Shakespeare Tragedy "Othello" and Lago's Revenge Analysis (Essay Sample)

Logo’s Revenge
Students Name
Institution
03/05/2016
Introduction
Similar to any other Shakespeare tragedy, `Othello' captures a chain of sober themes, conventionally ones in which a character or characters face catastrophe because of either personal shortcomings or situations that are beyond their control. For the play to work efficiently, these themes stay unsophisticated in the form of common issues that encompass the lives of the characters. The subjects of affection or love and trust are there but are twisted and manipulated by Lago to be rooted in jealousy and hatred in the dreadful hero. The term jealousy is defined to as a condition of panic, doubt, retribution or resentment brought by a real or illusory danger or challenge to ones controlling instincts. It probably may be provoked by contention, in sexual love, by rivalry or by needs for the merits or belongings of another." In the middle of his delicate game to take down Othello, Lago warns with enormous satire that is missed by Othello, but explicit to the audience."Iago plays the essential role of a dissatisfied and irritated adjutant to Venice's most trustworthy and esteemed Moorish general called Othello.
The plan of the play is set in action when we find out that Othello has caused immense resentment in Iago by appointing Cassio instead of him for the position of his chief lieutenant. Additionally, scandalous a Senator, Brabantio by in secret marrying his daughter, Desdemona, to whom many young Venetians had tried with no result paid court, particularly Roderigo. Envious of Othello's success and jealous of Cassio's placement, Iago, conspires Othello's ruin by wrongly involving Othello's wife, Desdemona, and Cassio in a love matter or affair. In this discourse, I will attempt to analyze the flow of events that led to Lago persuading Othello to kill Desdemona’s.
From the start to the end, Iago shifts the characters in the play such as Othello, as though they were chessmen. Lago takes advantage of the personal desires and ambitions together with passions of the characters, so as to encourage them to move in line with his evil plans he had desired and crafted. His skilful manipulation of the particular characters stretches from persuading Roderigo to offer Cassio one more glass of wine, to persuading Othello to conclude that by killing Desdemona, he probably may save himself together with his fellow humankind from the shameful acts of infidelity. This was indeed a high level of brainwashing for somebody of his calibre. Nonetheless, in each particular case, Lago doesn’t have to press on very hard since his recommended measures either seem nontoxic resolutions to each character’s woes or they utilize the characters flaws. For each particular case, since he does not have to push very hard, he can preserve an air of indifference while promoting his final evil goals: Lago states that “I am not what I am (I, I, 71).’’ In this particular ways, Lago twists the play’s characters who are: Cassio and Desdemona, Emilia together with Roderigo, and ultimately Othello to perform his role pieces in the puzzle that will eventually bring Desdemona’s demise.
Lago can cease the opportunity by taking advantage of both Cassio’s thirst for his old job, as a lieutenant, as well as Desdemona’s kind-hearted nature to form the impression that Desdemona was betraying Othello. Cassio eventually loses his position of being a lieutenant as a result of his alcohol addiction (iii, 285). In this matter, Lago succeeded in throwing Cassio to a deplorable state; a state in which he will be extremely susceptible due to his extreme anxiety. Iago, initially consoles Cassio claiming that ‘Reputation is an inactive and a misplaced imposition, many times, achieved without any merit and lost without deserving(II, iii, 287-9), which is ironical because Lago has a reputation for being a “straightforward” man when he deceives routinely while Cassio is seen as a wild drunk when in certainty he is Othello’s best ally. Lago states that, “our general’s wife is now the general (II, iii, 333-4), and that with her as his lobbyist his relationship with Othello, shall grow much stronger than it was previously (II, iii, 344-5).” Based on this scene, Lago skilfully utilizes Cassio’s tolerance for alcohol, to snatch the position he held. Lago then instils the idea of making Desdemona as his petitioner, on the recently vulnerable Cassio. Therein, is Lago’s craftiness which he uses to reduce the chessmen to such a despicable state
Lago uses Cassio to manipulate Desdemona. He manages to exploits Desdemona’s unique tendency to help others, toward his shady purpose; he converts her worth and her virtue into the pitch. Truly, it’s a fact that Lago represents a satanic symbol that is determined to corrupt that which is pure and excellent. Based on his proposal to Cassio, Iago can now be sure that Cassio will beseech Desdemona to petition for him with Othello. Cassio does beseech Desdemona for aid, and as expected, she responds that ‘be thou assured, good Cassio, I will do all my best in thy behalf (III, iii, 1-2), and therefore, Iago’s schemes succeed.
Lago applies their interactions to stretch his evil plans further. He makes a suggestion to Othello in an attempt to construe Desdemona’s plea for Cassio’s paramour. Every time she made a suggestion, Cassio would present reunion take (III, iii, 51), she would disengage her credit with Othello more. Therefore, Lago is able to manipulate Desdemona.
It’s evident from the play that Lago also makes to manipulate the unworthy devotion that Emilia grants to him. From the play, Emilia at the close of the play, Lago begged her to steal (V, ii, 272), the handkerchief given by Othello to Desdemona. The handkerchief I found by chance and did give me husband (V, ii, 267-9). It becomes tragic to see Lago stooping that low to manipulate his wife; she obviously saw his wayward (III, iii, 336) nature, and yet she continues to be compliant even though she understands that it is her mistress’s, first commemoration of the Moor (III, iii, 335). Similar to Desdemona’s kind-hearted, nature, Iago takes advantage of Emilia’s commitment toward his spiteful goals. He then deliberately, loses the handkerchief in Cassio’s lodging as to make it act as a proof of her cheating. Since Lago wanted to create that impression, he successfully navigated through in planting negative thoughts in Othello towards his wife. Othello made the assumption before finishing that Desdemona was unfaithful. Therefore, Lago was able to control Desdemona through her character flaw of good will; he is likewise, a position to make Emilia conform to his intention by exploiting her matrimonial commitment
In the case of Roderigo, Iago twists both his ignorance, as well as his hopeless love for Desdemona. By taking advantage of Rodrigo’s senseless nature, Lago manages to gain any financial resources he wished. Rodrigo’s intellectual sense is also subdued by his love for Desdemona, which embarrasses him in its power.
Therefore, with the pledge that Desdemona might be persuaded to divorce Othello and marry Roderigo, Lago can get any amount of cash he wanted: ‘Therefore, do I ever make my fool my purse (I, iii, 426)’. It is a fact, that Roderigo frantically desire Desdemona and is incapable acting in a rational way to the extent that no sum of money will assist the situation. Lago therefore, seizes upon Roderigo’s failure to make this conclusion and slowly empties Roderigo’s purse. Telling Roderigo that, Desdemona’s eye must be fed (II, I, 246), and that she is openly in love with Cassio (II, I, 240), Lago, persuades his vulnerable cretin. Therefore, Roderigo has no choice but to admit Iago’s unlikely theory. Desdemona’s exceptionally, pure nature, devoid of a shred of evidence. Iago is a puppeteer that knows just how to play on Roderigo’s weaknesses to generate the preferred change. Iago’s manipulation of Roderigo was perfect since the more he failed in getting Desdemona’s love for Roderigo, the more hopeless Roderigo becomes.
The fact that Roderigo attempted to, incontinently drown himself, (I, iii, 347), his worry for Desdemona’s love at this particular point in time, the play had come to a heated pitch. During this impaired psychological state, Roderigo concedes to Iago’s proposal that he kills Cassio: I have no great attachment to the action; and yet he has provided me fulfilling reasons (V, i. A...