A study of the character of Iago from Shakespeare's Othello. Traces the trends of interpretations, schools of thought, and major influences in interpretations of Iago as manifested in a survey of the writings of Shakespearean critics of the eighteenth, nineteenth, and twentieth centuries. The emphasis of the study shall be on twentieth-century criticism, with possible established patterns of interpretation and their relation to or deviation from the patterns of the two previous centuries.

The different interpretations of the character of Sir John Falstaff have been so controversial that at no time since the presentation of the Henry IV plays have critics been able to agree as to his precise qualities. He has been called the greatest humorous character in all literature by even those critics who have spoken adversely of his other traits. George Bernard Shaw called him "a besotted and disgusting old wretch," an opinion added to those of others who have seen him as a coward, liar, cheat, thief, glutton, and rogue. There is no denying that he is one of the most captivating and controversial of all characters in English literature.

This study combines formal analysis of Shakespeare’s texts with an investigation of early modern English culture in order to explore the social energy circulating between. It argues that the conceptual categories of fluidity and loci are two features prevalent not only in Shakespeare’s plays specifically, but also in early modern English culture generally. Chapter One maps out the scholarship on death and memory in early modern English culture; Chapter Two investigates fluidity and loci in numerous forms, including humoral bodies, identities, money, commodity and texts, as regards physiology, economics, cosmology and politics. Chapter Three on Hamlet investigates corruption and fragmentation regarding both death and memory, and it also argues that Hamlet is troubled by memory’s excessiveness and fickleness. Chapter Four explores time, memory, emotion and death in Macbeth, followed by a study of Henry V, The Tempest and The Winter’s Tale in Chapter Five. There are two points underlying the argument of the whole thesis. The first point is that, whereas the brain-centred understanding of memory was predominant in early modern England as in other European countries, there was also a heart-centred tradition. Although the brain and reason still occupied pivotal positions in early modern England, the heart and emotion were given substantial attention by Shakespeare among others. As regards the relationship between the heart and the emotions, there were also two divergent attitudes to emotion: praise of emotion and denigration of emotion. As the connotations and history of the term “emotion” are complex, this study distinguishes between it and its synonyms such as passion, affection, feeling and the Chinese concept of qing. Other Chinese philosophies such as Daoism and theories including Yin-Yang theory and “Three Immortality” are also explored to shed light on the foci of this study. Secondly, this thesis argues that there are two categories of memory, namely, locative memory and fluid memory, and Shakespeare was influenced by both. It also contends that the eradication and displacement of memory provoked anxiety about memory, just as the displacement and annihilation of corpses, mainly caused by plagues and the Reformation as well as other factors, lead to heightened anxiety about death in early modern English culture.