello begins to use the black/ white imagery found throughout the play, to express his grief and rage at Desdemona's alleged treachery. "My name, that was as fresh as Dian's visage, is now begrimed and black as mine own face," Othello says. Thus we see how much Iago is successful in instilling the self-hatred into Othello’s mind.

When Desdemona returns to her husband, her beauty immediately softens his heart, but he is still out of sorts. Desdemona notices that he is not himself and innocently asks what is wrong. He complains of a pain in his head, so she strokes his brow with her handkerchief. Othello, however, cannot relax and pushes her hand away, causing the fateful handkerchief to drop. Here Othello’s rejection of Desdemona’s offer of her handkerchief is an emphatic rejection of Desdemona herself.

Sub-scene 6

In the fifth episode, Iago takes the handkerchief from Emilia, who seems to be completely dominated by her husband. Iago knows that he can use the handkerchief as proof against Desdemona and Cassio. In fact, he has wooed his wife "a hundred times" to steal it from her mistress, for he can "plant" the handkerchief on Cassio as proof of the affair. It is to be noted that the innocent Emilia neither knows nor cares why Iago has an interest in the handkerchief.

After Emilia leaves, he reveals the next step in his plan: he will go to Cassio's lodgings, leave the handkerchief there, and let Cassio find it. Cassio will keep it and then Othello will see it in the ex-lieutenant's possession. Othello will then conclude that Desdemona either gave the handkerchief to Cassio as a token of their love or left it at Cassio's lodgings after a rendezvous.

Sub-scene 7

The third sub-scene brings Iago to Othello, and he continues to make his wretched insinuations. He reminds the general how Cassio has slipped away from Desdemona as they approached; he also reminds Othello how Cassio has appeared to play a part in Othello’s wooing of Desdemona, giving the two of them time together. Othello is forced to listen to this evil man, for he has a reputation for he is "full of love and honesty." After some general remarks on "good name", "jealousy", and the sophistication of Venetian women, Iago refers to Desdemona’s deception of her own father, implying she is also capable of deceiving a husband. Iago succeeds in raising Othello’s jealousy, which Iago appropriately calls "the green-eyed monster." Othello thanks the wretched man and says, "I am bound to thee forever."

In the fourth part of the scene, Othello is at first alone, delivering a soliloquy. He states his trust in the "exceeding honesty" of Iago and his appreciation for his revelations. He then discusses his need for proof about his wife; he does not want to believe her infidelity is true, but he will accept it if there is proof. Thirdly, he chastises himself for his black skin, his lack of social knowledge, and his advanced years; he feels it is these things that have turned his wife against him. This is a total contrast to the proud and self-confident general that has been seen throughout the play.

In the last and sixth sub-scene, a totally distraught Othello returns; it is obvious that he has succumbed to Iago’s machinations and is a jealous, "fallen" man. All he needs now is proof; Iago is eager to oblige. He wickedly and basely describes Cassio’s dream of Desdemona, which is totally invented by Iago. But Othello accepts it as the proof he needs and cries, "O monstrous! monstrous.!" Like a raging maniac, he declares he will destroy his wife. Iago is still worried that Othello may relent, so he manufactures one more important lie. He tells of Cassio using Desdemona’s handkerchief, Othello’s first gift to his wife, to wipe his beard. Othello is totally enraged.

Iago urges Othello to be patient, arguing that he may change his mind, and there follows the well-known Pontic Sea (i.e., the Black Sea) simile, in which Othello compares his "bloody thoughts" (447) to the sea's compulsive current, one which never ebbs but keeps on its course until it reaches its destination, the junction of the Propontic and the Hellespont (453–460). In this simile, Othello stresses his high status (as we might expect a tragic hero to do), identifying himself with large and mighty elements of nature. Equally important, this simile makes clear the absoluteness in Othello's character; once he has decided which course to take, he cannot turn back, and this decision does much to make plausible the almost incredible actions that follow.

Othello falls to his knees and promises to have revenge on evil. He uses such words as heaven, reverence, and sacred, and it is as though he sees himself as a rightful scourge of evil, as executing public justice and not merely doing personal revenge. He ends the scene by stating his intention to kill Desdemona; Iago promises to take care of Cassio. For his efforts, Iago is promoted to the coveted position of lieutenant.

