In this ever changing world, not much stays the same. What is constant is William Shakespeare’s stories and their connection to human nature. Not only are his plays well known for their exciting and intricate plot lines but for his ability to connect his characters to the audience; to allow the audience to feel like that it could be them up on the stage portraying these roles. In Othello, he weaves in the most natural and most destructive of all human behaviors: jealousy, making otherwise decent humans into different, more harsh versions of themselves.
The word ‘jealousy’ is closely related to ‘envy’ and according to Merriam-Webster, it’s described as “ [envy] a person who is covetous of something someone else has…” and ‘jealousy’ “is the sense of zealous vigilance”. Considering that this is a modern definition, it still falls into what Shakespeare was portraying in Othello. Jealousy is one of those emotions that is universal and transcends time and space, allowing Shakespeare to call it the “…green-eyed monster…” (No Fear, Act 3 Scene 3). In the play, one character shows this monstrous side to him: Iago.
Firstly, Iago has become furious that he’s been overlooked as lieutenant to Michael Cassio; “Nonsuits my mediators. For ‘Certes’, says he, “I have already chose my officer”. And what was he? Forsooth, a great arithmetician, One Michael Cassio, a Florentine…That has never set a squadron in the field, nor the division of battle knows…” (No Fear, Act I, Scene I). Envious that Cassio has a rank he never earned, “…’Tis the curse of service. Preferment goes by letter and affection, and not by old gradation, where each second stood heir to th’ first…” (Act I Scene I) and jealous of Othello’s military rank over Iago; “Now sir, be judged yourself, whether I in any just term am affined to love the Moor ” (Act I, Scene I).
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To add gasoline to the fire, Othello has convinced Desdemona, a woman Roderigo loves, to marry him. Though Iago has no love towards her, he perhaps, hates the idea of the “Moor” for finding love, something Othello doesn’t deserve, forcing Iago tells Brabantio his daughter has fled to be married, “Even now, now, very now, and old black ram is tupping your white ewe…” (Act I, Scene I). From here, Desdemona tries to convince the Duke and her father that she married Othello out of love not by “spells and medicines bought of mountebanks” (Act I, Scene 3).
After many discussions, Desdemona’s father forcefully gives his blessing for he’d “rather to adopt a child…For your sake, jewel, I am glad at soul have no other child. For thy escape would teach me tyranny…” (Act I, Scene 3). Othello is then forced to halt his marriage celebration to be sent to Cyprus by the Duke, “…and though we have there a substitute of most allowed sufficiency, yet opinion, a sovereign mistress of effects, throws a more safer voice on you…” (Act I, Scene 3). Away goes Othello and here beings the plot. Roderigo, after knowing that Desdemona is still going to be married to Othello, wants to “drown” himself (Act I, Scene 3).
However, Iago has other plans for Roderigo. If he should wand Desdemona he needs to first “Put money in thy purse…These Moors are changeable in their wills – fill thy purse with money. The food that to him is as luscious as locusts shall be to him shortly as bitter as coloquintida. She must change for youth. When she is sated with his body she will find the errors of her choice” (Act I, Scene 3).
Therefore, stating to Roderigo, that there will come a time when her love for “the Moor” will disappear and she will seek love with a younger man, which will be him and his money. Secondly, “Let us be conjunctive in our revenge against him. If thou canst cuckold him, thou dost thyself a pleasure, me a sport” (Act I, Scene 3); asking Roderigo to seduce Desdemona to make a fool of Othello. Once Roderigo leaves, is when the full truth comes out. Not only is Iago’s thirst for revenge attached to losing his promotion but due to the fact that he has suspicion that Othello has fooled around with his wife, “And it is thought abroad that ‘twixt my sheets, he’s done my office. I know not if ‘t be true, but I, for mere suspicion in that kind…” (Act 1, Scene 3).
Therefore, he plots to use Cassio as the instrument of torture for Othello, “the better shall my purpose work on him. Cassio’s a proper man…” (Act I, Scene 3), to “abuse Othello’s ear that he is too familiar with his wife…He hath a person and a smooth dispose to be suspected, framed to make women false…” (Act I, Scene 3). Therefore, Iago is a manipulative and shady individual. Despite those qualities, he, perhaps, wouldn’t have gone to create this elaborate plot if it weren’t for the straw that broke the camel’s back: the promotion. Maybe, he was and would be willing to have overlooked the deeds that possibly took place between his wife and Othello, had he got what he wanted.
