Iago Flashcards
“And nothing can or shall ______ my soul/
Till I am ______ with him, wife for wife./
At least into a _______ so strong/
That _________ cannot cure. Which thing to do./
If this poor ____ of Venice , whom i leash/
For his quick hunting stand the putting on,/
I’ll have our Micheal Cassio on the ___”
Act 2.1
Theme: jealousy, manipulation, revenge, evil
devices: soliloquy, caesura, Metaphor
- Iago wants revenge for Othello supposedly sleeping with his wife. He will use Cassio as a tool for his revenge
- “Judgement cannot cure. Which thing to do” (caesura): punctuation breaks iambic pentameter - dramatic pause for effect. This is the climactic build up of tension that is the foundation of Iago’s malevolence.
- “Trash”, “leash”, “on the hip” (metaphors, s.field of slavery/barbarianism): “trash” - verb meaning to restrain hounds on hunt. Or ref to uncivilised people e.g “Moors”/outcasts and their diminished human rights compared to the nobles. “leash” - restrain these dogs. Could be a link to the phrase ‘dogs of war’ in “Julius Caesar” and how Iago knows Othello is capable of his own self-destruction when let of the ‘leash’ after being manipulated “on the hip” - was a wrestling term. could link to the Bible story of “Jacob wrestling with the angel”. But in this case, Othello metaphorically wrestles with Desdemona by falling into Iago’s deceit.
AO3: Protestantism encouraged something called Introspective: looking inside yourself/emotional state. Here, Iago is mitigating his emotions and concluding that the only way to relieve his envy is to initiate the downfall of Othello.
AO4: Iago’s manipulation driven by jealousy drives Othello to kill. This manipulative trait is shared with that of Lady Macbeth, who, drives Macbeth to kill too.
AO5: 20th century critic A.C Bradley: Iago is angry because he is overlooked because he’s not a good person. Therefore, “goodness annoys him”
- proven as a “supremely wicked” character.
“How am I then a ______” (2.3)
- theme: manipulation/falsehood
- devices: Rhetorical Q, syntax
- rhetorical Q: reflects Iago’s defensive nature, his character anticipating criticism and suspicion against himself
- syntax: the idea that ‘then’ is before ‘a villain’ shows Iago’s hesitation towards the idea of being a villain. He knows manipulation and mischief is immoral but persists do be the antagonist of the play. Shakespeare presents Iago as an exaggerated psychopath who has exacerbated feelings of resent and envy.
- alt: he could be an insisting contrarian, he enjoys opposing popular belief.
AO3: It was an Elizabethan belief that you could tell if someone was evil or not due to their outward appearance. Iago is able to hide his evil ways through the covering of his normal appearance, compared to Othello who has ‘black’ (associated with evil) skin.
AO4: the subject of envy is also seen in Macbeth, where it is a destructive force that drives characters to madness and to do unchristian things. For example, both Macbeth and Iago are driven to kill by the desire to climb the social ladder.
AO5: Romanticism critic Coleridge: “Iago is a being next to the devil”, he has no reason to be evil but still persists
Romanticism critic Hazlitt: Iago is only evil because he knows how to exercise his intellect more than anyone else.
“________ of ____!” (2.3)
themes: manipulation/evil
devices: paradox
- PARADOX: the idea of the divinity of hell is a paradox which summarises Iago’s evil, twisted logic. Iago is a devil with heavenly appearance and charm “Honest Iago”.
- alt 1: another paradox is how Iago plans to lead Cassio down a path of evil, while appearing to help him.
- AO3: Morality plays were popular in the Renaissance. Allegorical plays personified sin and virtues. It can be said that Iago is the personification of evil and specifically using intellect to carry out mischief.
- AO4: In a way, Iago seeks conclusion to the turmoil inside him through rising conflict. This is similar to the character of Tybalt in Romeo and Juliet who consistently taunts and seeks conflict with Romeo due to his ‘Montague’ heritage. In this play, Iago indirectly taunts Othello due to his status as general and also his ethnicity and heritage, due to the derogatory beliefs about ‘outsiders’ in the 1570s of Venice and also the Jacobean era.
- AO5: New Historicist Nicholas Marsh: “Iago wants to get back at a society that has wronged him”
- twisted logic proves him as a “thoroughly bad, cold man” A.C Bradley.
