On Othello - Eric Shapiro - April 2009
Iago delivers his soliloquy (lines 354-362) to Roderigo with an authoritative eloquence that suggests a certain detachment from the events of the play. However, a series of contradicting claims betray a man who employs his intellect to deceive himself as much as he does the other characters. Despite his elaborate rationalizations and exaltations of man’s ability to shape his own destiny, Iago is a deeply insecure man, specifically when it comes to his sexuality. This comes across in his general hatred towards women and specific antipathy for Othello and Desdemona, whose seemingly ideal relationship contradicts ideas about sex and human nature that Iago has seized upon to prop up his own ego. Iago knows on some level, perhaps only subconsciously, that he must destroy the two lovers in order to maintain his precious illusion. The two most extensive and important pieces of evidence in support of this thesis come in Act I, Scene ii, lines 334-362 and in his rant against women from lines 219-247 in Act II, Scene i.
Throughout much of the play, Iago engages in forms of subtle and not-so-subtle manipulation of other characters in order to further his Machiavellian scheme. Therefore, the audience cannot take his words at face value. That said, by examining his soliloquys and pinpointing certain contradictions and recurring themes in his lines, one can get an idea of his motives.
One such recurring theme is apparent to the audience from the very beginning of Act I: Iago is obsessed with sex. His clear disregard for good taste is apparent in his constant, graphic descriptions of sexual behavior. Although one might make the argument that he is merely trying to provoke the other characters, some of his imagery goes above and beyond commonplace obscenity and into the realm of perversion. An obvious example: in Act I, Scene I, lines 85 and 86, he tells Desdemona’s father that “an old black ram [Othello] is tupping [his] white ewe.” Later, in lines 410-422, he fabricates a detailed story about Cassio, mistaking him for Desdemona as he sleeps: “Then kiss me hard… laid his leg o’er my thigh, and sighed, and kissed.” Regardless of whether the latter description hints at latent homosexuality in Iago, as some Shakespeare scholars have concluded, his description is clearly overkill and suggests an obsession.
Iago’s preoccupation with sex is defined by two basic assumptions. The first is that human beings are slaves to their baser impulses. It is for this reason that he so often describes characters as animals, especially when they are involved in sexual behavior. In a speech to Roderigo, he elaborates on his cynical view in a key speech in Act I, Scene 3, lines 329-332, when he calls love a “sect or scion” of “raging motions” and “carnal swings.” In this speech, Iago also reveals a certain racial element to his motivation; for example, he refers to Othello as a “lusty Moor,” and insists that blacks are “changeable in their wills.” (346-347) Iago’s racism is not a unique character trait but rather a reflection of contemporary attitudes (as evidenced by Brabanio in Act I, Scene I). That said, it does add another dimension to his jealousy; the fact that a mere black man, born a slave, can attain marital bliss when he cannot drives him to distraction. Iago even admits in a soliloquy at the conclusion of Act II Scene I: “Now I do love her [Desdemona] too; not out of absolute lust, though, peradventure, I stand accountant for as great a sin.” This also touches upon Iago’s fixation on class and rank. His first purported motivation for hating Othello (that he promoted Cassio over him) is significant for this reason alone, as he rarely shows evidence of any ambition that goes beyond sowing misery.
Iago’s second assumption is that women are particularly devoid of morals and slaves to their imperfect natures. His seemingly light-hearted (if untactful) exchanges with Emilia and Desdemona in Act II, Scene ii, lines 145-158, constitute some of his most important lines in the play due to the fact that he has no ulterior motive in speaking them. He reveals unrealistically high expectations for women, ironically criticizing them for being deceptive even when this is a character trait that he ascribes to himself in Act I, Scene iii.
It is significant that save for in this one instance, Iago chooses to gloss over the issue of his motivation. This is particularly telling in light of his nature; he is meticulous and calculating, but he shows no tendency towards introspection. His skill at manipulating others requires not only logistical planning, but also deep insight into what makes people tick, yet he almost never scrutinizes himself with the same rigor as he does Othello, Desdemona and Roderigo. Instead, he voices suspicions (perhaps, more accurately, excuses) with no apparent basis in reality to avoid confronting his own perceived inadequacies. Iago has his one great moment of self-insight, albeit unintentionally, in Act I, Scene 3 when he confesses his allegation that Othello slept with his wife: “I know not if’t be true/but I…/will do, as if for surety.” In this one crucial instance, Iago explicitly states that his hatred for Othello is not entirely logical, but rather the product of his own deeply seated neuroses.
