This paper expatiates on the topic of jealousy and revenge as it emanates from the play. Lily B. Campbell labels Othello “A Tragedy of Jealousy”.9 Certainly, for most recipients, Othello is about jealousy and, thus, “shocking, even horrible”.10 Harold Bloom announces that Othello’s “name in effect becomes jealousy” (Fernie 19). Critics characterise Othello as not smoothly jealous, inherently jealous, and too eagerly beguiled 1 For so that he becomes fervently resentful (cf. Davison 13). While Davison regards jealousy as a calamitous vigour in Othello, Mason grants the mastery of maleficence.11 I will verify my thesis that the envious Iago causes Othello’s jealousy which culminates in frantic reprisal. Hence, I retain that Iago’s malice and fake honesty annihilate Othello’s bond. To fathom the tragedy of Othello, it is indispensable to specify the cognitive theory of jealousy and envy which eventuates from psychology’s interest in anthropoid liaisons, and is primordial and reiterative in literature. Tales of cruel jealousy appealed to Elizabethans on account of the notion that women are impious and that the husband’s reputation is contingent on his wife’s celibacy. Shakespeare’s interest in jealousy stems from Elizabeth Cary’s (c. 1585-1639) closet drama Mariam (1603/1613). Traditionally, jealousy supervenes in comedy and is linked to sexual possessiveness.12 The theory of humours13 defines jealousy as “a species of envy, which is in turn a species of hatred” (Honigmann 33). Although jealousy has come to be used frequently for envy, both terms should be separated. While jealousy connotes what you own and do not fancy to be deprived of, envy is what you would like to retain but do not have. Spinoza specifies jealousy as “the hatred towards an object loved […] with the envy of another”.14 In 2.1., I will discuss Othello as domestic and revenge tragedy. For Stanley Wells explains that Shakespeare fosters “the emotional response of his audiences”,15 in 2.2., I will convey Othello’s origin within Elizabethan theatre. In 3.1. and 3.2., I will scrutinize Iago’s vice tradition and motivation. This is vital for the temptation scene which I will analyse, in 3.3. For “the study and the stage” are “often separate” (Matteo 1), I will include the stage. In 4., I will reflect my results.
Table of Contents
1. Introduction
2. Othello within the Historical Context of the Elizabethan Age
2.1. Othello and Elizabethan Tragedy
2.2. Othello’s History of Origin and Elizabethan Theatre
3. Jealousy and Revenge in William Shakespeare’s Othello
3.1. Machiavel’s Supreme Descendent – Iago the Intriguer
3.2. Iago’s Motivation for Envy
3.3. Iago’s Iniquitous Cajolery of the Suspicious Othello
4. Conclusion
5. Bibliography
Objectives and Topics
This academic paper examines the psychological and narrative dynamics of jealousy and revenge in William Shakespeare’s tragedy "Othello," specifically focusing on the manipulative role of Iago in destroying Othello’s sense of trust and sanity.
- The historical classification of Othello within Elizabethan and Jacobean drama.
- Iago’s character archetype as a development of the Machiavellian villain and the traditional "Vice" figure.
- The psychological motivations behind Iago’s envy and the resulting systematic manipulation of Othello.
- The role of the "temptation scene" and the symbolic significance of the handkerchief in triggering Othello’s downfall.
Excerpt from the Book
3.3. Iago’s Iniquitous Cajolery of the Suspicious Othello
To investigate Iago’s persuasion of Othello to kill Desdemona, I will elaborate on the temptation scene which is “the most breath-taking scene in the whole of Shakespeare” because it represents Othello’s “psychomachia”, a spiritual struggle (Honigmann 37; Fielitz 72). The temptation scene displays how Othello’s love rapidly turns into hatred. Iago’s tactical “hesitations” and “criss-crossing stage movements” resemble chess (Honigmann 65). Jonathan Miller’s film version (1981) endows the temptation scene with a chessboard ground across which Iago checkmates Othello by benefiting from his adversary’s miscalculations (cf. Smith 1). The temptation scene starts with “Chaos” and ends with Iago’s reinstatement as Othello’s lieutenant, and Othello’s conviction of Desdemona’s perfidy, for Iago stirs Othello’s jealousy (3.3.92; cf. Fielitz 29, 33).
