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Scarring, depriving, tormenting and the bulk of all spite is the hallmarks of a great villain, so much so that we’d also forget the intention of their villainy, simply a matter of storyline development taken course. Iago treats us to a recipe of villainy that is almost delightful, leaving the audience angst in anticipation and itching for more. Apart from his relentless desire to wrought those that have wronged him or as Iago might believe, that alone doesn’t seem to be enough for modern critics to absolutely justify villainy to this degree of tragedy. By one critic, Iago is “the Spirit of Evil ”(Rosenberg 20) and by another “a devil in the flesh(Rosenberg 31). This is consistent with much of Iago’s dialogue in justifying his actions, from a presumably cuckoldry incident to Othello passing Cassio over Iago for promotion. These, in the eyes of modern critics pale in comparison to what is expected or needed of a reason to justify taking actions to the extreme. Indeed, we must borrow ancient lenses and see it from the viewpoint of the current era Othello was written in. Factoring in the effect of Iagos soliloquies for the audience to hear, Shakespeare intends the audience to adopt Iago’s concerns and motives – creating a more personal relationship between the villain and the audience that is about to witness what he declares. Nonetheless, Iago’s qualms with Othello and his motives must be settled in archaic terms to better understand his character, why both the suspicion of cuckoldry and overlooked promotion hold weight over Iagos decisions and how jealousy drove Iago deeper into the rabbit hole.

Queen Elizabeth I was Shakespeares major client during the Elizabethan Era and playwriting during the 1550 to 1600s was catered to the Queens interests. To the effect of the queens ruling, much of the discussion revolved around patriarchy and the striking resemblance of free-spirited characters, notably Desdemona who later suffers from Othellos brewing suspicion and jealousy. The Elizabethan themes were centralized around barbarism and patriarchal  hierarchies with some effort of remedying it, such as Othello admiring Desdemonas free-spiritedness, wanting to savor and protect(Draper 324). How to deal with trickery, fear of cuckoldry and lack of authority were all trending themes of the Jacobean period, as well as appearances; famously Cassio described as a fellow almost damnd in a fair wife(Shakespeare 1.1.2). Lastly, the majority of the world was still in question, unbound and other races existing besides white was not common knowledge. Thus, Elizabethan Society was mostly homogenous. Aristotles tragedy recipe closely reflects Othello, a protagonist that is admired by many but has a flaw that one cannot ignore. The flaw is present in every instance the character is mentioned, however it is overlooked by the sympathy of the audience under the anticipation of their pending doom. 

Iago informs us, and I,of whom his eyes had seen the proof of Rhodes, at Cyprus and on other grounds christian and heathen(1.1.13), indicating that he was both a frontline soldier and in Elizabethan society, was perceptually attractive for abiding by the military code which would implore the Elizabethan  audience to relate to better(Draper 326). The significance of promotions in the plays setting is equivalent to ones status, and for Othello to overlook Iagos promotion is one of the generals few blunders, and in doing so; invited the chaos that followed.

Iago later professes,I do suspect the lusty Moor Hath leapd into my seat; the thought whereof Doth, like a poisonous mineral, gnaw my inwards; And nothing can or shall content my soul Till I am evend with him wife for wife(2.1.383). Although he admits that he is not sure nor does he have evidence to move forward with conviction on his suspicions, he is committed to do as if for surety.

The idea of cuckoldry was revered with scorn in the Elizabethan era, to the extent that some would go as far to assume that the reason for the wife’s unfaithfulness is the mans inability to perform/procreate. Thus, it was the husbands obligation to defend both his name and his wifes, not to safeguard her sanctity but to uphold his reputation and status(Greene 250).Whilst it isnt Iagos own conception of this suspicion but rather rumored, it begs the question of Iagos means in poisoning Othellos mind through the same course that led him on the path to destruction. Rumors were weighted more than they modern times and to hear something so averse to ones beliefs is a challenge to ones status and wellbeing. It stands to reason among the totality of motives that fuels Iagos pursuit, the fear of cuckoldry and inability to crush rumours is one of them. Where does Iago then become overtaken by jealousy due to the thought of cuckoldry?

Iago acknowledges that he is possessed by jealousy when he says that O, beware, my lord, of jealousy; It is the green-eyed monster (Shakespeare 67). It is jealousy that brings him closer to the horns drawn on cuckolds during the Elizabethan period. Iago is a victim of circumstances inspired by jealousy when he did not receive the promotion he was eyeing. It is not the first time Iago is jealous. It is only this time around that he dealt with his jealousy in a manly way. He decides to take revenge on the people whose actions led to his self-doubt (Alkoli 418). Appearances were also subjected to jealousy and Iago was prone to it, remarking that Cassio had a daily beauty in his life That makes me ugly(5.1.19). Consequently, despite Iagos attempt of sending Rodrigo to kill Cassio; the story ends with all prominent characters dead except Cassio, Bianca, and Iago. This interesting trio resembles Christian doctrine, insofar as Biancas profession will still continue and so will Iagos evil. These two, paired with beauty(Cassio) provides great contrast of an ideal evil that is both beautiful, manipulative(prostitutive means to an end) and intelligent(such as Iagos ability to provide half truths and allow Othello to arrive at conclusions that he himself Iago has designed).Figuratively, the play is closely tied to Christian Doctrine and Shakespeare is showcasing his literacy in this domain through the storys theme.

Other people including Othello describe Iago as an honest man. It is because of the good reputation that has earned him his previous promotions to the position of ancient. A man of good reputation involved in evil plots indicates that something is responsible for the changed man. Someone builds his reputation over a long time and good people are ambitious that the world will turn good for them (Alkoli 420). However, it is the opposite because too much expectation leads to disappointments. This might be the case for Iago because all through his life he has been honest and in this perspective, he may have expected to earn him the promotion. Iago was the best-positioned man for the lieutenant position yet Othello overlooked him for Cassio.

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Works Cited

Alkoli, Hind Abdullah, and Shi Ji. “An Analysis of Power Desire of Iago in Shakespeares Othello From Psychological Perspectives.” Journal of Literature and Art Studies 8.3 (2018): 417-421.

Shakespeare, William. Othello, the Moor of Venice. Vol. 10. G. Bell, 1875.

John E. Hankins, John W. Draper, The “Othello” of Shakespeares Audience, Shakespeare Quarterly, Volume 5, Issue 1, Winter 1954, Pages 9192.

Born, Hanspeter. Why Greene Was Angry at Shakespeare. Medieval & Renaissance Drama in England, vol. 25, Rosemont Publishing & Printing Corp DBA Associated University Presses, 2012, pp. 13373, http://www.jstor.org/stable/24322476.

Rosenberg, Marvin. In Defense of Iago. Shakespeare Quarterly, vol. 6, no. 2, [Folger Shakespeare Library, The Shakespeare Association of America, Inc., Johns Hopkins University Press, George Washington University], 1955, pp. 14558, https://doi.org/10.2307/2866395.