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ISSN- 2394-5125 VOL 7, ISSUE 19, 2020 MALIGNITY AND MOTIVE IN WILLIAM SHAKESPEARE'S OTHELLO
Dr. Vivek Mehrotra
Assistant Professor, Department of English, GLA University, Mathura
ABSTRACT: The enigma of Shakespeare artistic purpose is nowhere more resplendent in its ambiguity than in the play “Othello”. In this play Shakespeare created the mastery artifact in the character of Iago. This is a character in which the idea of villain reaches such an unprecedented height of precision that he still today considered a benchmark for the art of villainy. Besides him the characters of Othello and Desdemona are also well rounded. Othello being predominantly a man of action and Desdemona a lady that passively suffers the ravages of time and fate. It is so destined that tragedy falls upon all these characters. The tragedy in the play is not “an act of God” rather the tragic events as the entire drama is lacerated with malign motives contesting and succeeding against benign motives. Motives and malignity are the two poles on which swing the trail of action and plot in the play. Keeping in view the imperative importance of these two phenomenon‟s it is viable and required to undertake a study juxtaposing and analyzing them. To fulfill this purpose, I in this paper will analyze the chief characters of the play namely those of Iago, Othello and Desdemona in the light of the causes and effects of their motives and the malignity, if any, in their motives. The research method applied in the study shall be textual and discourse analysis along with circumstantial references to psychoanalytic and other approaches to literary criticism. For the purpose of our study we shall refer to the text of the drama “Othello” by William Shakespeare and to selected works on the play by notable literary critics as well as to the opinion of literary theoreticians on the play.
KEYWORDS -Motives, malignity, William Shakespeare “Othello”, Character analysis, Literary criticism.
I. INTRODUCTION
One of the mature dramas and famous tragedies of William Shakespeare is Othello. It forms the quartet of the ideal great tragedies composed by William Shakespeare. The drama is a masterpiece on many counts, among them is the treatment of the sinister workings of the brain.
Like A C Bradley says in Shakespeare character is destiny. It‟s true in the case of Othello the drama and Othello the character. In the play Othello we see that the tragedy that befalls the protagonist of the play is not the doing of god almighty or some celestial being rather it‟s the fruit of his own misdemeanors over a long period of time. He is doomed to suffer the consequences in the germination of whom he has richly contributed. Now the question arises; had he desired to suffer like he did? The answer to this has to be an equivocal no, because he is a mentally healthy man, he is a man of middle age which means he should be level headed and prudent in his actions and thought and he is a man of proven mettle in times of crisis after all he is a successful leader of men. So this leaves us in jinx as to what actions caused the sorrow Othello suffered, since he had no motive to undergo the anguish of tragedy in the first place. Here in this research paper we shall be examining the motives of the protagonist of the play as well as the motives of some of the leading characters of the play parallel to the unfolding of events with an objective to locate the birth and developmental trajectory of malignity. We aim to sight and show the movement of malignity parallel to the movement of motives in the play. The objective of the study is pertinent because tragedy on its own is rarely accidental it most often takes up a course of its development and the consequent digression of the situation to its subjects ultimately becoming the eminent unavoidable outcome. The reason of its development is the maligning content in participating individuals thoughts later transformed into action. So its malignity of the human mind that is the reason behind the phenomenon of tragedy that afflicts all of human beings as individuals and also collectively as societies. Here we must point out that when we talk of tragedy in the context of this research paper we confine the import of the term to our area of study. Thus we here do not refer to tragedy arising out of natural calamities and acts of god. However we shall in process of analysis allude to different ingredients of tragic fate.
For the purpose of our study we shall implement the research method of textual study and discourse analysis. The basic referential text of this research paper is the text of the drama “Othello” composed by William Shakespeare. Apart from this we shall be referring to a number of critical interventions in the interpretation of the play, these works will be cataloged in the end of the research paper.
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ISSN- 2394-5125 VOL 7, ISSUE 19, 2020 We herewith begin our study with a brief outline sketch of our view of the quality of “malignity”, since it shall form a part of the bulwark of our research paper.
Malignity is normally understood as the tendency in a person to harm another person, or see another person suffer, without the expectancy of any veritable gain to himself from such harm or suffering. Malice and spitefulness are also defects of character that are generally associated with the property of malignancy. Along with the general perceptions, in addition to them here in Shakespeare the term malignancy takes upon itself a cloak of an altogether different shade of meanings rendered to it by the dramatic genius of the bard of Avon as we shall see in the following lines.
