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Miranda Smith
Katie Endicott
AP Literature & Composition
22 October 2015
Exploring the Implications of Surrender and Sacrifice in Othello
William Shakespeare’s Othello narrates the tale of the titular character, a Moor whose
marriage to the fair, innocent Desdemona falls prey to envy and subterfuge. From the opening
scene, however, it is obvious that the true star of the play is Iago, the duplicitous antagonist
whose deception of other characters and manipulation of various scenes not only instantly
establishes him as the play's luring villain, but also reveals his desire to be the director, or the
leader-a title held by Othello. This desire leads Iago to refuse to enslave himself to anotherespecially someone he views as inferior-and as a result he weaves an intricate web of lies with
which he ensnares all whom he encounters. In the play, Iago’s surrender of honesty and
compassion ultimately results in the sacrifice of many of the work’s protagonists, thereby
revealing his moral nihilism while simultaneously showcasing the detrimental effects of jealousy
and confusing appearance with reality.
Iago is first introduced to readers in the play’s opening scene, in which he and Roderigo
are engaged in an argument over what must be done about Othello’s recent marriage to
Desdemona. In an attempt to reassure his love-struck acquaintance that he truly does want to
help him secure the favor of Desdemona, Iago claims to hate Othello because he overlooked him
for a promotion to lieutenant, stating "In following him I but follow myself…I am not what I
am” (I.i.66). This reveals Iago’s skillful manipulation of others as well as his capacity to conceal
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his true feelings and intentions so that his actions don't reveal them. Additionally, by boldly
stating this fact out loud, Iago reveals his pride as well as his arrogant belief in his deceptive
nature, characteristics that soon prove to be his downfall.
After deliberation, the two decide that the best way to ensure Othello’s character is
called into question and guarantee that Roderigo is granted an opportunity to win over
Desdemona is to inform her father, Brabantio, of her clandestine marriage. Subsequently, Iago
and Roderigo station themselves outside of Brabantio’s home in Venice, where, hiding in the
shadows, Iago calls up to him, hinting at the couple’s sexual escapades by informing him that
“an old black ram is tupping your white ewe" (I.i.91-92). Such a graphic description serves not
only to highlight the prejudice of individuals from this time period towards those of Othello’s
ethnicity, but the animalistic description dehumanizes Othello, making Brabantio less inclined to
view the Moor as equal or worthy of consideration, thereby making him more apt to react
violently. Furthermore, such strong language highlights the ease with which Iago asserts
prejudice, showcasing an almost absentminded surrender of niceties and compassion while
simultaneously calling into question his sense of morals.
Iago’s comments prompt outrage from Brabantio, calling into question his manhood and
sparking concern for the man’s only daughter. Upon discovering Desdemona is nowhere to be
found, the senator becomes convinced the Moor somehow tricked her into the marriage; he
quickly emerges from his home with the intention of tracking down Othello, prompting Iago to
take his leave. In doing so he deserts Roderigo, leaving the man behind to deal with the ensuing
chaos alone. This elucidates that Iago has no qualms about sacrificing someone to an unsure fateeven someone he calls a friend-in order to safeguard both himself and his plot, thus showcasing
his selfish nature.
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After leaving, Iago retreats to Othello’s lodgings, informing him of the “scurvy and
provoking” (I.ii.8) manner in which Roderigo referred to him, warning him of Brabantio’s
inevitable confrontation. Similarly, when the Senate determines Othello’s love to be pure and
true, Iago initially seems content when surrounded by the Moor and his fellow soldiers; however,
when he speaks to Roderigo, he displays displeasure. The manner in which Iago so seamlessly
transitions between the two roles shows that he has not only surrendered whatever loyalty or
honesty he once maintained, but also suggests that he possesses no true allegiance to any
individual; rather, he is loyal only to himself. This egocentrism and lack of regard for those
around him is further reinforced at the end of Act 3, in which Iago states that “I hate the Moor,
and it is thought abroad that ’twixt my sheets he’s done my office. I know not if’t be true, but I,
for mere suspicion in that kind, will do as if for surety.” (I.iii.393-397), implying he is willing to
go so far as to sacrifice not only his marriage, but his wife, in an attempt to ensure the success of
his plan.
Iago’s deception is temporarily halted when Othello is sent into battle against the
Turks; however, immediately upon arriving in Cypress, his scheme is once again set into motion.
