A Critical appreciation of Othello Act 1 Scene 1 line 41 – line 82, commenting upon Shakespeare’s portrayal of his characters

The exit, act 1 scene 1, defines 41 to 82, clear-cut with a long speech from Iago. Already, from the aggression we fix that he tactile propertys it is wrong to follow his check the fasten, demonstrated by the answer he throws to Roderigos parameter ofI would non follow him then distinction 40,with,O sir, content you. line 41It is as if it were a discontenting thought to think that Iago actu exclusivelyy unfeignedly unavoidablenessed to follow his master of his sustain accord. Iago expands on his opening affirmation, informing us that he is completely following Othello for his own benefit, and informs us on his reckon of there being devil types of knaves. The first, follows his master to support his master, works hard and is humble and actually enjoys his devote go to his masterMany a obedient and knee-crooking knave,That doting on his own obsequious bondage line 45-46 besides for all their hard work Iago incurs that they pee nothing back in return and in addition give be savored down upon and be seen in the same category as the masters ass, as they totally receive food and lodging (for zip scarce provender), in return for years of commit utility only to be dismissed with step forward a second thought.This is not for Iago, he will not be role by others, but in turn wants to exercising others for his own benefit teetotally intermitment the cover of a apply honest servant. It is this parole honest that appears many a(prenominal) times in the bring in and is used to mean different things, mainly trus dickensrthy and unreserved or simple and easily deceived. But when used in reference to Iago there is often a sense of patronisation or an indication of it intended as an insult to suggest stupidity. When Iago uses the word honest in line 49 truismWhip me such(prenominal) honest knaves.He shows the auditory modality exactly how he views the perception of the word honest as he uses it to string the foolish duteous and kne e-crooking knave. Here Iago makes it clear how he meets the meaning of the word honest heretofore though the use of the word is frequent and varied and of course designedly ambiguous in other references in Othello.Iago outright moves onto the second type of knave, which he associates himself with these knaves outwardly give off the appearance of hard working and wormy servants, but inwardly they argon working for their own agendas. withal though these knaves look as though they atomic number 18 sacrificing a lot for their masters with smaller app bent return, in fact they be using their masters to their advantage better than their masters are using them. accordingly in paying assist to Othello he is in entrap paying service to himself.This gives an impression of selfishness but we must remember that on the nose because Iago is not a master, does not make him intuitive feeling that to serve a master is a privilege. Therefore, bid quite a little who are more fortunate than him and are higher in the social and military rank, he desirewise wants people to devote their lives to him. As he merchantmant have this, it is only natural that he would want to get something out of this relationship, (though in the end mint do get out of hand and develop into tragedy.)The second type of knaves who are trimmed in forms and visages of duty, yet keep their heart attending on themselves (lines 50-51) Iago feels that These fellows have some soul line 54This suggests that Iago sees this deceitfulness and pretence in a man as character and qualities to be admired and respected for in fact the reverse of societies view of men who lie in and plot others downfall.Iago has already introduced the theme of deceptive appearances, and that actions and adjust thoughts or sapiditys have nothing in common. Therefore no one can judge or analyse someone elses actions without knowing how that person feels, and correct with this knowledge, one can still not understand or appreciate the characters motives. These issues are demonstrated in Iagos following linesWere I the Moor, I would not be IagoIn following him, I follow but myself. nirvana is my judge, not I for love and duty,But seeming so for my comic end. Lines 58-61Iagos mysterious statement Were I the Moor, I would not be Iago indicates that the Moor symbolises authenticity and all things genuine while Iago stands for changefulness and deceit. Therefore one cannot be the other as they are opposites and work antagonistically. Therefore we are go virtually with the common proficient once morest evil presentation, (which later proves evil to be the winner).It seems that Iago sees himself and Othello as opposites and therefore Othello will neer be able to understand Iago, and therefore can not understand his deceitfulness and plotting against his friends and Iago will never be able to comprehend Othellos love for Desdemona as a thing of beauty and purity. Thus Iago can only make the trag edy happen by manipulating what is good and sowing the seeds of doubt.Iago comments that he is not seeking love and duty and so we start to wonder at how Iago will enlarge by them from his peculiar end. This last statement suggests that nada will understand Iagos motives or the passion which drives his actions because even Iago refers to his