Iago’s Characterization in Iago’s Art of War: The Machiavellian Moment in Othello

While both Othello and Iago are guilty of murder in Shakespeare’s play Othello, Iago is undeniably the villain of the play. Othello tells the story of a Moor general of the same name who marries Desdemona, the daughter of Brabantio, an Italian senator. Using deceit and manipulation, Iago, whose pride has been injured by Othello after he is overlooked for promotion, gets revenge when he convinces Othello that Desdemona has been having an affair with his lieutenant, Cassio. Othello’s jealousy builds until he murders Desdemona in a fit of rage in the final scene. Immediately after, it is revealed that Iago orchestrated the entire plot and he is executed. Iago has been characterized as a Machiavellian villain by numerous authors. Is this a just characterization? In Ken Jacobsen’s article “Iago’s Art of War: The “Machiavellian Moment” in Othello” Jacobsen reasons that Iago is the perfect example of a Machiavellian villain. He thoroughly examines excerpts from Machiavelli’s works and compares it with examples gleaned directly from the play. Jacobsen argues Iago fits the image of a Machiavellian villain as he is strategic, well-spoken, duplicitous and able to understand and manipulate the psychology of others. I would agree with his assessment based on the evidence he presents along with further examples I have found in the play.

In order to determine if Iago conforms to the Machiavellian type first it is necessary to define what the term Machiavellian signifies. Niccolo Machiavelli was an Italian politician born in the 15th century during the Renaissance and the term originates from descriptions of politicians in his book The Prince. According to The Free Dictionary by Farlex, Machiavellianism concerns “the principles of government set...

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... the rhetorical term “invention” to characterize the intellectual resourcefulness required in military command” (512). As well, a key factor in Iago’s successful communication is his apparent trustworthiness that is reiterated by different characters throughout the play. He is known by many as “honest Iago” and at one point it is said, “A man he is of honesty and trust” (1.3.284). Jacobsen asserts that “Iago carefully cultivates a reputation appropriate to both orator and general” (508). Without his reputation as an honest man, his claims would go unheeded.

Works Cited

Jacobsen, Ken. “Iago’s Art of War: The “Machiavellian Moment” in Othello.” Modern Philology Vol. 106. No. 3 (February 2009): 497-529. Print.
Shakespeare, William. Othello, the Moor of Venice. The Necessary Shakespeare. 4th Edition. Ed. David Bevington. Chicago: Pearson, 2012. 611-655. Print.