Shakespeare’s “Othello, the Moor of Venice” is a tragic play that exposes tragedy in a distinctive way. Iago is a primary character in the play and one whose motivations for dehumanising tendencies are kept hidden. He owns a shrewd personality that looks into the desires of men and manipulated these to gain advantages to which in the end are but naught (Alqaryouti and Sadeq 77). Iago’s mind set in relations to men with whom they share a bond for military discipline and unity is deeply corrupted by jealousy, envy, and a partially hidden belief that there are more refined races than others (Alkoli and Ji 418). He also demeans women in a confounding manner since. The aim of this essay therefore is to explore Iago’s relationship with men, women and how all these attributes combine to translate into a tragic ending resulting from his conniving nature.
What language doe Iago use about and to men? Are these different from one another?
Iago is portrayed as a deviously deceitful individual. He has no value for others in society to which ends he does not explicitly express (Alqaryouti and Sadeq 77). Coming from a militaristic society, Iago is a man who met Othello, Rodriego, and Cassio while serving in the army. This implies that there was a time when all were equal. However, things have changed and he seems to reside in the isolation of his troubled mind. With this regard, he thinks ill of all the men around him though he understands them well enough to appreciate their won innate beliefs, desires, challenges, and motivations (Act I Scene 1). However, everyone around him is rising up the social ladder while he remains behind to a point of overshadowing irrelevance which through jealousy and envy is determined to ensure does not happen (Alkoli and Ji 418). He relates with men as inherently weak irrespective of social standing (Alqaryouti and Sadeq 78). For instance, he cannot come to terms with the fact that his once trusted and faith friend, a Moor, Othello, has risen up the ranks to become his superior. It irks him further that the Moor weds a fair maiden who is not only hears glowing white skin but also exudes the best of royalty (Act 1 Scene 1). He believes that by reason of race, he should remain grander than Othello. He contends that the Cassio by nature of race and refined character ought to have taken Desdemona’s hand. His conflicted mind understands that his train of thought is unacceptable and thus capitalises on Roderigo submissive nature to scheme towards getting “even” with the men that he cannot measure up to (Alkoli and Ji 419). He thus acts towards other men from a diminished standpoint, one which he can only console himself with becoming a devious schemer against the more socially endowed characters.