Iago: the Almost Too Perfect Villain

Nobody is perfect, but I 'm so close that it scares myself. Exact thing applies to Shakespeare 's Iago, the almost too perfect villain in the play Othello. Different from the other typical trite villains, Iago has more depth in him other than being plain pure evil. Consumed with envy and plots Iago deceives and kills those who trust him, using the mask of "honest". As an amoral villain, it is not that Iago pushes aside his conscience to commit these acts, but that he lacks a conscience to begin with. Iago 's amorality results in the marginality of Othello the Moor whom he supposed to be loyal to, Cassio who is given the position he desires, Emilia the wife he does not love, and sadly, Iago himself. Throughout the whole play, the audience can see the amorality of Iago though the rest of the characters are oblivious to it. His "honesty" blinds the others who are put into marginalization. Shakespeare has done a brilliant job in creating a dazzling villain, the one with great intelligence, despite the tragic outcome he causes. Iago 's mouth drips with sickening sweet talk whenever he is involved in a conversation with Othello, although we all know the truth hidden behind all the saccharine, the nauseating Othello-is-going-down plots. Iago has never gotten over the fact that Othello is a black man with a past as a slave who gains the respect of the Venetians as a reliable and trusted general. "And I, God bless the mark, his Moorship 's ancient." (I.1.33). Iago 's twisted plot to put Othello in marginalization begins with his effort to rein the fury of Brabantio toward Othello. He realizes that he can use Brabantio to achieve his goal; therefore he will escape the blame. Iago uses Othello 's elopement with Desdemona as his first weapon to put Othello in marginalization.
"Call up her father, rouse him, make after him, poison his delight, proclaim him in the street, incense her kinsmen, and though he in a fertile climate dwell, plague him with flies: though that his joy be joy, yet throw some chances in vexation on 't as it may lose some colour." (I.1.69-74)
Othello 's action in murdering Desdemona is not fully his responsibility. Iago as a villain uses what is commonly called reverse psychology in making Othello overwhelmed with jealousy to finally commit the sinful act. Jealousy is Iago 's second icky weapon, and it is proven to be a powerful one. "Or failing so, yet that I put the Moor at least into a jealousy so strong that judgement cannot cure." (II.2.289-291). Iago is the trigger of Othello 's doubt on Desdemona 's loyalty, which later on results in Desdemona 's death. It is amazing how Iago 's smart mouth and "honesty" blinds Othello from seeing the true Iago. Over the top envy consumes Iago from the top of his head to the bottom of his foot, for he cannot accept the fact that Cassio gets the saluted position he desires. The filthy mouth of Iago mocks Cassio 's background as an arithmetician and insults his capability in playing his role as a lieutenant. He describes Cassio as, "A fellow almost damn 'd in a fair wife, that never set a squadron in a fireld, nor the devision of a battle knows more than a spinster, unless the bookish theoric,…" (I.1.21-24)
Iago feels that he is much better off in playing the role as a lieutenant than Cassio is and he damns the fact that Othello does not see the potential in him. Moreover, Iago presents Cassio as an irresponsible drunk in front of Montano. " 'Tis evermore the prologue to his sleep: He 'll watch the horologe a double set, if drink rock not his cradle." (II.3.115-117) His reason is to hurt Cassio 's reputation as a reliable noble man, to show that Cassio does not deserve his position as a lieutenant, the bottom line, for people to marginalize Cassio. To Iago, revenge towards those who he considers as a competition tastes sweeter than any lollipop ever produced. Iago 's amorality reaches its climax point when he marginalizes Emilia by showing absolutely zero feeling and respect towards her. If ever I have a husband even half as amoral as Iago is, I would make sure the divorce paper is on the way within the next minute. In front of the important people of Venetia, Iago verbally abuses Emilia with fascinatingly, no shame.
"Come on, come on; you are pictures out of doors, bells in your parlours, wild-cats in your kitchens, saints in your injuries, devils being offended, players in your housewifery, and housewives in your beds." (II.1.108-111)
If ever Iago treats Emilia decently, it is the time when he needs to use her as one of his tools in his scheming plot. Other than that, Iago sees his wife as an obstacle and a nuisance. In his eyes, Emilia is a stumbling block in front his path. In the end of the play, Iago coldheartedly kills Emilia once she no longer serves him any purpose and appears as a threat. Iago 's merciless taking of Emilia 's life and his insults toward her when she is still alive shows Iago 's dark side, his amorality. Too busy eavesdropping left, right, and center, too busy convincing people with his lies, Iago fails to realize that he puts himself in marginality. One of the reasons that make him so eager to take Othello down is the rumour that his wife is having an affair with Othello. He figures that if there is a smoke there must be a fire, thus he takes the judgment in his own hands, "Till I am even 'd with him, wife for wife" (II.2.288). Iago states that, "I hate the Moor, and it is thought abroad that ‘twixt my sheets he 's done my office." (I.3.377-379). Iago is marginalized through his own fears that his wife is no longer loyal to him. This issue is not cleared throughout the whole play, though frankly speaking it would not be surprising if Emilia does have an affair with another man. Considering the amorality of Iago and his affectionless way of treating Emilia, it is understandable if she runs to another man looking for some comfort and protection. It is ironic how Iago 's amorality implicates the marginality of himself. Iago differs from any other villains in modern day cinema for he is a complex villain who is not easy to read. Unlike any other dreary villains who are evil to the core, Shakespeare brings Iago to a higher level of malevolence. Iago is a character who is far from transparent. While other villains deserve to be called the devil incarnate, Iago is more of a psychopath without a conscience. The marginalization that is put on Iago 's boss Othello, Cassio the good lieutenant, the deceived and abused wife Emilia, as well as Iago himself is the consequence of Iago 's amorality. Shakespeare successfully gives depth and spirit into his remarkable villain, Iago. Iago 's amorality and cynicism give, what would be a very dull character, life.

Works Cited
Shakespeare, William. Oxford School Shakespeare: Othello. Ed.Roma Gill. Toronto: Oxford University Press 1989

Cited: Shakespeare, William. Oxford School Shakespeare: Othello. Ed.Roma Gill. Toronto: Oxford University Press 1989