“I am not _____ I __” (1.1)
PARADOX: Iago is what he doesn’t appear to be
- similar to “In following him, I follow but myself”(1.1): ago tells Brabantio how he only pretends to be loyal to Othello
- PARADOX: Iago will appear to follow Othello while working for his own ends
“_______ is my judge, not I for ___ and ____,
But seeming so, for my peculiar end;” (1.1)
theme: revenge/deceit
devices: e.clause, metaphor, sibilance, symbolism
E.CLAUSE: two commas encase the key beliefs behind Iago’s stigma and overall motive. Allows the audience to understand the purpose of this character.
alt 1: because this line is embedded, perhaps Shakespeare is predetermining Iago’s fate to the audience. Iago refuses to act in a Catholic manor, so there is the idea of working against the ways of God that disallows him to escape his devilish wrong doings towards Othello in the end
METAPHOR: the idea that “Heaven” (God’s abode in Catholicism) can be a “judge” isn’t a literal statement but a link to the idea of ‘Judgement Day’ in the Bible. Where human beings are said to be judged on their actions in life and this determines whether they will meet God and his glory or the depths of Hell. It is clear that Iago has a twisted logic, he feels his manipulative strategy is valid to gain revenge on rumours on his wife’s infidelity and Cassio gaining a promotion over him.
- The frequent commas could be Iago’s desire to create traction with God being on his side or the friction/tension consuming him inside.
AO3: Because of the Renaissance, Shakespeare’s plays always question the beliefs, assumptions and politics of Elizabethan society. His plays always conclude with a restoration of order and stability
AO4: Lady Macbeth + Iago = both drive the main character to kill
- Iago + Macbeth = driven to kill by a desire to climb the social ladder
AO5: Romantics: Algernon Swinburne = Agrees with Coleridge that Iago’s evil was “fathomless and bottomless”
- 20th century critic T.S Elliot: Othello is deeply flawed
‘(aside) O, you are well ______ now! But I’ll set down the ____ that make this music, As ______ as I am (2.1)
themes: deception, malevolence
- literary device: metaphor
- Othello and Desdemona are described as ‘well tuned’ instruments
- this implies their current harmony but also their vulnerability to the deception brought by Iago
- It is not difficult for Iago to ‘set down the pegs’ (mess with tuning keys) of their relationship
- This control of their heartstrings is identical to his power over Roderigo’s financial situation (1.1).
- discordant music is fitting for his actions, as Iago’s success lies in the ability to distort and pervert what should be other characters’ positive qualities: Othello’s passion and honour, Desdemona’s loyalty, Cassio’s charisma and courtesy.
- Along with this this also encapsulates his keen sense of irony in ‘As honest as i am’ and the role of the audience
- His true intentions are never revealed to others, it is only through his frequent, hate-filled soliloquies that the audience is given insight into his scheming
- As a result, the audience are used as colluders, silent witnesses of his evil, given the feeling of powerlessness.
- Iago’s co-conspirator, Roderigo, has less access to his plans than the audience and is treated like a victim. All of this despite Iago posing as his benefactor with little effort ‘But you sir, be ruled by me’ (2.1).
- Through this Iago is portrayed as masterful, persuasive and indeed manipulative. This lays the foundations for poisoning Othello’s mind.
AO3: Venice - Italianate settings usually suggested secret love affairs and revenge. Foreign courts usually stereotyped as being full of villainy and sexual perversion. Iago is clearly playing the villain here
AO4: Iago + Macbeth = driven to kill by a desire to climb the social ladder, Lady Macbeth + Iago = both drive the main character to kill
- Jealousy as a destructive force/something that drives characters to madness
AO5: A.C Bradley (20th century critic) Iago is “a thoroughly bad, cold man” who is “supremely wicked”
- F.R Levis (20th century critic) Iago’s success isn’t due to his “diabolical intellect” but due to Othello’s weakness and hubris.
