Designed for D. Mitchell's English A1 HL International Baccalaureate class at Socastee High School, this blog offers students key information, blog questions, assignments, and homework related to Part IV and Oral/Written Commentaries. Useful and fun links, as well as other resources, will also be included as time permits.
Be sure to note that all work you complete on this page must adhere to the county's Acceptable Use Policy for computers.
Wednesday, January 26, 2011
Othello #7 Motive
Samuel Taylor Coleridge once wrote that Iago's soliloquies are the "motive-hunting of motiveless malignity." Is this an accurate observation? Prompt closed @10:56 on 2/6.
Often referred to as “honest Iago”, Iago proves himself to be more selfish and cunning then honest. Shakespeare reveals in Iago’s soliloquies how Iago is solely trying to find justifications for his actions. There is no real absolute reason for why Iago feels the need to interfere in other people lives. He believes that his wife has been with other men, but there is no absolute truth to his accusations. His wife is completely loyal to him as seen in act iii scene iii when Emilia, his wife, steels the handkerchief and says “that which so often you did bid me steal” (266). The fact that she unquestionably obeyed his whishes shows that she wants his love, but he refuses to acknowledge it. Iago is more interested in what he plans to do when he says he’ll create a “net that shall enmesh them all” (254). By believing in lies he creates lies and plans to trap everyone in his web. Cassio and Othello are both accused by Iago for sleeping with his wife, but how could that possibly be if both Cassio and Othello are in love with their women. Iago bases his pursuit on superficial assumptions truly not having a motive. Iago says that “knavery’s plain face is never seen till used” (244) and he is referring to himself because everyone sees him as dutiful “honest Iago” yet there lies within a man of mischief.
The phrase “motive-hunting of motiveless malignity” refers to finding a way to do wrong things to others without having a reason or motive. To describe the antagonist, Iago, within his soliloquys in such manner, is an inaccurate observation of the character. His motive is in fact unclear however definitely present due to his perfectly planned and executed schemes as well as his sheer determination to see the downfall of Othello. The motive can be explained as merely the desire for pleasure or entertainment. Although not viewed by present and past society as a “serious” motive, the fact remains that it is a motive leading to the inaccuracy of Coleridge’s statement. Within the large numbers soliloquys by Iago, most often he reveals his most recent plan, most often involving the demise of Othello, to the audience and when doing so he most often describes the reasons or desired outcome of his plans. However, the desired outcomes he describes appear to have no beneficiary factor towards Iago himself. Describing his hopes to “enmesh them all”(254), he never seems to describe any further outcomes involving himself. He once describes what he views to be success for himself proclaiming “ If consequence do but approve my dream my boat sails freely, both with wind and stream”(246). His success being causing Cassio to become drunk and offend Othello losing his position, there is still no positive result benefiting Iago himself; it is only allowing him to be one step closer to the demise of everyone around him. His view of “success” reinforces the theory of his motive being solely pleasure or entertainment however still a motive.
Iago's soliloquies are the "motive-hunting of motiveless malignity" is an inaccurate observation made by Samuel Taylor Coleridge because Iago does, in fact, have a motive for his revenge on Othello. Throughout the novel, Iago's soliloquies have given time for him to plot his revenge, a malignant action; however, he uses pawns-Roderigo mostly- to attain his goal for revenge. At the end of Act two Scene 1, Iago realizes that Cassio "hath all those requisites to him that folly and green minds look after"(243). Therefore, Iago intends to use Cassio as a pawn to win the heart of Desdemona, and break the heart of Othello. Iago then later indicates that Othello "hath leap'd into my seat"(244), and possess anger towards Othello because he believes Othello of infidelity with his wife. With the infidelity behind Iago, he formulates a goal for revenge against Othello. In order to be even with Othello, he believes it best that he gets his revenge as "wife for wife"(244), so that he rips away something from Othello that will bring him pain. Because of his belief of Othello and Emilia, Iago creates a motive to get his revenge and become even with Othello, which refutes Coleridge's statement.
I do not believe this is an accurate observation. Iago has reasons for his actions against Cassio and Othello. Just in the first page Iago’s motive for his evil is employed. In act I scene I Iago states, “Forsooth, a great arithmetician... in the field.” Iago is angry over Othello choosing Cassio (“forsooth”) who he feels has no experience in the battle (“never set a squadron in the field”). In act I scene I Iago tells Rodrigo, “were I the Moor, I would not be Iago.” Iago is jealous of Othello, because he is of lower racial heritage (a Moor) and is of such high stature in their society. Besides the fact that Iago might be a racist, Othello has the one thing that Iago wants, power. Furthermore I believe Iago was not a motiveless malignity, but an envious soldier working below Othello.
