Iago The Devil Incarnate example essay topic

Iago. The name alone can conjure up many different images to various people. So much has been written over the centuries as to what motivated him to do all he did. The one thing that most scholars do agree on is that Othello is one of Shakespeare's oddest works. He departs from his usual formula of various subplots and numerous villains. It is also one of the only plays he wrote where a "supporting role" dominates so much of the stage.

In this century, it wasn't until the National Theatre's production of the play with Sir Laurence Olivier in the title role that people were reminded of who's play it really was supposed to be. James Earl Jones was very well received but Christopher Plummer dominated the stage. Sir Anthony Hopkins was raved but Bob Hoskins walked away with the show. Most recently Laurence Fishburne received good notices but Kenneth Branagh's Iago was hailed as a triumph in Oliver Parker's film. I had to ask myself, what was so incredible about this character?

Is it his air of mystery? Is it his charm? What makes this person, who seems to be the devil himself, so amusing? It was in that statement that I came to conclusion. What if Iago was a demon, or the devil himself? Shakespeare gives us so little of Iago's prior history that we can only guess otherwise to Iago's reasons.

Coleridge himself called it "Iago's motiveless malignancy". Who else, besides the devil, causes evil just for the sake of doing it, and being so captivating at the same time. Evil has always attracted man. It seems that evil may even be more interesting than good. Could it be the reason why Iago has survived all these years because he is eternal to begin with?

I think so. It is my conclusion that Iago is the devil incarnate. To prove my hypothesis, I find it necessary to respond to what I think Iago isn't. One of the most widely used reasons is that it is because of Othello's past relationship with Emila.

While it is easy to think that his jealousy could cause him to do such an act, it leaves too many questions unanswered. For instance, why would he wait until now? He could have taken on Othello in a dual. He could have stabbed him in the back while they were on the battlefield together. And if it was only for jealousy, why would he involve Cassio and Rodrigo? Couldn't he have just raped Desdemona or gotten someone to nullify the marriage between her and Othello.

If he was really jealous about the prior affair, why does he take on Emila as an accomplice? These questions lead me to believe that it had to have been more than that. Another possible hypothesis behind Iago's actions is because he himself has secret desires for Desdemona. While this seems more plausible, it has too many holes. He never openly courted her. He never tried intervening in the courting involving Cassio and Othello.

Iago was quite popular with everyone. He was well respected and well off financially. He could have had Desdemona's hand in marriage had he wanted it. Another hole in this motive has to do with Othello himself.

Othello did not become commander because of his lack of insight. On the contrary, Othello demonstrates that his insights into human nature are quite astounding. He skillfully ends the conflict in the beginning with Cassio and Desdemona's father. He is much loved by all his men because he knows their wants and needs. Othello would have sensed Iago's lust for his wife if it was apparent. He would not have let Iago into his home, much less his confidence if this was the motive.

Another motive that is suggested is that Iago became supremely jealous due to the fact that he had been passed over for promotion. This seems to be the most ludicrous of all motives. I truly doubt Iago would have reacted the way he did over a simple pass over for promotion. While others state that his prior history built him up to the point where the rejection sent him into madness and spite, I find it entirely unbelievable.

People who are driven to spite tend to be unpleasant people to be around. They are always seething with contempt. Iago has people around him all the time. If Iago was truly mad, he would be indecisive as Hamlet. On the contrary Iago not only knows, he tells us exactly how he is going to do it.

This is not madness. Sigmund Freud's theories were an influence on many actors in the early part of this century. Olivier even borrowed some ideas when he was preparing for his role of Iago with Sir Ralph Richardson as Othello in the Guthrie production. One possible motive that Olivier found was that Iago could have been a bisexual man. What if Iago had designs on Othello himself?

This argument has to be examined more closely. In the first scene we find Iago expressing hostility to Cassio. He says Cassio knows nothing more of battles "then a Spinster" and as "almost damn'd in a faire wife". This is not the sort of language you would expect from a masculine ensign of Iago's stature. There is even a hint that Iago finds heterosexual love itself disgusting". you " le have your daughter cover'd with a barbary horse, you " le have your nephews neigh to you, you " le have Coursers for Cozens: and Gannets for Germaine's... "Your daughter and the Moore, are making the Beast with two backs".