Shakespeare divulges no motivation for Iago’s reprehensible behavior beyond a vague insecurity (he is the only major character with no back story to speak of). Perhaps he has homosexual feelings for Othello; that would help explain his hatred towards women. Or perhaps he has had one or many bad relationships with females and is determined to enact revenge or “prove” his opinions to himself and to the world. Ultimately, the cause or causes of Iago’s neuroses, while interesting to ponder, are unimportant. Instead, he, like Othello, is a living testament to the danger of falling prey to one’s neuroses.
Throughout much of the play, Iago engages in forms of subtle and not-so-subtle manipulation of other characters in order to further his Machiavellian scheme. Therefore, the audience cannot take his words at face value. That said, by examining his soliloquys and pinpointing certain contradictions and recurring themes in his lines, one can get an idea of his motives.
One such recurring theme is apparent to the audience from the very beginning of Act I: Iago is obsessed with sex. His clear disregard for good taste is apparent in his constant, graphic descriptions of sexual behavior. Although one might make the argument that he is merely trying to provoke the other characters, some of his imagery goes above and beyond commonplace obscenity and into the realm of perversion. An obvious example: in Act I, Scene I, lines 85 and 86, he tells Desdemona’s father that “an old black ram [Othello] is tupping [his] white ewe.” Later, in lines 410-422, he fabricates a detailed story about Cassio, mistaking him for Desdemona as he sleeps: “Then kiss me hard… laid his leg o’er my thigh, and sighed, and kissed.” Regardless of whether the latter description hints at latent homosexuality in Iago, as some Shakespeare scholars have concluded, his description is clearly overkill and suggests an obsession.
Iago’s preoccupation with sex is defined by two basic assumptions. The first is that human beings are slaves to their baser impulses. It is for this reason that he so often describes characters as animals, especially when they are involved in sexual behavior. In a speech to Roderigo, he elaborates on his cynical view in a key speech in Act I, Scene 3, lines 329-332, when he calls love a “sect or scion” of “raging motions” and “carnal swings.” In this speech, Iago also reveals a certain racial element to his motivation; for example, he refers to Othello as a “lusty Moor,” and insists that blacks are “changeable in their wills.” (346-347) Iago’s racism is not a unique character trait but rather a reflection of contemporary attitudes (as evidenced by Brabanio in Act I, Scene I). That said, it does add another dimension to his jealousy; the fact that a mere black man, born a slave, can attain marital bliss when he cannot drives him to distraction. Iago even admits in a soliloquy at the conclusion of Act II Scene I: “Now I do love her [Desdemona] too; not out of absolute lust, though, peradventure, I stand accountant for as great a sin.” This also touches upon Iago’s fixation on class and rank. His first purported motivation for hating Othello (that he promoted Cassio over him) is significant for this reason alone, as he rarely shows evidence of any ambition that goes beyond sowing misery.
Iago’s second assumption is that women are particularly devoid of morals and slaves to their imperfect natures. His seemingly light-hearted (if untactful) exchanges with Emilia and Desdemona in Act II, Scene ii, lines 145-158, constitute some of his most important lines in the play due to the fact that he has no ulterior motive in speaking them. He reveals unrealistically high expectations for women, ironically criticizing them for being deceptive even when this is a character trait that he ascribes to himself in Act I, Scene iii.
It is significant that save for in this one instance, Iago chooses to gloss over the issue of his motivation. This is particularly telling in light of his nature; he is meticulous and calculating, but he shows no tendency towards introspection. His skill at manipulating others requires not only logistical planning, but also deep insight into what makes people tick, yet he almost never scrutinizes himself with the same rigor as he does Othello, Desdemona and Roderigo. Instead, he voices suspicions (perhaps, more accurately, excuses) with no apparent basis in reality to avoid confronting his own perceived inadequacies. Iago has his one great moment of self-insight, albeit unintentionally, in Act I, Scene 3 when he confesses his allegation that Othello slept with his wife: “I know not if’t be true/but I…/will do, as if for surety.” In this one crucial instance, Iago explicitly states that his hatred for Othello is not entirely logical, but rather the product of his own deeply seated neuroses.
Shakespeare divulges no motivation for Iago’s reprehensible behavior beyond a vague insecurity (he is the only major character with no back story to speak of). Perhaps he has homosexual feelings for Othello; that would help explain his hatred towards women. Or perhaps he has had one or many bad relationships with females and is determined to enact revenge or “prove” his opinions to himself and to the world. Ultimately, the cause or causes of Iago’s neuroses, while interesting to ponder, are unimportant. Instead, he, like Othello, is a living testament to the danger of falling prey to one’s neuroses.