Iago plots to drive Othello to disrepute due to his feelings of superiority; although not complex or rational, Iago possess a motive for harming Othello, despite Coleridge’s position. In Iago’s opinion, people “cannot all be masters” (218), with Othello serving as one of the people in question inept of leadership. Master connotes the name regarded with the owner of a slave, which references Othello’s race; Iago, who perceives himself as a master, finds displeasure in Othello’s superior military standing, for Iago also perceives himself as racially superior. He seeks to enslave Othello to his own twisted plan in order to resume Iago’s preferred racial status quo. When discussing with Roderigo, Iago rarely calls the protagonist by his proper name, Othello, and instead addresses him as “the Moor” (243). The repetition of Othello’s ethnicity, instead of his name, demonstrates Iago’s lack of respect for Othello; for example, Cassio originates from Florence, Italy, yet Iago regularly mentions him by his given name. Further demeaning of Othello’s intelligence emerges when Iago notes to Roderigo that two of them must “work by wit and not by witchcraft” (254), alluding to the notion that the Moors deal in dark magic. Iago doubts Othello’s ability to think rationally, and instead attributes his success to dealings with the supernatural; how else could Othello possibly outrank him? Through Iago’s blatant disrespect to Othello on a racial level, he reveals in his soliloquies his motive for vengeance against Othello: to assert his superiority. -Alexis
Villainous Iago is first introduced in Act I, Scene I. The reader is greeted with a clear exposition of his intentions in one of his first pieces of dialogue, wherein he claims that his motive comes from a sense of injustice at being denied the position of lieutenant. Instead, "a great arithmetician, / One Michael Cassio, a Florentine, / A fellow almost damn'd in a fair wife; / That never set a squadron in the field" (217) received the office that Iago felt rightfully belonged to him. For this reason alone, Coleridge's assessment is partially invalid. An alternative interpretation might see Iago's soliloquies as providing a sense of moral justification for his outrageous actions. He reveals that "it is thought abroad that 'twixt my sheets / He has done my office" (236). Here, Iago asserts that his cause includes punishing a moral wrongdoing on the part of the Moor. Whether driven by a misplaced sense of justice or simple jealousy, there is no doubt that Iago's malignity is not without motive.
It would be accurate to say that Iago’s soliloquies are “motive-hunting of motiveless malignity”, meaning that his soliloquies are his way of expressing his quest, not in revenge against Othello, but in pure spite for him. While Iago will go to any ends to see his plan put into action, he has no goal but that of completely destroying Othello’s relationship with Desdemona and his stature in society. His soliloquies often convey the his plan of action to the audience, and he even professes “nothing can or shall content my soul until I am even’d with him” (244). With this ultimate motive, he relinquishes any limits he may have that would prevent him from reaching his goal, only driven by the suspicion that Othello had slept with his wife. On page 236, he openly states that he hates Othello, and throughout that soliloquy describes his plan to manipulate Othello, even asserting his suspicion alone “will do as if for surety”. Also, he almost always refers to Othello as “the Moor”, a more derogatory term, especially for someone so high in rank above him as Othello. By using this ‘suspicion’ as an excuse, he begins to operate his master plan, not out of revenge, but just blind hate for Othello.
Samuel Coleridge’s observation is accurate regarding the character of Iago. His belief that Iago’s soliloquies are “motive hunting of motiveless malignity” give the audience a deeper insight into why Iago acts the way he does. First, the meaning behind Coleridge’s quotation must be deciphered. The phrase “motive-hunting” means that Iago is searching for something, trying to achieve some goal. As the audience is aware, this goal is Iago’s revenge over Othello and subsequently Cassio. Moreover, the connotation behind “hunting” conjures images of a dominant force that preys on victims. The phrase “motiveless malignity” can be interpreted to mean that Iago is without passion, devoid of true feeling; he is evil for it is in his nature; he enjoys watching the suffering of others. Thus, Iago has no reason or motive to do what he does, but does them because he is evil incarnate. Furthermore, Iago does not have “motiveless malignity” but is a “motiveless malignity.” -Matt
This is an accurate observation of Samuel Taylor Coleridge. During Iago’s soliloquies he tries to persuade the audience into believing what he’s doing is strictly revenge and it is right to do so. In this case “motiveless malignity” is referred to as Iago having no motive to do these things but does it out of pure evilness. Iago believes Othello has been with his wife and states, “I know not if’t be true; But I for mere suspicion in that kind will do as if for surety”(I.iii). Iago admits to the audience that he doesn’t know if it is true, but he will do his malicious acts anyways (which is a motiveless act) to merely just fulfill his suspicion. Most of Iago’s soliloquies reveal him trying to hunt for reasons to create devious acts, which is the reason for the saying “motive-hunting”. During Iago’s first soliloquy he devises a plan to “abuse Othello’s ear” (I.iii) leading to the plot of the play out of motiveless malignity. Therefore, Iago fills up Othello’s ears with false information hiding the underlying truth.
