"Iago, you have done well to make men put their murders on your neck" [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 dead bodies, as is the case at the end of Othello and King Lear? His malice is all the greater because his false congratulations are probably a mirror of his own self-congratulation for the tragedy he caused. It is because Iago has reached the end he had promised himself. He degraded everything and directly and indirectly caused the murders of Roderigo, Desdemona, Emilia and Othello. Structurally, this ending is the natural culmination of the web of deception Iago weaves. The way partial knowledge has been cleverly distributed between each character, they are never aware of the "truth" as invented by Iago. He is the only character who possesses villainous omniscience. The final scene is the real “ocular proof” [3:3 line 337, p.106] of Iago’s “motiveless malignancy” and the contrasting purity of the other characters. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get the original essay Iago's manipulations have “caused” [5:2 line 341, p.163] such strong changes in Othello that he is incited to murder his own wife. Iago does this by turning the harmony of their relationship into discord: Oh, you're listening well now! But I'll put down the pegs that make this music, as honest as I am. [2:1 line 198, p. 74] The implication here is that Iago will lay down 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 suspicious, then by making Desdemona plead for Cassio and appear guilty. This musical imagery is a recurring motif, its final use being in Othello's disbelief, "Then the murders out of tune" [5:2 line 114, p.155]. This being "out of tune" gives the feeling that Othello has acted completely out of character, that he has indeed been "shaped" by Iago's words to the point that he "cast a pearl / Richer that all her tribe” [5:2 line 342 p.163] the pearl is Desdemona. The fact that Desdemona is compared to a precious stone shows her value and could be an implicit reference to her virtue, that is, to the jewel of virtue, which Othello threw away through his slander. Iago reached the crescendo of the “raw music” he made in the opening scene. Othello is not the only character “forged” by Iago. The play's minor character, Roderigo, is deprived of love, money, and ultimately life. "The triumph! Once again, 'put in the money' once the effect is achieved", Iago pushes Roderigo further and further, even to the point of murder for no real reason, and is then himself murdered by afraid that he will discover Iago's plans. All of this, along with the money from his land and his jewels, were all confiscated for Iago's benefit, as was his love for Desdemona which was cruelly used by Iago. Othello's sense of being thus “forged” 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 minx" [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 about this scene is that Othello unwittingly discovers the truth, in his ramblings: "If you slander her and torture me" [3:3, line 365, p.106], but he immediately dismisses this seemingly tireless reference. Iago is “honest”. The agony of this false awareness is illustratedin a regressive speech in the sense of its barbaric tone: Oh, that the slave had forty thousand lives! We are too poor, too weak for my revenge. ...Rise from black vengeance, from hollow hell [3:3 lines 440-444, p.109]The speech resonates with witchcraft and dark images, which remind the audience of Othello's origin , as he seems to conjure up the spirit of evil to aid in his vengeance. This is not the only change in his speaking style, throughout the scene the breakdown of his sentences becomes less certain. 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 change and reflect their way of speaking as if they were one person. This demonstrates Othello's loss of power and person and leads to his crisis. It is interesting to note at this point that, as Frank Kermode points out in his book The Language of Shakespeare, Cassio cannot be penetrated in this way. "A dialogue in the second act is carefully inserted to bring out the momentous difference between Iago and Cassio: "...He has not yet done any crazy nights with her, and she is a sport to Jupiter.Cassio. She is a most exquisite lady. Iago. And I will guarantee it, full of game. Cassio. Indeed, it is a most fresh and delicate creature. Iago. What an eye she has! I think she's talking about provocation. Cassio. And inviting eyes; and yet, I think he is quite modest.[2:3, lines 15-23, p.78]Cassio "refuses his assent to his devious and voyeuristic proposals and offers more courteous alternatives." Is it therefore because Othello is a foreigner and ignorant of the customs and courtesies of the Venetian people that causes his downfall? Cassio has an innate sense of rank that places him above Iago's ruckus, but Othello, although of high military status, is black, and his fame lasts only as long as he is needed for his protection. As confident and dignified as his outward appearance is, Othello is aware of his difference and feels it intensely: "Luckily I am black... [I] don't have those soft parts of conversation" like Cassio. Othello is therefore to some extent jealous of Cassio, only for the refinement he possesses, making Cassio the prime target of Iago, who is also jealous of him2E. Iago builds on existing weakness. Iago states that Cassio “has a daily beauty in his life / It makes me ugly” [5:1 line 19, p. 145]. There is a clear demonstration of Othello's self-hatred in his final monologue where he takes upon himself the racial insults of the society he inhabits, he describes himself as a "basic Indian"; “That Turk with the turban” and says that in committing suicide, he “hit” the circumcised dog. Othello's foreign beliefs also provide one of the main catalysts for the tragedy of the plot, that of the handkerchief. The magical traits and meaning he attributes to The Handkerchief causes Desdemona to lie about its whereabouts, fearing his wrath if she loses it. The handkerchief provides the "ocular evidence" that Iago uses as proof of Desdemona's infidelity. It is so significant that a critic said of Othello that this is the case. “a warning to all good wives to take good care of their linen.” This handkerchief is the cause of Emilia's tragic realization of her own part in the misery that follows. Her disbelief is reflected in her repeated question: “My husband?” [5:2 line 143, p.156] She cannot believe that he could be the author of all this. Repetition and linguistic patterns play a large role in the effectiveness of the final scene and the perfect construction of Othello as a play. there is only musical imagery, the image of, 1960.