Bibliophiles and students studying literature recognize and affirm the claim constantly: the themes and actions contained in Shakespearean drama present indelible, universal truths. Shakespeare composed dialogue which was intended to psychologically relate to the common mindset, across a broad spectrum of generations. Although no Shakespearean setting, action, or motive applies to every contemporary situation, individuals frequently find themselves contemplating the very cerebral habits a sixteenth-century man used to delight his audiences. Not surprisingly then, one can easily find facsimiles of Shakespearean themes strewn throughout modern-day literature and media. The drama “Othello” illustrates several of these timeless themes, not the least of which notes the foolish loyalty and trust of unsuspecting characters towards their close colleagues. Iago, the antagonist and possibly most notable Shakespearean villain cultivates and subsequently exploits this loyalty to gain revenge on his superior, Othello. Modern equivalents of “Othello” present a similar topic. Tyler Durden of the film “Fight Club” uses his cult-like leadership skills to coerce his corporate friend into management of an underground brotherhood. Much of the same blind obedience and manipulation can be found in the literary classic Lord of the Flies. A lack of parental supervision leads to discord and chaos among highly impressionable young boys who ultimately follow their savage leader into the killings of their innocent peers. The tendencies of man to blindly trust his friends, captured in fiction and film, perpetuate Shakespearean texts such as “Othello.”
The eccentrically based but widely popular film “Fight Club” introduces two main characters whose influence on each other mirrors the relationship between Othello and Iago. Much like Iago’s suggestion and inference techniques when he says to Othello, “Receive it from me. I speak not yet of proof. Look to your wife. Observe her well with Cassio. Wear your eye thus, not jealous nor secure,” Tyler Durden plays to the weakness of the narrator’s mind (III.iii.197-199). Although the idea of a club to relieve angst and frustration through physical beating appears psychotic, Tyler recognizes the relief Edward Norton’s character feels from releasing his disdain towards established institutions through violence. He convinces the narrator to organize acts of rebellion against businesses and government and eventually becomes his alter ego (Fincher). The same can be said of Iago’s recognizing Othello’s weakness, although in a differing context. He exploits the trust Othello holds in his lieutenant and indulges in Othello’s apparent downfalls: his rashness and jealousy. Consequently, Othello maddens himself to a murderous level, falsely accusing Desdemona of infidelity and killing her (V.ii.83). Although Othello himself dies, both instances of command ultimately lead to the deaths of the men pulling the strings, Iago and Tyler Durden.
In the absence of true leadership, individuals tend to idolize the voices of their most passionate, promising contemporaries. Such is a popular and historically accurate truth. This truth continues in the William Golding work Lord of the Flies. Young boys stranded on a tropical island find themselves battling disorder in the absence of true government. Ralph, a senior child among the boys and their most likely counsel for intelligent action, attempts to organize the children to build fires, hunt, and mend shelters. Soon however, a challenger named Jack rises to popularity among the boys, mostly for his preoccupation with hunting and bloodshed. Jack commands his doting followers into tracking down food and eventually killing Piggy, another boy on the island (Golding). Due to the fragile nature of their minds, the boys cannot mentally or physically manage the notion of remaining civil while also staying alive with no superiors. They listen to the message of anarchy Jack promotes solely because it alleviates the stress they are under. While Iago manages to manipulate Othello, he also serves as a refreshing voice of counsel to Roderigo, much like Jack to the other boys. Roderigo acts much like the boys in Lord of the Flies in that he desires the love of Desdemona that is outside his reach. He desperately searches for a way to her bed, and finds hope in Iago’s false promises. Even when he raises credible suspicion, Iago quells his concern and pampers his desires with, “-I mean purpose, courage, and valor-this night show it. If thou the next night following enjoy not Desdemona, take me from this world with treachery and devise engines for my life” (IV. ii. 207-211). Much like the boys, Roderigo seeks out a person who will satiate his wants and ease his burden. Both Iago and Jack misuse their foolish loyalty for their own devices: Jack to satisfy his need for power and Iago to avenge Othello and earn some money on the side.
Perrine, Lawrence. “Othello.” Perrine’s Literature: Structure, Sound, and Sense. Forth Worth.
Harcourt College. 2002. 1361-1462. Print
Fight Club. Dir. David Fincher. Perf. Brad Pitt and Edward Norton. Regency Enterprises, 1999.
DVD
Golding, William. Lord of the Flies. Perigree, 1954. Print.
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