The Final Stretch: Submissions

I finally got down to submitting my paper!  I went through the process with the scholars archive and then moved on to emailing my paper to the Wooden O Symposium. 

Here is the abstract that I submitted:

Shakespeare's Othello, one of Shakespeare's most popular tragedies, showcases the works and cunning of one well-known and even well-loved villains, Iago.  Iago is a chameleon of a character easily capable of  manipulating those around him to meet his ends.  All the cleverness and cold calculation homaged, he lacks any definitive motive or driving purpose, merely revenge on the seemingly guiltless Othello.  This determined denial of a motive and extremity of action reflects well Carl Jung, a well-celebrated personality psychologist, and his theory on personality, specifically the "shadow" archetype.  The shadow is an amoral, metaphorical storage center of humankind's propensity to do evil, and Iago seems to be all shadow and all show.  He puts on a good display of variation in character, but he seems driven only by muddled revenge.  Jung's theories, put against Iago's character, reveal him to be a character of depth and have a role in the play and in the overall themes that extends far beyond the contributions of simple stock characters.

Commentary for Britton and Lauren R

Britton: I know we talked earlier today but I thought it would be good for me to write down my thoughts on your paper in case you wanted to refer back to them.

My initial reaction to the first few paragraphs was "wow, this kid is a good writer".  You did a great job at articulating your argument and because of that it was easy for me to become engaged in your topic. Throughout the paper it was easy for me, even as an uniformed reader, to follow your ideas. The places where your paper was lacking was its use of the primary text and secondary sources. Now I fully realize that I read a rough draft and that you potentially have source material waiting in the wings so maybe this critique is nothing more than an after thought. In short, your paper is good, your ideas are great and really interesting, but they would benefit through more rigorous analysis of the primary text, and more thorough application of more scholarship.

Lauren: Your paper was a lot of fun to read.  Iago is such an interesting and unique character the fact that paper deals specifically in the dynamics of that character made it really engaging for me. I know we have talked in class we have talked a lot about how to really hone in on the argument for the topic of you have chosen. I have to say that after reading your rough draft I thought your ideas on the complexity of identity and character were really articulated well and made sense. I know at the end of your post you talked about incorporating more scholarship, and I do think that it needs that, but I think your ideas are salient enough that it would not be too difficult to find more research on your topic. One place where I found you paper lacking was the incorporation of the primary text. The paragraph where you do break down Iago's lines was, to me, definitely your strongest. If you had more analysis like that it would really strengthen the "backbone" of your paper. Overall, I think you are heading in the right direction and I'm exited to see the finished product.

So this isn't all of it, but its a start

What with a couple other time consuming projects occupying my time, I finally made a breakthrough on this paper but it is still very much a work in progress.  Here is a little more than half, I will post the rest tomorrow hopefully...

Lauren Remington

Dr. Burton

English 382

22 March 2013

Following the Profits

            Although all of Shakespeare’s plays are unique in their own way, and brilliant in style and ability to cater to the masses both then and now, he does seem to have a frame or mold which has worked effectively and which also makes it possible to relate between the plays characters and ideas, particularly his use of disguises.  In his play Othello, Shakespeare, contrary to using disguises, uses the character Iago, who easily transforms himself with each character he talks to, absorbing new identity after new persona in order to reach his dark and also obscure ends.  It is never made completely plain why Iago is motivated to the deaths and despairs he causes and his chameleon like nature make him seem like lass of a human character and more like a series of personas adopted into one individual to serve a rhetorical purpose and provide plot.  Iago's change in character and ability to appease everyone he talks to is directly relatable to others of Shakespeare's characters who easily don disguises to fool their peers because his own change in character has a similar effect on his fellows.  Carl Jung, well-known personality theorist and psychologist, was a contemporary of Sigmund Freud and adopted some of Freud’s ideas to develop a theory in which the parts and attitudes of the unconscious identity, instead of battling each other to take control, are working to have unity within the individual.  Years before Jung’s time, Shakespeare’s character Iago is a negative personification of his theories and the battling that occurs between Jung’s unconscious and contentious attitudes.

