He treats others as fools and has no time for tender emotion. Iago shows his thoughts through his soliloquies, revealing to the audience his intentions and motives. Iago starts his first soliloquy with “Thus do I ever make my fool my purse.” The quote is revealing Iago’s evil, dark side. The fool is referring to Roderigo. Iago has got Roderigo on a lead, convincing him that he has a chance with Desdemona.
At the same time he is directing the rest of the cast down a dark and tragic path. Self-preservation and self-promotion are Iago’s main goals. His amorality allows his him to embark on accomplishing these ideals by lying, stealing and eventually murdering the ones around him. He is an artist of words, able to manipulate people with his “silver tongue.” In the beginning of Act I the reader gets their first glimpse at Iago in action, as he is confronted by Roderigo about his misappropriation of the funds that were given to him to win Roderigo “favor” with Desdemona. Iago is able to skirt the issue and convince him of where his loyalties lie, “I follow to serve my turn upon him.
At the beginning of the play Iago reveals that he hates the Moor because Othello has chosen Cassio as his second in command, preferring him above Iago. His character is established immediately through language; when conversing with Roderigo by using blunt prose "I follow him to serve my turn upon him.”. He is under Othello's command and wishes revenge on ‘the devil’ for the promotion, this seems to be the top motive for his cruelty. Iago begins to move into play the pieces of a conspiracy with a ‘peculiar end’ because he exclaims to Roderigo “I am not what I am”, this oxymoron is an appropriate feature in Iagos’ language given that he is the white devil. Despite the fact most praise him as ‘Honest Iago’ it is only the audience to whom he reveals his true self.
Iago is often classified as the embodiment of pure evil to the farthest extent capable of being reached by human. Both Claudius and Iago plot against, torture, and cause the downfall of other characters in their respective stories to create and upkeep a boastful reputation. Both characters know that what they are doing is considerably wrong, but only Claudius feels any remorse for his crimes. They both recognize in soliloquy what they are doing and even discuss with themselves further planning. Iago manipulates all the crucial components of his plot with ease, while Claudius on the other hand is discontent and unhappy with the events taking place.
“…I have done the state some service, and they know’t”. Iago is the most heinous villain in Shakespeare. Shakespeare is successful in giving Iago the prefect satanic characterises of a villain. It is Iago's jealousy of anyone who acquires anything that seems better than that which he acquires himself; this is the driving force of the play. As the momentum builds with the force, Iago's jealousy enables him to incite the same sense in others, to use them to his own advantage, in other words; their disadvantage.
Of all of Cassius’s traits, there are three that are the most seen; he is jealous, a liar, and a manipulator. To begin, Cassius is a very greedy man and shows his jealousy constantly throughout the play. One example of this is when he was talking to Brutus while Caesar was being offered the crown. He says “Why, man, he doth bestride the narrow world like a Colossus, and we petty men walk under his huge legs, and peep about. To find ourselves dishonorable graves.” Referring that Caesar was better than them and that Cassius wanted to be Caesar.
Iago; The sliest villain in "Othello" A villain is defined as a character in a story or play who opposes the hero according to Webster’s Dictionary. In "Othello," Iago fits this definition perfectly though Othello does not recognize that Iago is his enemy until the end of the story. Iago is the backstabbing, evil-minded, manipulative character in this theatrical story. He demonstrates this treachery all throughout the story beginning with being angry with Othello for not appointing him as lieutenant, his revenge on Cassio for taking his place as lieutenant, and setting up Desdemona to look like she is cheating on Othello. His maneuvers are so effective because they flow smoothly.
The manipulation and sins of Iago are the driving force behind the play, without which events could not escalate to such an extent. Iago’s primary objective throughout the play is to ruin Othello, which he achieves through his deceitful nature and manipulation. Iago plays is portrayed through the use of dramatic irony as ‘honest Iago’ but is truly the ‘villain’ and uses this deception of his true nature to ensure that he is trusted by all. Although Iago always has ulterior motives within the play, when he breaks through the fourth wall in asides or soliloquies he more often than speaks truthfully – fabricating his plans where the audience can see. ‘Devils will their blackest sins put on … suggest at first with heavenly shows as I do now’ is one such instance where Iago further fortifies his deceptive nature: he will appear the angel while acting the devil.
Both Iago and Bosola reject 'everything that has not a strong infusion of the most unpalatable ingredients, their minds digest only poisons'. How far do you agree with this assesment? Iago and Bosola are the malcontents of the two plays 'Othello' and 'Dutchess of Malfi', who were common among both theatre and real life in the Jacobean period. They were referred to as the angry young men dissatisfied with the world they live in, detached from an often corrupt society by their grievances. They are filled with melancholy, at the time believed to be caused by an excess of black bile in their bodies, which was one of the four humours, which were what influenced a person's temperament and health.
Oscar Wilde's A Picture of Dorian Gray presents many themes, including conflict and influence. In this novel, Lord Henry Wotton creates a conflict with the naïve and innocent Dorian Gray by influencing and mentally corrupting him. Under this influence, Dorian becomes a hedonist, constantly pursuing pleasure and everlasting beauty. This one-way conflict, where Lord Henry almost completely controls Dorian's emotions, is the cause for Dorian's downfall and death. Lord Henry, who enjoys manipulating people to calm his hedonist feelings, spots Dorian's vulnerability immediately and plants the seeds of terror in the young man by imposing him his radical, yet catchy theories of life.