Introduction
Understanding the logic behind the writing helps audiences grasp the content better. Essentially, it directs the reader’s attention to the details of the text. As a result, this becomes an excellent technique to learn about the authors because it assists one in comprehending the significance of their works. Most importantly, knowing the author’s goal or objective in creating the villain is critical in driving the play or story’s theme. Generally, Shakespeare’s Othello, John Milton’s Paradise Lost, and Christopher Marlowe’s The Tragical History of Doctor Faustus offer varied authors’ perspectives of villains.
The Role of the Villain in Literature
In Othello, Shakespeare begins with a dialogue between two men: Roderigo, an ex-lover of the titular general’s wife, and Iago, Othello’s confidant and, ultimately, the play’s main villain. The story begins with an exposition citing “enter Roderigo and Iago” (Shakespeare 7). Essentially, the men debate Michael Cassio’s promotion as Othello’s new lieutenant and their plan to undermine Cassio and gain Desdemona for Roderigo. Othello and his wife, Desdemona, travel to Cyprus with Roderigo, Cassio, and Iago to protect the island from a Turkish fleet, thanks to events orchestrated by chance and controlled by Iago. A storm destroys the fleet, but Iago’s manipulation commences. Iago’s dark side is to dupe Othello into believing his wife is having an affair with Cassio by telling lies and using a handkerchief as evidence.
Othello decides that Cassio and Desdemona must die for their faked sins. As a result, he orders Iago to murder Cassio while suffocating Desdemona in their bed after being manipulated into lunacy. Indeed, Iago is an undoubting killer, as portrayed by the scene “Though in the trade of war I have slain men” (1.2.1). Iago persuades Roderigo to assassinate Cassio, but he fails, providing Iago the opportunity to knife Cassio by surrendering his life, while Othello murders Desdemona. Othello is apprehended, thanks to Emilia, Iago’s wife, and revealed as the mastermind behind the killings of Desdemona and Roderigo. Othello, despondent over his crimes, commits suicide, and Iago is sentenced to death for his wicked schemes. Generally, Iago’s villainy is evident in various ways, including his driving imagery and principal symbol of a raging, stormy sea, Roderigo’s prized gold, and other thematic links.
John Milton’s Paradise Lost is quite unlike Shakespeare’s Othello or other literary works. Milton’s somewhat odd reading of the “fall of man” from Genesis makes it such a unique composition. One of the most notable aspects of Paradise Lost was Satan’s portrayal as the villain. Satan, who is said to be the personification of evil in Abrahamic religions, is given a multifaceted personality. His complicated nature sometimes transforms him into a sympathetic and charismatic figure. Milton describes the enemy with intense spite and hate, noting, “Who first seduced them to that foul revolt? / The infernal Serpent; it was, whose guile / Stirred up with envy and revenge, deceived (Milton lines 33-35). God gave the code of conduct to angels in heaven, stating that anyone who disobeys him will be expelled. The audience is introduced to Satan as he awakens in a pool of fire in the first book’s prologue. Generally, Milton delves into how man fell into sin after enticement by the devil.
Finally, the author’s understanding of the role of the villain is vital in Christopher Marlowe’s The Tragical History of Doctor Faustus. Essentially, the text depicts Faustus’s problem in deciding whether to turn to God and heaven or remain loyal to Lucifer and Mephistopheles. Like in Paradise Lost, the obvious fiend in Doctor Faustus is the devil, who is helped by a slew of demons, most notably Mephistopheles. Faustus’s concern with his personal and sensual desires is established in the first scene. While alone in the office, Faustus gives a monologue, signaling to the readers that his speech reflects the innermost thoughts. Faustus reveals the desire to attain physical wealth representations in this monologue. The evil angel responds, “Go forward, Faustus, in that famous art / Wherein all Nature’s treasure is contained: / Be thou on earth as Jove is in the sky, / Lord and commander of these elements” (Marlowe 7). Generally, the link of desire with sin gives Faustus’s aspirations a negative connotation.
Conclusion
Overall, the three pieces depict dark forces that appear to triumph, at least for a time. Satan, the main antagonist in Paradise Lost, has the upper hand in his wicked plots. The Serpent frequently mocks angels who appear to fear him. Similarly, in The Tragical History of Doctor Faustus, the evil angel is the villain, assisted by a slew of demons. However, unlike Marlowe, Milton’s understanding of Satan is not the conventional dreadful monster represented during the Middle Ages. As a result, he gives Satan more human characteristics, making him likable and accessible. Satan’s varied personality makes it difficult for the reader to categorize him as both heroic and villainous. The author wished to demonstrate to the audience that Satan may not be as bad as he has previously been portrayed. Finally, Iago’s manipulative and deceitful nature in Othello enables him to achieve his foul intentions.
Works Cited
Marlowe, Christopher. The Tragical History of Doctor Faustus. The Pennsylvania State University, 1998.
Milton, John. “Paradise Lost: Book 1 (1674 version).”Poetry Foundation.
Shakespeare, William. Othello. Edited by Barbara A. Mowat and Paul Werstine, Folger Shakespeare Library. Web.