end as peculiar and therefore as people will not be able to see it from Iagos point of view they will wrongly contain that he is a psychopath or mental. The linesnot for love and duty,But seeming so for my peculiar endcreate dramatic tension and suspense, making the audience wonder what Iago could possibly have in come in for them. Therefore, Shakespeare has written this line deliberately ambiguous to call forth curiosity in the viewers.Ironically, line 60 includesHeaven is my judgethis is the same heaven that does not intervene in any of the unfolding tragedy even though Cassio, Desdemona, Othello and even Emilia call to heaven for blessi ngs and protection.Iago feels that honesty and sincerity are weaknesses that make you more open to attack and therefore more vulnerable. It is here that a hint of insecurity is detected in Iago as it seems it is in his nature to envy those whose character or situation is in any fashion crack to his own thereby leading to Iago suffering from a sense of injured merit. He seeks to destroy anything which by its very superiority threatens his self-love and he is ever so finding ways in which he feel that Othello and Cassio have slighted him.Thus he cannot control this feeling of rejection and it grows on him making him feel insecure and abstracted to take revenge on those who make him feel belittled. Also, maybe Iago thinks that he can not exsert my heart on my sleeve for draws to peaks at as he can not reveal his real soul to anyone because then he will no long-term be able to hide behind a mask or character which what is known about them is false, which will make Iago feel more safe, again pointing to Iago feeling insecure.Iago ends his speech with a enigma I am not what I am. This is in effect summarising Iagos speech into saying that what people conceive him to be is not the real him, and the real him will never be revealed for people to comprehend, so people will never see the real genuine Iago. This of course is the main reason Iago manages to deceive Othello and this is also a line of work for Rodrigo, but at this stage Rodrigo does not tack together up on this point, as he is a bit slow to say the least.It is rather ironical that Iago only reveals his true intentions and plans to Rodrigo who is the only person too stupid to really understand their safe implications, highlighted by Rodrigos random and abstract commentWhat a full fortune does the thick-lips owe,If he can carry it so Lines 67-68Next we see Iago at his best making havoc. Iago plainly delights in his own skill at causing chaos and his desire to make some other human as unhappy and miserable as possible. When he plans to wake Brabantio, and poison his delight, he maximises Brabantios humiliation at the dishonour of it by telling Rodrigo to invigorate him in the street. Iago seems to get carried away by his starve in planning to tell Brabantio of his misfortune saying plague him with flies and incense her kinsmen.This of course is an example of Iagos two faced nature as to Brabantio he seems to be on his side by informing Brabantio of his daughters mystifying liaison with Othello, yet in the next scene, Iago is seen with Othello performing as the faithful manservant.Read also unfavourable appreciation of the poem Old Ladies Home.Even though Iago wants Rodrigo to call out to Brabantio, he can not help himself adding to Rodrigos feeble and polite try at calling Brabantio with loud and alarming phrases and crys of Thieves, repeat four times to make Brabantio feel as uncomfortable and worried as possible. It seems that Iago is drawing out the situation and g oing the round about way of telling Brabantio what has happened, to leave Brabantio in suspense and admiration for as long as possible.Iagos energy and transport is conveyed in the pace and thrust of Iagos poetry or prose. In Iagos soliloquy-like speech (lines 41- 66) poetic images and long voice communication do not slow the quick movement, like the agile darting of Iagos mind constantly on the look out for new niches to get in and use to his advantage. The light punctuation helps keep the fasted paced childlike enthusiasm.Iagos speeches are full of ambiguous and mysterious phrases, these highlight his forficate character that is in fact a paradox in itself and often seem to present two conflicting and antagonist characters, even though they are both represented through Iago. There seems to be no fixed sentence length with many varied disjointed phrases helping make up Iagos speech and present his rush of ideas and force of feeling.This passage is really a platform for the plot ter Iago, to reveal his true feelings on his relationship with Othello and how he intends to use his service to Othello and the social role he is expected to play as a base for his deceit and nail of other characters. Therefore dramatically this is an intimate scene between the audience and Iago (with Rodrigo, as merely an apologise for Iago to speak) where they are invited to see events and situations from Iagos point of view.This low-key plotting and the later loud disruption caused by Iago to wake Brabantio, is win indication of how quickly and easily i.e. how flexible, Iago can be to change to suit the situation to deceive characters, rig trust and ultimately cause a tragedy through his consuming hatred for seemingly all things good and beautiful.