Aside from our Biblical, Confessional, liturgical and historic committments, a study in rendered on
Iago, a keen antagonist in Shakespeare 's Othello. Iago appears to be a decretal reprobate from eternity past. We submit the following review of Iago, the corrupted, depraved, ontologically enslaved, epistemologically enslaved, volitionally enshackled and thoroughly corrupted Iago.
Shakespeare’s Othello: Iago, the Corrupted, Depraved, Enslaved, and Rational Mad Man
Following the suggestion of the text, two questions are posed (Kennedy 1014). Thus, the task is to ask and assess two questions. The first question is: “What motivates Iago to carry out his schemes?” Several motives will appear in the text as consequences rather
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Beyond Iago specifically and by way of a wider context about moral freedom and moral enslavement in decision-making, a few indications are offered. Again, this is for a wider context and for introductory purposes, lest one think that Shakespeare is a solitary voice on the subject of depravity, moral sense and ability of the mind and will. The ancients may have pointed to the “fates,” predetermination, and puppetry. These lengthy discussions—depravity, moral ability, and freedom of the will—surely broke out in the historic, well known, well documented and extended imbroglio between Pelagius, a British monk, St. Augustine of Hippo, Africa, and St. Jerome of Jerusalem and Rome in the late 4th century. There are “volumes” of primary documents from these three contestants, not to mention the secondary sources through the centuries. Based on Pelagius and Augustine, these debates caused one well known scholar, the Rev. Dr. R.C. Sproul (B.A., Westminster College, M.Div., Pittsburgh Seminary, Th.D., Free University of Amsterdam, and author of seventy books), to famously say that all theological discussions, all philosophic systems and all religious denominations can be reshuffled and re-categorized into three categories: Pelagian, Semi-Pelagian, or Augustinian. Infamously, as the battles roiled, the Synod of Orange in France, 529 C.E., ruled for Western Christendom in favor of Augustinianism. Eastern Christendom, or Greek Orthodoxy and affiliates, never accepted the Synod of Orange. The Italian scholar, Thomas Aquinas of the 13th century, and the English scholar and Oxfordian, John Wycliffe of the 14th century, stood in the Augustinian tradition. The battles about volitional freedom and rational enslavement (to one’s own nature) broke out with a poignant freshness in the infamous and widely known battle between Erasmus of Rotterdam, the Dutch Renaissance
For the meantime, small for the “wits,” of Iago is ever “too hard” but his wits remain perverted and corrupted. Through self-identification of Iago using “the entire tribe of hell,” he presents a significant indication concerning his own motives and personality. Equally, the time he later recognizes himself using “Hell and night,” his utterance is disclosing, and without a doubt a number of critics view him as nearly factually (not only metaphorically)
Iago wanted to feel like a better man in life, he wanted to have a good reputation, a wife that obeyed him, and the perfect
INTRODUCTION AND METHODOLOGY In the first half of the 16th century, a new movement in Europe arose, which challenged the institutional concepts of the Catholic Church and adopted new approaches in exegesis. One of those protests for reformation took form in a system known as Calvinism. Preaching the absolute authority of God and the necessity of pious and holy lives, his devotees tried to “purify” Anglicanism. Their failure in this attempt caused their severely persecution and consequently migration to America.
The following passage is significant to the play ‘Othello’ in retrospect to the plot progression, as it reiterates themes and introduces important facets to the plot development. Through Iago’s cunning manipulation and Shakespeare’s crafting of language, this passage is constructed as a pivotal point of the play, marking the transition of Othello’s personality and revealing his deepest insecurities that eventually lead to his downfall and tragic ending. Iago wields a lot of power over all the characters throughout the play, but in this passage in particular he is presented at his most powerful. The passage is riddled with subtle suggestions and insinuations by Iago to raise Othello’s suspicions of his wife’s fidelity, opening with the admonition to “beware, my lord, of jealousy!
