21/11/24
‘Explore Shakespeare’s presentation of the relationship between Othello and Iago’
In his 1603 play ‘Othello’ Shakespeare roots Othello’s relationship with his
Iago, in deception, manipulation and corruption. In Iago’s duplicitous
machinations and devotion to ruining Othello, Shakespeare is able to subvert
contemporary views around male friendship as spiritually pure, as well as
critiquing the role of class and social hierarchies . Furthermore, Shakespeare
reveals the complexity of Iago’s machinations in the relationship, and in this,
Shakespeare adds depth to Iago’s characterisation.
Firstly, Shakespeare roots Iago’s relationship with Othello in deceit and corruption,
placing particular emphasis on Iago’s mastery as a dissembler, and in this, Shakespeare
subverts contemporary notions of male friendship and solidarity, perhaps to suggest the
potentially corruptive effects of male friendship. This view is in contrast to critic F.R
Leavis, who states that ‘Iago’s success… is not so much Iago’s diabolical intellect as
Othello’s readiness to respond’. Here, Leavis argues that Iago’s ultimate success in
corrupting Othello is not a result of his evil mind, but just a flaw in Othello’s own
character. This seems unconvincing: Shakespeare immediately characterises the
relationship in deliberate corruption on Iago’s part, Iago saying ‘ I follow him (Othello)
to serve my turn upon him’. Here, Shakespeare uses Iago’s speech to display
his malicious intent. More specifically, the phrase here seems symbolic of
Iago’s cruel intentions, with ‘ my’ representing Iago’s selfish and egotistical
nature. Shakespeare makes it clear from Act 1, Scene 1 that Iago’s intent with
Othello is to ruin him, highlighted here in his self-serving comment, inevitably
foreshadowing the chaos that Iago intends to produce. Shakespeare further
emphasises the role of Iago as a manipulative and cruel force in his second soliloquy:
here, Iago acknowledges that Othello is ‘constant’, ‘noble’, ‘loving’, ‘a dear husband’.
Shakespeare employs the general semantic field here of love and honour - good
characteristics - providing the audience with a clear representation of Othello as
honourable, but more than this, so honourable that Iago recognises it
. The nature of a soliloquy means Iago is alone, speaking to himself. Shakespeare
therefore emphasises the truth and honesty in Iago’s listing here, giving weight to his
claims of Othello as a truly good man, and therefore emphasising his evil in corrupting
such a kind and honest man like Othello. The extent of Iago’s corruptive influence within
the relationship is perhaps most evident in Shakespeare’s continued use of the epithet
‘honest Iago’. Throughout the play, this epithet is continuously used by other characters
but in particular Othello. This seems symptomatic of Iago’s skill as a dissembler and
his manipulative role. ‘Honest Iago’ is dramatic irony: it highlights Iago’s duplicitous
nature and facade of truth, in stark comparison to his truly evil nature. In this dramatic
irony, Shakespeare perhaps attempts to highlight the subversion of the relationship
between Othello and Iago, as it seems to be vastly different from the contemporary idea
of male camaraderie
offering a cautionary tale about hierarchical order
.
Those in Shakespeare’s audience with a Humanist education would likely be familiar
with Cicero’s ‘De Amiticia’. Here, Cicero describes the male bond as ‘a natural inclination
to be loving and kind, stimulated by the virtues and goodness of having a male friend.’ It
is evident through Iago’s extensive machinations, duplicity and plotting that his
relationship with Othello is not characterised by love or kindness: rather, his immutable
malicious actions and cruelty is what the relationship is built on.
Therefore, Shakespeare
