To What Extent do You Agree With Iago's Reasons for Revenge in Act 1, Scenes 1 and 2

Shakespeare stresses one of the core reasons for Iago’s reason for revenge being the underqualification’s of Cassio.

Shakespeare can represent this using imagery, insulting tone and alliteration. Shakespeare writes: “[…] stuffed with the epithets of war”, “One Michael Cassio, a Florentine” and “Mere prattle without practice”. Iago can neatly summarise why he is plotting revenge on Othello. He is wealthy in military titles (meaning Iago is jealous of his prestige as a soldier), he is opposed to a foreigner getting the title and his lack of experience in the battlefield. The imagery found in the first quotation is important as it demonstrates how Iago views Othello in one regard. As a man who only has military titles to boast of. Alliteration being used to highlight how ill-experienced Cassio is with military life. The insulting tone of Iago is present in all three quotations, but I highlight his reference to Cassio as a Florentine due to its xenophobic connotations. Adding in a possible chauvinistic ideology also forming a basis for his disdain for Cassio.

At the time, Florence and Venice were intendent city-states. Venice itself being prominent within the European trading market. Iago’s reference to Cassio as a “Florentine” may be an example of the rivalry of the two city-states flaring up within the play. Nepotism was also prevalent in Renaissance Italy (Prevalent enough that Cardinal-nephews’ became a part of the Catholic Church in Italy) that Iago likely expected the position to be his given his close friendship to Othello.

The effect of Iago’s reasons for planning revenge against Othello for his stated reasons may be harder to understand for contemporary audiences. Many readers likely viewing the relationship of Venice and Florence being merely that of cities (Like London versus Paris) when it is more akin to the United Kingdom versus France. Presumably meaning they also misunderstand why Iago uses the nationality of Cassio as an insult. Readers from Renaissance England would have a better understanding of this situation, likely meaning they’d understand the importance of such a background to Cassio. Possibly making them more likely to agree with Iago’s reasons for revenge than a contemporary reader would be.

Iago’s core rationale for wanting revenge is he feels that he has been cheated out of a title he deserves despite Cassio being unexperienced in war and being a foreigner. Adding onto this belief is his claim that Othello has only his military merit to boast of. Saying in a previous line that Othello loves only his “[…] pride and purpose”. Shakespeare uses easy to understand literary techniques to highlight these reasons in a way that is convincing. Shakespeare attempts to justify Iago’s plans for revenge on Othello by reminding the reader that Othello has broken with societal norms by marrying Desdemona. Shakespeare achieves this using Satanic imagery and direct address.

Shakespeare writes: “[…] an old black ram / Is tupping your white ewe.” There is a juxtaposition of these colours that reflect the personalities of Othello and Desdemona. The line implies that Othello is a satanic and evil person. This contrasts with the pure and angelic Desdemona. The animalistic imagery that is stressed through the reference to a ram and ewe also attempts to animalise their relationship that Iago claims will lead to miscegenation. Iago’s inclusion of a direct address before he states “white ewe” is intended to remind Brabantio that – in Renaissance England – Desdemona was meant to be his property. Meaning that the defile of his daughter could also be interpreted as a defile on the wider family name.

This has implications for the Brabantio family name – but also their wealth. A proverb from the sixteenth-century stating: More belongs to marriage than four bare legs in a bed”. Marriage for the wealthy in this period was a way to either maintain or increase the status of family name and to maintain or increase the wealth of a family. The academic Lawrence Stone arguing: “Marriage among the property-owning classes in sixteenth-century England was, therefore, a collective decision of family and kin, not an individual one.” Given the status of Brabantio being one of the most important men in Venice and being close to the Duke, it is easy to imagine him being among the higher echelons of society. This factor also granted his daughter higher access to the marriage market that existed because of this rationale behind marriage. Therefore, in the mind of Brabantio, for his daughter to pick “[…] and old black ram” is significant. While this system may not have been the same in Renaissance England, it was in Renaissance England. The context in which Shakespeare wrote Othello.

Iago’s language may be disturbing for contemporary readers. Also likely leading to them refusing to agree with Iago’s reasons for revenge. This is due primarily to the misogynistic implications of the statement he made to lure Brabantio into his revenge plot against Othello. However, to fully appreciate this argument by Iago we must remind ourselves of the context “Othello” was wrote in. Stone also wrote that to fully understand this aspect of Shakespeare’s works we must: “rid ourselves of three modern Western culture-bound preconceptions”. These were that marriage is for love, marriage should be an autonomous decision on both sides and that marriage should be underwritten by authentic love. Those in Renaissance England being more familiar with this concept, and the proverb previously stated, would be more understanding of why Iago uses it. Especially regarding why Iago chooses direct address and satanic imagery to remind Brabantio the ramifications of the “[…] black ram” has on his family name and status.

