Introduction
Shakespeare’s drama Othello revolves around love, deception, jealousy, and eventually tragedy, which is a story of star-crossed lovers. In the play, Iago forces Othello, Desdemona, and Emilia to indulge in obscene acts to further his cunning scheme, crippling their emotional awareness as they fail to recognize the consequences of their behaviour. The film adaptation of Shakespeare’s Othello, directed by Oliver Parker, mirrors the original play’s chronology and setting. Iago and Othello are highly esteemed soldiers, but jealousy corrupts their perception of right and wrong, resulting in their downfall. While both Iago and Othello plan vengeance and execute murder, the fact that Iago likes punishing those he perceives to have wronged him distinguishes Iago as the play’s villain and Othello as the tragic hero.
Discussion
Iago has contempt for reputation because he considers it can be exploited to suit one’s personal interests. Iago lament over being snatched for a promotion at the start of the play. Cassio’s is an insult to his pride and, in his judgment, his reputation. He informs Cassio, “Reputation is an idle and most false imposition, oft got without merit and lost without deserving” (Shakespeare 2.3.287). Iago utilizes the power of reputation to ruin and create turmoil among others. He responds in this manner because he believes he has been mistreated, such as when Cassio was promoted over him. Iago’s failure to get a promotion causes him great concern, for which he blames Othello, the man who eventually chooses Cassio for the position. Therefore, he attempts to justify his loss by dragging others down.
Iago is a vindictive individual; therefore, his acts may be motivated by hate. Iago develops an unanticipated animosity for Cassio as a result of the ambition and struggles he faces in achieving his goals. In the context of the play, the opening monologue is only the first of Iago’s numerous attacks upon Cassio. Iago’s first scheme to obtain Cassio’s lieutenant position entails luring Roderigo, an innocent countryman, into initiating a confrontation with Cassio. This conduct harms Cassio’s reputation as he intends to acquire lieutenancy by portraying Cassio as a fool for starting a bar brawl. Iago goes further, accusing him of being a “debtor and creditor” as well as a “counter-caster” (Petrina 445). In addition, Iago subsequently contradicts his insult when he adds, “You see this fellow that is gone before: He’s a soldier fit to stand by Caesar and give direction” (Shakespeare 2. 3.107–9). This demonstrates Iago’s skill in using deceptive language to achieve his goals.
Iago manipulates the cognitive framework of the people he wishes to subjugate. Iago persuades Othello to believe that a fictitious romance is forming between Cassio and Desdemona by presenting an impeccable case with visual evidence. Such allegations towards Desdemona demonstrates that “The Moor already changes with [Iago’s] poison” (Shakespeare 3.3.326) and illustrates Othello’s emotional devastation as he aims to immerse himself in immoral circumstances in order to achieve his goals. Several silent passages not present in the play have been subtly included in Parker’s film. These include the sequences in which Iago uses chess pieces to demonstrate his strategy, Othello’s nightmares in which he imagines Desdemona’s affair with Cassio, and the conclusion in which the murdered corpses are buried at sea. These extra silent scenes offer clarity to the play’s plot and lend distinctive visual components to the central themes and concepts. Scenes in the film are laced with symbolism, which adds depth to the plot and keeps the viewer engaged and inspired.
In the play, Iago uses imagery to emphasise his lack of regard for different characters, especially women. The use of metaphor by Iago towards women paints such a clear picture that it is difficult to believe that what he is saying is anything other than the truth. Iago relates the story of how, when he was sleeping next to Cassio, he “gripe and ring my hand, Cry O sweet creature [Desdemona]!” Then kiss me hard as if he plucked up kisses by the roots…” (Shakespeare 3.3.422-424). Othello finds it difficult to concentrate on anything other than the fact that Cassio and Desdemona are together while he listens to this extremely vivid story. The visual depiction demonstrates that Iago created a story that Othello believes to be genuine, notwithstanding Iago’s subsequent assertion that it was a dream. Othello considers this proof sufficient for accusing Desdemona of being intimate with Cassio.
