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Jim McCrory

Treading the path of Wordsworth

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Edited by Jim McCrory, Saturday, 29 Mar 2025, 08:24


"We laugh, we cry, we care about characters on screen, not because we forget they aren't real, 

          but because they evoke real emotions in us." — Anonymous.



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Whilst Sir Walter Scott took a trip to Stratford-upon-Avon, Li, a Business Studies student at Glasgow University, was on a road trip with friends to see the Glenfinnan Viaduct. That same year, Kioko, a middle-aged widow, boarded a flight from Tokyo to Canada. Years earlier, her mother had flown from Tokyo to Edinburgh.

Aside from the obvious differences, they all had something in common: they were on similar missions. Each was indulging in what psychologists call parasocial relationships—or unilateral relationships. Sir Walter Scott set off to visit the home of his literary hero, Shakespeare. Li and her friends were headed to the spot where the Hogwarts Express crossed the viaduct. Kioko was travelling to visit the home of Anne of Green Gables, and her mother had once journeyed to the city where the Bay City Rollers had grown up.

I am no exception. One late spring in 2017, my wife and I took a trip to Britain’s Lake District. While there, we decided to visit Grasmere, the village where Wordsworth had lived, and the subject of much of his poetry.

When we arrived, Grasmere was ghostly—eerily still despite the bright summer morning. We strolled through the small village and eventually arrived at Wordsworth’s cottage. Suddenly, a group of forty or fifty Indian visitors appeared—professors, literature teachers, poets, and literary enthusiasts. Having studied English literature myself, I was intrigued to know why they had travelled from Delhi, Kerala, Gujarat, and Hyderabad to make this pilgrimage to the home of their beloved poet.

Their schedule was tight, but I managed to speak with one man from Delhi—a poet. I asked him a question that has often occupied my thoughts: Why do we make such journeys to visit the places that inspired our favourite writers, poets, and fictional characters?

I deliberately used the collective “we,” as I, too, am caught in this curious psychological phenomenon. Yet, in our brief conversation, we merely danced around the question. I walked away with a lingering sense that the answer remained incomplete—unexplored.



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Jim McCrory

The Tragedy of Trust: When Good Faith Meets Deception

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Edited by Jim McCrory, Tuesday, 19 Nov 2024, 15:15


We all know someone who, in Iago’s mould who uses lies and deception to exploit, betray, and divide. They are in the family, workplace, congregation and anywhere were there are people.




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The Tragedy of Trust: When Good Faith Meets Deception

 

When I studied Shakespeare’s Othello, it broke my heart in a way few works of fiction do. I was drawn to Othello, feeling his intensity, his strength, and his tragic flaws, only to see him fall, bewilderingly, into a web of lies. By the end, I couldn’t shake the question: why was he so easily taken in by Iago? How could someone so powerful be so susceptible?

Iago, Othello’s ensign, is the root of the tragedy, a character defined by deceit, manipulation, and a remarkable skill for sowing discord. He systematically ruins Othello’s life, convincing him that his loyal wife, Desdemona, has been unfaithful. Though Shakespeare would not have used the term, Iago’s behaviour closely matches what modern psychology would describe as sociopathic. What strikes me most is how eerily accurate Shakespeare’s portrayal is, even centuries before psychology defined these traits with clinical clarity. Iago’s lack of empathy, his relentless pursuit of personal gain at the expense of others, and his pleasure in watching others suffer are traits we now associate with a sociopathic personality.

We can recognize Iago’s traits today: manipulative, dishonest, charming when it suits his needs, yet fundamentally selfish and empty of empathy. He doesn’t care about the people he destroys; he simply sees them as pieces on a board. Like many modern psychological profiles, he thrives in creating chaos, deriving satisfaction not from personal victories alone but from watching others unravel. There’s an unsettling familiarity here because figures like Iago exist beyond fiction—they can be found in workplaces, families, communities, and yes, even in places as sacred as churches.

Shakespeare understood, intuitively, what we now study in psychology: the profile of a person who causes harm without remorse and operates without a moral compass. Iago’s deceit is so layered, his words so plausible, that even the discerning Othello is blindsided by his betrayal. Othello, a capable, brave man, falls precisely because of his willingness to trust—a quality that ought to be a strength but becomes a liability when weaponized by a heart devoid of compassion. This insight into human weakness is what makes *Othello* so timeless and its tragedy so universal.

 The heartbreak I felt at the end of Othello—the frustration, the sorrow for Othello’s tragic misplacement of trust—is the heartbreak we sometimes feel in life when encountering similarly ruthless characters. While Shakespeare couldn’t define sociopathy, he painted a vivid picture of the devastation such a character can wreak, drawing on an intimate understanding of human nature.

In this sense, perhaps Othello isn’t fiction after all. It’s a reflection of our own lives, our relationships, and our vulnerabilities. We all know someone who, in Iago’s mould, uses charm and deception to exploit, betray, and divide. Shakespeare knew them too. And he reminds us, painfully, of what it costs to let them in.


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