“The moor is of a free and ____ nature/That thinks men _______ that but seem to be so,/And will as tenderly be led by th’ nose/As _____ are.” (1.3)
theme: appearance vs reality/prejudice/jealousy
devices: simile, animalistic imagery
int 1: One of many instances where Othello is compared to an animal. Iago’s reference to an “ass” (donkey) specifically highlights that the racist view of Moors as animalistic is closely entwined with the idea that Moors are naturally uncivilised, subservient, unintelligent.
int 2: Iago’s view that Othello is feebleminded is false; Othello has demonstrated that he is not only highly skilled soldier, but talented in rhetoric.
alt 1: Iago’s observation that Othello is overly trusting is correct. Othello’s readiness to believe in appearances (gullibility) is a hamartia - as Iago predicts - ultimately leads to his downfall.
Int 3: the extent to which his trusting nature is a flaw is ambiguous. Othello’s “free and open nature” is contrasted with Iago’s duplicitious cunning, and although Shakespeare shows that gullibility is dangerous, it is still presented as morally preferable to selfish scheming and deceit.
AO4: Othello + Shylock = racism, the presentation is ethnic minorities as evil or in positions of power they shouldn’t have. I.E Caliban called a “black fiend” (The tempest).
AO5: Loomba “Othello is split between being a black man, and the stereotypes of a black man in a Venetian society”
“Her ___ must be ___” (2.1)
themes: appearance vs reality
devices: metaphor
int 1: Othello, Desdemona and Cassio have exited to start celebrating victory over Turks, leaving Roderigo and Iago alone on stage. Iago assures Roderigo that Desdemona’s feelings for Othello will not last. Proclaiming confidently that “her eye must be fed” – she’ll want a more handsome lover soon.
int 2: This assertion conveys the stereotype that women are fickle and shallow, and emphasises that the union between them isn’t viable.
alt 1: it also reiterates racist view that Othello is unattractive because he is a Moor. This comment demonstrates the way in which strong racist and sexist prejudice affect Othello and Desdemona as individuals, but also as a couple, threatening the stability of their marriage
AO4: the character of Desdemona can link to the idea that female freedom causes her downfall and also the stereotypes of women in The ‘Taming of the Shrew’: ‘Katharine is considered “tamed” when she starts agreeing with her husband and laughing when he wants her to, treating her like a puppet’. Othello links to ‘The Tempest’ Caliban called a “black-fiend”
AO5: Marilyn French “all women are destroyed by Iago”
New Historicist Nicolas March - “Iago wants revenge on a society that has wronged him”
“I’ll [..] make the Moor ____ me, love me, and _____ me/For making him ____giously” (2.1)
theme: prejudice/manipulation
AO2: Having established a plan with Roderigo to provoke Cassio into a fight, Iago is once again left alone and delivers another soliloquy about his evil scheme. He has proclaimed that winning Desdemona for himself would be the best possible form of revenge against Othello, but that he will settle for driving him made with jealousy by tricking him into thinking Desdemona has been unfaithful. Iago finishes his speech with the alarming boast that he will make Othello “thank me, love me, and reward me” for making a fool out of him, again using the racist imagery by saying he will turn him into an “ass” (donkey)
This passage is a reminder of Iago’s scheming nature – he wants to destroy Othello not only for pleasure of vengeance, but also for “reward” of advancing his own career. It also reveals truly perverse, sadistic extent of his desire for revenge. It is not enough for Iago to ruin Othello; he wants Othello to “thank” and “love” him for it.
AO3 the idea that Iago wants Othello to “love” him could be exemplary of his possible homosexuality. Shakespeare was known to subvert typical conventions so it could be possible that Iago’s determination to ruin Othello and Desdemona’s marriage has homosexual motives
- The commas around “,love me,” amplify the sense of entrapment and control Iago is able to obtain over Othello. Could foreshadow the transition of settings from Venice, to Cyprus and then the fort which becomes the tragic setting of the play.
AO4: This first for control and destruction is seen in both Macbeth and Lady Macbeth
“Good name in man and woman, dear my Lord,
Is the immediate jewel of their souls.
Who steals my purse steals trash; tis something, nothing;
Twas mine, tis his, and has been slave to thousands.