By the end of Act III, Scene 3, Iago has secured a shaky dominance over Othello. He is within reach of his original objective of driving Othello to despair, but his victory is not secure, as Othello may yet think to blame Iago again for his suffering and turn against him. While Cassio and Desdemona live, Iago has gained only a little time in which to secure his position.

The end of Act III, scene iii, is the climax of Othello. Convinced of his wife’s corruption, Othello makes a sacred oath never to change his mind about her or to soften his feelings toward her until he enacts a violent revenge. At this point, Othello is fixed in his course, and the disastrous ending of the play is unavoidable. Othello engages Iago in a perverse marriage ceremony, in which each kneels and solemnly pledges to the other to take vengeance on Desdemona and Cassio. Just as the play replaces the security of peace with the anxiety of domestic strife, Othello replaces the security of his marriage with the hateful paranoia of an alliance with Iago. Iago’s final words in this scene chillingly mock the language of love and marriage: “I am your own forever” (III.iii.482).

Theme of Jealousy in Othello

Throughout Shakespeare’s Othello, jealousy is apparent. The tragedy Othello focuses on the doom of Othello and the other major characters as a result of jealousy. In Shakespeare’s Othello, jealousy is mainly portrayed through the two major characters:  Iago and Othello. It utterly corrupts their lives because it causes Iago to show his true self, which in turn triggers Othello to undergo an absolute conversion that destroys the lives of their friends.

Othello represents how jealousy, particularly sexual jealousy, is one of the most corrupting and destructive of emotions. It is jealousy that prompts Iago to plot Othello's downfall; jealousy, too, is the tool that Iago uses to arouse Othello's passions. Roderigo and Bianca demonstrate jealousy at various times in the play, and Emilia demonstrates that she too knows the emotion well. Only Desdemona and Cassio, the true innocents of the story, seem beyond its clutches. Shakespeare used the theme in other plays, but nowhere else is it portrayed as quite the "green- eyed" monster it is in this play. Since it is an emotion that everyone shares, we watch its destructive influence on the characters with sympathy and horror.

How jealousy works in Othello

Shakespeare’s Othello is very close to the Aristotle’s conception of tragedy,specially in respect ofthe portrayal of the protagonist Othello. Like a classical tragic Othello in the tragedy Othello falls from his position due to his his ’tragic flaw’ jealousy.Jealousy is the main tragic flaw that brings about Othello’s misfortune,suffering, and death.Though this flaw is fuelled by the external force like the withces in Macbeth,but jealousy seems to have a deep root in Othello’s character.

Jealousy is the main factor that appears to destroy Othello. Iago is the initiator of the chain of events that sparks jealousy in Othello, and eventually leads to the downfall of not only the main character, but also of most of the significant characters in the book.

In Othello Shakespeare presents us with the tragic spectacle of a man who,in spirit of jealous rage ,destroys what he loves best in all the world.We will be able to best realize the tragic effect jealousy if we consider first the nature of the relation between Othello and Desdemona.The marriage between Othello and Desdemona is a real ’marriage of true minds’, a true love based on a mutual awareness and a true appreciation of each other’s worth,a love that has in it none of the element of sensual lust.The love of Othello and Desdemona transcends the physical barriers of color,nationality and age.But this love is destroyed as soon as jealousness enters into the mind of Othello.

It is Iago who plants the seeds of suspicion and jealousy in Othello’s mind.In Act III: Scene 3,Cassio speaks to Desdemona, asking her to intercede with Othello on his behalf. Desdemona willingly agrees, knowing that Cassio is an old friend of Othello's. She promises to speak of him with her husband repeatedly until the quarrel is patched up and Cassio is recalled.

In the meantime, Othello and Iago enter and Cassio, who is embarrassed because of his antics the previous night, embraces Desdemona and departs. Iago seizes the opportunity to make an undermining comment — "Ha, I like not that" — that rankles in Othello's mind. Iago further insinuates that Cassio was not just leaving, but that he was "steal[ing] away so guilty-like" (39). Iago's words here are filled with forceful innuendo, and as he pretends to be a man who cannot believe what he sees, he introduces jealousy into Othello's subconscious.

Desdemona greets her husband and, without guilt, introduces Cassio's name into their conversation. Here, fate plays a major role in this tragedy; not even Iago wholly arranged this swift, coincidental confrontation of Othello, Desdemona, and Cassio, and certainly the pathos of Desdemona's position here is largely due to no other factor than fate. Desdemona speaks of Cassio, and Othello, to please her, agrees to see him, but he is distracted by his private thoughts.

