Othello's True Nature: Evil Within, Not Transformation
This paper examines the character of Othello in Shakespeare's The Tragedy of Othello, The Moor of Venice, arguing that Othello does not undergo a moral transformation so much as he gradually reveals his true nature. Drawing on G. L. Bethell's concept of "diabolic imagery" and close reading of key passages, the paper demonstrates that Othello's jealousy and capacity for violence were present from the outset. Iago functions as a catalyst rather than a creator of evil, exploiting a destructive envy that already resided in Othello. The paper concludes that Othello, rather than being a simple victim of manipulation, bears genuine moral responsibility for Desdemona's death.
- Introduction: Questioning Othello's Character: Iago's attacks shape audience perception of Othello
- Diabolic Imagery and the Transfer of Evil: Bethell's theory links hellish imagery to both characters
- Othello's Concealed Jealousy: Othello's jealousy predates Iago's manipulation
- The Rapid Descent: From Husband to Murderer: Othello quickly shifts from loving husband to killer
- Othello's Self-Delusion in the Final Act: Othello justifies murder as honour and sacrifice
- Conclusion: Othello as Reflection of Iago: Othello and Iago share a mirrored inner evil
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What makes this paper effective
- The paper advances a clear, arguable thesis — that Othello does not transform but rather reveals a pre-existing evil — and sustains it throughout every section.
- It incorporates a named critical concept (Bethell's "diabolic imagery") with specific quantitative support, lending scholarly credibility to what could otherwise be a purely impressionistic reading.
- Direct quotations from the play are used as evidence at each stage of the argument, grounding interpretive claims in textual specifics.
Key academic technique demonstrated
The paper demonstrates the technique of using secondary criticism to anchor a literary argument. By citing G. L. Bethell's image-count data (via Muir), the writer moves beyond personal interpretation and connects their reading to an established scholarly framework. This approach — introduce a critic's concept, apply it to the text, then extend the analysis — is a fundamental move in literary essay writing at the undergraduate level.
Structure breakdown
The essay opens by framing the central interpretive question and establishing Iago's role in shaping audience perception of Othello. It then introduces Bethell's diabolic imagery theory as a critical lens. Subsequent sections trace Othello's jealousy chronologically through the play — from early suspicion to the murder scene — before closing with Othello's self-justifying final speech and a concluding reappraisal of moral responsibility. The structure mirrors the play's own act-by-act progression.
Introduction: Questioning Othello's Character
The transformation of Othello in Shakespeare's The Tragedy of Othello, The Moor of Venice proves to be a fascinating element that adds depth and complexity to one of history's greatest plays. Shakespeare keeps us guessing about Othello's true nature by making him appear virtuous at the beginning of the play while allowing us to see his true self only after he kills Desdemona. This paper examines how Othello's characteristics seem to change, but argues that in reality he never changes — he simply reveals who he always was.
To introduce the complexity of Othello's character, it is worth noting that his reputation is under attack from the very opening of the play, largely because of Iago's remarks. Because we do not get a genuine glimpse of Othello until the third act, Shakespeare creates suspense concerning Othello's nature while simultaneously building a sense of dislike for Iago. That dislike is then transferred — from Iago onto Othello himself.
Diabolic Imagery and the Transfer of Evil
This type of transference is what G. L. Bethell called "diabolic imagery" (Bethell qtd. in Muir 22). Bethell estimated that of the "64 images relating to hell and damnation — Iago has 18 and Othello 26. But 14 of Iago's are used in the first two acts and 25 of Othello's are used in the last three" (22). This "theme of hell," he states, "originates with Iago and is transferred to Othello" (22). This theory gains further support when we explore Othello's personality in depth.
It is easy to trace how Othello moves from a seemingly flawless military leader to a murderer. We are told of Othello: "If virtue no delighted beauty lack, / Your son-in-law is far more fair than black" (I.iii.284) and "The Moor is of a free and open nature / That thinks men honest that seem to be so / And will as tenderly be led by the nose / As asses are" (I.iii.390–94). Yet as the play progresses, this favorable portrait begins to fracture.
Works Cited
Muir, Kenneth. Shakespeare's Othello. New York: Penguin Books, 1968.
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