Iago is relatively similar to Othello in a number of aspects; however, unlike Othello, he takes pleasure in manipulating others and causing them to suffer. Othello is rendered oblivious by Iago’s vision, and he is subsequently led to believe that everything Iago says is true. By seizing control of a person with high status, Iago may get vengeance on him for not selecting him as lieutenant interim while also exacting revenge on Cassio. Othello is convinced to do integral actions that eventually terminate the life of his “wife” in the hopes that Cassio would fall coincidentally to her death. This changes the facts of the play because Iago manipulates Othello into believing invented falsehoods about Desdemona’s betrayal of her devotion by repeatedly telling him a series of lies.
Both Othello and Iago are motivated by jealousy, therefore, they are essentially interrelated. Othello is pressured into doing a sinful deed, and as a result, he ends up murdering his wife on the idea that she is having an affair with Cassio. This sequence, which is rife with symbolism, is shown quite vividly in the film by Parker. As soon as Othello enters the room, the very first thing he does is blow out all of the candles (Othello 1: 36:21- 1:36:44). As he turns out every light in the room, Othello gives the impression that he plans to handle his wife in a similar manner. In addition, Othello’s emotions are revealed to be exceedingly troubled and in a state of mourning for the whole action (Othello 1: 36:50- 1:37:37). This shows his melancholy and reluctance to execute his plan of killing Desdemona and hence replicates the tone of the play. Also highlighted is his struggle to kill Desdemona. The zooming of different angles of Othello’s face and the expressions on his face create an atmosphere of intimacy with the audience, making it easier for them to connect with the character.
In addition, the costumes and placement of the characters in this scenario are of great importance as they indicate the melancholic mood of the scene. Othello appears to be wearing a black cloak covering his white clothing, which symbolizes his battle with otherness and his identity dilemma between his Moor and Venetian origins (Othello 1: 36:40). The white reflects his Venetian identity, while black depicts his otherness. As a result, the clashing of colours symbolizes that he cannot completely accept and be secure in the “otherness” that he has, which ultimately prompts him to choose to kill Desdemona. It is also crucial to how the characters are positioned inside the scene. For example, Othello is placed above Desdemona, which foreshadows his using his superior physical strength against her. Additionally, for him to engage with her, his posture requires him to awkwardly stoop down, which hints at the increased difficulty of doing so (Othello 1:38:15). Ultimately, the hesitancy, emotions, and tensions that are present in the moment are mirrored by the sequence’s slow tempo and the dramatic music.
‘Honest’ Iago deceives Othello by adopting several fake personas. His demonstrations of love and the phony sympathy he pretends to feel for Othello serve as illustrations of this. When Iago describes and then dramatizes Desdemona’s “affair” with Cassio, he uses weasel words and preys on Othello’s logocentric belief in the sincerity of his words. Iago intends to achieve his terrible purpose while seeming helpful and discreet, capitalizing on the fact that Othello refers to him as an honest man (Helms 52). His effectiveness depends on his capacity to lead Othello to deduce context from what he says, but the surface message of his speech permits plausible refutation. This carries out Iago’s plan to exert psychological influence on Othello while he is distressed by making him question if choosing Cassio as his lieutenant was the proper move. The continual urge to prey on Othello’s vulnerable feelings and wishes about his wife’s fidelity reveals the manipulation of Othello’s feelings and the reality regarding Othello.
Iago’s deceptive plan reveals the discrepancy between the ideals and attributes belonging to men and women by illuminating society’s attitude toward gender during the historical period in question. Both Desdemona and Bianca are referred to as “whores” and “strumpets” several times during the play due to the lack of respect for women and the profligate ideals that are adhered to by the characters. This is seen by Iago’s lascivious depiction of women, who “rise to play, and go to bed to work” (Shakespeare 2.1.114). Moreover, he says their main purpose is to “suckle fools and chronicle small beer.” (Shakespeare 2.1.157). Iago categorizes women who seem to fall into one of two groups: an obedient and submissive wife, exemplified by Desdemona, or a despicable and impudent prostitute, as shown by Bianca.