As Desdemona leaves, Othello chides himself for being irritated by his wife. Lovingly he sighs, "Excellent wretch! Perdition catch my soul, / But I do love thee! and when I love thee not, / Chaos is come again" (90–92).

A conversation follows between Othello and Iago, in which Iago continues to imply that he knows something that he refuses to divulge, Othello denies that he would give himself over to jealousy. In his denial, he shows himself most vulnerable. He is consumed with doubt and suspicion. Othello voices his old fears that Brabantio was right, that it was unnatural for Desdemona to love him, that he was too horrible to be loved, and that it could not last. Iago leaves, and Othello contemplates his situation: He could be tricked, married to a woman who is already looking at other men, and he fears that he must wipe her out of his heart. He tries to tell himself that it is not true.

Iago also urges Othello to recall that Desdemona deceived her own father by marrying Othello. To Brabantio, Desdemona pretended to be afraid of Othello's dark looks; she pretended to shake and tremble at Othello's exotic demeanor, yet "she lov'd them [Othello's features] most" (207). The implication is clear; Iago does not have to state it: If Desdemona deceived her own flesh and blood, she might just as naturally deceive her husband.

When Desdemona re-enters, Othello's aspect is changed; he watches her intently, looking for signs, and brushes away her handkerchief when she seeks to sooth him. They go in to dinner, and Emilia picks up the fallen handkerchief, one that her husband, Iago, often urged her to steal from Desdemona. Emilia decides to have a copy made to give to Iago, but he enters, sees the handkerchief, and snatches it from her.

When Othello enters, Iago sees that Othello cannot regain his peace of mind. His speech is fevered, sweeping and frantic; he believes that his wife has been unfaithful to him. Othello then turns on Iago with savage intensity and demands to see the proof of Desdemona's infidelity. Cornered, Iago produces the dream story: Cassio spoke in his sleep, embraced him, called him Desdemona, and cursed the Moor. Iago tells Othello that he has seen Cassio wipe his brow with a handkerchief embroidered with strawberries; Othello recognizes this handkerchief as the one he gave to Desdemona.

Othello dismisses love and calls for vengeance. Certainty has freed his mind from doubt and confusion. Now he swears action, and Iago swears to help him. Othello wants Cassio dead, Iago agrees to do it, and then Othello wonders how to kill Desdemona.

The fire of jealousy is further inflamed in Othello in Act III: Scene 4.When Othello enters, he claims a headache and asks her for a handkerchief to bind his head, but he will have only the embroidered strawberry handkerchief. Desdemona cannot produce the handkerchief and tries to deflect his questions about the handkerchief, speaking again of Cassio. Othello walks out in fury.

But Othello is totally engulfed by his jealousy in Act IV: Scene 1,in which he Sees his wife's handkerchief in the hands of Cassio's mistress Bianca.It is, for Othello, the "ocular proof" he sought. He is now convinced of Desdemona's infidelity and knows he must kill both Cassio and Desdemona that very night. This is the second time Othello has sworn to kill both Cassio and Desdemona.

Othello goes directly to the point: "How shall I murder him, Iago?" Othello swears also to kill his wife this night, he curses her and weeps over her at the same time, mingling love and murder: "for she shall not live; no, my heart is turned to stone . . . " (178–179).

Still Othello knows the pull of love and asks for poison so that he might kill her at a distance, but he sees justice in Iago's idea of strangling her in her bed, imagining that she has dishonored that bed. Again the agreement is made: Iago is to kill Cassio, and Othello is to kill Desdemona.

Thus we see how the passion of jealousy ,which derives from pride and breeds anger ,gradually gains control over Othello and destroys his initial nobility,so that he finally turns into the black beast that he was at first unjustly accused of being.The decline in the moral and spiritual stature of Othello goes hand in hand with the destruction of his love for and faith in Desdemona.

Iago, “most honest” in the eyes of his companions, is, in fact, truly the opposite. His feelings of jealousy uncovers his actual self.

Jealousy divorces Iago from rationality and this loss of rational causes Iago to make a life of jealousy and plots to destroy Othello. Although Iago has a reputation of being “full of love and honesty” ,he is responsible for destroying many lives and is considered “perhaps one of the most villainous characters in all literature” .Iago alludes to Othello that his wife, Desdemona, has been unfaithful with Cassio. Iago initially intends to hurt Othello and make him regret appointing Cassio as his lieutenant; however, he ends up hurting others in the process. Iago’s jealousy causes his true character, one of “vicious[ness]” , to become noticeable. This, in turn, creates a new Othello to emerge, one “utterly possessed, calling out for blood and vengeance” .

