The Ascendancy Of Iago In “Othello” Essay, Research Paper

Despite the growing prominence of such modern beliefs as secularism and humanism, the influence of traditional religious faith and superstitions remained a powerful force during the European Renaissance. As late as 1600, most Europeans sincerely believed in routine appearances of Satan among humanity – a concept apparent in the character of Iago in Shakespeare’s “Othello.” Iago is no ordinary Shakespearean villain who succumbs to temptation or carries a general grudge against nature or society (Auden 78), but rather is the embodiment of evil – intent on bringing about the demise of others. Shakespeare reveals Iago’s true identity through his Satanic character, his Machiavellian actions, and the true motives for his campaign of evil in Cyprus. As Satan, Iago’s character abounds with amorality, extreme self-love, and cynicism. He does not value loyalty, love, honesty, or nobility. He declares to Roderigo: “I am not what I am” (I-1-71), demonstrating that he is completely void of integrity, acting instead in a duplicitous manner. Iago changes his personality entirely depending on whom he is interacting with – with Othello, Iago is valorous and noble; with Roderigo or Emilia, he is harsh and brusque. His frequent use of superficial actions is exemplified by his comment, also to Roderigo: “I must show out a sign and flag of love ” (I-1-173). Iago also does not appreciate other high ideals, such as love and fidelity. He does not understand how Othello and Desdemona can be so devoted toward each other, and constantly refers to their relationship in using bestial or sexual comments. For example, when Iago is persuading Cassio to drink, Iago states: “Well, happiness to their sheets!” (II-3-30) and thus reveals his view of the relationship as purely sexual. The basis of Iago’s evil nature is his pride and arrogance, the same hubris that drove him out of heaven years before. Iago thinks very highly of himself, as shown by his proclamation: “I know my price ” (I-1-12); he also believes that his experiences with war have made him superior, for he criticizes Cassio as a fanciful man who learned warfare from books. Thus Iago believes that he deserves the lieutenancy – not Cassio. Othello’s decision to make Cassio his lieutenant injured his vanity and created a basis from which Iago plots his revenge.Iago possesses remarkable intelligence and skillfully weaves the lethal web of destruction among his victims. His ability to change face at will is undoubtedly an indispensable part of his skill, and Iago easily fools his victims by appearing to support someone while he is actually opposing him. For example, when Iago encourages Cassio to appeal his dismissal, Iago appears to be supportive, but instead is pushing Cassio into a trap. Iago employs the same skill when he manages to deceive Othello, first tormenting his superior with thoughts of Desdemona’s infidelity, then planting the seeds of jealousy into Othello’s mind by appearing to be attempting the opposite. Iago is also a quick thinker, and is able to distort Othello’s perception of the world by rapidly molding otherwise unnoticeable events and objects – such as Cassio’s quick departure, and Desdemona’s handkerchief – into his twisted plans. Iago is also able to quickly quiet Emilia when she begins to believe that Othello had been tricked, telling her to “speak within door” (IV-2-170), and dismissing her before Desdemona shares Emilia’s idea. Iago applies the same procedures for his plot as Satan does in numerous Biblical stories. Iago wins the support of men by promising to fulfill their desires – he tempts them just as Satan tempted Adam and Eve. As Iago proceeds with his plots, he pledges support to a number of character – he promises Roderigo the love of Desdemona, he promises Cassio the return of his lieutenancy, and he promises Othello a resolution of his uncertainties about Desdemona’s alleged infidelities. Through temptations, Iago targets the defects of each character – Roderigo’s broken heart, Cassio’s glorification of reputation, and Othello’s lack of experience with women and love. There are also more subtle similarities between the actions of Iago and Satan. One very notable example is Iago’s composition of poetry while waiting for Othello in Cyprus. Iago is not able to praise the subjects of his poetry, causing Desdemona to react with offense: “O heavy ignorance!” (II-1-158). This action conforms to the medieval superstition that Satan could not praise, only criticize or condemn (Andersen 244). Furthermore, Shakespeare makes numerous references to Iago as the devil throughout the play. Iago often makes comments that suggest his identity, such as: “Awake the snorting citizens with the bell, or else the devil will make a grandshire of you” (I-1-99) when he is awakening Brabantio. Other characters make subtle references to Iago as Satan, such as Othello’s statement: “I look down toward his feet; but that’s a fable ” (V-2-336), which suggests that Othello is searching for Iago’s cloven feet. Shakespeare also adds several events that expose Iago’s identity, especially the scene where Iago’s immortality is discussed: “I bleed, sir, but not killed ” (V-2-339), which indicates that Iago, though stabbed, cannot die as he is Satan. Finally, Shakespeare frequently uses lines that insinuate that Iago is the antithesis of God, such as “I am not what I am” (I-1-71), which is the opposite of God’s statement when he reveals himself to Moses in Exodus 3,14: “I am what I am” (Girard 32).

Coleridge once described Iago’s actions as ones of “motiveless malignancy.” At first glance, this does not appear to be true; it appears as if Iago’s motives are his quest for Othello’s lieutenancy and for revenge on Cassio. However, on further analysis, these motives appear secondary to Iago’s foremost goals as Satan. His primary motives, as defined by W H Auden, are the desire to inflict suffering upon innocent victims, the exercise of power over others against their will, and the ability to expose the weaknesses in his victims’ characters – to mock the humanity that are God’s beloved subjects (Stevenson 59). The fact that Iago is not simply seeking revenge is demonstrated by the fact that he shifts the focus of his attacks, using his plots against Cassio as a “springboard” for a greater offensive against Othello that brings about the demise of those whom are not even targeted victims. Thus it is apparent that Iago wishes to deliver misery to as many characters as possible. Iago’s desire to place himself in an ascendant position is shown by how his plots torment Othello and change his beliefs and views entirely; Iago thus controls the mind of his victim and is placed in a dominant position over Othello. Iago’s victims, Cassio and Othello, are his superiors and people of high authority in Cyprus; Iago’s plots thus place him in a position of hegemony over two very powerful people on the on the island, along with their acquaintances (Auden 94). As Satan, however, the force that is Iago’s foremost motivation is his desire to reveal the flaws of humans. Just as Satan had tricked Adam and Eve to prove that they were not fit for paradise, Iago targets his victims to reveal their deficiencies in character. Othello’s tragic flaw, his jealousy caused by his naivet , is unveiled to himself and to the world through Iago’s evil schemes. As Satan, Iago has an interest in exhibiting humanity’s imperfections, due to his hatred of God and his jealousy of God’s subjects (Andersen 259). This existence of this motive is most clearly shown in Iago’s final words: “Demand me nothing. What you know, you know ” (V-2-355) in response to Othello’s demand for an explanation of his motives. These words demonstrate Iago’s intent; though he states that he will not speak, the line “What you know, you know ” suggests that he knows that Othello understands his tragic flaw, and should confront it. The Renaissance represents an intellectual paradox – the coexistence of secular ideas but the resilience of traditional religious superstitions. These superstitions include the belief that Satan regularly appeared among the people to lead them against their cherished Christian morals and into eternal damnation. As society’s ideas always manifest themselves in contemporary culture, Shakespeare expressed this belief through the character Iago in his great tragedy Othello. Over a century would have to pass before the popularization of the use of reason would finally begin to destroy archaic religious beliefs, and expose European masses to more modern intellectual currents.