When considering this remark, it is important to examine the nature of Iago by incorporating perspectives from other critics. One interpretation of Coleridge is that Iago began his plot without knowledge of its ultimate purpose.
Iago’s malevolence and ill intentions are evident in the play, but his reasons behind his actions remain unclear. In his initial soliloquy, Iago expresses doubts about Othello having an affair with his wife. Although uncertain of its truth, he resolves to act as though it is true. This reinforces the argument that Iago is entirely evil and desires to inflict harm and disorder. Through this soliloquy, he reveals the vulnerability of his professed motives.
According to some suggestions, Iago’s motives vary from believing that Emilia has been unfaithful to Othello, to suspecting her of being unfaithful to Cassio. Additionally, it is occasionally implied that he has a strong attraction towards Desdemona. However, the critic A.C. Bradley regards these ideas as mere “typical lunacies”.
I understand this concept because there isn’t much evidence to support any of these ideas. Among all of Iago’s motives, I believe his strongest one is revealed early on in Act One Scene One. This may be because his emotions are most intense at this point, before his attention is consumed by his intricate scheme. In today’s modern, post-Freud era, we might better comprehend the psychological factors that propelled Iago to carry out his crimes.
Cassio bears the brunt of Iago’s wrath after surpassing him in promotion. “Preferment goes by letter and affection.” In today’s society, we might view Iago with more sympathy considering this. In the Elizabethan era, any criticisms of Cassio originates from Iago’s resentment for being surpassed. The promotion of Cassio is one of the few pieces of information provided by Iago that can be confirmed. Besides this, the only truths we learn from Iago are his soliloquized thoughts – if there is one positive attribute that Iago possesses, it is his ability to accurately perceive others, looking beyond mere appearances. “He hath a daily beauty in his life that makes me ugly.” This self-reflection demonstrates that even Iago possesses human traits (albeit negative ones), eliminating the notion that he is purely evil.
He frequently demonstrates pleasure in the suffering he inflicts on other characters, as he observes, “Pleasure and action make the hours seem short.” This desire for Othello to “thank me, love me and reward me” can be attributed to his jealousy. While Iago is often regarded as resourceful in devising his schemes, I believe his mysteriousness and cynicism are often mistaken for cunning. Iago is even hailed as “an excellent actor,” as evidenced by Othello who believes him to possess “exceeding honesty.” John Goodwin describes Iago as an enigma, with motives that appear insufficient for the tragic outcome, yet this observation often goes unnoticed by observers.
Contrary to popular belief, I think that many of his responses are not carefully considered but rather impulsive. The act of killing Emilia provides support for at least one out of three arguments. Primarily, it demonstrates that he is, regardless of what others say about him, an entirely unfeeling and detached individual. Secondly, it implies that his plan is flawed as his primary strategy seems to involve eliminating those who possess excessive knowledge. Lastly, it suggests the potential existence of a loveless marriage. It is essential to examine this through an Elizabethan lens instead of a contemporary one.
The marriage between Iago and Emilia seems to have been primarily driven by physical and practical motives, with both parties acknowledging this. In the Royal Exchange production of the play, Emilia is portrayed as a knowledgeable and worldly woman who discerns Iago’s malicious schemes. Conversely, Iago is depicted as being nervous around his wife in this adaptation, even resorting to pitifully exclaiming “filth thou liest” when she exposes his deceit in the final scene.
Emilia may not have realized until now the extent of Iago’s plan in the play. Some critics consider her foolish and short-sighted as a result. However, she exhibits a wise understanding that Desdemona lacks when it comes to marriage – “let husbands know their wives have sense like them.” This implies that her own experience in marriage may have involved submission, playing dumb while secretly being aware of more than she reveals to her husband. Iago consistently demonstrates misogyny throughout the play, with one example being when he refers to Emilia as a “good wench,” showing his utter lack of respect for her.
When assessing Iago’s motives, it is essential to analyze the specific accusations made against him. Essentially, Iago assumes the role of an instigator – any subsequent events can be attributed to how other characters react to the deceptive clues he offers. Therefore, I find it more appropriate to depict him as a “catalyst” rather than a puppet master. For example, there are those who argue that the bond between Othello and Desdemona was built on superficial grounds and could have encountered challenges even in the absence of Iago’s intervention.
Although there are arguments denying Iago’s responsibility for sabotaging Othello’s marriage, the quote from Othello: “She loved me for the dangers I had passed and I loved her that she did pity them,” makes it challenging to support this viewpoint. The evidence indicates that Iago deliberately undermines Othello’s marriage in his soliloquy, where he sarcastically questions his own wickedness and confesses to intentionally advising Cassio to do the same.
In my opinion, he seems to acknowledge that he can use the excuse of ‘plausible deniability’ if he is found to be responsible. In this monologue, Iago’s language implicates him as not only morally corrupted by intention but also by nature. He displays a certain cynicism, if not disregard for religion – “her (Desdemona’s) appetite shall play the God”. He also takes pride in the wickedness of his actions by comparing them to those of demonic entities – “When devils will their blackest sins put on they do suggest with heavenly sins as I do now”.
The intent of Shakespeare is not to present Iago as a representation or embodiment of the devil, but rather as a character with a “nihilistic personality” – undoubtedly malicious, yet still inherently human. The reasons he gives for his actions are merely rationalizations that he cruelly enjoys. However, we can discern an alternative interpretation when Iago twists St. Paul’s statement of “By the grace of God I am what I am” into his deliberately evasive declaration of “I’m not what I am”. This highlights how being non-religious, particularly in societies with strong religious influences in earlier centuries, was something that people had to keep to themselves.
The secretive and begrudging behavior demonstrated by Iago could be attributed to his renunciation of religion and God, as even a subtle rejection of these beliefs was considered inherently evil. Individuals who displayed such behavior were instantly labeled as a ‘malignity’.
