"Iago, you have done well to make the men fall upon your neck for their murders" [5:2 line 166, p.157]. This ironic tone is similar to that of "Is this the promised end?" Can it be anything but ironic when the words are spoken in front of a tragic scene of corpses, as is the case at the end of both Othello and King Lear? His wickedness is made even more evident by the fact that her false congratulations are probably the mirror of his own self-congratulation for the tragedy he has caused. This is because Iago has reached the end he promised. He degraded everyone and directly and indirectly caused the murders of Roderigo, Desdemona, Emilia and Othello. Structurally this ending is the natural culmination of the web of deceit that has been woven by Iago. The way partial knowledge has been cleverly distributed to each character, they are never aware of the "truth" as invented by Iago. He is the only character who possesses evil omniscience. The final scene is the true "ocular proof" [3:3 line 337, p.106] of Iago's "unmotivated malice" and the contrasting purity of the other characters. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay Iago's manipulations "produced" [5:2 line 341, p.163] changes in Othello so strong that he was provoked to kill his own wife. Iago does this by turning the harmony of their relationship into discordant: Oh, you are well tuned now! But I'll put down the rungs that make up this music, honest as I am. [2:1 line 198, p. 74] The implication here is that Iago will lower the pegs and loosen the strings to produce a discordant note within the relationship. He loosens their bond by arousing suspicion, first by making Othello distrustful, then by making Desdemona plead with Cassio and appear guilty. This musical image is a recurring motif, its final use being in Othello's disbelief, "Then murders out of tune" [5:2 line 114, p.155]. This being "out of tune" conveys the sense that Othello has acted completely out of character, that he has actually been "worked" by Iago's words to the point of "throwing away a pearl / Richer than all his tribe" [ 5:2 line 342 p.163] the pearl is Desdemona. The fact that Desdemona is compared to a precious stone demonstrates her value and could be an implicit reference to her virtue, that is, to the jewel of virtue, which Othello threw away with his slander. Iago has reached the crescendo of the “raw music” he made in the opening scene. Othello is not the only character “created” by Iago. The play's minor character, Roderigo, is deceived out of love, money, and ultimately his life. "The triumph! Once again "put the money" after the effect has been achieved", Iago pushes Roderigo further and further, up to a murder for no real reason, and then is killed himself so as not to discover the plans of Iago. All this, his land money and jewels were all confiscated from Iago, as well as his love for Desdemona which was used cruelly by Iago. Othello's sense of being thus "worked" is particularly notable in the "temptation" scene (3 :3) where Iago, suggests, implies and pushes Othello to a horrible conclusion that his wife is a "lewd prude" [ 3:3 line 473, p.110] and must be executed, "otherwise she will betray more men" [5:2 line 6, p.150]. What is so painful in this scene is that Othello involuntarily grasps the truth, in his delusions: "If thou slander her and torture me" [3:3 line 365, p.106], but immediately discards that seemingly tireless reference to the fact that Iago is "honest". The agony of this false realization is exemplified in a speech that is regressive in the sense of its tonebarbarian: Oh, that the slave had forty thousand lives! One is too poor, too weak for my revenge. ...Black vengeance arises, from the empty hell [3:3 lines 440-444, p.109]The speech resonates with witchcraft and dark imagery, reminding the audience of Othello's origins, as he seems to evoke the spirit of evil to help in his revenge. This is not the only change in his speaking style, over the course of the scene his sentences break down, becoming less confident. They are shorter, with smaller words and there is none of the heavy, measured magnanimity of his previous speeches. In fact the two men seem to exchange and mirror each other's speech as if they had become one person. It demonstrates Othello's loss of power and personhood and leads to his adjustment. It is interesting to note at this point that, as pointed out by Frank Kermode in his book entitled The Language of Shakespeare, Cassius cannot be penetrated in this way. "A dialogue in the second act is carefully inserted to make clear the capital difference between Iago and Cassio:"...He has not yet spent the night wildly with her, and she is an amusement to Jupiter.Cassio. She is a truly exquisite woman. Iago. And I guarantee it, full of game. Cassius. In fact, it is a very fresh and delicate creature. Iago. What an eye he has! I think he's talking about provocation. Cassius. And inviting eyes; yet it seems right, modest.[2:3 lines 15-23, p.78]Cassius "refuses consent to his cunning voyeuristic propositions and provides more courteous alternatives." Is it then because Othello is an outsider and ignorant of the customs and courtesies of the Venetian people that causes their ruin? Cassio has an innate sense of rank that places him above Iago's criticism, but Othello, though high ranking militarily, is black and his fame lasts only as long as it is needed for protection. However confident and dignified his outward appearance is, Othello is aware that he is different and feels it acutely: "Perhaps because I am black... [I] have not those soft parts of conversation" that Cassio has. Othello is therefore, to some extent, jealous of Cassio, purely because of the sophistication he possesses, making Cassio the main target for Iago, who is also jealous of him2And Iago relies on existing weakness. Iago states that Cassio "has a daily beauty in his life / That makes me ugly" [5:1 line 19, p. 145]. There is a clear demonstration of Othello's self-loathing in his final soliloquy in which he takes upon himself the racist insults of the society in which he lives and describes himself as a "vile Indian"; "That Turk with the turban" and says that by killing himself he "beaten" the circumcised dog". Othello's foreign beliefs also cause one of the main catalysts of tragedy in the plot, that of the handkerchief. The magical traits and meaning given to it by the handkerchief causes Desdemona to lie about his whereabouts, fearing his anger if he loses it. The handkerchief provides the "ocular proof" that Iago uses as proof of Desdemona's infidelity. It is so significant that one critic said of Othello that it is. "a warning to all good wives that they should take care of their linen." This handkerchief is the cause of Emilia's tragic awareness of her own part in the ensuing misery husband?". [5:2 line 143, p.156] He can't believe that he could be the author of all this. Repetition and linguistic motifs play an important role in the effectiveness of the final scene and in the perfect construction of Othello as a theatrical work there is only the musical imagery, the image of the handkerchief and the repetition of words such as "honest"; but there is also a mirroring of the language, a careful reflection of similar phrasing to add emphasis to the whole scene and create greater pathos and a, 1960.