Iago is consumed with envy, and so carelessly begins his scheme that will eventually result in the destruction of the lives of many of those who are ‘close’ to him in a selfish and egotistical attempt to take what he feels is rightly his. Iago manipulations are rewarded at the end of Act III Scene 3 when he is given that which he has craved throughout the whole play. In that scene Othello states “Now thou art my lieutenant” after instructing Iago to kill Cassio.
Medieval plays often contain an evil character that, many believe, signifies the ‘Devil’; throughout the play Iago has all the qualities of a devil in disguise; he does not look or speak evil but all the time his actions and soliloquies give away his true character. Iago, ironically speaks the truth when he hints at his true character (1.1.65) "I am not what I am," which could be interpreted as "I am not what I seem." He is a liar and he makes promises he has no intention of keeping, he also tells fancy stories in order to trap people and then uses their vulnerabilities (Roderigo's desire for Desdemona, Cassio's desire to be reinstated) and weaknesses (Othello's low self-esteem and Cassio's inability to function whilst drunk), to achieve his ends and lead them unsuspectingly to their destruction.
Shakespeare provides Iago’s character with credibility by revealing his weakness: even though Iago appears to be managing everyone else's insecurities to his personal advantage his own insecurity is in fact revealed in Act 1, with his irrational desire to be made lieutenant.
In comparison, Othello is a strong character with great integrity and in many ways he is regarded by the audience as a hero. Although he is a racial outsider, his skill as a soldier has made him a valuable military leader in the Venetian army.
Shakespeare portrays Othello as a powerful and natural leader although insecure and lacking in confidence and social skills. He feels unworthy of his delicate wife and as a result is quick to believe Iago’s insinuations. In Act I Scene 3, although having previously spoken eloquently, he says “Rude am I in my speech and little blest with the soft phrase of peace”. His character is isolated throughout the play by his different skin colour and cultural differences. He is often referred to in racist terms: these include “the Moor” (1.1.57) and “the thick-lips” (1.1.66), although the other characters appear to regard the derogatory terms as fitting and ‘the norm’.
A recurring theme throughout play is the animal imagery with reference to Othello and his relationship with Desdemona; i.e. savage, illiterate and beneath the true Venetian society. Iago calls Othello a “Barbary horse,” an “old black ram,” and also tells Brabantio that his daughter and Othello are “making the beast with two backs” (1.1.117–118). Cassio complains that, when drunk, he is “by and by a fool, and presently a beast!” (2.3. 284–285). The animal imagery used by Iago “prime as goats, as hot as monkeys” greatly disturbs Othello and fuels his rising paranoia.
The great tragedy of Othello’s downfall is that Othello is actually introduced to the audience as a collected and secure man, with great power and control over his life. For example, in Act 1 Scene 2 lines 80-3, when Othello is the source of Brabantio’s rage, Othello says “Hold your hands, both of you of my inclining and the rest. Were it my cue to fight, I should have known it without a prompter”. Othello is naïve about social arts and because of this, later in the play; he allows his victorious military experiences to cross into his social life in a bid to regain the acceptance and control he had experienced as a leader in the Venetian army.
Othello trusted and relied on ‘honest’ Iago in military situations and Iago uses that trust when he begins to scheme to discredit Cassio and Desdemona. Shakespeare chooses Iago’s words very carefully; he also uses hesitation, pauses and telling silences to great effect. The silences trouble Othello more than any words could because they imply that Iago ‘knows’ much more than he is willing to admit and is sparing Othello’s agony because he ‘loves’ him so much. Othello urges Iago to tell him what he is thinking “If thou dost love me, show me thy thought” Iago continues his innuendos by simply replying “you know I love you.” implying that he reluctant to tell Othello anything unpleasant. When further pressed he says “Utter my thoughts? Why, say they are vile and false” (Act 3, scene III,)
Shakespeare uses imagery skilfully in many themes that continue throughout the play, the contrasting black and white imagery and the references to animals are especially powerful. The former highlights the differences between Othello and Desdemona. As Othello becomes increasingly disturbed by Iago’s suggestions he seizes on this difference as an explanation for her infidelity, he feels unworthy of her. Othello uses the black and white imagery to express his grief at Desdemona’s betrayal; “Her name, that was as fresh as Dian’s visage, is now begrimed and black as mine own face.” It takes very little evidence to convince Othello of Desdemona’s unfaithfulness, all Iago has to do to is to make him begin to doubt Desdemona, and Othello then succumbs to an all consuming jealousy that results in his absolute rejection of her.