II. AN OVERVIEW OF TRAGEDY AND TRAGIC DRAMA
The birth of the phenomenon of tragedy is shrouded in deep in the undergrowth of man‟s origin as a species. But the recorded history of tragedy begins approximately in the year 533 in city state Athens with the actor Thepsis. The origin of the word tragedy in the social context of 5th century BC Athens was a new kind of categorization of sensations. Novelty ensued not in the substance but the treatment of the ingredients of tragedy and ever since the tragic muse has not looked behind.
The word tragedy is nowadays demoted considerably in the estimation of the common audience; people often use it without realizing the full import of the term, thereby diluting the meaning to some extent. So tragedy is no longer the same as it used to be in the days of yore to the general audience. But to the connoisseur of literature it still holds a pedestal of importance in the echelon of artistic pursuits. Tragedy here is a word used to ennoble suffering and pain and to engulf misfortune in an aura of dignity. It is the claim of tragedy that this loss, grief, or catastrophe is exceptional.
What are the connections between our idea of the tragedy and the idea of tragedy in the Grecian world? How do we connect with the hero of Sophocles and are we able to understand the tragic pain of the Grecian protagonist? Is it just a particular kind of drama, an artificiality, that‟s now redundant and understandable to us in the twentieth century? The movement of tragedy from drama to other forms of literature and social institutions. We come across the word tragedy every now and then in our day today life. There is a continuous streaming of events tragic in nature with a categorization in the head of tragedy. But are these descriptions of tragedy similar to the gargantuan structure of Greek Tragedy. Our treatment of tragedy is so mundane on instances that it seems revolting to a faithful student of literature. It‟s but an altogether different feeling for the seventeenth century English poet John Milton.
Sometime let gorgeous Tragedy In sceptred pall come sweeping by, Presenting Thebes, or Pelops‟ line, Or the tale of Troy divine. Or what (though rare) of later age, Ennobled hath the buskined stage. John Milton- Penseroso. Such elated has been the stature of the tragic muse in the middle ages. The divine like caricature of the classical heroes in Greek drama is way different from the mention of the word tragedy in our newspapers. It seems in the estimate of Milton tragedy is an episode of rare incidences that happens in the frame of a peculiar singular subset of time.
III. SHAKESPEARE'S ART OF THE TRAGIC
Now the substantiality of Shakespearean tragedy is way different from the idea of the Grecian tragedy. Shakespeare was a libertine so far as the Aristotelian rules of tragedy are concerned. He has only once in the composing of the drama tempest adhered to the Aristotelian rules of the unities of time place and action. The structure of his tragedies are also different in Shakespeare from that in Sophocles, as the latter leaves a considerable leverage of space to the forces of divinity in his plays. So we cannot forthrightly apply the rules of criticism developed in ancient Greek to Shakespearean tragedy. In the play Othello the characters Iago Othello and Desdemona are developed on different lines from either the characters of Sophocles drama or the characters of Thomas Kyd or Christopher Marlowe or John Webster or for that matter any of the dramatists contemporaneous to William Shakespeare. This was the uniqueness of Shakespeare. His tragedies are less melodramatic and closer to life and this is one of the many reasons of the everlasting fame and popularity of Shakespearean tragedy. Of whom the drama “Othello‟ is an illustrious example.
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Shakespeare had propounded no theory of Dramatic Poetry like Aristotle or Corneille, it only from his practice of his art that we derive inference hinting at his conception of the genera of tragedy. It should also be kept in mind that the occurrence of tragedy in the life of Othello is only a particular set of happening that overcomes all other events in his life by virtue of its overwhelming magnitude.
The content of tragedy in Shakespeare is an unfortunate event that occurs in the life of the protagonist, who is either the scion of a notable family with a pedigree or prominent person of the society. He suffers tragedy because of factors that are both external and internal to his personality. Because in Shakespeare as A C Bradley says “character is destiny” . Therefore in “Othello” we see that unlike in Greek drama while the downfall of Othello and Desdemona is brought about by the machinations of Iago fate and circumstances, yet a vital ingredient in it are the actions of these two. Shakespeare in the play superimposes motives upon motives and in the melee he introduces malignancy in the form of Iago. In the following lines we shall discuss how malignant objectives of Iago intersperse with the motives of the chief characters in the play to give birth to tragedy. Further we shall examine if Iago too had a motive in his actions and also how the nascent germ of tragedy grows and reaches culmination in death and destruction of not only the hero and heroine but also of Iago, the villain.
