Act 1 is an exceptionally indicative passage of writing in which Shakespeare attempts to divulge the coarse essence of Iago's nature to the audience
Act 1 is an exceptionally indicative passage of writing in which Shakespeare attempts to divulge the coarse essence of Iago's nature to the audience. Indeed, by the conclusion of line 66 the audience not only understands - in broad terms - Iago's motives and grievances, but also something of the manner in which he intends to consummate vengeance against his ostensible antagonists. Iago's interactions with Roderigo also serve to adumbrate, or perhaps anticipate, his adroit manipulation of those under his sphere of influence throughout the text.
It is a credit to Shakespeare's astuteness that he is able to present the crucial circumstances of the play well before the end of the first act. During the formative stages of Act 1, Iago's argument with Roderigo provides a context for both men's grievances. Initially Roderigo accuses Iago of cheating him, of using his money 'as if the strings [of his purse] were [his]' (I i 3), and only later is Roderigo's obsession with Desdemona (and subsequent dislike of Othello) revealed. Iago uses unambiguous language to describe his grievances, essentially asserting that he was entitled to gain the promotion gifted to Cassio - 'the bookish theoric' - through an act of cronyism whereby Iago had been unjustly overlooked by the corrupt system of promotion whereby 'Preferment goes by letter and affection' (I i 36). Iago later goes on in scene 3 to refer to the possibility that Othello has been intimate with his wife, Emilia, and though he himself is the first to admit that it is a 'mere suspicion', he maintains that it 'Will do as if for surety.' Clearly his willingness to delude himself to serve his own ends is an interesting parallel to his continual manipulations. Regardless, Iago always seems to resonate an air of vacillating yet ever present manipulative control over those around him, a fact demonstrated in his handling of Roderigo; converting him from an angry creditor to a willing accomplice and schemer. Iago is not only able to mollify Roderigo's anger, but also to convince him to 'put money in [his] purse' (I i 330) against any remaining fibres of sense the man has (the aggregate combination of which - in Roderigo's case - would probably constitute a [very] short length of docking rope). In this way - prior even to the first soliloquy (the focus of this commentary) - Shakespeare is able to introduce or even directly refer to most crucial aspects of the text.
Iago's harangue commencing in line 41 can - with some reservation - be referred to as a soliloquy. While Roderigo is present for the duration, Iago's disclosures seem consistent with his real character - during his dialogues with Roderigo he seems to come closest to revealing his true psyche to another individual. Iago's indifference to Roderigo's presence during these spiels is indicative of the contemptuous disdain he holds for him. Iago has so little respect for the mental faculty and worth of Roderigo as a human being both morally and functionally, that to impart to him the basic ...
This is a preview of the whole essay
Iago's harangue commencing in line 41 can - with some reservation - be referred to as a soliloquy. While Roderigo is present for the duration, Iago's disclosures seem consistent with his real character - during his dialogues with Roderigo he seems to come closest to revealing his true psyche to another individual. Iago's indifference to Roderigo's presence during these spiels is indicative of the contemptuous disdain he holds for him. Iago has so little respect for the mental faculty and worth of Roderigo as a human being both morally and functionally, that to impart to him the basic essence of his feeling allows Iago to vent his feelings without fear of disapprobation. Regardless, save from disclosing the essential parts of his scheme or those specifically pertaining to Roderigo's downfall, Iago freely expresses emotion during his 'confessions', such as is common in true soliloquy or monologue. This use of soliloquy throughout Othello is a crude but effective tool by which Shakespeare is able to ensure the audience's comprehension of both the plot, and the progression of the characters themselves. Such speeches serve two distinct purposes: to draw a contrast between the manifest behaviour of Iago and the latent implications of his actions (thus invoking the dark irony[1] so abundantly dispensed throughout the text), and to reinforce the audience's awareness of Iago's lucid cognisance (thereby ensuring Iago is held accountable). For example, a character might do one thing guided by Iago's council, and Iago will then discuss how he has just screwed them over. The audience can see Iago knows exactly what he is doing - he either premeditates some Machiavellian scheme, or is blessed with the devil's luck and realises it. In this sense, Iago's discussion with the audience seems to be his gleeful confessional; he is quite explicit about his intentions and ensures that the audience (and in this case also Roderigo) knows this. Yet, in this particular diatribe Iago speaks with such rancour not to confess his knavery but to incite and encourage Roderigo's grudge against Othello; it is, in a sense, his first act of duplicity.
