In keeping with last week's analysis of Richard III, this week's topic will explore the man who is likely Shakespeare's most infamous villain, "Othello's" Iago. Though Shakespeare made villains in many forms, Iago is the paragon of the contemptible in his murderous and systematic approach to inflicting a world of pain on his hated commander, Othello. From his lack of motive and incredible brilliance, to his unapologetic end, Iago plays the part of a silent malefactor with ingenious depth and venomous precision.
One of Iago's most fascinating traits is his lack of motive for hating Othello, a question that has fascinated readers for centuries. Though Iago gives a viable reason for his malice in stating that he believes Othello has committed adultery with Iago's wife, this remains one of the less credible theories of motive as he states it with an utter lack of passion that isn't augmented by his hatred of his wife. Despite this, the theory does gain a small amount of momentum in its relation to Iago's brutal plan of leading Otthelo to believe that his wife has been unfaithful to him. Through all the speculation regarding Iago's motive, one theory has stood out as, despite being outlandish in nature, one of the most well-founded conceptions of Iago's motivation: a homosexual attraction to Othello. This can be supported with numerous examples from the play, one of main reasons being Iago's disturbing fixation upon sex, as is readily apparent in his dialogue. For example, the play begins with Iago waking up Othello's unknowing father in law to inform him in the most graphic terms possible of his daughter's having "relations" with a Moore, naturally leaving out the fact that Othello and his wife, Desdemona, are married. The dialogue only gets more graphic as the play progresses with Iago acting as Othello's confidante, using this trust to regularly hint at the acts Desdemona may be engaging in with another man. This theory is also supported by Iago's directly targeting of Desdemona as the primary victim of his plots. Finally, Iago shows a total hatred for all of the women in the play, including his wife, whom he kills. Iago's motivation is an enigma that can never be fully explained, however, literary conjecture has certainly pointed to some fascinating places that make the character of Iago all the more captivating.
As with Richard III, Iago is a mastermind, perfectly capable of manipulating the circumstances and people surrounding him to create the ideal environment for his malevolent plans. It is this circumstantial control that especially works for Iago as he takes Othello's powerful position and mental stability, slowing bringing all the threads of his plans together to plunge Othello into a rage-tainted paranoia. This is done very slowly, a few well-placed comments here and there followed by the exploitation of Othello's lieutenant, Cassio's, weakness to alcohol. This results in Cassio's being demoted from his position, sending him into an acute depression. Iago then uses Desdemona's compassionate nature to have her plead with Othello on Cassio's behalf for a his reinstatement. A few more comments and the stealing of Desdemona's handkerchief, a gift from Othello, and Iago's plans begin to come to full fruition as Othello's suspicion that Desdemona is romantically involved with Cassio digs deep into his psyche, devastating his natural grace of speech and peace of mind to create an almost completely new character, one who Iago plays like a puppet. Finally, all his traps set, Iago encourages Othello that he has only one option, to destroy the adulterous couple, offering to deal with Cassio while Othello goes to perform the unspeakable act.
In keeping with his utter lack of motive, Iago's character remains completely cold throughout the entire play, never showing a hint of emotion or remorse, another hallmark of Shakespeare's skill at villain-crafting. In the play's horrific conclusion, Iago, having ambushed and wounded Cassio, returns to see Othello, his bloody deed completed. However, Iago's own wife, brings fourth evidence of Desdemona's innocence, turning on Iago and accusing him of orchestrating the horrible crime and mentioning the misplacement of Othello's handkerchief, all before being killed by Iago. This done, and Iago's guilt made apparent by this and the wounded Cassio's arrival, Othello gives his final speech, regaining his lost eloquence before wounding Iago, saying, "I'd have thee live; for in my sense, 'tis happiness to die." Othello then speaks his final words, and turns the blade upon himself. Iago, his wife dead, Desdemona murdered, and Othello perished, remains silent, even as he is lead away, having said in response to the Dukes questioning of him, "Demand me nothing;what you know, you know: From this time fourth I will never speak a word." The Duke, instructing the guards to spare nothing in torturing Iago, ends the tale, saying, "Myself will straight aboard, and to the state. This heavy act with heavy heart relate."Though his ending is fitting, the chilling silence that Iago adopts leaves a mark on the audience, quietly lauding his own brilliance and complete victory over Othello, having destroyed him in all aspects. This imports the true horror of Othello to the audience in Iago's complete victory, even as he is dragged away to a grisly fate.
Through his brilliance, mysterious motivation, and mercilessness, Iago rises to the position as Shakespeare's, and indeed one of Western Literature's, most infamous villains. The means by which he manipulates Othello into murdering his beloved, is thought-provoking and nightmarish, compounded by his silent departure from the play, his victory chillingly obvious.
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