Heffner 1 Sami Heffner Ms.

Herrin English II Pre-AP 2 25 February 2011 Green-Eyed Monster: Jealousy in Shakespeares Othello William Shakespeares Othello, a moral tragedy, relates the tale of the downfall of Othello, the brave and honored Moor of Venice, due to suspicions of his wife being unfaithful. Othellos ensign, Iago, orchestrates the tragedy. Iago debases Othellos character through the manipulation of his jealous tendencies, as well as the manipulation of several other people. As a result of Iagos mind-play, Othello becomes a jealous monster, eventually going so far as to kill his innocent wife on proof based almost entirely on supposition. Through Othellos devolution into a mad, jealous monster created by Iago, Shakespeare explores the darkness of the mind, as well as the vulnerability of the heart, to relate that even the most dignified of military heroes can fall victim to something as trivial as jealousy. Despite his tragic end, Othello originally behaves not jealous at all, but clear-minded and confident, the jealousy nowhere to be seen, subdued by his duty to Venice as well as his love for Desdemona. For instance, when Othello elopes with Desdemona and swords are drawn as a result of Brabantios accusations and demands for prison, Othello calmly commands, Hold your hands, / Both of you my inclining and the rest, and demands Brabantio, Whither will you that I go / To answer this your charge? (1.2.83-87). Since Othello is yet untouched by Iagos poison, his mind is clear and free from anything irrational. This apollonian attitude serves as a contrast to the Dionysian disposition later on, when he is falling into trances because he is so overcome with jealousy. Othellos calm demeanor and confidence serve as a blank slate for Iago to contaminate. Later, when Othello has arrived in Cyprus to find Desdemona before him, he addresses her as his

Heffner 2 fair warrior and refers to her as his souls joy; he also claims that he cannot speak enough of this content. / It stops [him] here; it is too much of joy (2.1.179, 182, 193-194). Shakespeare depicts Othellos love for Desdemona as something very genuine and very pure, and this undying love keeps Othellos jealousy from surfacing. Neither Othello nor Desdemona would ever consider adultery at this point, nor, without adding Iagos manipulation into the mix, at any time in their future; they love each other too much. It is also somewhat ironic when Othello claims this love is too much of a joy, because this moment is one of the last times the reader will see Othello untouched by Iagos doubtful words. Iagos words do, however, affect Othello soon enough, as his transformation is rapid and severe, Iagos insinuations acting as a catalyst for the jealousy to build up to something insurmountable. After Othello escapes punishment for eloping with Desdemona, Brabantio bitterly gives him a warning: Look to her, Moor, if thou hast eyes to see; / She has deceived her father, and may thee (1.3.291-292). Although Brabantio relates this well before Othello begins his degeneration, his words carry a certain gravity emphasized by the lines couplet form. Brabantios words foreshadow what is to come despite his dying before tragedy really strikes. Iagos repetition of these lines later on strike a chord in Othellos heart, and this expedites the growth of jealousy inside his mind. Iago also warns Othello to beware of jealousy! / It is the green-eyed monster which doth mock / The meat it feeds on (3.3.169-171). This provocation disguised as a warning works as a shovel to unearth the extreme jealousy people of Othellos background are known for. Iago calls jealousy a green-eyed monster, referencing the colors jealous connotations, and, by calling jealousy a monster, he evokes images that reflect the monstrous demeanor Othello takes on eventually. Furthermore, when Othello strikes Desdemona, Lodovico asks, Is this the noble Moor / Whom passion could not shake, whose solid virtue / The shot of accident nor dart of chance could neither graze nor pierce? (4.1.264, 266-268). Lodovicos shock verbally affirms

Heffner 3 Othellos transformation, as Lodovico has been in Venice the whole time Iago has been poisoning Othello in Cyprus. Thus, he arrives unaware of the changes happening all around the island. The contrast between the two Othellos exhibits the metamorphic powers of jealousy as well as how easily susceptible a man can be to it. In the short time Othello has been on Cyprus, a 180-degree flip in his personality has occurred. Othellos transformation can be linked to his jealousy, as well as his vulnerable heart, both of which Iago exploits. Accordingly, as Iagos lies begin to take over Othellos mind, Iago relishes, Not poppy nor mandragora / Nor all the drowsy syrups of the world / Shall ever medcine thee to that sweet sleep / Which thou owedst yesterday (3.3.334-337). Iago uses plant imagery to convey the concept of sleeplessness as a sign of a disturbed mind, as Othello is deeply unsettled by Desdemonas supposed adultery, and by this point his mind has already begun to decay, even before the ocular proof has been presented. The certainty Iago possesses so soon that Othello will never again be peaceful demonstrates how quickly Othello jumps to conclusions as a result of his easily jealous nature. In addition, when Desdemona first becomes aware of Othellos jealous wrath but refuses to deem it as such, Emilia points out that jealous souls / Are not ever jealous for the cause, / But jealous for theyre jealous. It is a monster / Begot upon itself, born upon itself (3.4.151-154). Emilias description of jealousy as a monster reflects that which Iago mentioned earlier, to Othello. The repetition of the comparison, as well as the isolation of jealousy being born on itself, emphasizes the painting of jealousy as a hungry, destructive monster. The statement also reaffirms Shakespeares assertion that jealousy destroys as it consumes the heart and mind. Iagos debasement of Othello into a jealous killer is Shakespeares way of exploring the darkness and vulnerability of humanity, and it relates a tragedy meant to stir pity and revulsion in the reader. Othello goes from a well-respected commanding officer to a pitiful, wounded man

Heffner 4 whose only source of solace is death. Jealousy overpowers the good in Othello, rotting his mind and causing the insecurities in his heart to fester. It has the ability to affect anyone, and that is what makes jealousy so dangerous: it possesses no discretion; it truly is a monster.

Heffner 5 Works Cited Shakespeare, William. Othello. New York: Barnes & Noble, 2007.