Chapter Characters of The Tragedy of Othello, the Moor of Venice - Study Guide by William Shakespeare

the darkness. "And you are a senator!" Iago replies mockingly. (1.1.116). He feels patronised by Cassio when Cassio greets his wife with a kiss saying, "’tis my manners and breeding / That give me this bold show of courtesy" (2.1.98-99). "Ay, smile upon her, do: I will / gyve thee in thine own courtesies" (2.1.169- 170), courtesies which he equates later to "Lechery" (2.1.255). He is keenly over courteous in his address, referring to Othello as "my lord", Cassio as "lieutenant" and the likes of Ludovico as "gentlemen". Though this most obviously is said with a sneer, it is also at times an attempt to ape those courtesies that he seems to despise.

Iago, like Othello, is an "other". Just as Othello was born into a different culture and religion; so he is from a different class and both strive to be accepted. This is why he is so contemptuous of Othello’s "bombast circumstance / Horribly stuffed with epithets of war"; why he claims hopelessly that Othello is in "manners and beauties...deficient" (2.1.228); why he is so angry that he was not seen as "officer-class material" in the election of lieutenant. His inferiority complex is most obvious when he talks to Roderigo about masters and servant. From this is born his philosophy to follow his master to "serve [his] turn upon [his master]" (1.1.41), his praise for those who "do themselves homage" (1.1.53) and contempt for the "duteous and knee-crooking knave" (1.1.44).

He also has a problem with women. He does not know how to manipulate them except in the brusque manner which he treats his wife from whom he expects unquestioning obedience. He gives himself away most in his coarse reference to sex, and in the images that he delights in painting of Cassio and Desdemona. He sees women only as sex objects and in this sense he seems to be somewhat deficient in his relationship with his wife. This perhaps underlies his unfounded jealousy – his suspicion that Othello has done his office. As a character that delights in controlling others, in having power over them, he is particularly upset by the thought that Othello might have succeeded where he has failed. Similarly, this might explain in part his resentment of Cassio’s smooth manners and ease in the company of ladies. He is particularly vehement on the subject of Venetian women in general, on whom he comments, "let God see the pranks / They dare not show their husbands" (3.3.205-6). Are these jealous words of one who does not have his share in "pranks"?

What of his methods? These are clearer. He is a master with words, a charmer in his own right. With words he can direct the minds of others, with outright lies as with Roderigo, with "honest advice" as with Cassio or with suggestion, particularly visual, as with Othello. These methods are not mutually exclusive, one confined to one character, another to the other, but are all used in varying degrees in each case. In each case, however, he relies on his reputation as "honest Iago", which he skillfully maintains, despite his scheming, to the end. Towards the end, much of the dramatic tension relies on the threat that he might be exposed at any moment, either by a direct confrontation between Othello and Cassio, or, later, by Emilia’s confession about the handkerchief. Desdemona asks for half an hour more which, in the event, would have saved her. But it was "too late".

Iago has a reputation for being clever. He is. His scheming, his manipulation, his deceit are all clever but they must not be over-exaggerated. His schemes are masterful but only in the short-term. In the end, as Emilia says, "’Twill out, ‘twill out!" (5.2.217). He understands the characters enough to see how best to manipulate them but he does not understand love and it is love, Emilia’s love for her mistress, that finally undoes him.

Desdemona

Desdemona is a young Venetian woman. Brabantio refers to her "delicate youth" (1.2.74) and describes her as "A maiden never so bold, / Of spirit so still and quiet..." (1.3.95-96). Like Othello, the character we see is not quite the character that is introduced by others. Her speech to the senate is indeed gentle and respectful, "My noble father...you are the lord of duty" but it is also bold, "But here’s my husband" (1.3.180- 185).