Clearly, Iago can utilize the position of women to his benefit by persuading Othello to accept what he says about them instead of listening to them and the truth. Iago subsequently asks Lodovico and Gratiano to “perceive the gastness of… (Bianca’s) eye” (Shakespeare 5.1.106) because he accuses Bianca of being responsible for Cassio’s wound. By asserting that Bianca participated in Cassio’s injury, he may deceive practically everyone since people are more likely to believe a man than a woman, so eliminating himself as a suspect.
Iago’s Machiavellian character is shown by his incrimination of Bianca, which also serves as a symbol of the sad persecution of women on the basis of their gender and the occupations society has assigned them to. Cassio’s divided perspective of women depending on their social rank enables him to depict women as “whores” who cannot readily be trusted due to the fact that they are female. Thus, this contributes to Bianca’s social degradation as well as intolerance.
Desdemona is defenceless against Iago’s nefarious scheme due to Iago’s manipulation of Othello. Because of the role that women played in society in that era, her pleas for justice were disregarded even though she was Othello’s wife; as a result, she was put to death (Laskowska-Hinz 145). Despite the fact that everything Desdemona says is right, Othello would rather put his faith in a man’s word, as seen by his incessant need to live throughout their fight. This reinforces a sort of misogyny that flourished throughout that era. As with other characters, Bianca persuades Othello to believe that the duties of women were created to fulfil his every need. Recognizing this, he views them as objects to satisfy his impulses rather than human beings, which finally compels him to heed Iago’s advice instead of his wife’s. Due to the ruling power and control of males in Othello, Iago can mislead Othello into carrying out his schemes, ending in Desdemona’s untimely death.
It is clear from what has been said above that Iago’s underlying motivation seems to be his thirst for power, and he is eager to use whatever power he already has whenever it is convenient. It would seem that he derives at least some joy from using the great power of manipulation over other people. He often brags about his ability to take advantage of other people and the simplicity with which he does it. One instance is seen when Iago boasts, “Make the Moor thank me, love me, and reward me/ for making him egregiously an ass” (Shakespeare 2. 1. 293-294). Iago’s selection of victims reveals, among other things, his underlying ambition for power. Othello and Cassio’s lives are the ones that Iago focuses the most of his attention on destroying.
Iago is a character who, through psychological manipulation, can gain control of Othello and many others in the play. He had only one goal in mind: to get even with Othello to get the promotion that he had been expecting. He maneuvered his way into Othello’s mind and turned him into a hideous monster. He is the symbolic depiction of all the devil stands for, including destructiveness and emptiness. Iago is a destructive artist, and the people around him serve as his materials. This is comparable to an artist who fashions their work from the things they find in their environment. He has mastered every ability, and every one of his characters is a willing personality who puts their destinies at his disposal so that he may shape them according to his will.
Conclusion
It is crucial for people to approach a higher status in society through humanitarian approaches. Before doing acts, they must comprehend the implications that may occur to others due to their actions. In Othello, the manipulative methods Iago uses to fuel his wrath for Othello, the unexpected agony inflicted on Cassio, and the unfair roles women are expected to play are all components that demonstrate the dishonest scheme Iago devises. Theft is the path to moral ruin and an unbalanced society’s mandate; thus, individuals should work to promote justice and adopt a caring manner of attaining places in society to retain an ethical way of life.
Works Cited
Helms, Nicholas R. “Inferring the mind: Parasites and the breakdown of inference in Othello.” Cognition, Mindreading, and Shakespeare’s Characters, 2019, pp. 45–80, Web.
Laskowska-Hinz, Sabina. “Designing goddesses: Shakespeare’s” Othello” and Marian Nowiński’s” Otello Desdemona“.” Multicultural Shakespeare: Translation, Appropriation and Performance vol. 21 no. 36, 2020, pp. 135-151. Web.
Othello. Directed by Oliver Parker, performers by Laurence FishBurne -Othello, Kenneth Branagh – Iago, and Irene Jacob- Desdemona, Columbia Pictures, 1995. Web.
Petrina, Alessandra. “An allusion to Machiavelli in Othello.” Notes and Queries, vol. 66, no. 3, 2019, pp. 444–47, Web.
Shakespeare, William, et al. The Bedford Shakespeare: Based on the New CambridgeShakespeare Edition. Boston, Bedford/St Martin’s, 2015.