Othello, on the other hand, comes across as honest, honourable and respectable when we meet him in Act 1 Scene 2. After Iago informs him that Roderigo, not Iago, has been spreading foul reports of Othello’s behaviour, and that Brabantio could have Othello dismissed (‘the magnifico...will divorce you, or put upon you what restraint and grievance the law...will give him cable’ – lines 12-17), Othello reacts unfazed, relying on his past services to Brabantio as a means of escaping punishment (lines 18-19 ‘My services which I have done the signory, shall out-tongue his complaints.’) Iago says he thinks Brabantio is coming and implies that Othello ought to leave for his own good, but again Othello stands by his honesty and nobility, declaring boldly that he wishes to be confronted (line 30 - ‘Not I; I must be found’), and believing that his fine qualities will speak for themselves (lines 31-32 - ‘My parts, my title, and my perfect soul shall manifest me rightly.’) This shows us that Othello’s method of getting out of difficult situations such as this one would be to trust in himself and be honest, whereas Iago would almost certainly tell a lie and/or blame somebody else. This is a major contrast in the two characters in the play.
A further key contrast between Othello and Iago concerns each character’s use of language. Mirroring the fact that Iago is two-faced and deceitful is his use of two different types of language in Act 1. Whereas most characters in Shakespeare plays, and Othello in particular, use either poetry or prose as their prominent form of persuasive speech, Iago, although more inclined to prose, uses both, freely moving and interchanging between the two to great effect, as he manipulates various characters throughout the play. Othello, by contrast, follows the common Shakespeare practice of using just one of the two in his speech – poetry – when he is attempting to persuade someone or win someone over. A clear example of this is in Act 1 Scene 3 when the Duke asks Othello to put his case for escaping punishment forward. Othello uses the rhyming form of poetry in lines 77-80 and then iambic pentameter in lines 83-89. Iago, however, does not necessarily need to resort to poetry to persuade others; as shown in the same scene where he manages to win Roderigo over while using prose (this could be seen as patronising to Roderigo!). He does, though, return to poetry when addressing the audience in a soliloquy at the end of the scene, and at the end of it he uses a rhyming couplet to emphasise his satisfaction in his plan (‘Hell and night must bring this monstrous birth to the world’s light.’) Iago’s use of both poetry and prose to persuade others versus Othello’s use of just poetry underline Iago’s role as a manipulator of language, while also hitting home another significant contrast between the characters.
There is also a definite contrast in the ways in which Othello and Iago treat others. Othello, despite having tendencies to sound arrogant, respects most people, but takes them at face value, while Iago recognises people’s weaknesses and is able to exploit or utilise them to his advantage – he is opportunistic. While Othello is associated with honour and honesty, Iago is a plot master and is associated with the opposite themes of dishonesty and deception. Also one can’t forget the obvious difference in race – Iago is white while Othello is black – this is another contrast.
Othello’s speeches always seem prepared and rehearsed, in particular his life story in Act 1 Scene 3, in contrast with Iago’s soliloquy in the same scene, which gives the sense of a mind working things out (‘How? How? Let’s see’) and arriving at an exciting conclusion (hence the rhyming couplet stressing his contentment). This again reinforces for us that Iago is an extremely apt manipulator of language as he can pluck words out of the air, on the spot, to great effect. He possesses a more sophisticated vocabulary than Othello and is probably more intelligent. He thinks using his head while Othello often acts using his heart. This is another example of a crucial difference between the two characters.
Iago’s intellectual superiority also means that in the long run, he avoids difficult situations and confrontations, by winning potential enemies over (through clever and careful use of language!). Othello on the other hand often finds himself cornered (usually as a result of Iago’s meddling) and knowing he is not a great articulator, has to rely repeatedly (somewhat arrogantly?) on his past achievements and services to try and win people over. However, although Othello can appear slightly overconfident and big-headed at times, he never lies or aims to deceive others. In this way, he is hugely opposed to Iago.
Once one takes into account all the subliminal and major differences in the characters of Othello and Iago, it is alarming to discover actually to what a large extent they contrast with each other. Vocabulary, type of language used, attitudes to others, honesty and intelligence are all key factors of distinction between Othello and Iago, as previously discussed. Iago is intellectually superior and is a master of language, but is morally inferior to Othello, who is honourable and honest despite being less intelligent and sophisticated than Iago. Othello is not very articulate but is brave and strong and possesses physical superiority; but Iago has the brains and the subtlety required to conceive and engineer major plots and plans; a central difference between the two. Iago is mentally superior whereas Othello is physically superior. Unfortunately for Othello it is the mental side of things where this play is lost and won; and of the two of them, Iago is the winner in the end!