Othello 1.1.42-66 - A Commentary

The focus of Iago’s speech is the discrepancy between outward appearances and inner emotion. The dominant metaphor within his lines is that of a servant – master relationship, and Iago’s belief of which traits are admirable in this. His analysis of where he stands in his relation to the Moor is reinforced by the contrast between the ‘knee crooking knave’ (Line 45) and one who would look after themselves before their masters. It is obvious that Iago has strong ambition, shown in the first line where he admits to Roderigo that he ‘follows him (Othello) to serve my turn upon him’ (Line 42). Even this early in the play it is apparent that Iago is a scheming character that always looks out for himself before all others. His earlier description of Cassio fits with the obsequious view of some servants provided, and this opinion and the jealousy over the promotion will fuel his later actions. The words used to describe the faithfully loyal are interesting, as are the rewards that will come from such apparent grovelling. Usually one would imagine that when talking to a well off gentleman that obscenities would be rare, however it is a sign of the power Iago has, and the weakness of Roderigo, that Iago can use strong images and language that may offend and rely on Roderigo to do nothing about it. Take for example the reference to the obsequious bondage, a fairly strong phrase describing the submissive nature of the servants. The use of this phrase shows of Iago’s self-confidence in his judgement of character, but also of Roderigo’s foolishness that is exploited by Iago throughout the play. It is very ironic that Iago has so much confidence in his own character judgement, but it is this judgement which eventually brings his downfall, as he does not respect others enough and doesn’t truly understand them, or himself. This is evident later in the play when he tries to justify his actions to himself when he mentions rumours of an affair between his wife and Othello, however this justification is half hearted, and does not fit in with the other impressions Shakespeare gives of Iago.

Immediately after these powerful criticisms Iago changes tact and describes in positive those who serve their masters only to serve themselves, or in Shakespeare’s words “Keep yet their hearts attending on themselves” (Line 51). It is immediately obvious, even without Iago’s profession, that these characteristics he is describing are prominent in his own character. However, it is such that Iago continues to speak of his admiration of these people, and therefore his admiration for himself. The tone of the words is obvious in several phrases, for example the line “throwing but shows of service on their masters” (Line 52) which makes it seem that the servant is in control of their master. In a way, this phrase reminds of the saying ‘to pull the wool over someone eyes’, both meaning that the protagonist is showing one thing while doing another, often greedily, a trait that Iago admires and displays often. Another example of the affinity that Iago holds to these people who serve themselves is his use of the word ‘fellow’ in the phrase “those fellows have some soul” (Line 54). These days fellow simply means another person, usually male, however perhaps in Shakespearian times the use of fellow connoted more of a sense of fellowship and similarity between people. That phrase is one of the only true compliments that Iago pays throughout the play, and thus obviously holds strong meaning to him.

Shakespeare has constructed strong irony in many aspects of Othello, but none are more powerful than the constant references by characters to Iago as honest, when in fact he is deeply entrenched in a plan that will bring about the downfall of a great, although somewhat ignorant, man. In this passage Iago acknowledges his scheming nature and his self-obsessiveness, and tells Roderigo of his hate for those truly honest and loyal. If only Roderigo were clever enough to see the signs and realise that Iago is not the trustworthy individual he believes, but one who will prove to be the opposite, instead of doting over his lost love, the tragedy may have been stopped, but there would be no play, so Roderigo must remain a fool.

It is even more ironic then, that Iago proceeds to swear on heaven. Of course Iago possesses no characteristics that are associated with heaven, however he cleverly chooses his words in order to seem like honest Iago to others. Throughout the play his word choice, and the way in which he expresses very short sentences are of vast importance. Phrases like “Were I the Moor, I would not be Iago” connote more than they reveal, another example of Iago’s tactful use of language is “Think, my lord?” (Act 3 Scene 3 Line 111), where Iago creates the desired effect, doubt by Othello of his wife’s loyalty, with minimum fuss. The ability of Iago to do this makes him one of Shakespeare’s most frightening villains as his knack for deception is obviously well developed, and his disposition is demonstrated the clearest in the last two lines of this passage, where he passionately finishes his monologue with the words “tis not long after, I will wear my heart upon my sleave, For doves to peck at: I am not what I am” (Line 65). In other words, the time when Iago demonstrates outwardly his inner feelings will be the day that he is most vulnerable, and he will not let this happen. Impressions and reactions to the tragedy to follow are magnified and heightened by this revelation, as the audience is now aware of Iago’s nature and has earlier in the passage been told of his intentions. The combination of Iago’s intentions and Iago’s character leads to a certain assessment of the reactions of other characters to the actions of Iago, and the irony of situations where he is described as honest by other characters is magnified.

The way in which Iago develops this prolonged argument, a long metaphor to indicate two contrasting approaches, a clear assertion to Roderigo of his own position, an indication of what he foresees to be a danger to his master (emphasised by his pretend role reversal) and then a conclusion which speculates as to what would happen if his inner and outer feelings were in synch all assemble to provide a powerful image and cleverly describe to the audience the nature of future events in the play, as a good first scene should do.