            Jung’s theories revolve around the idea that the different levels of the individual battle each other in order to “reside” in an equilibrium, making up an individual’s personality.  As a personality theorist and a contemporary of Freud, Jung’s theories constitute and important contribution to the psychological community and the varied understandings of the human psyche.  Iago is a pivotal character of Shakespeare’s Othello.  As Jung’s theories are applied to the interpretation of his character, an interesting dynamic arises revealing how these varying factors of personality come together, but are revealed openly in his figure.  Iago is the character that manufactures the tragedy for shady motivations.  Not shady in the figurative sense of dark, although they were dark, but shady in that is altogether unclear what truly drive him in his actions.  At one point, he cites Othello’s sleeping with his wife and at another; he is driven by his jealousy of Othello’s rank and position.  Either way, he behaves independent of any emphasis on his motivations and what drives him to his acts of torment on Othello.

            Iago fits into Jung’s theory specifically in the archetypes that dominate the individual.  These archetypes are less biological and more “spiritual” in nature.  Iago, as a character, seems almost to get lost within layer upon layer of varying motivations and characters that he absorbs as he turns from individual to individual whom he needs to help him reach his own ends.  These archetypes that Jung describes fit into the role that Iago plays and Iago, among them, seems to get lost within the layers of personas. 

            The unconscious attitudes fighting for prominence are physically portrayed in Iago’s interactions.  Jung’s archetypes or unconscious is “a universal thought form or predisposition to respond to the world in certain ways,” (Engler 74).  Iago seems to have internalized a number of responses and personas which Jung further refers to as “the social role that one assumes in society and one’s understanding of it,” (74).  Iago is a selfish self-centered character who functions in society through the scope of things that will best benefit him.  Iago’s persona is so varying that it is hard to pin down.  At one point in speaking to Roderigo he states, “Were I the Moor, I would not be Iago. / In following him I follow but myself” (I.i.57-59).  This exemplifies the twisted nature of his character reflected in the cunning twists of his language.  He openly seems to admit to his duplicity further in this dialogue saying, "I am not what I am" and by being open about this, is purposefully more cryptic in the way he communicates it (I.i.65).  The first line in particular "Were I the Moor I would not be Iago," says very little about him in all actuality while appearing to be communicating much.  Iago openly declares that his persona is not true to the definition that Jung describes.  His “persona” is a farce, deeply set up and layered by adopted archetypes in order to confuse and dominate his peers.

            Iago’s behavior sets up a perplexing and troubling perspective on Jung’s theories on personality.  If assumptions are drawn that Iago is a reflection of true human behavior, where is it that the character can truly be defined?  Iago is layer upon layer twisted up on confused motivations and lacking in continuity.  He is a villain, suited to the needs of Shakespeare and his use of stock characters to fit the frame of his tragedies.  Iago in particular, however, constitutes an interesting connection between reality and drama.  In the midst of declaring openly his own deception, Iago does assert that his actions are an illustration of who his truly is by saying, “For when is my judge, not I for love and duty, / But seeming so for my peculiar end” (I.i.59-60).  

As far as this draft goes, I am working on incorporating the scholarly sources for my research on Jung as well as compiling a complete bibliography and totally bringing my idea all together.  

Finding a Diversified Focus

Here is the start of a lot of necessary research for this monster of a paper.  It seems like a monster now at least.  I am still working on my exact angle but I am much closer than I was a month ago at least!

Carl Jung”. Personality Theories. http://webspace.ship.edu/cgboer/jung.html. 2006.

This is an outline of Jung’s theories, lacking specificity but nevertheless offering a start to deeper research. [Diverse Time of sources, Diverse Types of Sources]

“Personating Persons: Rethinking Shakespearean Disguises”

This article specifically analyzes the use of Disguise in Shakespeare, but in a way closer to what I am curious about, specifically how these disguises define character. [Diverse types of sources, diverse time of sources]

Engler, Barbara. Personality Theories. Wadsworth Cengage Learning. 2009.

My roommate is a psychology major and she showed this textbook to me, part of which is dedicated to Jung and his personality theories. It is one she is currently using for one of her classes.  [Diverse Methods of Finding]

Rand, Frank Prentice. “The Over Garrulous Iago.” Shakespeare Quarterly, Vol. 1, No. 3 pp. 154-161. 1950.