IV. THE ANALYSIS OF IAGO’S MOTIVES AND MALIGNITY, IF ANY
The nature and existence of the motives of Iago have been debated in the fraternity of critics since the composition of the play. But the loudest voice in this respect has been that of the poet and critic S T Coleridge. He coined the famous phrase "The motive-hunting of motiveless malignity,". In his copy of the Drama he wrote this phrase as a note at the end of act 1 scene 3, while preparing for a series of lectures he intended to deliver in the year 1818.
In the words of A C Bradley; Iago stands supreme among Shakespeare‟s evil characters...” Bradley gives two reasons for his opinion. Firstly, he says that Shakespeare had thought out Iago in great detail of imagination. Iago is a character that is personified in the vice of the ego, in such detail of common characteristics that it‟s almost identifiable in the neighborhood villain. He is associable with such “sane people” as are found about in the society living a normal life but occasional prone to lose all sense of fraternity with their kith kin and friends, making them reservoirs of ingratitude and perpetrators of cruelty. Both these vices are the worst kind of vices in Shakespeare estimation. Secondly these are exceptionally clever individuals. Which shows that villainy is compatible with the power of the will and brain.
These properties of Iago as diagnosed by Bradley are not a peculiarity to the character of Iago, rather they are the outward protrusions of the excessively developed shape of an universal attribute. The cause of this excessive development is bound to be looked for in the character of Iago and the social setting of his character. Thus for the time being, it is supported by Bradley that malignity is not something that a human has to acquire from without himself. It is one of the collections of redundant or inactive qualities of human beings that always present in them waiting to be activated. The trigger to their activation is the desire of the individual. Here we come to the question of motive in the scenario of malignity. Specifically, in the case of Iago this takes two shapes. Namely was Iago a malcontent full of malignity or a gentle human being unfortunately caught in the tentacles of a malignant scheme. In the first case Iago would be creature from whom nothing good could be expected, because as surmised in this instance he is from top to bottom full of malignity, He hence partakes into evil action out of his likeness for evil, in this he requires no incentive of desire or scheme. In the second case Iago is a common human being afflicted by ambition and desire, he falls in a malignant trap by chance because of his foolishness or is lured into it by the ruse of some external entity. Critics and scholars have debated the actions of Iago in fine detail. In the following lines we shall discuss our own view of his behavior in the light of prominent critical opinions.
One of the oldest interpretations of Iago‟s objectives was done by S T Coleridge. He proposed that Iago searched for motives all through the play. It is the hypothesis of Coleridge that iago performed action before the birth of motive of action. In this he was a habitual delinquent. One who acted in evil by nature, later after the act had been done he searched for a reason to justify his base action. In the play at the inception of the plot it is told to us the he was superseded in the hierarchy of appointment to the command in the army, by Cassio on the behest of Othello. Therefore, he was sore on both Othello and Cassio. In Cassio he saw a worthless leech that craves for favors from his superiors on the basis of his sycophancy, and in Othello he sighted an imbecile master who was addicted to flattery and honey tongued overtures. Why, there's no remedy; 'tis the curse of service, Preferment goes by letter and affection,
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ISSN- 2394-5125 VOL 7, ISSUE 19, 2020 And not by old gradation, where each second Stood heir to the first. Now, sir, be judge yourself, Whether I in any just term am affined To love the Moor.
In the above dialogue Iago is clearly stating a part of his grudge against the Moor and that his apparent love for the Moor is guile for his inimical intentions. The alleged preferential treatment of Cassio over him is also refers to in alluding tongue when he says that people have been superseded in the line of promotion by sycophants on the strength of letters of preference and praise by word of mouth. Iago further explicates his hatred for Othello in the following dialogue. “O, sir, content you; I follow him to serve my turn upon him: We cannot all be masters, nor all masters Cannot be truly follow'd. You shall mark Many a duteous and knee-crooking knave, That, doting on his own obsequious bondage, Wears out his time, much like his master's ass, For nought but provender, and when he's old, cashier'd: Whip me such honest knaves. Others there are Who, trimm'd in forms and visages of duty, Keep yet their hearts attending on themselves, And, throwing but shows of service on their lords, Do well thrive by them and when they have lined their coats Do themselves homage: these fellows have some soul; And such a one do I profess myself. For, sir, It is as sure as you are Roderigo, Were I the Moor, I would not be Iago: In following him, I follow but myself; Heaven is my judge, not I for love and duty, But seeming so, for my peculiar end: For when my outward action doth demonstrate The native act and figure of my heart In compliment extern, 'tis not long after But I will wear my heart upon my sleeve For daws to peck at: I am not what I am.” Act- I, Scene- I.
