Each thing Iago says is cause for worry.
Wilson Knight on Othello essay iago villain A.
The Occult and the Mystical in Shakespeare I continue to be impressed by the work of the eminent literary critic and Shakespeare specialist G. Knight wrote several volumes of essays on Shakespeare. Interpretations of Shakespearean Tragedy.
Knight de-emphasizes character, and thinks that earlier Shakespeare critics, like A. Bradley, sometimes over-emphasized character.
He sees an analogy to his approach in modern physics: It would be sad were literary investigation to be allowed to lag too far behind these more virile sciences. Eliot, is neither bold nor profound.
Knight regards Shakespeare as a profound philosophical writer, with a proclivity for the mystical and the occult. Eliot, on the other hand, subscribes to the common view that Shakespeare has no philosophy — or at least, no philosophy worthy of the name.
Shakespeare made equally great poetry out of an inferior and muddled philosophy of life. In the last issue of Phlit, I quote a scholar who has found evidence that Shakespeare had a strong interest in the occult, and that Shakespeare was acquainted with a prominent occult thinker John Dee.
I can, however, quote those famous lines from The Tempest: Full fathom five thy father lies; Of his bones are coral made; Those are pearls that were his eyes: Nothing of him that doth fade But doth suffer a sea-change Into something rich and strange.
Shakespeare here depicts a dead man merging with the universe — changing into coral, pearls, etc. By merging with the universe, the dead achieve a kind of immortality.
His conclusions were reached by a detailed comparison of the play in its totality with other creations of literature, myth, and ritual throughout the ages.
That is the interpretative approach. Bradley both developed that approach: By this I mean that there are throughout the play a set of correspondences which relate to each other independently of the time-sequence which is the story: He argues that character is merely a role that we play, not our true nature.
Shakespeare goes deeper than character, and depicts our true self, our fundamental nature. The term, which in ordinary speech often denotes the degree of moral control exercised by the individual over his instinctive passions, is altogether unsuited to those persons of poetic drama whose life consists largely of passion unveiled.
Macbeth and King Lear are created in a soul-dimension of primal feeling, of which in real life we may be only partly conscious or may be urged to control by a sense of right and wrong. Mystical world-views like Zen pay little heed to character and moral considerations.
Do all great writers go deeper than ethics? According to Knight, once we grasp this central core, this theme, then all the incidents make sense.
Synchronicity in Shakespeare Shakespeare seems to subscribe to one of the central principles of occult thought, namely, that man and the world are connected, psyche and matter are connected. This is what Jung called synchronicity. Jung argues that the Chinese have always viewed the world in terms of synchronicity, rather than in terms of linear cause-and-effect.
The Chinese notice what events occur together, rather than seeking causal connections. The Chinese were interested in synchronicity rather than causality; they never developed what we call science because science is based on causality.
In the most high and palmy state of Rome, A little ere the mightiest Julius fell, The graves stood tenantless and the sheeted dead Did squeak and gibber in the Roman streets: And even the like precurse of fierce events, As harbingers preceding still the fates And prologue to the omen coming on, Have heaven and earth together demonstrated Unto our climatures and countrymen.
A similar correspondence between nature and man is found in Julius Caesar, where Casca says, O, Cicero, I have seen tempests, when the scolding winds Have rived the knotty oaks But never till tonight, never till now, Did I go through a tempest dropping fire. A character in Macbeth says, The night has been unruly: The original spiritual disorder may equally be said either to cause, or to be caused by, the final disorder in the world Thus there is no rigid time-sequence of cause and effect between the hero and his environment: We are shown not merely the story of a murder; not merely the mind of a murderer; nor merely the effect of murder; but rather a single reality built of these three interacting, reciprocal, co-existent.
Are historical events the result of fate, do they flow out of a mind-set or spirit?
Since Knight regards Shakespeare as a deep thinker, one might suppose that he ignores considerations of style and sound.Iago and the Literary Tradition of a Villain in William Shakespeare's Othello In this essay, I am going to explain how Iago conforms to the literary tradition of a villain.
Firstly, to answer this question, we must understand what exactly is meant by the term 'villain'. Othello Essay about Iago 1. OTHELLO ESSAY Iago‟s Strategic Acts of Character Manipulation W.H. Auden once said, "There is more than meets the eye", suggesting that there may be a hidden or deeper meaning behind a person's initial appearance.
Iago is a quintessential villain, not just in the context of Othello but in world literature overall. When students understand him, they will have a deeper sense of what Othello is all about. In William Shakespeare's Othello, Iago plays the trusted villain responsible for the deaths of Desdemona, Othello, and even his wife Emilia.
He is motivated mostly by his pure evil nature. Throughout the course of the play, Iago manages to commit all seven deadly sins.
He constantly uses his good reputation for dishonorable purposes. Which character in Othello do you think contrasts most significantly with Iago, and why? What might Shakespeare be trying to show via this contrast?
Write an essay describing the nature of Iago's relationship to Desdemona. Free Essay: Iago as the Perfect Villain of Othello Iago, the villain in Shakespeare’s Othello, is a round character of great depth and many dimensions.