But he that fliches from the me my good name
Robs me of that which not enriches him
And makes me poor indeed” (3.3)
theme: honour/manhood, womanhood/sexuality
AO2: Othello has noticed Cassio avoiding him and is suspicious nonetheless, he has promised Desdemona to reinstate Cassio, but asks first for some time alone. With other charac ters gone, Iago asks seemingly innocent questions about Cassio, and gives Othello advice that likewise appears to be well-intentioned, yet is actually designed to increase Othello’s suspicions. In this passage Iago emphasises importance of reputation, saying that for a person’s money to be stolen is ultimately meaningless, yet if his “good name” is ruined that leaves him “poor indeed”. This passage shows the power of Iago’s cunning strategy of undermining Othello. On the surface, he appears to be helping Othello by providing rational and wise advice; in reality, he appears to helping Othello by providing rational and wise advice; in reality, he is helping devise a plan for Othello’s coming frenzied paranoia.
- Emphasises the hollow quality of noble men in 1570s Venice and Jacobean era. Both Othello and Cassio are deemed “bestial” without their social status. Perhaps, Shakespeare intends to show us that there is more to a person than the social construct they’re assigned to. This play is possibly designed to show the importance of true character beneath the status rather than strong foundations of a romantic relationship. Without this, we are susceptible to the immoralities and manipulation embodied by the Machievillain Iago.
AO4: Othello + Lear = men who who’s reputation is larger than life.
Just like Lady Macbeth, Iago is able to exploit Othello’s supreme value in his reputation “live a coward in thine own esteem”
AO5: New Historicist: “Iago wants to get back at a society that has wronged him” - Nicholas Marsh
F.R Levis (20th century): “Othello gives in too quickly”
“O beware, my Lord, of jealousy!
It is the green-eyes monster, which doth mock the meat it feeds on”
Still alone, Othello reflects on his conversation with Iago and frets that perhaps it is unrealistic to expect Desdemona to truly love him, considering he is black, uncivilized in speech, and older than she is. Here we see the result of Iago’s tactic of reverse psychology; while Iago encouraged Othello not to think too much about the situation before there was more evidence, Othello is left in a fretful, paranoid state, trying to evaluate if he is good enough for Desdemona. It is also clear from Othello’s words that his fears are far more emotional than rational, and are rooted in the incoherent logic of racism.
This is the second time that Othello has referred to himself as a crude and unskilled speaker, and yet all evidence points to the falseness of this statement. Meanwhile, the fact that he is older than Desdemona is hardly significant, considering it was common for young women to marry older men at the time. The only objective fact that in this speech is that Othello is black; however, at no point in the play does Desdemona express even the slightest concern over this fact. On the other had, Othello’s experience of racism at the hands of the other characters is frequent and severe. Thus, regardless of what Desdemona thinks, he cannot escape the internalized racist idea that their racial difference makes their marriage unviable.
AO2: metaphorical “green eyed monster” is representative of jealousy that will start to
Her honor is an essence that’s not seen; They have it very oft that have it not
(4.1)
Themes: appearance vs reality, womanhood and sexuality
Iago has told Othello that he knows Cassio and Desdemona slept “naked in bed” together, but pretends to still want to give them the benefit of the doubt. Iago has repeatedly referenced the handkerchief, saying that it belongs to Desdemona and that she could therefore give it to whomever she wants; Othello asks if she could likewise give away her honor, and Iago replies that her honor is intangible, and that many seem honorable when they are actually not. Following Othello’s obsession with “ocular proof,” Iago now fixates on the distinction between visible and invisible evidence, and stresses the unreliability of evaluating Desdemona’s “honor” because honor is not visible.
Note that Iago’s statement “they have it very oft that have it not”––meaning many people appear to be honorable but aren’t––does not actually apply to Desdemona, but does accurately describe Iago himself. Indeed, the phrasing is reminiscent of Iago’s statement earlier in the play, “I am not what I am.” Once again, Iago is making wise and astute observations about the nature of human behavior, yet uses these observations to further his deceptive and evil plan.
“I told him what I thought, and told no more Than what he found himself was apt and true.” (5.2)
Themes: appearance vs reality
Emilia has discovered that Othello has murdered Desdemona; Othello has told her that it was her husband, “honest, honest Iago,” who made him aware that Desdemona was supposedly having an affair with Cassio. Emilia has begun to understand Iago’s plan, when Iago, Montano, and Grazio arrive. Emilia informs them of Desdemona’s murder and demands that Iago assure her he did not tell Othello that Desdemona was unfaithful; Iago responds by insisting he only told Othello what he thought, which was also what Othello believed to be true. Although Iago is clearly presenting a veneer of false innocence here, his sly choice of words mean that what he is saying is arguably accurate.