Iago further elaborates on his motives and thus exposes his malignity in the following stanzas (this is a soliloquy hence is an unarguable admission of intent) - “That Cassio loves her; I do well believe it; That she loves him, 'tis apt and of great credit: The Moor, howbeit that I endure him not, Is of a constant, loving, noble nature, And I dare think he'll prove to Desdemona A most dear husband. Now, I do love her too; Not out of absolute lust, though peradventure I stand accountant for as great a sin, But partly led to diet my revenge, For that I do suspect the lusty Moor Hath leap'd into my seat; the thought whereof Doth, like a poisonous mineral, gnaw my inwards; And nothing can or shall content my soul Till I am even'd with him, wife for wife, Or failing so, yet that I put the Moor At least into a jealousy so strong That judgment cannot cure. Which thing to do, If this poor trash of Venice, whom I trash For his quick hunting, stand the putting on, I'll have our Michael Cassio on the hip,
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ISSN- 2394-5125 VOL 7, ISSUE 19, 2020 Abuse him to the Moor in the rank garb-- For I fear Cassio with my night-cap too-- Make the Moor thank me, love me and reward me. For making him egregiously an ass And practising upon his peace and quiet Even to madness. 'Tis here, but yet confused: Knavery's plain face is never seen tin used.” Act- II, Scene- I. To surmise a comprehensive overview of the intentions and motives of Iago and to assess the malcontent in him we also must take into consideration the social setting in which the drama was set as well as in which it was composed. The era in which the drama was composed was Elizabethan England. A country that was plagued with court intrigues and deceits of the most heinous and despicable kind. The theater going public could hence easily connect with the plot of the play. In the play Iago cheats amongst others Othello, Roderigo and Cassio on purpose. He had ends to meet in his scheming. He wanted to have revenge on Othello, his objective against Cassio was to show him his place, only against Roderigo did he act in what appears as mischievously habitual malice. Thus he did have a motive in his dealings with the characters. Malignity in Iago is induced by repeated provocations of his sexual jealousy by fateful incidents. Its malignity galore in him but still it was directed and not a general misogynistic or …. tendency. Iago understood that Othello had cuckolded him likewise he perceived that Cassio‟s kissing his wife Emilia on the lips was a proof of adultery. The passion in Iago is aroused by such catalysts, prompting his malignancy to produce for him motives sinister and insidious in nature. Peculiar to him was his capacity to duplicate his motives in the observation of others. Iago‟s motives were never in truth clearly visible to either the dramatic witness or the audience or even in some assessments to him. It is this property of Iago‟s mind that made him such a master of deceit.
The prominent critic G Wilson Knight says, “it is true that Iago is here a mysterious, inhuman creature of unlimited cynicism:”. This assessment is a mild assessment of the varieties of villainy of Iago. Rightly so, the foul in Iago is so meticulous and his bondage in it so entrenched that some of us tend to feel a sense of sympathy for his hopeless situation with respect to his redemption. Evil too in certain circumstances can be pitiable. Shakespeare himself elsewhere writes. There is some soul of goodness in things evil, Would men observingly distil it out; Act- IV, Scene- I.
V. THE ANALYSIS OF DESDEMONA’S MOTIVES AND MALIGNITY, IF ANY
The chief characters of the play “Othello” are Othello Desdemona and Iago. This play is a play of revenge in the view of Knight. The theme of the play is hate. The motive of Iago can be sourced in hate but those of Desdemona and Othello can‟t be so easily ascertained. In the play Desdemona is a special character. She along with Cassio is a comparatively innocent character in the play. Specially Desdemona shines as an example of pristine purity chaste to her intentions and always industrious in the path of righteousness and welfare. The minds of Iago and Desdemona in sharp contrast to one another. One is the hot bed of insidious schemes and another is a pious entreaty to the “milk of human kindness”. The motives of these two characters are in the consequence poles apart. Desdemona even in the face of her incumbent doom dose not fail to plead to the better jurisdiction of Othello, while Iago is unrepentant in the presence of death. Yet even as she displays all nobility of character and soul, there remains a blemish; she has in the words of her father deceived her father.
