‘Paradoxically, texts present jealousy as a destructive force existing within the deepest love.’
In light of this view, discuss how Shakespeare presents Othello’s feelings for Iago in this extract
and elsewhere in the play.
Shakespeare’s exploration of the deepest and most intrusive kinds of love arguably exists most
prevalently in the relationship of Othello and Iago – their earliest occurrences of fraternising in the
play reveal an intimate and spiritual connection which engages Othello’s cultural naivety and Iago’s
passionate confliction and destructive intentions that lead to a jealous deterioration of rationality.
Perceived as brotherly, or even homosexual, this bond is crucial in Othello’s reduction to a state of
compliance to Iago’s suggestions, manipulated and ‘led by th’ nose as asses are’ towards his tragic
demise. However, it could be argued that Othello’s deepest love exists for Desdemona; her beliefs and
loyalty are prized primarily by Othello, elevating her as a symbol of godly divinity that will inspire
the most spiteful jealousy and bring the heaviest sense betrayal and destruction. Alternatively, one
could argue that the greatest destructive force in the play is not the jealousy triggered by Iago’s
‘poison’ or the corruption of Desdemona’s virtue, but the jealousy that manifests from his underlying
insecurities of alienation form civilised society.
Iago’s role in aggravating Othello’s internal and primitive jealous nature is central to the tragic
structure of the play. Acting as the antagonist to Othello’s tragic heroism, Iago represents a morally
corruptive figure who threatens the rationality and civility of men, instilling and evoking fear from the
audience, and pity towards the demise of Othello. Iago’s dual nature (‘by Janus’) is apparent to the
audience, as they have previously observed his plosive and repulsive speech directed towards the
purpose of ridiculing and ruining Othello in the opening scene of the play, conducted in the
malevolent darkness of a street in Venice; as explicitly stated in the line ‘I do hate the Moor’ and
through the perverted and mocking animalistic imagery that draws on the supposed savage and bestial
nature of Othello’s race (‘black ram’, ‘barbary horse’, ‘devil’), his feelings are truthfully hateful.
Driven by his overwhelming desire to destroy Othello’s reputation, he undertakes the role of a faithful
friend and servant to Othello, gaining an intimate trust that allows him to plant intrusive thoughts of
betrayal and jealousy: ‘I’ll set down the pegs that make this music’.
The extract clearly demonstrates the intense bond existing within Othello to be built upon trust and
respect. Although their relationship is imbalanced as Othello ranks higher in status as a General, their
discourse reveals Othello’s feelings towards Iago to be respectful and appreciative, Iago’s nature as an
Ancient serves to persuade Othello that he is a man of honour, honesty, and valued advice. Shared
In light of this view, discuss how Shakespeare presents Othello’s feelings for Iago in this extract
and elsewhere in the play.
Shakespeare’s exploration of the deepest and most intrusive kinds of love arguably exists most
prevalently in the relationship of Othello and Iago – their earliest occurrences of fraternising in the
play reveal an intimate and spiritual connection which engages Othello’s cultural naivety and Iago’s
passionate confliction and destructive intentions that lead to a jealous deterioration of rationality.
Perceived as brotherly, or even homosexual, this bond is crucial in Othello’s reduction to a state of
compliance to Iago’s suggestions, manipulated and ‘led by th’ nose as asses are’ towards his tragic
demise. However, it could be argued that Othello’s deepest love exists for Desdemona; her beliefs and
loyalty are prized primarily by Othello, elevating her as a symbol of godly divinity that will inspire
the most spiteful jealousy and bring the heaviest sense betrayal and destruction. Alternatively, one
could argue that the greatest destructive force in the play is not the jealousy triggered by Iago’s
‘poison’ or the corruption of Desdemona’s virtue, but the jealousy that manifests from his underlying
insecurities of alienation form civilised society.
Iago’s role in aggravating Othello’s internal and primitive jealous nature is central to the tragic
structure of the play. Acting as the antagonist to Othello’s tragic heroism, Iago represents a morally
corruptive figure who threatens the rationality and civility of men, instilling and evoking fear from the
audience, and pity towards the demise of Othello. Iago’s dual nature (‘by Janus’) is apparent to the
audience, as they have previously observed his plosive and repulsive speech directed towards the
purpose of ridiculing and ruining Othello in the opening scene of the play, conducted in the
malevolent darkness of a street in Venice; as explicitly stated in the line ‘I do hate the Moor’ and
through the perverted and mocking animalistic imagery that draws on the supposed savage and bestial
nature of Othello’s race (‘black ram’, ‘barbary horse’, ‘devil’), his feelings are truthfully hateful.
Driven by his overwhelming desire to destroy Othello’s reputation, he undertakes the role of a faithful
friend and servant to Othello, gaining an intimate trust that allows him to plant intrusive thoughts of
betrayal and jealousy: ‘I’ll set down the pegs that make this music’.
The extract clearly demonstrates the intense bond existing within Othello to be built upon trust and
respect. Although their relationship is imbalanced as Othello ranks higher in status as a General, their
discourse reveals Othello’s feelings towards Iago to be respectful and appreciative, Iago’s nature as an
Ancient serves to persuade Othello that he is a man of honour, honesty, and valued advice. Shared