The theme of jealousy is prominent throughout the play as it motivates the characters’ actions. The major characters of Iago and Othello clearly possess this jealousy and show how it affects them. Iago is forced to expose his actual nature and Othello undergoes a total transformation from a normal human to a spiteful monster. Obviously, jealousy does cause people to change in horrific ways.

The dramatic irony is that the most jealous indignation is expressed over offenses that did not happen: Othello jealous about his wife; Bianca jealous about Cassio; Iago formerly jealous about Emilia. Each character attempts to cope as an individual, except Emilia, who has a theory that jealousy is a constituent part of masculinity. The evidence before her own eyes backs up her assessment.

The Role of Women in Othello: A Feminist Reading

William Shakespeare's "Othello” can be read from a feminist perspective. A feminist analysis of the play Othello allows us to judge the different social values and status of women in the Elizabethan society. Othello serves as an example to demonstrate the expectations of the Elizabethan patriarchal society, the practice of privileges in patriarchal marriages, and the suppression and restriction of femininity. According to Elizabethan or Shakespeare's society built upon Renaissance beliefs, women were meant only to marry. As their single occupation, marriage held massive responsibilities of house management and child rearing. Additionally, women were expected to be silent, chaste, and obedient to their husbands, fathers, brothers, and all men in general. Patriarchal rule justified women's subordination as the natural order because women were thought to be physiologically and psychologically inferior to men.

As we go through Othello we find that the women characters are presented according to this expectation of the Elizabethan society.There are only three women in ‘Othello’: Desdemona, Emilia and Bianca. The way that these women behave and conduct themselves is undeniably linked to the ideological expectations of Shakespeare’s Elizabethan society and to the patriarchal Venetian society that he creates. These notes will explore some of the ways in which the female characters are presented in the play.

Women as possessions

Following his hearing of Brabantio’s complaint and Othello’s defence, the Duke eventually grants permission for Desdemona to accompany Othello to Cyprus. Othello speaks to his ensign Iago, ironically describing him as a man of ‘honesty and trust’, informing the Duke that ‘To his conveyance I assign my wife’ (I.3.283). Desdemona, as Othello’s wife, is treated as his possession: he implies that she is a commodity to be guarded and transported.This is, however, by no means peculiar to Othello: the first Senator, wishing Othello well, concludes by hoping that he will ‘use Desdemona well’ (I.3.288). The word ‘use’ seems to connote the phrase ‘look after’, but also supports the Venetian expectation of women - that they are to bow to the wills of their

husbands who may utilise them as they wish. Moreover, the function of women within marriage is also delineated by Othello’s ‘loving’ words to Desdemona in Act II: ‘Come, my dear love,/The purchase made, the fruits are to ensue’ (II.3.8-9). Marriage is described as an act of ‘purchase’: a woman is bought by her husband, effectively as a favour, and is expected to fulfil his sexual desires in return for the privilege.

Iago’s desire for revenge on Othello is, in part, dictated by his view of women as possessions. He believes that ‘it is thought abroad that ‘twixt my sheets/He’s done my office’ (I.3.381-2), suggesting that Othello has slept with his wife Emilia. It could be argued, however, that Iago exhibits little love for his wife, insulting her in public and ultimately killing her himself. It is simply the thought that ‘the lusty Moor/hath leaped into my seat’ (II.1.286-7) which drives him mad, the thought that Othello has used a possession that belongs to him. Compounding this theory is the fact that Iago refers to his wife metaphorically in these two instances: she is his ‘office’ and his ‘seat’; she is objectified and deprived of her humanity.

Moreover, in revenge for Othello’s supposed act, Iago wishes to be ’evened with him, wife for wife’ (II.1.290). By sleeping with Desdemona, he believes that they will then be equal. The feelings of Desdemona and Emilia are completely disregarded in his plotting. The women are merely objects to be used in order to further his own desires. Although Iago is an extreme example, he nonetheless demonstrates, through his thinking, the fact that women, in both Elizabethan and Venetian society, are perceived as possessions, secondary to the lofty plans and desires of men.