Coleridge’s observation of Iago’s soliloquies is a disputable remark; however, I believe it to be false. By “motive-hunting of motiveless malignity”, Coleridge interprets Iago’s evil doings and plots to be unprovoked. One can argue that Iago does the evil that he does because it “dost [him] a pleasure, [him] a sport” (Act I, Scene III). To Iago, manipulation is a game; but maybe his motivation is to win. Iago’s soliloquy in Act I, Scene III blatantly exposes Iago’s motives for helping Roderigo ruin Othello and win Desdemona. Iago expends Roderigo in this plot “but for…sport and profit” (Act I, Scene III). Money and amusement draw Iago to this scheme. He also mentions that “’twixt [his] sheets [Othello] has done [his] office” (Act I, Scene III), implying that Othello has too slept with his wife. Iago could be seeking revenge on Othello for this claim. Whether it be out of pure enjoyment, profit, or revenge, Iago’s soliloquies truly reveal the motives for his malignant plotting. -Julia
Based on Iago's soliloquies in Shakespeare's drama Othello, Coleridge's statement that the motives of Iago are revealed to be malicious can be supported through a soliloquy in Act ll, Scene l (243). In order to fully understand the inner workings of the villian, Shakespeare reveals to readers the inner thoughts of Iago in an attempt to focus on the advancement of the plot. The quote "that has an eye can stamp and counterfeit advantages," suggests that Iago has an eye over the happenings of Cyprus. This is later confirmed in the play when Iago convinces Roderigo to kill Cassio. "Stamp and counterfeit advantages" refer to the lies strewn from the mouth of Iago to destroy both his friend Cassio, and his master, Othello. Shakespeare leads his readers into character analysis and character development of Iago, and others, in an effort to expose the motives o the characters; therefore, Coleridge's statement is valid because through soliloquies Shakespeare reveals the motives behind the actions of characters.
Often referred to as “honest Iago”, Iago proves himself to be more selfish and cunning then honest. Shakespeare reveals in Iago’s soliloquies how Iago is solely trying to find justifications for his actions. There is no real absolute reason for why Iago feels the need to interfere in other people lives. He believes that his wife has been with other men, but there is no absolute truth to his accusations. His wife is completely loyal to him as seen in act iii scene iii when Emilia, his wife, steels the handkerchief and says “that which so often you did bid me steal” (266). The fact that she unquestionably obeyed his whishes shows that she wants his love, but he refuses to acknowledge it. Iago is more interested in what he plans to do when he says he’ll create a “net that shall enmesh them all” (254). By believing in lies he creates lies and plans to trap everyone in his web. Cassio and Othello are both accused by Iago for sleeping with his wife, but how could that possibly be if both Cassio and Othello are in love with their women. Iago bases his pursuit on superficial assumptions truly not having a motive. Iago says that “knavery’s plain face is never seen till used” (244) and he is referring to himself because everyone sees him as dutiful “honest Iago” yet there lies within a man of mischief.
ReplyDeleteThe phrase “motive-hunting of motiveless malignity” refers to finding a way to do wrong things to others without having a reason or motive. To describe the antagonist, Iago, within his soliloquys in such manner, is an inaccurate observation of the character. His motive is in fact unclear however definitely present due to his perfectly planned and executed schemes as well as his sheer determination to see the downfall of Othello. The motive can be explained as merely the desire for pleasure or entertainment. Although not viewed by present and past society as a “serious” motive, the fact remains that it is a motive leading to the inaccuracy of Coleridge’s statement. Within the large numbers soliloquys by Iago, most often he reveals his most recent plan, most often involving the demise of Othello, to the audience and when doing so he most often describes the reasons or desired outcome of his plans. However, the desired outcomes he describes appear to have no beneficiary factor towards Iago himself. Describing his hopes to “enmesh them all”(254), he never seems to describe any further outcomes involving himself. He once describes what he views to be success for himself proclaiming “ If consequence do but approve my dream my boat sails freely, both with wind and stream”(246). His success being causing Cassio to become drunk and offend Othello losing his position, there is still no positive result benefiting Iago himself; it is only allowing him to be one step closer to the demise of everyone around him. His view of “success” reinforces the theory of his motive being solely pleasure or entertainment however still a motive.
