Iago's true motive?

Without a doubt, the character of Iago, Othello’s malicious, conspiring antagonist, has often been examined, analyzed, scrutinized, and discussed to the umpteenth degree. Of course, the attention to him is well-justified, for he is the quintessential villain in a quintessential tragedy. Countless scholars have written dissertations and theses on the various aspects of Iago’s character which make him the model of villainy, and most conclude that he is the embodiment of all that is evil. Let’s face it: the man is a scathing racist, a virulent misogynist, a master manipulator, a calculated conspirator, and, essentially, a murderer who ruins marriages, friendships, loyalties, and, ultimately, lives. But why? What is truly his motive? What drives Iago to devote his every thought, word, and deed to the destruction of happiness?

              Clearly, one can answer the aforementioned questions in a myriad of ways. Based on textual evidence alone, one may justify Iago’s motive as his jealousy of Michael Cassio’s promotion to the rank of lieutenant by Othello, his gaining retribution for his wife’s alleged sexual encounter with Othello, his general envy of the upper class, or maybe, Iago has no motive but to simply wreak havoc on everybody’s lives. (Part of Iago’s allure from a scholarly perspective is the mystery of his true motive—his character leaves a lot for generations of interpreters to work with.) Bearing in mind these alternatives (and several more that I find unnecessary to list due to the vast number of them), I would argue yet another possibility: Iago loves Othello—in that way. I’m certainly not the first to propose this notion; in fact, according to a little research I did on Google, there have been several productions of the play in which Iago has been portrayed as having homosexual feelings for Othello, not to mention scholarly writings that suggest the idea. At first, I, myself, thought the concept of a gay Iago was a bit far-fetched, a bit too modernly interpretative, but as the thought settled in my mind, I accepted it as a reasonable and valid possibility.

              It’s very easy to read and interpret literature through a lens to which one is accustomed, and in our modern day, where various forms of literary criticism open doors to examining countless possibilities, it’s essential to consider all perspectives fairly. Needless to say, this particular take on Iago resonates with me. Viewing Iago as almost a scorned lover paints him as somewhat of a sympathetic character, at least from a modern reader’s eyes. I realize I am going out on a limb by suggesting that anything to do with Iago could be considered “sympathetic,” but when one considers the timeframe of the play, there’s a lot of information we, the readers, don’t know concerning Othello’s and Iago’s past together. Of course, due to circumstances, there’s not a lot we could possibly know about their future had Iago’s plan worked out successfully. Before I look to the text, I’m in no way suggesting that I “like” Iago or think his actions are justifiable—he is a villain through and through—but I can certainly see why he would feel scorned were his feelings for Othello more than the “love” a man has for his general, and for that reason, I do feel a bit sorry for him.

              In order to substantiate my seemingly-outrageous claims, I’d like to cite some evidence from the text, particularly Act III, scene iii. Understanding that the word “love” in this context may not mean what it means today, nor have the same implications, from what I know, “love” in Shakespeare’s time was rather ambiguous, as was sexuality in general; for example, Shakespeare hints at homoeroticism in a good portion of his sonnets. I can see both sides of the coin: “love” meaning love, and “love” meaning steadfast loyalty, platonic friendship, and dedication between any two people. Being the devil’s advocate, however, I found several clues in this scene alone which seem to hint at Iago’s feelings for Othello. For one, Iago repeatedly and emphatically asserts his love for Othello: “My lord, you know I love you” and “I humbly do beseech you of your pardon / For too much loving you” (III.iii.121; III.iii.216–217). These lines may be innocent enough, but they arise suspicion when comparing them to other lines in the conversation. At one point, Iago tells Othello, “You cannot [know my thoughts], if my heart were in your hand” (III.iii.168). This is an allusion to marriage, in fact, one that Othello himself alludes to later in the play—”The hearts of old gave hands”—referencing old marital customs where the ceremony of joining hands meant the joining of hearts. The scene ends with Iago stating “I am your own for ever,” an utterance which has often been compared to, or a mockery of, traditional wedding vows III.iii.484). Take this passage, for example: “...but how, how satisfied, my lord? / Would you, the supervisor, grossly gape on, / Behold her topped?” (III.iii.399–401). Basically, Iago is asking Othello if he would want to watch his wife have sex with Cassio to prove her guilt—how sick of Iago to suggest that!