            This article is another personality analysis of Iago and analyzes to a certain degree the way in which Iago interacts with his fellow characters. [Diverse Methods of Finding, Diverse Time of Sources, Diverse Types of Sources]

Stempel, Daniel. “The Silence of Iago.” PMLA, Vol. 84, No. 2 pp.252-263. 1969.

            This essay analyzes Iago specifically and his moral ambivalence and lack of any moral sense.  [Diverse Methods of Finding, Diverse Types of Sources]

Rosenberg, Marvin. The Masks of Othello; the Search for the Identity of Othello, Iago. Berkeley, University of California Press, 1961. Print.

            This is a book focused around the identities of Iago and Othello and their relationship and how it factors into how each character functions in the plot of the play Othello. [Diverse Methods of Finding, Diverse Time Sources]

Carl Jung – Archetypes and Complexes – YouTube.

            This is a video, from YouTube as an excerpt from Psychology Classics looking back at the dynamics of Carl Jung’s psychological theories. [Diverse Time Sources, Diverse Types of Sources]

“Carl Jung – Archetypes.” Concepts of Archetypes at Carl Jung

            An analysis of Jung’s research and book, focused specifically on his research of archetypes. [Diverse Types of Sources, Diverse Time Sources]

"Now We're Back to the Beginning"

Here are a few quotes I am considering for my paper.  I have posted my very brief and inadequate rough draft and so I am hoping these quotes will give me better insight into Iago's character, better tie ins to Jung, and more direction for my research paper.  Once I have a better foundation and grasp of Iago, I will have a direction to head.

Were I the Moor I would not be Iago.
In following him I follow but myself;
Heaven is my judge, not I for love and duty,
But seeming so for my peculiar end.
For when my outward action doth demonstrate
The native act and figure of my heart
In compliment extern, ’tis not long after
But I will wear my heart upon my sleeve
For daws to peck at. I am not what I am. (I.i.57–65)

 Iago offers this dialogue in speaking to Roderigo and it exemplifies the twisted nature of his character reflected in the cunning twists of his language.  He openly seems to admit to his duplicity "I am not what I am" and by being open about this, is purposefully more cryptic in the way he communicates it.  The first line in particular "Were I the Moor I would not be Iago," says very little about him in all actuality while appearing to be communicating much.

How poor are they that have not patience!
What wound did ever heal but by degrees?
Thou know'st we work by wit, and not by witchcraft;
And wit depends on dilatory time. (II.iii.376-379)

Iago is attempting to convince a lovesick Roderigo to stay so as to win Desdemona's heart, when, in reality, Iago needs him to bring about the ultimate ends of his revenge on Othello.  While he is trying to convince Roderigo to stay, he reveals a bit about himself, the patience he has seems to be his only true and consistent personal characteristic besides an overabundance of energy dedicated to vengeance.

Similar to those above, continued are other quotes by Iago that deal principally with proving his duplicitous character not only in his interactions with others, but in his overall lack of a conclusive stream of a concrete personality or self.  The thing that grounds him as a character is his villainy, often he behaves graciously, other times outright meanly in his attempts to reach his aims.  He seeks vengeance on Othello either over suspicion of his having slept with Iago's wife or for giving Cassio a promotion he felt he deserved.  Or even both?  Either way, his motivations do not seem to drive him.  It is the ends that drive him.  It doesn't seem to matter what drives him.  He seems to be finding motivations to fit his behavior rather than fitting his behavior to his motivations.

I follow him to serve my turn upon him. (I.i.42)

I have profess'd me thy friend, and I confess me knit to thy
deserving with cables of perdurable toughness. I could never better
stead thee than now. Put money in thy purse; follow thou the
wars; defeat thy favor with an usurp'd beard. I say put money in
thy purse. It cannot be long that Desdemona should continue her
love to the Moor—put money in thy purse—nor he his to her.  (I.iii.336-344)

O, beware, my lord, of jealousy;
It is the green-ey'd monster, which doth mock
The meat it feeds on. That cuckold lives in bliss,
Who, certain of his fate, loves not his wronger:
But O, what damnèd minutes tells he o'er
Who dotes, yet doubts, suspects, yet strongly loves! (III.iii.165-171)

Good name in man and woman, dear my lord,
Is the immediate jewel of their souls.
Who steals my purse steals trash; 'tis something, nothing;
'Twas mine, 'tis his, and has been slave to thousands;
But he that filches from me my good name
Robs me of that which not enriches him,
And makes me poor indeed. (III.iii.155-161)

