How does Shakespeare present Iago as the devil in Act 2 scene 3 of Othello? There are numerous vast and complex characters that Shakespeare creates in the play Othello; however one of the most complex is the character of Iago. Shakespeare here has created a real villain, who twists and turns his way into manipulating, poisoning and corrupting others around him. Iago has no thought for those who get in his way and is hell-bent on achieving his goal at any price. His very existence is for the destruction of the truly innocent.
Othello, himself states “that thou be’st a devil, I cannot kill thee.” He then stabs Iago but only wounds him, showing that he thinks that Iago is the devil. In Elizabethan society he could be labeled a demon, or influenced by the devil if not the devil himself. Even if he is only a sociopath, there are many similarities between sociopaths and devilish doings. Poet Samuel Taylor Coleridge ( 1772-1834)saw Iago’s worst side and writes “a being next to the devil, only not quite the devil” He calls Iago’s behavior “motiveless malignity”. A trait that stands out is Iago’s ability to think out and plot what seemingly will be a perfect plan.
There can be no doubt that Heathcliff is fiendish in his actions in “Wuthering Heights”. The question is whether or not Heathcliff was inherently demonic, before even having been found on the streets of Liverpool, or whether this is due to social prejudices he fell victim to. To consider this question, the meaning of fiend must be considered: is Heathcliff the fiend literally a supernatural being born from hell, or someone who is evil and causes havoc. Also, the potential bias in descriptions of Heathcliff from other characters may cloud a reader’s judgement of him. Emily Bronte’s description of Heathcliff, from the opening of the book, is immediately negative.
He’s useless tricks display vanity and indicate his wastefulness to the audience. The Tempest is a problem play; Prospero is presented with the opportunity for spiteful revenge but realises the importance of forgiveness. Doctor Faustus is a morality play; he never realises the importance of repentance and banishes any opportunity to save himself, which results in his eternal damnation in hell. In the first act of the play, the audience is confronted with a magic fuelled spectacle. We see Prospero with the help or Ariel conjures the tempest.
Iago’s mean and insensitive manipulation is geared towards the innocent and ends up causing the destruction of Roderigo, Cassio, Desdemona, Emilia, and Othello. Iago’s ability to navigate human nature and use it to his own benefit is the tool that helps makes him evil. Jealousy is the center of this play with Iago's jealousies and own weaknesses being the main motivation for his exposing others’ flaws to destroy them. Iago’s motivation is clear right from the start of the play. “As early as the sixth line of the first scene of the first act this motive is predicated as basic data for the action which follows.
His cry – WHOS THERE ITH NAME OF BEELZEBUB (which means devil) further develops the analogy of the the relation of the inverness with hell. Being a porter, it is his duty to welcome guests, but here he referes to the inverness as hell, thus referring to Macbeth as satan. As the porter lists of the different scenarios which refer to the crimes committes by Macbeth, such as stealing, treason & greed. The scene continues with some good natured banter with macduff, which results in the breaking of the
Pray can I not, Though inclination be as sharp as will. My stronger guilt defeats my strong intent,” (III.iii.36-40). Claudius opens his soliloquy in a way that almost makes the reader feel sorry for him. A confession of his own immoral behavior to God that stems from a deep conviction. This is proof that Claudius is in a battle within himself.
You will spend an entity “wrestling” with God (156). This word suggests the act of two people struggling hand to hand or body to body, trying to pin the other to the ground. This diction helps create the tone because it tells you what it’s going to be like between you and God if you are sent to Hell. It’s a threatening word because it can cause pain, anger, and conflict. Mentally wrestling with the almighty God is pointless and frightening.
Using this word is enhancing the fearful mood of what is to come. Hell is a word/place that has fear associated with it. When Lennie continuously asks, “George you gonna give me hell?” (Steinbeck 81), over and over even though said eagerly, it gives the reader a sense of fear for what’s coming up in the story. “‘Go on George ain’t you gonna give me no more hell?’ [Asked Lennie] ‘no’, said George” (Steinbeck 83). Lennie expecting and eager for George to give him more hell does not get the answer he expects because George knows that he is about to end Lennies life.
Both of these texts represent the idea of deception through soliloquies. This is demonstrated by the use of Hellish and light and dark imagery in Iago’s soliloquy in Act Two after giving advice to Cassio: “Divinity of Hell!/ When devils will the blackest sins put on,/ they do suggest at first with heavenly shows.” This is furthered by the use of the extended web metaphor in both this soliloquy: ““with as little a web as this will ensnare as great a fly as Cassio” and later soliloquies: “the credulous fools are caught.” The