Another peculiar moment is when Iago reveals he has “slept” with Cassio: “I lay with Cassio lately” (III.iii.418). This would seem innocent enough—I’m sure it was customary for soldiers to share beds for lack of proper bedding at times—but he goes on to say, “…then, sir, would he grip and wring my hand, / Cry ‘O, sweet creature!’, then kiss me hard, / As if he plucked up kisses by the roots / That grew upon my lips, lay his leg o’er my thigh, / And sigh, and kiss…” (III.iii.425–429). Why wouldn’t Iago stop this? After all, he was afflicted with “a raging tooth” that night, and certainly in no mood to be kissed so passionately without stopping it (III.iii.419). I would sum up the evidence in this scene in Iago’s own words: “This may help to thicken other proofs / That do demonstrate thinly” (III.iii.435–436).

Again, all of this “evidence” can be interpreted in many ways other than what I proposed, but there are several—many, rather—instances elsewhere in the play that illustrate Iago’s “abnormal” sexual tendencies. His marriage to Emilia is distant and cold, most likely affected by his misogyny. His words are rife with sexual imagery and allusions to sexual behavior (at one point, he compares the fighting group’s happiness “in terms like bride and groom / Devesting them for bed” (II.iii.44–45). Let’s not forget  in the very beginning of the play, Iago’s line, “an old black ram/Is tupping your young white ewe!” (I.i.94–95). Iago also alludes to his inadequacies in bed, accusing Othello and Cassio of being potential sexual rivals by cheating with Emilia. These, among other reasons, are all contributing factors to the assumption that Iago is sexually frustrated and longing for his unrequited love between he and Othello. It’s only a possibility but one certainly worth exploring and considering as a motive for Iago’s villainous actions.

Honest Iago...Not!

This is the first time I have read Othello and I must admit that it has grown on me. While I mainly enjoy Shakespeare's comedies I find this play can be interpreted as both a tragedy and comedy. I feel that Iago's schemes create the moments of comedy which will lead to tragedy. Throughout reading I couldn't get over how everyone's action fall into place for his scheme against Cassio and Othello. He has no care in the world who he brings down because he uses everyone in the play. He uses Emilia, Roderigo, and Cassio to get revenge for not getting a promotion.

Iago's actions show he knows the key to his plan is jealousy and the illusion of friendship. He uses friendship on both Cassio and Othello, always acting like he is on both of their sides. It drove me crazy to keep hearing him being called “honest” when he was the most deceitful character. There were times I wondered if his wife Emilia knew he might be the perpetrator of the events between Desdemona and Othello. In 3.3.314, she says to Iago regarding the handkerchief “What handkerchief?/ Why that the Moor first gave to Desdemona/ That which so often you bid me steal.” Didn't Emilia suspect Iago because he wanted her to steal the handkerchief? I wondered later why she even gave it to him and didn't return it to Desdemona, especially knowing the significance of it. Later in Act Four as the relationship between Desdemona and Othello is in shambles it was ironic when Emilia says' “Oh fie upon them! Some such squire he was/ That turned you wit the seamy side without/ And made you to suspect me with the Moor (4.2.150-152). I find her statement ironic because it brings attention to her husband Iago yet she never suspects him of being the mastermind.

Honest Iago's plan strips Othello of all his confidence and leaves him as a shell of jealousy and paranoia. Iago uses Othello race against him. He uses the fact that he is black to put doubt in Othello's mind if he is good enough for Desdemona. He eludes to Othello that being with him is against her “nature.” Iago says to Othello “No to affect many proposed matches/Of her own clime, complexion, and degree./Whereto we see in all things nature tends” (3.3.236-239). He plants within Othello's mind that although she is with him it is more of her nature to be with a man of her own culture and class.

By the end of Act Four, Iago has managed to ruin the reputation of Othello, Cassio and Desdemona. I look forward to finishing the play and hoping he will be exposed for the dishonest person he has been throughout the play. So far I don't think it will end well but we'll see.

Childish Characters

This might sound strange, but many of the characters in Acts I and II remind me of children.  Before you assume that I am simply an education major whose mind is constantly focused on the behavior of kids, give me a chance to illustrate this idea. 

Egeus acts like a “tattle-tale” when he runs to Theseus to complain about his daughter, Hermia.  He is not happy that she refuses to marry Demetrius, and runs to the higher authority instead of taking matters into his own hands.  I think he resembles a sibling running to his or her parent after he or she has been in a quarrel.  Additionally, Hermia and Lysander both exhibit the behavior of adolescents.  Hermia rebels against her Egeus’s order.  She proclaims that she is madly in love with Lysander, and refuses to give in to her father’s demand.  Hermia’s feelings are mutual, for Lysander adores her, too.  He mocks Demetrius by stating, “You have her father’s love, Demetrius; Let me have Hermia’s.  Do you marry him” (1.1.93-94).  These lines are certainly witty and sarcastic.  Besides increasing the comical tone, they sound like something a juvenile would say.

