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Iago as a dramatic construct of deceit and revenge.

Year 12 lit essay. 'The character of Iago in Shakespeare's play Othello, is said to be the ultimate dramatic construct of deceit and the epitome of an unquenchable desire for revenge.' Refers Sir Francis Bacon http://essayists.8m.com/essays.html.


Through William Shakespeare?s play Othello; we are exposed to a dramatic construct in Iago, and his insatiable desire for revenge, and constant deception of the entire cast. We are aware of this deceit through the dramatic irony employed throughout the play in the form of soliloquies and the ruse of the ?honest Iago?. Shakespeare employs the format of the tragedy to his play. Othello being the tragic hero, whose flaws are numerous: gullibility, ignorance, jealousy and the violence resulting in the murder of his wife. These flaws are all exploited by Iago, resulting in the downfall of all the characters, including himself. Iago is the poison in Othello?s ear, exploiting cultural anxieties about women and race to instill doubt - playing on (and deceiving him through) his insecurities. Iago is motivated by the desire for revenge. He suspects Othello of sleeping with his wife, and is angry for being overlooked in favour of Cassio for a promotion. Shakespeare, in creating the character of Iago, drew from his contemporaries and the body of knowledge available at the time. In Elizabethan England there was a strong understanding of the traits of deceit and revenge. Shakespeare presents these traits in the construct of Iago. This understanding is unchanged in modern times, making him the ultimate dramatic construct. Iago swears by Janus, the two-faced Roman god. Janus is an archetype working through Iago; who displays duplicity, cunning, deceit and a desire for revenge. He is a construct of tragedy, and the means to Othello?s end as the tragic hero.

The motivation for Iago?s actions is set out in the first act. His unquenchable desire for revenge springs up from several actual and cultural influences that stem from his envy of Othello. Envy, in all its forms, is the driving factor for Iago?s actions - and Othello?s folly. Envy is one of the affections that ?frames itself readily into imaginations and suggestions, and comes easily into the eye?. ?Of all other affections, there is occasion given, but now and then;? but envy is always there and is continual. Envy is the reason for, and the means by which Iago exacts his revenge. Envy is the reason for the unquenchable nature of his revenge, because once it is present, it is hard to root out. Iago is a man consumed with jealousy.
?And it is thought abroad, that ?twixt my sheets
He has done my office: I know not if ?t be true;
But I, for mere suspicion in that kind,
Will do as if for surety.?
Iago believes the rumours that Othello has slept with his wife Emilia, and decides to act on his first instinct and exact revenge on Othello ? ?envy? comes easily into the eye?. Iago makes the initial mistake of believing unfounded ?truths? ? a mistake made by Othello throughout the play. Another reason for his revenge is the promotion of Cassio instead of himself to the post of lieutenant. Iago brings about revenge on all of the characters, principally Othello and Cassio, while also involving Desdemona and his own wife.

Iago carries out his revenge through Othello, turning the noble hero into a blind, violent, and vengeful man. To begin with, Othello is the picture of nobility and devotion. In I.ii.30, we see a man confident in himself and ready to face Brabantio.
?My parts, my title and my perfect soul
Shall manifest me rightly.?
Iago?s revenge not only takes the form of death and marital separation. Iago succeeds in destroying the noble character of Othello. ?It is the glory of a man, to pass by an offence.?
?O, that the slave had forty thousand lives!
One is too poor, too weak for my revenge.? III.iii.442-4
Othello has been reduced as a man, and has become the vengeful ?beast?. He falls into the stereotypes associated with his race; stereotypes he quashed in Act I when he stood up to Brabantio. Othello?s equality with Iago is symbolised when he kneels to Iago?s level, and for a moment, Iago is above him (III.iii.461).
Iago also gains equality when Othello names him his lieutenant (III.iii.472). He has won the battle for superiority against Cassio. In Act IV.i.45, Iago realises and relishes in his victory over his master ?Work on, / My medicine, work!? Othello becomes violent, striking Desdemona, and calling her ?devil? later in the Act; further reducing himself due to Iago?s deception.

Deception is the key with which Iago wins control of Othello?s mind. Iago deceives Othello, and uses a great deal of cunning to manipulate him. He explains his self-serving intentions in his speech (I.i.41), and says ?I am not what I am?. Iago begins his deception by accusing Desdemona of lechery in Act II.i.110, calling her a hussy. In Act II, he causes Cassio to fall in Othello?s opinion, making him drunk and violent. Iago then sets out to be the poison in Othello?s ear
?I?ll pour this pestilence into his ear,
That she repeals him for her body?s lust;
And by how much she strives to do him good,
She shall undo her credit with the Moor.
So will I turn her virtue into pitch,
And out of her own goodness make the net
That shall enmesh them all.? II.i.362-366
In this soliloquy, Iago reveals his plot to deceive Othello, and the details of its orchestration.

Iago constantly plays on the doubts of Othello, and follows the actions Francis Bacon outlines in his essay ?Of Cunning?. In Act III, Iago places doubts into the mind of Othello, and leaves him to work it out. Othello is left to fester on his insecurities (III.iii.264), he is black, and has ?declined into the vale of years?. Iago ?breaks off, in the midst of what he was about to say, as if he took himself up, breeding a greater appetite in (Othello) to know more?. In Act II.iii, Iago is constantly breaking off, and dropping subtle hints, causing Othello to fall into his trap. Iago teasingly deceives Othello (III.iii.90 -) where he mentions Cassio and Desdemona as if unimportant; but this only incites Othello to become more curious. Through Iago?s cunning, Othello is drawn in to the web of deceit. Initially, he knows to doubt Iago, not believing the accusations, but eventually, through Iago?s cunning manipulation, Othello is brought to a stage where he will believe anything ? however implausible.

Irony is present in many sections of the play. In IV.i.220, Iago refers to the contaminated bed of Desdemona. The greatest irony exists in the character Iago outwardly presents. It is a character of honesty and loyalty ? two qualities he does not possess. He speaks on reputation to Othello
?Reputation is an idle and most false imposition; oft got without merit?
Iago is a man noted for his honesty; both Cassio and Othello refer him to as ?honest? and ?good? Iago. Cassio calls him ?bold Iago?, in Act II, speaking of him as a great man. When Othello is kissing Desdemona, Iago says aside
?O, you are well tuned now!
But I?ll set down the pegs that make this music,
As honest as I am.?
The setting down of the pegs refers to untuning an instrument, that instrument being the love between the couple. Othello trusts Iago
?Honest Iago?
Speak, who began this?
On thy love, I charge thee.?
Othello trusts Iago unconditionally, and asks for information about the fight between Cassio and Roderigo.
Dramatic irony is also present when Iago comforts Desdemona after Othello accuses her of lechery.
?Do not weep, do not weep. Alas the day!?
Iago is a character who fits perfectly with his sworn patron, Janus. In deceiving the characters and making his true intentions known to the audience, he is a perfect example of the dramatic irony employed by Shakespeare.

In Othello, Iago is the Villain who brings about the final destruction of the Hero ? Othello. Iago is constructed as an element of tragedy and embodies the traits of deceit and revenge. Iago uses these traits to invoke the tragic flaw in Othello that makes him undone. Shakespeare creates Iago as the means to the end of Othello. He shares the role of the Villain with such characters as Lady Macbeth, and Goneril and Regan of King Lear. Through the multi-faceted nature of Iago?s deceit, he becomes a benchmark for deception and the archetype through which deception in modern humanity can be measured. The reason why his deceit is so consistent is that it is motivated by revenge. Iago?s thoroughgoing deceit is fired by unrelenting vindicitiveness.





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