However, it’s been shown that he has great control over his jealousy even earning the title “honest Iago” (Act I, Scene 3). In Act 3, Iago’s cunning goes even further, letting a handkerchief be the rift between husband and wife by husband and wife. In scene three, Iago is talking with his wife, Emilia, who has Desdemona’s handkerchief and plans to go into “Cassio’s lodging [and] lose this napkin and let him find it. (Act 3, Scene 3). Then Othello, in despair, tells Iago that he never suspected anything between Desdemona and Roderigo, “I slept the next night well, fed well, was free and merry. I found not Cassio’s kisses on her lips. He that is robbed, not wanting what is stol’n let him not know’t, and he’s not robbed at all” (Act 3, Scene 3); he’d rather be unaware to the supposed transgressions than be aware because it would hurt less. Iago, feeding into Othello’s paranoia says “…Have you not sometimes seen a handkerchief spotted with strawberries in your wife’s hand? (Act 3, Scene 3), for he is certain “it was [his] wife’s, did I today see Cassio wipe his beard with” (Act 3, Scene 3).
Here is where Iago wants Othello, he wants him not only destroyed by the thought of his wife loving another, but he can easily be in Othello’s ear, to control him any way he wants; to be the puppeteer, “Witness, you ever-burning lights above, you elements that clip us round about, witness that here Iago doth give up the execution of his wit, hands, heart, to wronged Othello’s service. Let him command, and to obey…” (Act 3, Scene 3). Soon, Othello goes and, in his own sneaky way, asks Desdemona, “Lend me thy handkerchief…” (Act 3, Scene 4) for “I have salt and sorry rheum offends me” (Act 3, Scene 4). To which Desdemona can’t give it to him cause she doesn’t have it, “I have it not about me” (Act 3, Scene 4). Then, after many times of his asking her for it, he relents and states “Fetch me the handkerchief – my mind misgives” (Act 3, Scene 4).
Othello has now become furious with Desdemona, something she’s never seen before, turning to Iago’s wife after Othello leaves in anger, “I ne’er saw this before. Sure, there’s some wonder in this handkerchief, I am most unhappy in the loss of it” (Act 3, Scene 4). Iago’s plan for Othello has happened: Othello is suspicious of his wife causing him to be angry with her, not believing her when she says she lost her handkerchief, for he believes she gave it away freely. Then comes Cassio, the second part to Iago’s plan: frame him for the affair of Desdemona. Cassio states, “Madam, my former suit. I do beseech you that by your virtuous means I may again exist, and be a member of his love whom I, with all the office of my heart, entirely honor” (Act 3, Scene 4), for he has fallen out of favor with Othello, a position he held dear; the position that should have been Iago’s.
Then, Bianca, Cassio’s girlfriend, appears saying “What, keep a week away? Seven days and nights? Eight score hours? And lovers’ absent hours are more tedious than the dial eightscore times!” (Act 3, Scene 4), curious as to why Cassio has been away from her for such a long period of time, to which he replies “I have this while with leaden thoughts been pressed, but I shall, in a more continuous time, strike off this score of absence…” (Act 3, Scene 4). Cassio, in all his stupidity, holds out the strawberry designed handkerchief, asking if she would copy the design, which leads Bianca into a fury of suspicion, certain his time away was because of another woman, “This is some token from a newer friend! To the felt absence now I feel a cause” (Act 3, Scene 4).
Not only has he lost favor with Othello, but now with Bianca. Act three, lays out perfectly all that Iago had planned from the beginning. He planned for Othello to lose favor of his girlfriend and of Cassio, destroying a love that Iago believes Othello didn’t deserve, and taking away from Cassio Othello’s favor and position, that should have been his. It’s also clear, throughout Act 3, that not only did Iago methodically plan out the plot, but it succeeded without any involvement from him at all. His wife placed the handkerchief in Cassio’s bed, and from there, it was a domino effect. Iago has fully turned into the “green-eyed monster” of jealousy. Fastword to Act 4, and Iago has fully taken advantage of his close relationship with Othello.