1.3.403-404) confirms Iago’s need to cause chaos through the word ‘must’ as it implies that it is something he feels obliged to do as if it is his duty to cause
Iago contributes to the tragic downfall of Othello, playing him like a fiddle. The human nature of Iago manipulates the trust
With the laws of Venice miles behind them, the characters of Othello seem to have entered a Hobbesian state of nature where anything is permissible so long as it furthers the individual interest. Indeed, upon arriving in Cyprus, the majority of the characters have lives that are “poor, nasty, brutish, and short” (Hobbes 76). Othello is the perfect illustration of the dangers of rhetoric. Iago exemplified the type of rhetoric that made the Greek demagogues threatening.
Within the vast realm of Shakespearean villains, Richard III and Iago emerge as two of the most memorable and captivating characters. These malevolent figures, featured in "Richard III" and "Othello" respectively, share certain similarities in their character traits and manipulative methods, while also exhibiting distinct differences. This essay aims to explore the comparisons and contrasts between Richard III and Iago, analyzing their characters, methodologies, and their roles within the intricate tapestries of their respective plays. Richard III and Iago are both driven by profound motivations that propel them towards their wicked pursuits. Richard III, burdened by physical deformity and a deep-seated desire for power and revenge, embarks on a treacherous journey to claim the throne.
Throughout the play, Iago commits heinous acts of manipulation and betrayal due to the fact that he despises Othello, however, the reasons for this hate are often
Evil is an ever present aspect within the existence of humanity. Satan, a real and powerful being, constantly influences the world through his evil and manipulative ways in order to bring destruction and chaos to earth. Perhaps one of the most evil characters ever written about, Iago, from Shakespeare’s Othello, also portrays many traits that are similar to those seen in Satan. Throughout the Bible and throughout Shakespeare’s Othello, both Satan and Iago share many characteristics and differences of poisonous evil within their manipulative words, origins of jealousy, and their malicious acts, but differ in where this power comes from.
Psychopaths have attributes of detachment, insincere speech, selfishness, and violence. In the tragedy, Othello, the playwright William Shakespeare constructs an antagonist with such traits. This evil character, Iago, is known for being one of the most sinister villains Shakespeare has even written. Through Iago’s psychopathic manipulations and detached persona, Shakespeare shows that psychopaths are not redeemable in the play.
As the audience receives more information about his hatred for Othello, it is still vague on how and why exactly Iago wants to destroy him. Because of the lack of clarity, it creates a spark of interest to hear more of Iago’s
In the play Othello, William Shakespeare creates an elaborate tragedy with various in depth characters, enhancing the story with powerful characterization. Iago, the main antagonist of Othello, exemplifies Shakespeare’s use of characterization to create in depth and complex characters. Using his manipulative nature, intellectual mind, egotistical attitude, and dishonesty, Iago controls the other characters in order to achieve his goal, leading Othello to succumb to an overwhelming jealousy causing his downfall. In order for Iago to gain control of the characters in the play, he manipulates Othello, Roderigo, Cassio, and more to believe false information and turn on one another.
Act 3, Scene 3 of Shakespeare’s Othello embodies a pivotal point in the play, as it is a transition act that grounds the foundation of Iago’s development as an antagonist and the play’s development as a tragedy. In fact, Othello is written by William Shakespeare in the early 17th century. In Act 3 Scene 3, Iago begins his insinuations of an affair between Cassio and Desdemona, which petition Othello to consider the likelihood of Desdemona’s infidelity and Cassio’s disloyalty. In this particular scene, Shakespeare makes meticulous use of linguistic and dramatic techniques to characterise Iago as an scheming, deceptive and hypocritical antagonist.
Notes: - Malignant character, plots downfall of othello. - Opposition between good vs evil through use of religious connotation “baptism”, “divinity of hell”, “satan”. Embodied by conflict of christianity against evil - classical theme. - encapsulates evil of satan, othello and des purity goodness - subtle use of symbolism, fruitful, adam and eve, linking iago to snake character, eve &adam, othello & des - naivety, othello, not aware of lack of goodness in iago - metaphysicality - omnipitent intent - psychopathic and evil - rhetorical questions, shows he is self-assured, merciless, evil, confident - calculated character - pivotal, shows iago reached pinnacle of evilness Context: