‘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 lines between the pair (‘And so she did. /Why go then’, ‘From Jealousy! / Why, why is
this?’) create a fast-paced and dramatic dialogue, but also reveal an intimate understanding and
familiarity of each other, as they are able to achieve a high level of synchrony and harmonisation of
thought. Consulting his treasured confidante, Othello divulges his greatest insecurities of jealousy
and alienation from society (‘from mine own weak merits will I draw / The smallest fear’), and thus
places himself and his mentality in the devious, scheming hands of Iago, who often draws upon his
advantage as a native white Venetian, ‘I know our country disposition well’, to exert influence over
Othello’s insecurity and isolation. Frequent instructive imperatives across Iago’s speech (‘receive’,
‘look’, ‘observe’, ‘wear’) confirms Iago’s dominant role as a manipulative puppeteer with the ability
to direct Othello’s actions and behaviour, pushing his mind closer to insanity and life towards its end,
under the pretence of friendship and good will. Referring to Othello in the extract as a member of
his ‘tribe’, unifying their persons under the same duty and heritage, Iago conveys his acceptance of
the Moor, despite alienating features of colour and background. Bound by the ‘love and duty’ he
owes to Othello, Iago also displays a façade of humility and subservience, ‘I humbly do beseech you’,
complementing his ‘superior’s’ ‘free and noble nature’ to further disguise what the audience has
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 lines between the pair (‘And so she did. /Why go then’, ‘From Jealousy! / Why, why is
this?’) create a fast-paced and dramatic dialogue, but also reveal an intimate understanding and
familiarity of each other, as they are able to achieve a high level of synchrony and harmonisation of
thought. Consulting his treasured confidante, Othello divulges his greatest insecurities of jealousy
and alienation from society (‘from mine own weak merits will I draw / The smallest fear’), and thus
places himself and his mentality in the devious, scheming hands of Iago, who often draws upon his
advantage as a native white Venetian, ‘I know our country disposition well’, to exert influence over
Othello’s insecurity and isolation. Frequent instructive imperatives across Iago’s speech (‘receive’,
‘look’, ‘observe’, ‘wear’) confirms Iago’s dominant role as a manipulative puppeteer with the ability
to direct Othello’s actions and behaviour, pushing his mind closer to insanity and life towards its end,
under the pretence of friendship and good will. Referring to Othello in the extract as a member of
his ‘tribe’, unifying their persons under the same duty and heritage, Iago conveys his acceptance of
the Moor, despite alienating features of colour and background. Bound by the ‘love and duty’ he
owes to Othello, Iago also displays a façade of humility and subservience, ‘I humbly do beseech you’,
complementing his ‘superior’s’ ‘free and noble nature’ to further disguise what the audience has