ReplyDeleteIago's soliloquies are the "motive-hunting of motiveless malignity" is an inaccurate observation made by Samuel Taylor Coleridge because Iago does, in fact, have a motive for his revenge on Othello. Throughout the novel, Iago's soliloquies have given time for him to plot his revenge, a malignant action; however, he uses pawns-Roderigo mostly- to attain his goal for revenge. At the end of Act two Scene 1, Iago realizes that Cassio "hath all those requisites to him that folly and green minds look after"(243). Therefore, Iago intends to use Cassio as a pawn to win the heart of Desdemona, and break the heart of Othello. Iago then later indicates that Othello "hath leap'd into my seat"(244), and possess anger towards Othello because he believes Othello of infidelity with his wife. With the infidelity behind Iago, he formulates a goal for revenge against Othello. In order to be even with Othello, he believes it best that he gets his revenge as "wife for wife"(244), so that he rips away something from Othello that will bring him pain. Because of his belief of Othello and Emilia, Iago creates a motive to get his revenge and become even with Othello, which refutes Coleridge's statement.
ReplyDeleteI do not believe this is an accurate observation. Iago has reasons for his actions against Cassio and Othello. Just in the first page Iago’s motive for his evil is employed. In act I scene I Iago states, “Forsooth, a great arithmetician... in the field.” Iago is angry over Othello choosing Cassio (“forsooth”) who he feels has no experience in the battle (“never set a squadron in the field”). In act I scene I Iago tells Rodrigo, “were I the Moor, I would not be Iago.” Iago is jealous of Othello, because he is of lower racial heritage (a Moor) and is of such high stature in their society. Besides the fact that Iago might be a racist, Othello has the one thing that Iago wants, power. Furthermore I believe Iago was not a motiveless malignity, but an envious soldier working below Othello.
ReplyDeleteIago plots to drive Othello to disrepute due to his feelings of superiority; although not complex or rational, Iago possess a motive for harming Othello, despite Coleridge’s position. In Iago’s opinion, people “cannot all be masters” (218), with Othello serving as one of the people in question inept of leadership. Master connotes the name regarded with the owner of a slave, which references Othello’s race; Iago, who perceives himself as a master, finds displeasure in Othello’s superior military standing, for Iago also perceives himself as racially superior. He seeks to enslave Othello to his own twisted plan in order to resume Iago’s preferred racial status quo. When discussing with Roderigo, Iago rarely calls the protagonist by his proper name, Othello, and instead addresses him as “the Moor” (243). The repetition of Othello’s ethnicity, instead of his name, demonstrates Iago’s lack of respect for Othello; for example, Cassio originates from Florence, Italy, yet Iago regularly mentions him by his given name. Further demeaning of Othello’s intelligence emerges when Iago notes to Roderigo that two of them must “work by wit and not by witchcraft” (254), alluding to the notion that the Moors deal in dark magic. Iago doubts Othello’s ability to think rationally, and instead attributes his success to dealings with the supernatural; how else could Othello possibly outrank him? Through Iago’s blatant disrespect to Othello on a racial level, he reveals in his soliloquies his motive for vengeance against Othello: to assert his superiority.
ReplyDelete-Alexis
Villainous Iago is first introduced in Act I, Scene I. The reader is greeted with a clear exposition of his intentions in one of his first pieces of dialogue, wherein he claims that his motive comes from a sense of injustice at being denied the position of lieutenant. Instead, "a great arithmetician, / One Michael Cassio, a Florentine, / A fellow almost damn'd in a fair wife; / That never set a squadron in the field" (217) received the office that Iago felt rightfully belonged to him. For this reason alone, Coleridge's assessment is partially invalid. An alternative interpretation might see Iago's soliloquies as providing a sense of moral justification for his outrageous actions. He reveals that "it is thought abroad that 'twixt my sheets / He has done my office" (236). Here, Iago asserts that his cause includes punishing a moral wrongdoing on the part of the Moor. Whether driven by a misplaced sense of justice or simple jealousy, there is no doubt that Iago's malignity is not without motive.