While Iago doesn’t genuinely care for the status of the Brabantio name, he likely does care for Othello’s justification of the – at the time – immoral act of marrying Desdemona. Especially without the consent of Brabantio. Iago likely wondering why such an act as that is justifiable but refusing to offer him the position, he wished for wasn’t justifiable. When we consider the importance status had in marriage at the time, it also may be a factor as to Iago using it against Othello. This is because Iago’s principal reason for revenge is his loss of a title he felt entitled to.

Shakespeare attempts to justify Iago’s schemes for revenge on Othello by drawing attention upon the master/slave dynamic that is found within human society. Shakespeare achieves this using multiple literary techniques, such as: paradox and dramatic irony. These having a subtle Machiavellian tone to them.

Shakespeare writes: “I am not what I am.” The paradox of this excerpt lies within how Iago can somehow not be himself when he is himself. The paradox also forces readers to think about what Iago is trying to claim. This aids in them discovering the hidden meaning of the line that is crucial to understanding why Iago feels justified in how he acts. This line of dramatic irony also highlights the entire situation of “Othello”: a situation we as the audience know but the characters do not. This is entirely due to the manipulation of Iago. In this short sentence, Iago can justify every action he makes. Particularly in reference to his contradictory role as friend of Othello yet also as his secret arch enemy. This complex nature of Iago being reflected in the use of two complex literary devices. The tone of Iago’s statement being Machiavellian is also important in understanding the personal philosophy that Iago uses to justify his plans for revenge. Machiavelli believing that statemen must be willing to lie and manipulate people to lead. Alongside being able to appease people. These are the defining characteristics of Iago.

Shakespeare used Machiavellian themes and archetypes in his works before. We see such examples in characters like Edmund in "King Lear" and Flamineo in John Webster's (A contemporary of Shakespeare) "The White Devil". Given Machiavellian had died 43 years before the publication of “Othello”, it is likely Shakespeare was familiar with his philosophy. This is further evidenced by Shakespeare’s association of Machiavellian traits with villains, implying he opposed Machiavellian ideas. The fact that Iago uses "Florentine" as an insult against Cassio in Act 1 further supports this, given Machiavelli's reputation as the "quintessential Florentine".

The references to Machiavellian philosophy through tone, paradox and dramatic irony likely had the effect of making readers from Renaissance England have no ability to agree with Iago’s reason for revenge. This is because his ethical philosophy was seen as incredibly immoral and evil. Given the tendency of Renaissance authors to apply this philosophy to the villains of their dramas, that is likely why Iago’s reasons for revenge can be justified through it. Although those who do not follow the same thinking of Machiavelli being unable to see the justification for Iago’s reasons for revenge and how he intends to act upon them. Modern readers likely also have this same view on Iago. Though some may be less biased as views on morality have changed and gradually people have accepted not everyone shares the same moral code that society was once expected to follow. This allowing them to agree with the reasons and motivations for Iago’s revenge.

A seemingly simple line stated by Iago reveals an incredible amount of depth about him as a person and it also allows us to discover what philosophy he likely followed. This plays a crucial role in our ability to either agree or disagree with Iago’s reasons for revenge. Shakespeare choosing to highlight this feature of Iago by a paradox.

There is a justification to disagree with Iago’s reasons for revenge against Othello. This is represented through his lies that are highlighted by Shakespeare using a juxtaposition of the character of Othello. Stage directions are used in tandem with this to further highlighting the lies of Iago against Othello.

Brabantio states: “[…] thou hast enchanted her”. This is in contrast with how Othello treats Desdemona: “[…] I love the gentle Desdemona”. Shakespeare attempts to subtly emphasise this lie by having Iago leave the scene anytime “Enter BRABANTIO […] with lights”. The use of stage directions by Shakespeare in this instance is a clever way of hinting to the audience that Iago is a manipulator that willingly lies to the other characters within “Othello”. This is because lights were seen as an image of wisdom. Wisdom always being the way to debunk lies within any situation. The juxtaposition of the character of Othello is a more blatant attempt by Shakespeare to illustrate Iago is a liar that cannot be trusted. With Iago, Roderigo and Brabantio accusing him of black magic to seduce Desdemona. When it was through genuine love they were united.

Given Othello’s status as a dark-skinned male, it means they genuinely believe that he was able to use magic. This is a product of the racist and xenophobic attitudes prevalent during the Elizabethan era. The effect of this line has a similar effect on both of modern readers and readers from Renaissance England: we refuse to agree to Iago’s reasons. This is because they are blatant deceits that have no evidence or rational justification. We can interpret Shakespeare’s intention through the juxtaposition and imagery through stage directions we find to be that Iago is a manipulator and duplicitous character.

In conclusion, I feel able to agree with Iago’s reason for revenge in Act 1, scenes 1 and 2. I feel this way because he justifies his attacks on Cassio through his lack of experience, points out a contradiction in Othello’s rationale regarding titles plus using philosophy to moralise his actions. Although he does admittedly lie frequently, he has provided the justification for this: “I am not what I am.”