Othello plans on murdering his wife, “Ay, let her rot and perish and be damned tonight, for she shall not live. No, my heart is turned to stone…” (Act 4, Scene 1), planning to “chop her into messes!” (Act 4, Scene 1), for he won’t allow himself to “cuckold(ed)” with “[his] own officer” (Act 4, Scene 1). Othello has finally fully succumbed to his rage and orders for poison but Iago has a better idea, “…Strangle her in her bed, even the bed she hath contaminated” (Act 4, Scene 1) “and for Cassio, let me be his undertaker…” (Act 4, Scene 1). Scene two, shows Iago telling Desdemona that Othello is saying hurtful things to her because “The business of the state does him offence, and he does chide with you” (Act 4, Scene 2), assuring her that he still loves her, he’s just feeling overwhelmed; that she needs to keep trying for his love because the more she does, the more she will look guilty, as per Iago’s plot.
However, things go awry when Roderigo appears feeling he has been tricked, “Every day thou daff’st me with some device, Iago, and rather, as it seems to me now, keep’st from me all conveniency than suppliest me with the least advantage of hope… I will indeed no longer endure it, nor am I yet persuaded to put up in peace what already I have foolishly suffered” (Act 4, Scene 2). Roderigo lays out all the ways that Iago has wronged him, “The jewels you have had from to deliver Desdemona would half have corrupted a votaress. You have told me she hath received them and returned me expectations and comforts of sudden respect…” (Act 4, Scene 2), to which Roderigo decides that, on his own, he is going to tell Desdemona how he feels and “if she will return me my jewels I will give her my suit and repent my unlawful solicitation…” (Act 4, Scene 2).
Ever the sly charmer he is, Iago doesn’t admit he’s done wrong but tells Roderigo that his anger is justified. He persuades Roderigo to wait until tomorrow to do what he has planned, “If thou the next night following enjoy not Desdemona, take me from this world with treachery and devise engines for my life” (Act 4, Scene 2). That, before, Venice has made Cassio governor to Cyprus, which will cause Othello and Desdemona to go “into Mauritania…unless his abode be lingered here by some accident” (Act 4, Scene 2) and the best way to do that is to get rid of Cassio so he can’t take Othello’s place. Here sets forth a subplan within the bigger plan: since Cassio doesn’t know he’s been appointed, Iago will go visit him. Then, “if you will watch his going hence you may take him at your pleasure. I will be near to second your attempt, and he shall fall between us” (Act 4, Scene 2). Roderigo wants reasons, which he’s told offstage.
Later, when they appear to kidnap Cassio, Iago laments to himself, “I have rubbed this young quat almost to the sense, and he grows angry. Now, whether he kills Cassio or Cassio him, or each does kill the other, every way makes my gain…” (Act 5, Scene 1). He was never going to let Roderigo face Desdemona, and figures the best way to ensure things go his way is to make one kill the other or both kill each other. Instead Cassio has stabbed Roderigo and Iago has wounded Cassio. Othello has heard Cassio scream, “I am maimed forever. Help, ho! Murder! Murder!” (Act 5, Scene 1) which Othello believes Iago to have kept his word about killing Cassio, exclaiming “Oh, brave Iag!” (Act 5, Scene 1).
Iago appears at the scene, acting as if this is the first time he’s come across this bloody scene, “Who’s shouting ‘murder’?” (Act 5, Scene 1). After he “discovers” Cassio, he plays along asking who has done this to him and Cassio believes he is still nearby and shouldn’t get away. Well, Iago blames Bianca, who has just appeared on the scene, distraught at what has happened to Cassio, “Oh, my dear Cassio! My sweet Cassio!…” (Act 5, Scene 1). All the while, Iago realizes “my dear friend and my dear countryman Roderigo” (Act 5, Scene 1) has been stabbed. Later, when Cassio identifies Roderigo as one of his attackers, Iago secretly stabs him to stop him from revealing what they plotted.
Iago, again, turns his attention to Bianca, and continues his accusations against her, “Look you pale, mistress? Nay, if you stare, we shall hear more anon. Behold her well. I pray you, look upon her. Do you not see, gentleman? Nay, guiltiness will speak, though tongues were out of use” (Act 5, Scene 1). Elsewhere, Othello confronts Desdemona, in almost a state of daze, because he appears saying lovely things about her, justifying his need to kill her, “Nor scar that whiter skin of hers than snow and smooth as monumental alabaster. Yet she must die, else she’ll betray more men.” (Act 5, Scene 2). He tells Desdemona that he wishes to kill her, for “that handkerchief which I so loved and gave thee, thou gav’st to Casso” (Act 5, Scene 2); essentially saying that she made a fool of him and their love. Othello, after strangling Desdemona, is interrupted when Emilia walks in.