While waiting for the arrival of Othello, Iago engages in light banter with Desdemona, riling her
until Cassio steps in to calm her, going so far as to kiss her hand. Iago immediately takes note of
the flirtatious gesture, stating that Cassio’s behavior will act “as a little web” with which he "will
ensnare as great a fly as Cassio" (II.i.176-177), thereby stripping Cassio of his position as
lieutenant. He informs Roderigo, convincing him that Desdemona is in love with Cassio, and so
the only way to win her over is by getting rid of the honorable lieutenant. In order to do so, Iago
stages a fight, taking advantage of a drunk Cassio while simultaneously manipulating Roderigo’s
affections, resulting in the subsequent dismissal of the lieutenant. This premeditated plan
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highlights the amount of time and thought Iago has dedicated to ensuring Othello’s demise;
furthermore, it reveals the lack of regard he exhibits towards those who are caught in the middle
of his efforts, as he exhibits no concern for the wellbeing of either Roderigo or Cassio,
emphasizing both his apathetic nature and his complete surrender of compassion.
Seizing the opportunity that arises as a result of Cassio’s dismissal, Iago advises the
ostracized man to seek out Desdemona and plead with her to ask her husband to reinstate him.
He then draws attention to the recent attention the two have begun bestowing upon one another,
perfectly timing conversations and situations in order to plant seeds of doubt in the mind of
Othello. In doing so, Iago preys upon Othello’s jealous nature, a fatal flaw which-though
motivated by different factors-is shared between the two men. Seeing that Othello has grown
angry and begun to doubt his wife’s fidelity, Iago pretends to console him, warning him to
“beware…of jealousy; it is the green-ey'd monster, which doth mock the meat it feeds on,”
(III.iii.188-190). This serves both to foreshadow the inevitable downfall of both of these men and
highlight Iago’s lack of honesty, a trait he sacrifices in favor of treachery. As well, it convinces
Othello that he has probable cause to be jealous, furthering both his suspicions and the
progression of Iago’s scheme.
Convinced that Iago has his best interest at heart, Othello begins referring to him as
“honest Iago,” an ironic title as readers know that Iago is, in fact, bending the truth throughout
the play’s entirety. Additionally, the title contrasts with his true intentions, highlighting the
manner in which Iago has abandoned his honesty and sense of compassion, thereby illustrating
his moral nihilism. Desperate and enraged, Othello begs for “ocular proof” (III.iii.399) of
Desdemona’s betrayal. This proof comes in the form of a handkerchief gifted to Desdemona by
Othello as the first token of his love for her, a token Iago bids his wife, Emilia, to steal. Iago has
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already fully surrendered his ethical code and integrity, and so he has no qualms about tricking
his wife into doing the same, showing that he feels no moral obligation to respect others or their
virtue.
Sensing Othello’s rage and helplessness after seeing Desdemona’s handkerchief in the
hands of another man, Iago subtly spurns him to react violently. Consequently, after falling
victim to a seizure caused by his anger, Othello comes to the conclusion that he must kill both
Cassio and Desdemona for the sins he feels they have committed not just against him, but the
entire universe and the heavens as well. He asks for assistance with this task, and Iago readily
agrees, once again enlisting the help of Roderigo in order to stage a fight with Cassio. Roderigo
attacks the former lieutenant, who easily deflects the blow from the other man’s sword,
wounding Roderigo. From his vantage point in the shadows, Iago darts forward and stabs
Cassio’s leg, fleeing and screaming for help so no one discovers his involvement. Claiming
Roderigo must be one of the victims who attacked Cassio, Iago stabs and kills him. By not just
suggesting or acting as an accomplice to murder, but actually committing it, Iago surrenders
what little humanity he has left. Furthermore, murder is the ultimate form of sacrifice, and so the
ease with which Iago commits it reveals the full extent of his treachery, as he kills the man with
whom he has plotted and pretended to care about. As Roderigo and Cassio are carried away, Iago
declares "This is the night hat either makes me or fordoes me quite" (V.i.138-139), proving that
Iago no longer possesses any honor; he no longer has anything truly worthwhile to lose or
surrender.
Encouraged by the cries of murder from outside, Othello casts aside any last minute
doubts and strangles Desdemona. He is discovered by Emilia, whose distraught cries summon
Iago and a group of guards. When Iago arrives he finds that Othello is attempting to defend his
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actions by divulging Iago’s role in Desdemona’s murder. Emilia becomes livid, revealing her
husband’s true character. Outraged, Iago stabs his wife, killing her for what he sees as her
betrayal of him and forfeiting her life without a second thought, focused only on his ruined plan.
After realizing he has been duped, Othello unearths a small blade and kills himself, cursing Iago,
who is thenceforth taken away. This final Act shows the surrender of all those Iago should have
held most dear, though instead he remorselessly sacrifices them in an amalgamation of fury and a
desire to preserve his scheme. These sacrifices result in the ultimate surrender, that of his
freedom, proving irrevocably that not only does jealousy have the ability to make a beast out of
even the most noble men, but that it can cloud one’s judgment, demonstrating that appearance
does not always signify reality.
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Works Cited
Shakespeare, William. Othello. Chandni Chowk, Delhi, 1622. Print.