Iago and Emilia define jealousy because the correlation between evil and covetousness is a central concern in Othello (cf. Godfrey 423). Iago depicts jealousy as “green minds” and “the green-eyed monster, which doth mock / The meat it feeds on” (2.1.244, 3.3.168-169), which implies “to be green with envy” and explains that one’s character is distorted by resentment. The colour “green” often symbolizes poison, death, and the devil. Likewise, Emilia views jealousy as “a monster / Begot upon itself, born on itself” (3.4.161-162), which shows that it is up to oneself, if one becomes jealous or not. It also suggests that jealousy is “fantasy” (Fernie 24). Smith claims that the monster scores as “self-devouring personification of jealousy”, which alludes to “sexuality” (65). Othello mainly deals with compulsive jealousy which arises “when we treat those we love as our property” (van Sommers 3; cf. Gardner 159; Vaughan 82). In view of that, Othello fears to lose Desdemona to Cassio, the intruder. Like in Cinthio’s tale, he believes that he saw Cassio leaving who “went between” them “very oft” (Oth. 3.3.100).
Summary of Chapters
1. Introduction: Presents an overview of critical responses to Othello and defines the paper's focus on the themes of jealousy, revenge, and character manipulation.
2. Othello within the Historical Context of the Elizabethan Age: Explores the generic identity of the play as both a domestic and revenge tragedy and discusses its origin within the era of Elizabethan theatre.
2.1. Othello and Elizabethan Tragedy: Examines Shakespeare’s use of generic elements and the controversy surrounding whether Othello should be classified as Elizabethan or Jacobean drama.
2.2. Othello’s History of Origin and Elizabethan Theatre: Reviews the sources of the play, such as Cinthio’s tales, and the practical aspects of staging Othello at the Globe Theatre.
3. Jealousy and Revenge in William Shakespeare’s Othello: Provides a core analysis of how Iago uses his influence to exploit Othello’s insecurities and orchestrate his revenge.
3.1. Machiavel’s Supreme Descendent – Iago the Intriguer: Analyzes Iago as a dramatic evolution of the "Vice" figure and the Machiavellian villain who operates behind a facade of honesty.
3.2. Iago’s Motivation for Envy: Investigates the psychological factors driving Iago’s hatred, including professional resentment towards Cassio and suspicions regarding his own wife.
3.3. Iago’s Iniquitous Cajolery of the Suspicious Othello: Details the specific mechanisms of the temptation scene and how Iago successfully manipulates Othello’s perception of reality.
4. Conclusion: Synthesizes the findings, concluding that Othello’s downfall is the result of Iago’s calculated malice intersecting with Othello’s fragile trust.
5. Bibliography: Lists the primary and secondary sources used in the research, covering both literary criticism and historical context.
Keywords
Othello, William Shakespeare, Iago, Jealousy, Revenge, Elizabethan Tragedy, Machiavellianism, Envy, Manipulation, Temptation, Desdemona, Psychomachia, Handkerchief, Theatre, Domestic Tragedy
Frequently Asked Questions
What is the central focus of this research paper?
The paper focuses on the dynamics of jealousy and revenge in William Shakespeare’s play Othello, examining how Iago’s manipulation destroys Othello’s marriage and sanity.
What are the primary themes discussed in the study?
The core themes include the nature of envy, the archetype of the Machiavellian villain, the psychological evolution of jealousy, and the historical context of Elizabethan theatre.
What is the primary research goal of the work?
The author aims to verify the thesis that Iago’s envy-driven malice and fake honesty are the primary catalysts that push Othello into a state of frantic reprisal.
Which scientific or analytical methods are used in this paper?
The paper utilizes textual analysis, close reading of soliloquies, and incorporates critical theories from psychology and Elizabethan literature to interpret character motivation.
What does the main body of the paper address?
The main body investigates the historical background of the play, the traditional archetypes of villainy, the specific motivations behind Iago’s actions, and the psychological process of the temptation scene.
Which keywords characterize this academic work?
Essential keywords include Othello, Iago, jealousy, revenge, Elizabethan tragedy, manipulation, and Machiavellianism.
How does the paper analyze Iago’s personality?
The author identifies Iago as a "Machiavel" and a successor to the "Vice" figure, noting his ability to adopt treacherous identities while maintaining a reputation for honesty among others.
Why is the handkerchief considered significant in the text?
The handkerchief is analyzed as a "snowballing signifier" and a crucial piece of false evidence that Iago uses to solidify Othello’s belief in Desdemona’s infidelity.
How is the "temptation scene" described in the paper?
It is described as a "psychomachia" and a chess-like confrontation where Iago systematically manipulates Othello’s perception to trigger his mental collapse.
What conclusion does the author reach regarding Othello’s fatal flaw?
The conclusion suggests that Othello’s reliance on Iago’s fake honesty acts as a tragic flaw, ultimately causing him to fall victim to his own insecurities and jealousy.
- Quote paper
- M.A. Oliver Baum (Author), 2007, Iago´s Iniquitous Cajolery of the Suspicious Othello, Munich, GRIN Verlag, https://www.grin.com/document/123115
