Tragedies frequently focus on a tragic hero that has a flaw that ultimately leads to his downfall. That flaw is commonly referred to as a tragic flaw that is inborn to the person and can reflect his background. The ever-famous tragic flaw, consistent throughout all of Shakespeares works, echoes once more into the soul of a moor. A moor respected by all for his proven leadership, honor, self-control, and sound judgment. However Othello was vulnerable to what he didnt know, and what he couldnt control, and so forth he let fear take the wheel and steer. Othellos tragic flaw was his unwillingness to trust his past, in place of trusting Iago viewed Othellos honest nature, not as an admirable quality, but more as an to gain control over his current powerless situation. With this in mind, Iago, started to Othello immediately began searching for answers, so he could find some stability, and try believe anything just so he has some satisfaction.
Early in the play Iago realizes that Othellos idea of honor is intertwined with his concept of justice. Othello, more than any other character in the play, is obsessed with justice. The tragic action in Othello unfolds based on Iago's exploitation of this over-reliance on hearing. He seems to be the only one who perceives that people often interpret words based on what they want to hear, or through their underlying fears. The potential problems of their relationship are exploited fully by Iago, who plays on Othello's fears - his insecure position in a white society with a white wife, and his strict adherence to that society's norms as regards a wife's passivity--to get him to see through listening. That is, Iago uses words to twist reality and create mental images for people, and then persuades them to accept these as true.
Despite the fact that Iago deliberately subjects Othello to his twisted thoughts, Othello seems to have a greedy ear for his discourse, and appears to rely on Iago for the underlying truths of this white, male-dominated society he wants to belong to. Perhaps that helps explain how easily Othello is fooled without any real evidence. Once Iago has sown the seed of doubt in Othello's mind about Cassio, whom they both presumably see as a proper man. Othello's peace of mind is destroyed by Iago's words and he then demands real proof. When Othello is eavesdropping on Cassio and Iago, his comments show that he sees what Iago wants him to see.
Iago ruins Othello by insinuating into his mind the question, How do you know? The tragic experience with which this play is concerned is loss of faith, and Iago is the instrument to bring Othello to this crisis of his being. His task is made possible by his being an old and trusted companion, while husband and wife are virtually strangers, bound only by passion and faith; and by the fact that great joy bewilders, leaving the heart apt to doubt the reality of its joy. The strange and extraordinary, the heroic, what is beyond nature, can be made to seem the unnatural, what is against nature. This is one of Iagos tricks. (143)
Iago is so in control of the generals confused mind that he specifies how the Moor should kill Desdemona: Strangle her in her bed, even the bed she hath contaminated. And the general dutifully responds, Excellent good! The enthusiastic answer causes one to suspect that the ancients innate depravity has taken possession of the Moor. When the ancient murders Roderigo, he is thought not to be culpable by those around. But at the finale of the play when he, in an uncontrollable fit of anger, stabs his wife to death in full view of witnesses, he merits for himself the full punishment of the law administered, surprisingly, by his arch-enemy Michael Cassio, the new lord governor: To you, lord governor, / Remains the censure of this hellish villain, / The time, the place, the torture. O enforce it! (127)
The mood is tragic when we see that Iagos plan has worked and the poor Desdemona is his unknowing victim. She is lovingly faithful to Othello, and is confused and hurt by his false accusations. This makes the reader begin to dislike Othello for his irrational, cruel persecution of his loving wife. Still, we know the blame belongs to Iago, and our hostile feelings towards him are stronger than ever. As well as Desdemona, Cassio and Roderigo are also unexpecting victims to Iagos schemes. They all assume Iagos honesty, while in fact he is exploiting and using them as his pawns in his deceitful plotting. Othello has been driven mad by Iagos insisting conversations of Desdemonas affair with Cassio. Othellos expresses his undeniable murderous thoughts which are rooted in his raging jealousy when he compares them to the current of the Pontic Sea, Whose icy current and compulsive course Neer feels retiring ebb, but keeps due on... Even so my bloody thoughts, with violent pace, Shall neer look back, neer ebb to humble love, Till that a capable and wide revenge Swallow them up. Now, by yond marble heaven, In due reverence of a sacred vow I here engage my words.(512)
On the contrary, Iagos plan to expose Cassio in front of Othello works perfectly. When Othello secretly observes Cassios mistress with the handkerchief, he finally is completely convinced of the affair. He declared revenge for his lost love and pride, and has decides that death shall be the punishment for both Cassio and Desdemona.
The ending of the story is disastrous, Desdemona is murdered by the jealously insane Othello. Othello is tragically surprised when he finally realizes, a minute too late, that he was wrong and Desdemona had been faithful. Iagos lies were all uncovered by his wife Emilia, and Iago kills her for speaking the truth. Othello finally discovers Iagos rotten lies, and denounces him as a villain. Unfortunately this realization is too late, and he has destroyed his own fate. Othello kills himself in shame. There is a small feeling of justification that Iago was exposed, yet the mournful mood prevails since Othello, Desdemona, and Emilia, were all robbed of their happiness, and ultimately their lives for the lies that Iago told.
Works Cited
Bevington, David, ed. William Shakespeare: Four Tragedies. New York: Bantam Books, 1980.
Di Yanni, Robert. Character Revealed Through Dialogue. Readings on The Tragedies. Ed. Clarice Swisher. San Diego: Greenhaven Press, 1996. Reprint from Literature. N. p.: Random House, 1986.
Shakespeare, William. Othello. In The Electric Shakespeare. Princeton University. 1996. http://www.eiu.edu/~multilit/studyabroad/othello/othello_all.html No line nos.
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