On another note, Titania and Oberon’s argument makes them comparable to younger children.  They are fighting over the possession of a boy.  In a way, it resembles youngsters arguing over a toy.  Oberon becomes jealous, and angrily argues with Titania.  He even develops a mischievous plan to drop magical juice into her eyes while she is sleeping, for he knows it will make her fall in love with something once she awakes.  He exclaims, "Be it on lion, bear, or wolf, or bull, On meddling monkey, or on busy ape - She shall pursue it with the soul of love" (2.1.180-82).  He thinks he is so clever coming up with a naughty plan in order to get what he wants - the boy.  Her attention will be focused on chasing her new foolish love that he will be able to snatch his "charm."  Does this sound like a child creating a sneaky plan to get to the cookie jar?

Nick Bottom is especially infantile.  First of all, he misspells and incorrectly pronounces words.  Furthermore, he wants everybody else’s part in the play that the artisans are preparing for the wedding.  When Quince assigns roles, Bottom immaturely interferes.  He is asked to play Pyramus, but attempts to snatch the parts of Thisbe and the Lion as well.  Bottom’s actions mirror what many children would do in that situation.  They always want what others have.           
              
Could this all have been part of Shakespeare’s strategy as a playwright?  In other words, perhaps developing and emphasizing the child-like nature of his characters was one way that he intensified the comedic nature of the play.  His goal was to appeal to the audience, and I am guessing that many people watching his plays were parents.  Parents probably find the conduct of his characters especially comical – and even relatable – since they witness such actions on a daily basis.  On the other hand, maybe Shakespeare did not do it in order to appeal to the parents of his audience.  His writing might simply be making a statement regarding our human nature:  we can never completely grow out of childish behavior.  Every one of us will act silly or foolish at certain times, whether it is intentional or not.   

Characterization in Taming of the Shrew

I found the characterization of those in The Taming of the Shrew by William Shakespeare to be extremely fascinating. Katherine, the shrew who must be tamed, is described with extremely negative characteristics. Katherine is seen as an insulting, abrasive, and miserable woman. Her overall unpleasant attitude is also matched with a great amount of wit, one that is only challenged by Petruccio. It is particularly interesting to compare the sisters, Bianca and Katherine. It is obvious that Bianca serves as a foil to Katherine. Where Katherine is seen as aggressive and almost vicious individual, Bianca is seen as the exact opposite. She is characterized as a peaceful, kind, and even-tempered woman. Shakespeare’s technique as portraying the sisters as foil characters to one another only strengthens their very different personalities. 

One of the most interesting pairings, in my opinion, seen in Shakespeare’s texts is the relationship between Katherine and Petruccio. It seems that among all of the men in Padua, Petruccio is the only person who is able to conquer the challenge of wooing Baptista’s eldest daughter, Katherine. Other men who were forced to interact with Katherine, were very much intimated by her aggressive attitude. This can be seen particularly when Katherine strikes Hortensio when he is attempting to teach her to play the lute. Despite her reputation, Petruccio takes it upon himself to convince Katherine to marry him. Petruccio and Katherine’s fascinating interaction can be first seen in scene 2.1 of the play. Where other men have been emasculated when conversing with Katherine, Petruccio does not suffer the same fate. Immediately, Petruccio takes Katherine completely off guard when calling her “Kate”. Although Katherine responds to Petruccio by informing him that this is not her name, he continues to call her a number of names involving “Kate”. This passage can be seen when Petruccio says: “You lie, in faith, for you are called plain Kate, and bonny Kate, and sometimes Kate the curst, but Kate, the prettiest Kate in Christendom, Kate of Kate Hall, my super-dainty Kate- fofr dainties are all cates...” (2.1 184-87). This passage immediately starts of the witty banter that Petruccio and Katherine converse in. It seems that nearly every statement that is uttered by Katherine, is completely contradicted by Petruccio. The interaction seen in this scene between Petruccio and Katherine was very humorous. It is very clear that none of the other men in The Taming of the Shrew would have been brave enough to dare to converse with Katherine in such a way. However, possibly this is what Katherine needed. Perhaps, the reason for Katherine acting the way she does could be a result of feelings of jealousy of her sister, Bianca. It is clear from the amount of suitors that Bianca had, contrasted with the one suitor that Katherine had. Therefore, it is a reasonable conclusion to believe that Katherine’s negative attitude could be a result of sibling rivalry and animosity!