"Look to her, Moor, if thou hast eyes to see. She hath deceived her father and may thee." Act-I, Scene- III. While majority of critics hold Iago responsible for showing the seed of doubt in the mind of Othello, there are many who believe that the above mentioned speech of Barbantio sowed the germ of suspicion in Othello. This speech even if it was slighted by Othello hold quite an important position for the character sketch of Desdemona. Firstly, because it tells us that Desdemona rebelled against her father and secondly because it informs us that she deceived her father. Now both these actions can‟t materialize without a motive on the part of Desdemona, and it goes without saying that her motives were malignant towards, the social position of her father and towards his preferences. On the obverse of this claim is the veritable fact that predominantly the theme of Desdemona‟s actions is love. To achieve her love, Othello is the objective motive of her elopement with Othello.
VI. THE ANALYSIS OF OTHELLO’S MOTIVES AND MALIGNITY, IF ANY
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ISSN- 2394-5125 VOL 7, ISSUE 19, 2020 The character of Othello is drawn in a distinct light by Shakespeare. He in contrast with hamlet is a man of action. A leader of men war Othello is resolute and determined in his actions. His motives are clear and he never guiles his intentions although he does play ruse every now and then when required by the situations. Like when he is confronted by the men of Berbantio he asks his men to raise their hands in order to intimidate the mob with Berbantio. So far as malignancy is concerned it seems that Othello was too forthright a soldier to be malignant in his actions. He certainly could be cruel a rash in his dealings but malignant was a far cry. In the play his tortured soul cries for solace when he says - It is the cause, it is the cause, my soul,-- Let me not name it to you, you chaste stars!-- It is the cause. Yet I'll not shed her blood; Nor scar that whiter skin of hers than snow, And smooth as monumental alabaster. Yet she must die, else she'll betray more men. Act-V, Scene – 2. The worm of Jealousy in this case also of sexual jealousy is eating away on the heart of Othello. He has no motive other than to save his public image and to extract himself out of the ignominious situation of being a cuckold. Even as he praises his love Desdemona he fortifies in his heart the plan of her heinous murder.
Othello was opportunistic and unethical in his elopement with the teenage daughter of his friend but he did into really touch upon the verges of malignity, after all he had no ill will for Desdemona but only caste love. Therefore, although he acted in a habitually haste manner yet his motives were bon-fide at least towards Desdemona. His predicament can be best surmised in his own words as following - Speak of me as I am; nothing extenuates, Nor set down aught in malice: then must you speak Of one that loved not wisely but too well; Of one not easily jealous, but being wrought Perplex'd in the extreme; of one whose hand, Like the base Indian, threw a pearl away Richer than all his tribe; of one whose subdued eyes, Albeit unused to the melting mood, Drop tears as fast as the Arabian trees Their medicinal gum. Act- V, Scene- 2.
VII. CONCLUSION AND A PROSPECTIVE SOLUTION TO THE MALIGNITY ACTIVE IN THE UNCONSCIOUS
To conclude we must say that fate and the minds of the characters treacherously played with among themselves in the play “Othello”. In the drama there are instances where one may not infer malignity at play but it is exactly at these junctures that evil lays its trap to ensnare unsuspecting innocents. Thus when Desdemona deceives her father to elope, she may not be committing a crime in her own opinion but it was act that contravened the laws of ethics and hence it seems therefrom the mechanism of corrective intervention became active. Moreover, this was not the only instance of the violation of the laws of ethics. Othello too broke the trust of his friend Barbantio. Later it was the character of Iago which threw all regard for ethics to the wind, leaving the stage open for the green eyed monster - O, beware, my lord, of jealousy; It is the green-eyed monster which doth mock The meat it feeds on; Act-III, Scene- I. From our study we infer that it is the ethical order of human society that maintains both order and progress in it. Any interference in this ethical order would not go unpunished and all kinds of motives are visible to this system. Malignity of even the finest rarest kind can‟t go unseen. Hence in our opinion purity of thought and action is the only solution to avoid tragic events such as those that occurred in the play “Othello” by William Shakespeare.
VIII. REFERENCES
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