Passion and Reason in Othello

Enthusiasm and Reason in Othello

Considering that ancient times, theorists have actually thought about the predicament of stabilizing factor and enthusiasm. Myths like the fall of Icarus tell of the calamities that occur when one takes precedence over the other– in this example, when enthusiasm supersedes reason. In his play Othello, Shakespeare illustrates this same circumstance in an entirely different fashion. Three characters– Roderigo, Othello, and Iago– let passion override reason, with disastrous outcomes. Roderigo’s infatuation with Desdemona dominates his common sense.

At the onset of the play, Roderigo is a wealthy young Venetian who had actually previously stopped working to charm Desdemona. When he discovers of her marriage to Othello, Roderigo is sad, and he irrationally threatens to “incontinently drown [himself] (I. iii. 305)”. Making the most of this weakened state, Iago, under the premise of assisting in the charming of Desdemona, extorts large amounts of money from Roderigo and encourages the kid to eliminate an enemy of his, Cassio. So desperately in love with Desdemona, Roderigo concurs with the strategy and is eventually killed by his benefactor, Iago.

Roderigo’s enthusiasm for Desdemona had actually led him to attempted murder, hardship, and death. Both Roderigo and Othello let their love for Desdemona overrule factor. Othello starts the play as a high-ranking general newly married to Desdemona. He speaks merely and eloquently, and has the ability to stop a dispute with only his words: “Keep up your bright swords, for the dew will rust them. (I. ii. 58-9)” His character shifts when Iago, his jealous ensign, encourages him that Desdemona betrays, altering his enthusiastic love into fury.

He hotly states his “sweet Desdemon” (III. iii. 56) to be a “raunchy minx” (III. iii. 477), and crazily confronts his partner with accusations she knows absolutely nothing about. His passion blinds him to the fact that Iago had wrongly implicated her, and his previous eloquence is transformed into savage ramblings. His anger sways him to the decision to murder Desdemona. Consequently, he discovers that she is innocent, and kills himself in sorrow. Othello had actually started the play as a sensible man, but his crazy enthusiasm culminates into the death of both his better half and himself.

His is the starkest tale of enthusiasm bypassing factor: reason had actually abandoned him, and that result in his death. Othello comes down with passion because of the adjustments of others, however Iago leads himself to his doom. Early in the play, Iago is aware of the issue of stabilizing passion and factor, believing that “we have reason to cool our raging motions, our carnal stings, our unbitted desires” (I. iii. 331-3). Iago thinks he can control his passion with factor, but succumbs to the trappings of passion himself.

His declarations of hatred towards Othello scatter the play, and, for the “simple suspicion” (I. iii. 391) that Othello has slept with his other half, he is embattled with the desire for revenge. His thirst for vengeance leads him to the actions of an unreasonable guy: he drives Othello to fury with allegations of Desdemona’s unfaithfulness, threatens Emilia, his better half, and murders Roderigo. Iago’s obsession drives him to hurt those undeserving of his hatred, even after he reaches his goals of promo and ruining Othello: he kills Emilia, in the hopes of silencing her.

Iago’s enthusiasm for vengeance leads him to murder, and his actions do not go unpunished– it is chosen to torture Iago for his criminal activities. With the departure of factor, passion swallows up Roderigo, Othello, and Iago. The trappings of enthusiasm lead them to death, abuse, and misfortune. Considering that ancient times, theorists have actually alerted against focusing on enthusiasm over factor. In some ways, the tale of Othello parallels that of the Ancient Greek figure Icarus– in spite of all warnings, they become victims of obsession, causing their plummets from the sun.

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