An other traits of character of Othello that bring him to his downfall is his jealousy. Iago is playing with Othello about an affair between Desdemona and Cassio. Iago is just telling him that they are together and uses small details to prove Othello it really happened. Even with this lack of evidence, Othello choose to believe Iago because he is only thinking about what Desdemona possibly did to him. He is looking for a way to obtain revenge more than he is to find out the truth.
The curse on Thebes serves as the conflict in the story. Oedipus plays the force moving to resolve the conflict by seeking the late king’s killer. He learns early on how to lift the curse, but is unable to because of his failure to realize that he is the murderer of Laïos. He is the force that opposes the protagonist’s motion in that it is his inability to accept guilt and his ignorance of this guilt that delays the removal of the curse. In addition, Oedipus’ role as the antagonist is concretized by his having caused the conflict: he is guilty of the murder of Laïos and is therefore the bringer of the curse.
Though there is no point where he is specific about his main motivation to destroy Othello and everything he loves. Yet in act one scene one he states his prime motivation is bitterness at having been passed over for the promotion to be Othello’s lieutenant by Cassio. Iago is also motivated by his confidence in his abilities to destroy Othello and his life without detection. His anger towards Othello is mostly caused by his suspicion that Othello slept with his wife. Iago states it himself in 1.3.387-388 “I hate the Moor; And it is thought abroad that twixt my sheets”.
Iago has many rather theoretical reasons for his revenge, one of which being his failure to receive the spot of lieutenant, and the other being that he “suspect[s] the lusty Moor” of sleeping with his wife, Emilia. Iago, being a very jealous and icy man sees that the only way to be “even’d with him” is to go “wife for wife”. Iago’s revenge is a carefully plotted strategy that involves many intricate details and occurrences. This extract tells the reader a lot about Iago’s plan that has previously only been assumed. Iago is so emotionally detached that he claims his ‘love’ for Desdemona exists predominantly “to diet [his] revenge”.
Shakespeare incorporated the theme of madness to serve a motive for Hamlet in order to deceive others. Hamlet planned everything from what he was doing to what he was going to do. Hamlet did in fact pretend to be mad, just so he could follow through on his plan to avenge his father’s death. He acted like he was mad because he did not want to directly kill Claudius, because he wanted to make him suffer. Hamlet also knew that he could not tell anyone that Claudius has murdered his father or that he had seen the ghost of his father because no one would believe him.
Othello was not a guillable man but he was a believer in anyone. But Desdemona had the bad end of it all because she got blamed for being disloyal to her husband. Iago was a selfish man but more importantly he was a cold hearted man that wanted everyone to feel the same way as he did. Iago had a jealous heart as well and couldn't stand the fact that love was in the air. In Othello, both themes of jealousy and hate were amoungst the main characters and developed new accuasations throughout the play.
Iago’s jealousy is explicit only at the very beginning of the play, when he demonstrates his resentment towards Othello, for giving the position of Lieutenant to Michael Cassio. His actions and feelings from that point on however, emphasize how Iago’s thoughts are no longer motivated by jealousy, but instead by his specific intention of bringing harm to Othello and taking vengeance on him for what he has done. Iago’s actions are the result of his anger and his villainy, which causes him to want to induce harm upon
Examining this, historians would note accounts of him being highly suspicious aswell as deeply paranoid; ultimately Stalin felt that he could trust nobody and his wife’s suicide worsened this considerably. These particular predicates would lead to explanations for why his former comrades were killed, compared to the considerably less violent means (exile) used by Lenin. His nature as brutal was also regarded as a significant feature of his personality, known to be vengeful and cruel; his fascination for violence (with the purges being an explicit display of such) still remains today a popular association with Stalin. Keen to assert himself as something other than the “grey blur”, Stalin idolized himself as a genius who transformed Russia into a communist utopia and at the forefront of revolution; denunciating Marx, Engels and Lenin in the process. Stalin was keen to destroy intellectuals and members of the old Bolshevik party, those who could see through his deceit and understood his limited abilities that strove for incredulous ambitions.
He is directly or indirectly responsible for the deaths of Othello, Desdemona, Emilia, Cassio, and Roderigo, which happen to be all of the main characters. All of the problems he causes are through lies, treachery, manipulation, and a deep unknown hate. Some of this hate is fuelled by jealousy and revenge. The ironic part is that he wants to be known as "honest Iago". Every act contains an evil plot set up by Iago.
He is dedicated to his own point of view, which is cold, merciless, brutal, conniving, and revengeful. He does not mind telling us about his torture and murder of Fortunato; indeed, he thinks what he did was the just, right way to handle the situation. Because not much is revealed about the narrator it made the strong emotions of revenge coming from him very confusing. For example, the story beginning with the narrator expressing that Fortunato has hurt him and because of this he must seek revenge, proposing to the reader that Fortunato is the villain without any distinct reason as to why, making the reader speculate as to why and form his own thoughts and reasons as to why he felt this way. As he confesses this story fifty years after it happened, such a significant passage of time between the events and the narration of the events makes the narrative all the more unreliable.