Jealousy is not inherited in a person, but developed from

the fatal factors of their character. In Shakespeare's Othello,

the destruction of the fleet clears away all other tension,

leaving only mannerisms to be a cause of conflict. There is a

common archetype that Othello, Iago, and Roderigo follow:

jealousy is produced by a character held in high respect that

seems to prefer another.

Othello is plagued with his ego and pride, diseases that

contribute to his demise. Believing he is immortal, Othello

scoffs, "My parts, my title, and my perfect soul/Shall manifest

me rightly" (I,ii,31-32). Othello is devastated and crumbles when

he is cut down by Iago. Nothing could be worse than "To lip a

wanton in a secure couch/And to suppose her chaste!" (IV,i,72-73)

The general is brought down to a level of mortality that he

refuses to accept; a man of lower rank has "conquered" his wife.

Iago's jealousy is also attributed to Cassio. The Florentine

seems to surpass him in every way: looks, virtue, charm, and "all

those requisites in him that folly and green minds look after"

(II,i,247-248). But Iago's love of his reputation and ego leads

him to believe that he is more deserving because of his

intelligence and experience. Paralleling Macbeth, Iago's self-

serving interests lead him to ambition. In both cases, Othello

and Iago feel a sense of possession, a fear of neglect, and a

need to be held in high respect.

Putting Othello's and Roderigo's trust into Iago's hands

allows them to be entangled in Iago's web of deception. Believing

any of "honest" Iago's lies shows a plethora of faults:

gullibility, desperation, even impatience. Iago is such a master

of guile, he is able to even fool himself. He believes virtue is

a mere "fig," and that reason should guide. A complete

contradiction of himself, Iago is the initial character that lets

his passion overrun his good judgement (I,iii,322). All the

characters that suffer from jealousy are driven to make hasty,

harsh decisions which eventually lead to unfortunate

consequences, following the pattern of the Shakespearean tragedy.

No one thinks before acting, and even when Othello asks for a

second opinion from Emilia, he shuns her as a "simple bawd"

(IV,ii,22). Quick assumptions dictate most of the story and most

of the deaths.

Character flaws may start out as little weaknesses,

sometimes even positives. But gradually, as the plot unravels,

they are magnified and nurtured by Iago. The essential nature of

man is that no one is perfect, due to original sin. For the vile,

abominable Iago, his job is made easier, and he almost mocks

himself. Most of his friendly advice consists of self-

confessions, but his victims are either too proud, too credulous,

or so blinded by passion that they don't notice.