Women as submissive

Some modern feminist critics see Desdemona as a hideous embodiment of the downtrodden woman. Whether this is actually the case will be explored later in these notes. Suffice it to say, there is a large body of evidence to support this critical stance. Desdemona herself declares that ‘I am obedient’ (III.3.89), continuing to obey Othello’s orders from the early ‘happy’ phase of their relationship through to the later stages of his jealous ravings. Even when he orders Desdemona to go to her bed towards the end of Act IV, she still replies with the submissive ‘I will, my lord’ (IV.3.9). In her final breath she still remains true to her husband, saying ‘Commend me to my kind lord’ (V.2.125) and providing Othello with an alibi that he does not use. She appears to have completely accepted her role as subordinate and obedientwife.

Arguably a much stronger character, Emilia also indicates that she is aware of her ‘proper’ role in society. When revealing Iago’s plotting at the end of the play, she states that ‘Tis proper I obey him, but not now’ (V.2.195). Although going on to betray her husband, she still feels the need to explain why she is deviating from accepted behaviours. Bianca expresses a similar sentiment,consoling herself when Cassio spurns her by arguing that ‘I must be circumstanced’ (III.4.199): she feels compelled by the laws of society to be ‘circumstanced’ - to ‘put up with it’ - implying that she has no other choice.

Society weighs heavily on the shoulders of these women; they feel that they must support the men and defer to them, even if the actions of the men are questionable.Brabantio’s opinions of women appear to represent Venetian ideology.Speaking of Desdemona before she erred, he describes her as ‘perfection’,‘Of spirit still and quiet’ and ‘A maiden never bold’ (I.3.95-97). 

By expressing these qualities of women in the masculine domain of the Venetian senate,Brabantio compounds and develops the traditional expectations of women in a patriarchal society. Moreover, when she marries Othello, going against his wishes and therefore the ideal mould of woman, he describes her as erring ‘Against all rules of nature’ (I.3.100). Venetian society presents its own social beliefs as immutable laws of nature. It is ‘natural’ for women to be feminine and to do as their husbands and fathers tell them. It is ‘unnatural’ for them to do anything else. This Venetian concept was also an Elizabethan and pre-Elizabethan belief, and was widely understood by Shakespeare’s audiences.

Today, feminists argue that it is not ‘natural’ for women to be ‘feminine’, that history has tried to camouflage its social expectations of women as part of the laws of nature. The women of Othello, however, are pre-Feminism, and seem to only compound the ideological expectations of what it is to be a woman through their own behaviour.

Women can be powerful

This is not to say, however, that the women of the play fail to question men at all. As she talks to Desdemona at the end of Act IV, Emilia is fairly damming in her opinion of men. In a speech reminiscent of Shylock’s ‘Hath not a Jew eyes?’, Emilia argues that women are physically no different to men:

‘Let husbands know,

Their wives have sense like them; they see and smell,

And have their palates both for sweet and sour

As husbands have’ (IV.3.92-5)

She goes on to say that in addition to sharing some identical physicalities,they also suffer from the same ‘affections,/Desires for sport, and frailty’(IV.3.100) as men. The only difference, Emilia implies, is that men are mentally weaker: it is ‘frailty that thus errs’ (IV.3.98). This links to her earlier description of the appetite of mankind, that ‘They eat us hungerly [men], and when they are full,/They belch us’ (III.4.101-2). Emilia suggests that men are brutish and simplistic, unable to control their desires with logical thought. It is perhaps ironic that the actions of Iago and Othello in this play confirm her arguments.

These opinions, however, are given to Desdemona in moments of privacy.Emilia does not express such opinions in the company of men. Ironically, it is Desdemona who exhibits some power in public, making powerful use of language when explaining to her father, in front of other Venetian senators, that her ‘duty’ (I.3.182) is now owed to Othello. It could be argued, however,that even in this instance, Desdemona still fails to assert herself: although she disagrees with her father, she couches this in terms of merely switching her ‘duty’ from father to husband. The issue of the ‘duty’ itself remains unquestioned. This is because it is so ideologically embedded that women do not seem to consider any other possibility, other than, as these notes have shown, in private conversation with one another.

