Discuss The Importance Of Jealousy In Othello

The obvious cause of the culminating deaths at the end of the play would appear to be jealousy. This, however, is a superficial assumption as there are many other emotions that help drive the play. The two characters who succumb to jealousy are Othello and Iago, both complicated characters whose jealousy is similarly confounded with other feelings. Iago gives plenty of reason for the audience to view him as primarily jealous but these claims prove unconvincing. The play opens on Iago expressing his jealousy of Cassio; this jealousy appears initially fairly felt as Iago equates himself with Cassio, stating that "I am worth no worse a place". The assonance and use of single consonants adds an almost humble tone, but as the speech continues, it is apparent that this is not the only cause of jealousy; Iago seems scathing of his "bookish rhetoric" demonstrating contempt of the more privileged class. This conversation, however, is soon transformed into an outlet for Iago's hatred of Othello with no further mention of Cassio. A similar occurrence happens during Iago's revelation that the Moor has "done [his] office"; this is never again mentioned. Heilman describes Iago as he "hurries over the contention that he has been treated unjustly. and is not convincing." This is reflected in the syntax of the speech as Iago states "I hate the moor; / And it is thought." The enjambment and use of a conjunctive indicates that these justifications are merely afterthoughts to Iago's hatred, and jealousy is not the root of his plans but the way to facilitate them. These justifications have also been said to be used by Shakespeare in order for the audience to see Iago as a character rather than an abstract form of evil which many, such as Stoll, see Iago as; a "demon". Muit has also said that it causes the audience to see themselves in Iago, concluding that "we are all in some measure Iagos". Jealousy is therefore important in the relationship between the audience and Iago. The main result of Iago justifying himself, however, is a reinforcement of his shameful wickedness; Heilman agrees with this, comparing Iago to someone who "has not withdrawn from [society] in open enmity, but who, still in it, mechanically makes a token payment. to some of its standards of conduct". Although in the source written by Cinthio the plot was driven by Iago's love for Desdemona, the Iago who appears in Shakespeare's Othello is driven by no such noble aims; critics have gone so far as to say that Shakespeare "had deliberately adapted this brutal murder tale to dare himself to find sympathy in the farthest extreme of human error". There is therefore a paradoxical combination of Iago being human and being, as Stoll described him, "not a human being a human at all". Coleridge describes these justifications as "motive-hunting for motiveless malignity" but being without motive is not the same as being without meaning. The audience is told nothing of Iago's background, despite hearing of Desdemona's childhood and the maid Barbary, and Othello is "stuff'd with epithets of war". The hatred present, however, is painfully clear. He repeatedly states his hatred of the Moor, and the denial of his love, especially in front of Roderigo; "Though I do hate him as I do hell pains". His hatred, like jealousy, is "begot on itself" and is enough of a cause itself to drive Iago to commit such acts. Although Othello's jealousy has been called "secondary jealousy" by Heilman as it is not spontaneous and manipulated by Iago. At the pivotal point of the play, as Iago is in the power to pursue his plan or abandon, it is ultimately Othello who determines the outcome. His anger leaves little option but to continue; Othello demands "make me to see't. or woe upon thy life!" Actors often embody this anger, for example threatening Iago with a knife. This, however, could be interpreted as a sign of Othello's other emotions rather than jealousy such as his sheer love for Desdemona; "when I love thee not, chaos is come again". It is also reflective of Othello's insecurity due to his race. Iago uses Othello's position of a "stranger from here and everywhere" to exploit his insecurities; he says that "in Venice they do let God see the pranks they dare not show their husbands". As Othello is not a Venetian, he has no way to defend himself from this accusation of his wife. Newman highlights that Iago depends on "Othello's own prejudices against his blackness". In each character's mind, Desdemona does not belong with Othello and Iago repeatedly talks to Roderigo of the unnaturalness of their marriage. The problems his race cause is demonstrated by the way he treats Desdemona, saying that "we must obey the time". Although this has caused some critics to see this as proof of the problems existing in their relationship as traditionally, couples paid no attention to time shown in aubades. This, however, shows how Othello is not in the position to disregard time and certainly not his military duty as that is his redeeming feature in the eyes of the Venetians. Jealousy, therefore, may be a product of this insecurity but it is caused by Iago who sets out "to abuse Othello's ear" and take advantage of his insecurity. The importance of jealousy is, therefore, important but not the central emotion present. It is formed from a variety of feelings, attitudes and perspectives; in Othello it cannot stand alone, just as Iago is nothing once the play has unfolded and all of its victims lie dead.