Symbolism used in the form of the handkerchief plays a significant part in the play. The handkerchief symbolizes different things to different characters. Since the handkerchief was the first gift Desdemona received from Othello, she keeps it about her constantly as a symbol of Othello’s love. Iago successfully manipulates the handkerchief so that it changes, in Othello’s mind, from being a symbolic representation of his love to his actual love which Desdemona carelessly gives away.
“Trifles light as air is to the jealous confirmation strong as proof as holy writ” Iago gloats in soliloquy “the Moor already changes with my poison.”
Shakespeare uses rhetorical questions; with Iago asking Othello “Are you a man?”, “Have you soul or sense?” Single words are used in Iago’s rhetoric such as monster and jealousy, to infer a significant meaning and to disturb Othello’s mind. Shakespeare uses the irony of Iago being jealous of Cassio’s appointment as Othello’s lieutenant when he mocks Othello for his own jealousy, having succumbed to the ‘green-eyed monster’.
Iago continues his work on Othello boosted by the fact that his words are having effect on Othello’s mind, and he is successfully fuelling Othello’s vivid imagination. Othello is still convinced that Desdemona is honest and Iago mocks his loyalty whilst pretending to agree saying, “Long live she so! And long live you to think so!”
Throughout this crucial scene Shakespeare manages to set the fateful events without Iago ever uttering the actual words of accusation to Othello. Iago echoes many of Othello words bringing doubt into his mind, Shakespeare uses this masterful manipulation along with innuendos, pauses and silences to set this pivotal scene as the force that drives the play to its tragic end.
Question 2: Consider how a Jacobean audience would react to the characters of Othello and Desdemona.
Shakespeare uses the common knowledge, opinions and prejudices of his Jacobean audience to set the stage for this play.
During Shakespearean times, marriage was seen as a way for families to improve their status. Parents would try to arrange marriages that would bring financial and social advantages. By law, all young women were the property of men, beginning with the head of their family, then father or eldest brother and, following their marriage, the property of their husband. It was the wife’s duty to obey their husband. It was in this context that Jacobean audiences would have viewed Desdemona’s actions. So in act III, scene 3, an audience would have been shocked to see her strongly criticize Othello for responding to her requests for him (to meet with Cassio and reinstate him as his lieutenant) so grudgingly and hesitantly.
Those who viewed the play in the 17th century would be familiar with the racist terms used when insulting Othello, and find them acceptable. Many could actually relate with Brabantio’s beliefs that his daughter has been stolen from him by magic “charms,” and would feel that the mixed partnership of Desdemona and Othello was wrong. Shakespeare manages to challenge these racist morals by having a black hero and white villain. He also shows that Desdemona and Othello have true loving feeling towards each other and even though they are from different cultures and heritages, it is Iago’s manipulation that drives them apart, not their ethnic origins.
When animal references are used with regard to Othello, as they frequently are, they reflect the racism both of characters in the play and of Shakespeare’s contemporary audience.
From the very beginning of the play the audience is told that Othello is an outsider. He does not seem to belong to our world, nor do we know how he managed to arrive. He is not even a European, much less an Italian. This racial and cultural difference is explored throughout the play, mainly in the opening Act. Eventually, his lack of knowledge regarding the customs of Venetian women helps to contribute to his downfall.