Most pressingly of course, Iago is quite explicit regarding his intention to 'serve [his] turn upon [Othello]' through a façade of servitude, through false 'visages of duty'. He explicates the rudiments of his plan to Roderigo, asserting that 'In following [Othello], [he] follow[s] but [him]self' - that his service to Othello is only a means by which Iago is to secure his own ends. Essentially he attempts to convey a notion of self-serving ambition; that he, Iago, is willing to '[throw] shows of service on [his] lord', but that to genuinely subjugate himself to any master would be to demean his very soul[2]. Indeed, Iago issues an acerbic malediction of subjugates and servants, describing their 'obsequious bondage' and sad dependence on subsistence wages[3] in the most contemptuous and scornful manner, savagely ejaculating 'whip me such honest knaves'! In this way, the oration itself takes steps toward establishing the essence of Iago's character, his disdainful condemnation of servitude, inaction and lack of ambition serving to exemplify and rationalise his feelings of superiority throughout the text. However, Iago continues to define a second and (in his way of thinking) more honourable or intelligent type of servant. While this 'knee-crooking knave ... wears out his time' in his grovelling service', there are others who 'Do themselves homage' by keeping 'their hearts attending on themselves' and, as has already been suggested, putting up only a façade of service. Iago goes so far as to say that although 'We cannot all be masters,' that not all masters should ever 'be truly followed' and implies a certain nobility in serving oneself. He seems to hold a great respect for such duplicitous, ambitious servants, and 'such a [servant] do[es] [he] profess [him]self' to be - again, his admiration of others only seems to apply when it can serve his own egotistic self-love. The really interesting contrast that Iago draws between these two types of servant is that of potential for success. While he maintains that the duteous servant 'wears out his time' until he is cashiered, accomplishing little through his hard life of service, he stresses that those false servants should thrive and may '[line] their coats' with silk. This is interesting considering the case of Cassio; he is one of Othello's most loyal lieutenant and friend, and prior to Iago's meddling is in line to inherit a position of quite some authority. Perhaps this is an example of Iago exaggerating the truth (or fabricating lies to suit his own means), or perhaps another example of his own genuine (if mostly willing) delusions (similar to his willingness to believe in his wife's infidelity). Then again, Iago is really speaking here of notional stereotypes, so the essential point still retains its value. Regardless, of these duplicitous men he speaks in admiration, exclaiming 'These fellows have some soul' (a statement with a whole entourage of moral implications), yet their existence is entirely hypothetical in Othello - not one such man exists in the entire play (with the exception of Iago), so such a statement is essentially self-approbation. At one point Iago claims ' I never found a man that knew how to love himself' (I,iii,308), but this is essentially false, Iago 'know[s] [his] price', and he sees the stupidity, incompetence and decadence about him, and is repulsed. Clearly Iago is under the impression that he is far more intelligent and worthy of prominence than the degenerates around him, the 'honest knaves'. They bring their torment and perpetual servitude upon themselves simply by being so stupid and helpless. Iago hates incompetence, and he hates abject servitude; consequently his loathing for the Moor only deepens as he is perceptibly subjugated to Iago's manipulation. Regardless, the inference is that Iago seeks to line his own coat so that he might be master, stressing the conditional nature of his Machiavellian 'vaulting ambition' by claiming that 'Were [he] the Moor, [he] would not be Iago'. Essentially, Iago is saying that a servant needs be cunning and devious only so long as his circumstances oblige him to struggle against subjugation - that without any master the impetus for duplicity would remove itself, and that any man would be content to remain sincere. So Iago clearly reveals a desire to have no master - his 'peculiar end' is to exact his revenge on Othello and Cassio while providing himself with prosperity. The moral implications of the reference to the duplicitous servant having 'some soul' becomes more relevant by line 60, when Iago makes further reference to divinity, declaring 'Heaven is my judge, not I for love or duty'. These two statements along with the self-righteous tone of the passage seem to suggest that not only does Iago understand his malfeasance, but sees it as his moral prerogative to pursue his ambitions at the expense of others; he sees those servants who manage to 'do themselves homage' as the ones who have enough backbone and intellect to serve themselves well. He goes so far as to say that to openly disclose genuine desires would be exceptionally stupid, since to 'wear [ones] heart upon [ones] sleeve' would be to leave it 'For daws to peck at'. Here Iago is attempting to convey that if his true inclinations were known, it would leave him dangerously vulnerable, and that common sense should preclude any notion of disclosure or sincerity. This statement proves to be a sad truism, since Desdemona, Cassio and Othello are all sincere creatures, and Iago is able to consistently use that fact to his advantage to cause Othello's downfall. So Iago proves his own case for the virtues of insincerity and the dangers of honesty, and thereby concludes with the line 'I am not what I am.' This declaration epitomises the character of Iago, being a statement that describes not only his present state, but serves to describe his way of being. Everything Iago does is false, directed toward achieving his own ends. Even during his declaration his interlocutor, Roderigo, is being subjected to Iago's falsity, scorn and utter disdain. While he explicates his detestation of abject servitude, he holds the same silent contempt for Roderigo himself, whom he sees as an idiotic and subservient human being. It is, then, ironic that the only person with whom he shares his contempt for the grovelling servant, is one of his own.