Note that Iago claims to have told Othello only what he “thought” and not what he knew, and mentions that this cohered with Othello’s own suspicions. Of course, what Iago doesn’t mention is that he skilfully manipulated Othello into these delusional suspicions in the first place. Once again, Iago’s cunning influence over the other characters’
{OTHELLO}: “show me thy thought”
[OTHELLO] “men should be as they seem”
[Othello] “O misery”
(3.3)
evidence of Iago’s successful duplicity as he has easily won Othello’s trust.
“seal her father’s eyes up as close as oak” (3.3)
themes: deception, misogny, evil, womanhood and sexuality, manhood and honour
AO2: simile to describe Desdemona as manipulative and rebellious. Iago is in the process of convincing Othello of the ‘secret’ side to Desdemona, where she is calculative and untrustworthy.
AO2: Ironically, the “oak” tree is one of the most loved trees in the world and perhaps this is a subtle authorial intrusion that neither the audience or characters pick up on, they are only left in despair afterwards.
AO2: Moreover, the “oak” symbolises great strength and wisdom. Further dramatic irony is issued by Shakespeare as the audience learn Othello has none of these qualities. He is liable to manipulation and is deemed rather insecure due to his self-consuming envy.
AO2: In the Bible, oaks were associated with strength and long life. At times, oak groves were places were pagan gods were worshiped (Ezekiel 6:3). The Hebrew name for oak is derived from the word providence meaning divine guidance. Providence is an attribute of God and frequently associated with God’s ability to see ahead. For Jewish people, Providence meant that God directed every detail of creation including the life of the Jewish nation and the lives of individual Jews. God expected that Jewish leaders would consult him before they acted. II Kings 16:15 reads that Saul died because he was unfaithful to the Lord’s decrees and laws and consulted a medium for guidance rather than God.
Providence is the opposite of “chance,” “fortune,” or “luck.” Christians believe in God’s special Providences and his extraordinary interventions into their lives. Blessings provided by others to Christians, e.g., the church, government, employer and families, are directed by God and provided only thorough him. God’s divine guidance directs Christian’s selection of vocation and participation in activities, e.g., church activities. As such, Christians should not esteem one vocation or one role in the church more or less important than another. Rather, Christians acknowledge God’s divine foresight and guidance in the development of diverse skills and talents both in themselves and in the body of Christ.
AO2; ‘Joshua and the oak’ is a biblical passage where a military leader who wanted only one town in the division of land (could link to Othello’s desire for Desdemona)
Firmly, the assembled Israelites averred to Joshua that they “will serve the Lord our God and obey him” (Joshua 24:24). In response Joshua made a covenant for the Israelites at Shechem. The covenant consisted of a pledge the Israelites made to serve God and follow his decrees and laws. Joshua recorded the Israelite’s pledges and God’s laws and decrees in a book called “The Book of the Law of God.” Then, Joshua took a large stone and set it up under an oak tree and told the assembly, “See this stone… will be witness against you if you are untrue to God” (Joshua 24:26-27).
AO3: Shakespeare uses the play to subvert traditional values - black man as a military leader and an assertive young female. A Jacobean audience could understand the troubling atmosphere created by Desdemona as she appears to be too independent.
AO4: The issue with Othello and Desdemona is that their relationship is idealistic and too unrealistic. Their flaws are hidden from each other rather than accepted. This is seen in ‘Much Ado about nothing’: comparing these to Benedick and Beatrice’s we can see it isn’t true love as this couple look past each others flaws to see the love beneath. A miracle! Here’s our own hands against our hearts. Come, I will have thee, but, by this light, I take thee for pity. (A5,S4)
- The weak foundations to their love is of tragic magnificence as it emphasises a tragic flaw of superficiality and idealism
AO5: (romanticism) Coleridge = Othello DIDN’T kill Des out of jealousy, but because of Iago’s manipulation. Othello isn’t to blame. Iago is “a being next to devil”, his monologues are “the motive-hunting of motiveless malignity”. Iago has no reason to be evil but he’s evil anyway.
- (20 century A.C Bradley) The Tragedy of the play is that Othello is “exceptionally noble and trustful” and is manipulated by Iago.
