Iago As The Villain In Shakespeare's Othello

The classic antagonist in every story seeks to see the fruition of their devious plan, and would most likely be successful without the direct opposition of the protagonist. However, in Othello, rather than working against Othello, Iago gives an illusion of working with him in order to gain an advantage in the construction of his plot. Acting as a playwright within the play, Iago pushes and prods characters into the position that is most favorable to his final plan, which ultimately is to bring down Othello. In Iago, Shakespeare presents a villain who is not only able to construct elaborate schemes, but one who is also clever enough to disguise them with a façade that allows him to manipulate others.

Iago is aware that other characters perceive him as an

honest man with only the best of intentions for everyone. He remarks that, “In following [Othello], I follow but myself,” indicating that he is the master of the situation, playing the meek servant while actually influencing Othello’s worldview to serve his own gains (I.i.64). Othello’s complete ignorance of Iago’s true nature allows for Iago to have even greater control, seeing as Othello willingly agrees with Iago, believing that he cares about him. The greatest irony, however, is not only does Iago put up this front, but that he finds it a weakness to exploit in others, particularly Othello. He knows that Othello’s “free and open nature” (I.iii.442) allows him “to make [his] honesty a vice” (III.iii.430). Despite this, Othello maintains an innocent view of Iago, praising him as “a man he is of honesty and trust” (I.iii.323). Iago seemingly maintains this image by feigning affection towards Othello and treating his wishes with the utmost importance. In addition, Iago repeatedly emphasizes his own honesty to others, saying that he is “an honest man” (II.iii.285). However, rather than remaining true to that image, Iago takes advantage of their belief in his honesty and Othello’s trust in him to manipulate a situation which is beneficial for him alone.
Iago abuses others’ trust in him in order to formulate his plans, yet he disguises it all under a façade of a caring friend. Iago knows that Othello is an arrogant man, and leads him on to believe that having his wife cheat on him is “ the plague of great ones” (III.iii.314). Earlier, Iago muses that it is rumored that Othello has “done [his] office,” which would lead him to want vengeance by taking revenge against Desdemona instead of Othello. Also knowing of Othello’s insecurities, he further plays them by driving Othello mad with his insinuations of Desdemona and Cassio’s relationship. However, the only “proof” that Othello has supposedly seen of this is the handkerchief, an orchestration designed by Iago. Seeing the handkerchief, a symbol of his love of Desdemona, breaks something in Othello that allows for the illusions Iago created to manifest themselves. This fury allows for Iago to further tease Othello with knowledge of her supposed affair, telling him that “such a handkerchief…did I today see Cassio wipe his beard with” (III.iii.496-98). Cleverly, Iago had already planned to have a conversation with Cassio about Bianca, knowing that “As [Cassio] shall smile, Othello shall go mad,” leading Othello to believe that the secret woman Cassio is having an affair with is Desdemona (IV.i.117). Iago’s plans are often based on others reaching a conclusion that is not actually true, merely one he creates with subtle implications.
Whenever Iago is alone with Roderigo, who serves as his conduit with the audience, only then can they understand the full complexity of his plans.

In their conversations together, Iago seems to pity Roderigo, claiming to “have professed me thy friend,” yet he advises Roderigo into a position which would only help him further drive his plot forward, simultaneously leading Roderigo to believe that he is helping him (I.iii.379). When Iago is alone, he is less likely to brag about these ideas and more likely to run the audience through his thought process in a stream-of-consciousness. Through these monologues, the audience is able to see the more manipulative side of Iago that he disguises when around Othello. Iago carefully manipulates each character to the position that is most advantageous to him, yet still asks himself, “And what’s he, then, that says I play the villain,/When this advice is free I give and honest” (II.iii.356-57). Almost seeming to be proud of himself, Iago views his planning as nothing more than a game, “[his] sport and profit” (I.iii.429). Iago has no moral qualms about exploiting others’ weaknesses, a situation which ultimately gives him the upper hand against Othello when controlling

him.
Despite Iago’s appearance as a truthful man, perfectly subservient to Othello, the actual truth is that this mask of his is constructed so that he can deceive and play the weaknesses of those around him. Through subtle implications and a well-placed word, Iago is able to thoroughly play the honesty card to his own advantage by weaving a complex plot that Othello remains unaware of the consequences until it is too late. Although the audience gets a glimpse into his mind, no one would unhesitatingly betray their superior the way Iago has over shallow to no motives whatsoever. The consequence-free actions of Iago’s plans throughout nearly the entire play make his two-timing even more sinister, seeing as despite his image as a honest character, he has a deranged mind, plotting to take out those around him by using their exposed weaknesses against them. Because of this complete lack of morality, Iago’s clever scheming makes him one of the most terrifying villains.