This speech not only shows contempt for Othello, but also the act of sex itself. In another scene we find Iago revealing far more than he may realize to Desdemona. He spills several lurid rhymed couplets that reflect his attitude and belief towards women. He so much as calls women prostitutes. To go along with this, he even hurls insults at his wife.

When Emilia returns with the handkerchief, she implies seductively, "I have a thing for you". This could imply a sexual invitation. Iago responds, "It is a common thing". In his interaction with Othello himself, Iago takes on many different tones. After he has finished poisoning Othello with thoughts and fears, he replies: "But I am much too blame I humbly do bee sech you of your pardon For loving you too much". Perhaps the most compelling argument is the long speech where Iago tells Othello of what Cassio's dream might be when he is lying with Desdemona.

One could say that this very speech shows Iago substituting himself for Desdemona. While the imagery is rich I find it doubtful. The problems with the "latent homosexual theory" is that it is based purely from a psychoanalytical perspective. This concept was not invented until Shakespeare was long dead. He did not use this homosexual device in any other play. Why would he start doing it with Iago?

Another hole is that a psychological objective is very weak for an actor to perform. Iago has never taken any action on his so-called homosexual impulses. Why would he spend his time spinning a web of deceit if he never planned to take action if he would win? Olivier himself later admitted that this was a theory he was playing with at the time. When he took on the role of Othello, he had long since abandoned his Freudian theories. Freud does not work well on stage for an extended period of time.

This will lead me into my hypothesis on Iago's nature. Iago is simply a wicked man. The stage villain does not appear in Western European drama before the Elizabethans. The plays of the time tended to portray evil characters comically who were always duped or foiled in their plans.

Never did one conquer until Iago. The typical villain is usually someone who is malcontent by nature. They have a grudge against society and life in general because of some wrong. Richard is a hunchback. Don Juan and Edmund are bastards. Regan is not the favored daughter.

All of these people were given motivations. Iago wasn't. Something had to have been different about him. The devil appeals to be people because he knows their desires. He wins their souls by granting them their desires: Rodrigo's love for Desdemona, Cassio's for his return to favor and noble position, and Othello for his trust and certainty in what he holds dear. One by one Iago meets their needs.

To further demonstrate my validity, I went to the Bible and sought to find examples I could use to compare Iago to the Devil. To my astonishment, I found many examples. One of the most striking parallels is almost an admittance by Iago himself of his devilish nature. He says in one passage, "I am not what I am". This phrase can have two possible meanings. The first is that Iago is telling everyone that he is not what he appears to be.

The second, and more striking, interpretation could be word play. It is almost identical to the very name of God given to Moses in Exodus on Mount Sinai. God tells Moses that his name is Jehovah, or "I am who is" or I am that I am. Iago's statement is almost a paradox of this. Lucifer himself was God's favorite angel. When he was cast down from heaven, Lucifer took the opposing role to God.

This statement could allude to that role. Another passage that has Biblical parallels is the second scene in the fourth act between Othello and Emilia. When Emilia recognizes that Othello is a changed man, her speech could be a key in identifying Iago's identity. "If any wretch have put this in your head, Let Heaven re quit it with the serpent's curse... This passage alludes to the curse upon the serpent in the Genesis story. This later plays a key in the story.

Finally, one of the most startling Biblical references refers to that of damnation. Some religious ideologies state that a person who dies with un confessed sins could be damned. Othello actually plays a role of a priest by asking Desdemona to confess her sins before he kills her. While he does not want to damn her in her death, he will not grant her absolution, which still could be damning. In the famous soliloquy he speaks before the murder, he says the words: "Put out the Light, and then put out the Light" He could be comparing her to the light of heaven. Christ was called the light of the world.