But for my sport and profit. I hate the Moor:
And it is thought abroad, that 'twixt my sheets
He has 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.12)

The Moor is of a free and open nature,
That thinks men honest that but seem to be so,
And will tenderly by led by th'nose... (I.iii)

The Reason Undergads Don't Diagnose

Anyone who wants to know the human psyche will learn next to nothing from experimental psychology.  He would be better advised to abandon exact science, put away his scholar's gown, bid farewell to his study, and wander with human heart throught the world.  There in the horrors of prisons, lunatic asylums and hospitals, in drab suburban pubs, in brothels and gambling-hells, in the salons of the elegant, the Stock Exchanges, socialist meetings, churches, revivalist gatherings and ecstatic sects, through love and hate, through the experience of passion in every form in his own body, he would reap richer stores of knowledge than text-books a foot thick could give him, and he will know how to doctor the sick with a real knowledge of the human soul. -- Carl Jung (from "New Paths in Psychology", in Collected Papers on Analytic Psychology, London, 1916)

Jung developed a series of archetypes that fit into each individual and make up who he is.  Iago, throughout the play exhibits a selfish disdain for his fellows, acting in a way that is purely beneficial to himself.   He easily twists his words and his behavior to cater to anyone who crosses his path.  His behavior and interactions display exactly who he is as a character, but he also seems to be lacking character.  A role in a play is someone in a costume.  Iago is a character in dozens of costumes.  Where does the costume become the character and where does the character meet costume.  Iago seems to get lost in the depth of his own character.  He doesn't even have a driving goal or motivation.  He lacks anything that would humanize his character and bring it down to earth, reel it in from the inhumane.  He shows no regret, no remorse, and it is unclear if he even feels a measure of success because of the way in which he interacts with others.  He is never truly himself, if a true self exists.  Jung's personalities are battling within Iago and none of them seems to be able to peaceably coexist.

How Rough Can a Rough Draft Be?

 So after a bunch of unforeseen and unfortunate circumstances, he is a too brief, too rough draft or mere shadow of what my potential paper will be.  More secondary research to be done, incorporation of primary quotes to come.

Lauren Remington

Dr. Burton

English 382

22 March 2013

Creative Title

            Although all of Shakespeare’s plays are unique in their own way, and brilliant in style and ability to cater to the masses both then and now, he does seem to have a frame or mold which has worked effectively and which also makes it possible to relate between the plays characters and ideas, particularly his use of disguises.  In his play Othello, Shakespeare, contrary to using disguises, uses the character Iago, who easily transforms himself with each character he talks to, absorbing new identity after new persona in order to reach his dark and also obscure ends.  It is never made completely plain why Iago is motivated to the deaths and despairs he causes and his chameleon like nature make him seem like lass of a human character and more like a series of personas adopted into one individual to serve a rhetorical purpose and provide plot.  Iago's change in character and ability to appease everyone he talks to is directly relateable to others of Shakespeare's characters who easily don disguises to fool their peers because his own change in character has a similar effect on his fellows.  Carl Jung, well-known personality theorist and psychologist, was a contemporary of Sigmund Freud and adopted some of Freud’s ideas to develop a theory in which the parts and attitudes of the unconscious identity, instead of battling each other to take control, are working to have unity within the individual.  Jung's theory of the unconscious and its contentious attitudes reflects well the way in which Shakespeare's love of disguises in his characters and even more specifically in Iago's character who jumps from character to character to fit his motivations.

-explicit analysis of Iago’s character

-detailed analysis of Jung’s theories

            Iago is a personified version of this theory.  The unconscious attitudes fighting for prominence are physically portrayed in Iago’s interactions.  Jung’s archetypes or unconscious is “a universal thought form or predisposition to respond to the world in certain ways,” (Engler 74).  Iago seems to have internalized a number of responses and personas which Jung further refers to as “the social role that one assumes in society and one’s understanding of it,” (74).  Iago is a selfish self-centered character who functions in society through the scope of things that will best benefit him.

I am working on a more explicit outline of  my paper and specific pieces of Jung's theory that I want to relate back to Iago's character.  I already have a specific scene in mind that illustrates Iago's character and am going to spend some time analyzing it in relation to Jung's theories.