Women as temptresses

This is not to say, however, that women in Othello do not exhibit any signs of wielding power. Othello, when talking of his wife, often seems pre-occupied with matters of the flesh. Bemoaning the fact that he did not know earlier of his wife’s supposed infidelity, Othello argues that he would have been happier ‘if the general camp,/Pioneers and all, had tasted her sweet body,/So I had nothing known’ (III.3.342-4). He appears to be obsessed with Desdemona’s sexuality. On his way to murder his wife, he states that ‘Thy bed, lust-stained, shall with lust’s blood be spotted’ (V.1.36). The repetition of the word ‘lust’, combined with the sexual associations of Desdemona’s bed and the violent plosives and sibilants of this line, reflects and draws attention to Othello’s preoccupation with sensual matters.

This preoccupation is partly driven by the fact that Desdemona wields so much sexual power over him. Even Cassio refers, jokingly, to Desdemona as ‘our great Captain’s Captain’ (II.1.75), implying that she is the only individual capable of controlling and taming Othello. Desdemona uses this when attempting to persuade Othello to reinstate Cassio: she tells the latter that ‘My lord shall never rest’ (III.3.22) until she has changed his mind, an indication of the tenacity of the woman. Attempting to change his mind, Desdemona is not frightened to use her position and sexuality:

‘Tell me, Othello. I wonder in my soul

What you would ask me that I should deny,

Or stand so mammering on?’ (III.3.68-70)

In this instance, she refers to her own unquestioning desire to please Othello, implying that he cannot love her as she loves him if he is able to refuse her what she wants. Othello responds with the interestingly oxymoronic term of endearment ‘Excellent wretch’ (III.3.90), suggesting that he is aware that her manipulation of him is fairly ‘wretched’, yet finds it ‘excellently’ compelling.

Later in the play, however, Othello ceases to find Desdemona’s sexual power so entertaining. Speaking to Iago about his planned murder of Desdemona, Othello is adamant that he will ‘not expostulate with her, lest her body and beauty unprovide my mind again’ (IV.1.203-5). As far is Othello is concerned, if he is tempted into conversation and interaction with his wife, then her overpowering sexuality will deter him from the right and inevitable course of action. Her considers her to be a sexual hazard, a strumpet intent on using her body to blind and deceive him. Male society, in addition to constructing women as second-rate citizens, also constructs their sexual allure as evil.

Women as ‘whores’ Othello’s fear of Desdemona’s sexuality erupts into slanderous abuse on a number of occasions. He refers to her as ‘whore’ (III.3.356), a ‘subtle whore’ (IV.2.20) and a ‘cunning whore’ (IV.2.88), in addition to multiple references to her as a ‘strumpet’. Bianca is described by Iago as a ‘housewife’ (IV.1.95) and ‘strumpet’ (IV.1.97), although there is no evidence to suggest that she actually is a prostitute. When she reveals his part in the horrific events of Act V, Iago vents his fury upon Emilia, labelling her a ‘villainous whore’ (V.2.227).

Admonishing his wife for being a nag in Act II, Iago goes on to compound this stereotype by suggesting that all women are not as they appear. He seems to believe that all women are, essentially, ‘wild-cats’ (II.1.109) and ‘housewives’ (II.1.111). All three women of the play are accused of prostitution and inappropriate sexual conduct, yet it appears that none of them are guilty. As male society falls apart in Cyprus, its constituent members seen to vent their spleen and anger by labelling all of the female characters ‘whore’. When things go wrong, it appears to be acceptable for men to blame the women.

What is the role of women?

The patriarchal Venetian society presented in Othello, moulded on the ideology of Elizabethan England, seems to put women firmly in their place. Men consider women to be possessions, who ought to remain submissive and meek at all times. The only power that women do seem to be able to wield – their sexual power - is considered to be an ‘evil’ which must be resisted by the men in society. Men seem free to be able to refer to women as ‘whores’ and get away with it. The language that Shakespeare gives to his female characters suggests that they have internalised society’s expectations of them, and apart from in moments of private conversation, behave as men

expect, believing this to be ‘natural’.

There is a suggestion, however, that women are beginning to question the validity of unchecked male authority. These notes have considered Emilia’s seemingly feminist opinions, but it is Desdemona, who in conversation with Emilia, indicates that the tide may be finally turning:

‘Nay, we must think men are not gods’ (III.4.144) By definition, this suggests that Desdemona has certainly perceived men to be god-like figures in the past, but indicates that her experiences with Othello have taught her a lesson. It is a clear that the actions and language of Shakespeare’s three female characters, although seemingly subservient, signify a tentative step towards an egalitarian society.