Othello has drawn the curtain so she won’t notice Desdemona and Emilia lays out all that has transgressed, “O my good lord, yonder’s foul murders done!” (Act 5, Scene 2). In the middle of their talk, Emilia hears a noise from Desdemona and realizes that she is dying. With her dying breath tells Emilia that “nobody” has done this to her, she’s done it to herself, defending her husband till the end, “commend me to my kind lord…” (Act 5, Scene 2). Emilia doesn’t believe Desdemona, and heckles Othello until he states, “she turned to folly, and she was a whore…Cassio did top her…” (Act 5, Scene 2), saying if she doesn’t believe him, she needs only to ask Iago. For Iago, “twas he that told me on her first.
An honest man he is, and hates the slime that sticks on filthy deeds” (Act 5, Scene 2). Eventually, Emilia calls for help and the former governor Montano arrives with Gratiano and Iago. Emilia wants Iago to “disprove this villain, if thou be’st a man. He says thou told’st him that his wife was false. I know thou didst not, thou’rt not such a villain…” (Act 5, Scene 2); clinging onto the hope that Iago hasn’t done what Othello claims. Iago, back into his charming lie, states “I told him what I though, and told no more than what he found himself was apt and true” (Act 5, Scene 2), not fully admitting, but saying just enough to not paint himself in a bad light. Emilia then goes crazy, and just keeps saying “Villainy, villainy, villainy! I think I smell it, Oh, villainy!” (Act 5, Scene 2); saying in many ways that Iago has killed an innocent woman with all his treachery and lies.
Having had enough, Iago draws his sword and stabs Emilia. Realizing what he had done to his wife, Othello grabs a sword that was in his chamber; “Behold, I have a weapon. A better never did itself sustain upon a soldier’s thigh…That with this little arm and this good sword, I have made my way through more impediments than twenty times your stop…Be not afraid, though you do see me weaponed. Here is my journey’s end…” (Act 5, Scene 2). Advancing upon Iago he looks down upon Iago’s feet stating “I look down towards his feet, but that’s a fable. If that thou be’st a devil, I cannot kill thee” (Act 5, Scene 2) and stabs him but only wounds him.
Knowing that Iago will never tell him the truth of what happened, Othello laments saying, “When you shall these unlucky deeds relate, speak of me as I am. Nothing extenuate, nor set down aught in malice. Then must you speak of one that loved not wisely, but too well. Of one not easily jealous, but being wrought, perplexed in the extreme…” (Act 5, Scene 2), asking if they should record his story, say what he did was out of trickery and manipulation. Othello then stabs himself and dies. In the end, although he was found out, Iago’s plan still succeeded. He was able to put a divide between Desdemona and Othello and remove Cassio from his rank, both in Othello’s friendship and in the military. What he didn’t plan on was having to kill Roderigo and his wife, but it still seemed to work in his favor. Roderigo wasn’t able to lay out his deeds to Desdemona, and he was able to silence his wife when she was spewing the honest truth behind his actions.
Since his true intentions are still unknown to Othello, Iago refuses to speak, thus allowing Othello to kill himself. Ultimately, because of the venomous nature of jealousy, it spread to each and every person, attaching itself to anyone it can. If Iago wasn’t overlooked for the promotion, he never would have been furious at Cassio, and he never would have looked further into his alleged wife’s affair with Othello. If Iago never, out of anger, had told Othello his wife was a cheat, Othello never would have wanted her killed; all in all, Iago caused a domino effect that wounded and killed people.
I believe, in the end, Iago is pleased with himself because he came out of all this victorious, that all though he was found out, he still got what he wanted; those that he was jealous of and envied, out of the picture. Othello is a story of ‘what if’s’ and natural human anger and jealousy that, I’m sure anyone in the audience felt, was they too have spread a rumor, they too have transgressed against their love. It connects to everyone, and even though they, or we, as the reader, will never seek to murder someone, know that our actions and sayins have consequence and we need to be wary of the “green-eyed monster”.
Citations
- Jealousy. (n.d.). Retrieved March 29, 2020, from https://www.merriam-webster.com/dictionary/jealousy
- Shakespeare, W., & Crowther, J. (2003). No fear Shakespeare: Othello. New York: Spark.