Desdemona could be described as sinless in this play which would further suggest that she was a Christ figure in the play. Othello takes on the role of Judas with Iago being depicted as the devil. In strange fashion, Desdemona dies by asphyxiation, the same death that Christ died on the cross. We then find Othello in a rage over his act. When he goes to Emilia to find the truth, he collapses in grief. One part of his speech is quite striking.

He blames himself as... "one, whose hand like the base Judean threw a Pearl away richer than all his Tribe: Because of my background in Christianity, I knew that he was calling himself a Judas. Judas was the only one of the twelve disciples who had come from the tribe of Judea. Judas's very name means "Jew Betrayer". The kingdom of Judea was looked down upon by the other twelve tribes of Jacob because of it's rebellion at a transitional period after Solomon's reign. It was then the kingdom was split into two halves. Othello's speech is parallel to that of Judas throwing away Christ.

And like Judas, in grief, Othello kills himself. Besides Biblical references in the play, there are also the instances where Iago is described as or identified as the devil. The second scene in the first act shows Iago and Cassio getting drunk together. Iago persuades him to take one more drink so that Cassio would become more quarrelsome. We see that wine is a vice to Cassio and Iago is appealing to that vice for his own intentions.

When the fight does break out, Iago gives out the cry, "Diablo, hoa". This is a praise to the devil! When Othello enters and tries to break up the fight and that they should feel "Christian shame", Iago is almost chuckling in his responses. In famous scene between Iago and Othello in the third scene of the third act, Iago is poisoning Othello's mind with thoughts of Desdemona's adultery. Othello ironically utters the line, "Exchange me for a goat". While the line does imply that Othello wishes to be dumb to Iago's logic, the cloven hooves of the goat are, according to popular legend, the very feet of the devil.

Othello later describes Iago as one who knows all realms of human dealings. Who else besides the devil truly knows all of human dealings? The Bible itself says that the devil is the master of earth. At the end of the scene we see that Iago has finally convinced Othello of Desdemona's unfaithfulness. "All my fond love thus do I blow to heaven... Arise black vengeance, from the hollow hell.

". It is almost a pact with the devil and Iago is standing right there at his side to witness it. It is even more chilling to know that the last reasonable words that Othello stutters before his madness is "O Divell". The first sign that Iago's facade is falling is when he has to kill Rodrigo.

Rodrigo utters these final words: "O damn'd Iago! O inhumane Dodge!" Iago's own references start to give himself away. One thing that is a constant in this play is that many people swear oaths by their soul. Iago doesn't. The devil was an angel to begin with and angels have no souls. When others around him swear these oaths, he usually mocks them back.

The devil's charm is so overpowering that even Desdemona flies to Iago when Othello's manner towards her has changed. One again we see someone in need and Iago has the answer to the problem. She enters into a pact with him and her fate is sealed. After the killing, when Othello confronts Iago, Othello is almost helpless before him. It is in this moment that Othello recognizes who Iago is, the devil himself. "I look down toward's his feet, but that's a Fable, If that thou bee " st a Divell, I cannot kill thee".

Othello than runs at him with his sword and succeeds in wounding him. We have to remember that Othello is a man of large size and power. He is a champion on the battlefield. Iago takes the wound and replies, "I bleed Sir, but not kill'd". Then Othello turns to Cassio and asks him: "Why he hath thus ensnared my Soule and Body?" In his dying moments Othello does see the horns, feet, and damnable fire around Iago. I actually think the ending is more disturbing that Iago is tortured and not put to death.

The devil can only be killed by God, but he was banished into the pit. This final parallel is the utmost frightening of all. This final judgment clearly identifies Iago as the devil himself. Iago has won.

After all my studies of the play and materials surrounding it, I believe that this is a proper conclusion. It is fitting to end the paper on this quote from Stanley Edgar Hyman from his book Iago. "Iago has no motivation. His entire existence consists of words on a page. He has no psychology, no character, no personality, no history". Iago is a mystery, like the devil himself.

Perhaps even better would be a quote from the film The Usual Suspects. "The greatest trick the devil ever pulled was convincing the world he didn't exist". Iago played that trick and when everyone else realized what he truly was, it was too late.