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o Iago’s Motivation
IAGO’S MOTIVATION
Samuel Taylor Coleridge described Iago’s soliloquies as the “Motive Hunting of Motiveless Malignity”; which implies that the antagonist has no other motive but resentment and spite. At first, it may not be evident; however, with scrupulous analysis, one can comprehend how this character manipulates others for his own malicious intentions.
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Coleridge wrote: “The last Speech, the Motive-Hunting of Motiveless Malignity – how awful! In itself fiendish –while yet he was allowed to bear the divine image, too fiendish for his own steady View. – A being next to Devil – only not quite Devil - & this Shakespeare has attempted – executed – without disgust, without Scandal!”
Figure 13: Othello and Iago32
Source: https://medium.com/lantern-theater-company-searchlight/the-pathologicalpsychology-of-iago-4d21f80d2caa
31 Samuel Taylor Coleridge is the premier poet-critic of modern English tradition, distinguished for the scope and influence of his thinking about literature as much as for his innovative verse. He is one of the most influential and controversial figures of the Romantic period. Coleridge’s lectures on Shakespeare, 1818–19: The notes were made in preparation for Coleridge’s course of six lectures on Shakespeare, between December 1818 and January 1819. 32 Othello and Iago, 1857, Solomon Alexander Hart, depicting the pivotal Act III scene where Iago plants doubt in Othello’s mind.
Therefore, Iago's grounds for his wickedness were his sense of intellectual superiority and yearning for exerting power. Furthermore, his malignity issues
from racism as he does not accept that Othello is a Moor. He is envious and believes he deserved the promotion Cassio was rewarded with, adding outrage to his hatefulness. Besides, he is jealous of Othello and Desdemona’s marriage and supposes that the Moor had an intimate relationship with his wife Emilia. Now I do love [Desdemona] too, not out of absolute lust –though peradventure- I stand accountant for as great a sin – […] For that I do suspect the lusty Moor Hath leaped into my seat
(II. i. 220-221)
Figure 14: Desdemona, Othello and Iago33
Source : https://www.mediastorehouse.com.au/uig/art/painting-sculptureprints-indoors/italy-desdemona-othello-iago-illustration-9570223.html
33 Italy, Desdemona, Othello and Iago, illustration for the opera Otello (1887) by Giuseppe Verdi (1813-1901), oleograph 19th century, Civica Raccolta Delle Stampe Achille Bertarelli (Library).