ReplyDeleteIt would be accurate to say that Iago’s soliloquies are “motive-hunting of motiveless malignity”, meaning that his soliloquies are his way of expressing his quest, not in revenge against Othello, but in pure spite for him. While Iago will go to any ends to see his plan put into action, he has no goal but that of completely destroying Othello’s relationship with Desdemona and his stature in society. His soliloquies often convey the his plan of action to the audience, and he even professes “nothing can or shall content my soul until I am even’d with him” (244). With this ultimate motive, he relinquishes any limits he may have that would prevent him from reaching his goal, only driven by the suspicion that Othello had slept with his wife. On page 236, he openly states that he hates Othello, and throughout that soliloquy describes his plan to manipulate Othello, even asserting his suspicion alone “will do as if for surety”. Also, he almost always refers to Othello as “the Moor”, a more derogatory term, especially for someone so high in rank above him as Othello. By using this ‘suspicion’ as an excuse, he begins to operate his master plan, not out of revenge, but just blind hate for Othello.
ReplyDeleteSamuel Coleridge’s observation is accurate regarding the character of Iago. His belief that Iago’s soliloquies are “motive hunting of motiveless malignity” give the audience a deeper insight into why Iago acts the way he does. First, the meaning behind Coleridge’s quotation must be deciphered. The phrase “motive-hunting” means that Iago is searching for something, trying to achieve some goal. As the audience is aware, this goal is Iago’s revenge over Othello and subsequently Cassio. Moreover, the connotation behind “hunting” conjures images of a dominant force that preys on victims. The phrase “motiveless malignity” can be interpreted to mean that Iago is without passion, devoid of true feeling; he is evil for it is in his nature; he enjoys watching the suffering of others. Thus, Iago has no reason or motive to do what he does, but does them because he is evil incarnate. Furthermore, Iago does not have “motiveless malignity” but is a “motiveless malignity.”
ReplyDelete-Matt
This comment has been removed by the author.
ReplyDeleteThis is an accurate observation of Samuel Taylor Coleridge. During Iago’s soliloquies he tries to persuade the audience into believing what he’s doing is strictly revenge and it is right to do so. In this case “motiveless malignity” is referred to as Iago having no motive to do these things but does it out of pure evilness. Iago believes Othello has been with his wife and states, “I know not if’t be true; But I for mere suspicion in that kind will do as if for surety”(I.iii). Iago admits to the audience that he doesn’t know if it is true, but he will do his malicious acts anyways (which is a motiveless act) to merely just fulfill his suspicion. Most of Iago’s soliloquies reveal him trying to hunt for reasons to create devious acts, which is the reason for the saying “motive-hunting”. During Iago’s first soliloquy he devises a plan to “abuse Othello’s ear” (I.iii) leading to the plot of the play out of motiveless malignity. Therefore, Iago fills up Othello’s ears with false information hiding the underlying truth.
ReplyDelete-Caitlin
Coleridge’s observation of Iago’s soliloquies is a disputable remark; however, I believe it to be false. By “motive-hunting of motiveless malignity”, Coleridge interprets Iago’s evil doings and plots to be unprovoked. One can argue that Iago does the evil that he does because it “dost [him] a pleasure, [him] a sport” (Act I, Scene III). To Iago, manipulation is a game; but maybe his motivation is to win. Iago’s soliloquy in Act I, Scene III blatantly exposes Iago’s motives for helping Roderigo ruin Othello and win Desdemona. Iago expends Roderigo in this plot “but for…sport and profit” (Act I, Scene III). Money and amusement draw Iago to this scheme. He also mentions that “’twixt [his] sheets [Othello] has done [his] office” (Act I, Scene III), implying that Othello has too slept with his wife. Iago could be seeking revenge on Othello for this claim. Whether it be out of pure enjoyment, profit, or revenge, Iago’s soliloquies truly reveal the motives for his malignant plotting.
ReplyDelete-Julia
Based on Iago's soliloquies in Shakespeare's drama Othello, Coleridge's statement that the motives of Iago are revealed to be malicious can be supported through a soliloquy in Act ll, Scene l (243). In order to fully understand the inner workings of the villian, Shakespeare reveals to readers the inner thoughts of Iago in an attempt to focus on the advancement of the plot. The quote "that has an eye can stamp and counterfeit advantages," suggests that Iago has an eye over the happenings of Cyprus. This is later confirmed in the play when Iago convinces Roderigo to kill Cassio. "Stamp and counterfeit advantages" refer to the lies strewn from the mouth of Iago to destroy both his friend Cassio, and his master, Othello. Shakespeare leads his readers into character analysis and character development of Iago, and others, in an effort to expose the motives o the characters; therefore, Coleridge's statement is valid because through soliloquies Shakespeare reveals the motives behind the actions of characters.
ReplyDelete