In order to understand the personal motives of Iago we need to see non merely the personal actions of the character but besides the society in which he lived. Many illustrations of Iago ‘s malevolence can be found throughout the drama showing the malevolent run that permeates the actA±ons and feelings of Iago. A It was Samuel Taylor ColerA±dge who came up with the term, “ The motive-hunting of motiveless Malignity, ” to depict the character of Iago. Coleridge referred specifically to theA terminal of Act 1, Scene 3 in which Iago takes leave of Roderigo:
Iago weaves a web of misrepresentation that ensnares the Othello, Cassio and A Roderigo. He succeeds in destructing a matrimony and two baronial characters every bit good as his married woman, ( Emilia ) , and Roderigo. Iago ‘s true delectation in his ain craft can be witnessed in his Act 2 Scene 1 monologue. Here he revels in the power he wields, that which can turn Desdemona ‘s ‘virtue into pitch. ‘ Besides ammoral is Iago ‘s materialistic usage of Roderigo to ‘line his coat. ‘ He readily accepts money for a service that is impossible to accomplish – Desdemona has no feelings for Roderigo, and Iago knows this.
At the bosom of Iago ‘s fraudulence is his ability to play a figure of functions convincingly ; to accommodate his tone and manner to accommodate any juncture. With Cassio, he is bold, harsh and affable. He offers plausible, practical solutions for his jobs. With Roderigo and Emilia, he is self-seeking, mercenary and misanthropic. This can be seen in Act 1 Scene 1 where he makes it clear to Roderigo that his pride was hurt when Cassio was promoted before him.
he becomes ferocious. This choler was non founded because there is no grounds of any sort that Othello takes any involvement sexually in Iago ‘s married woman Emilia. Cassio, by contrast, whom Iago besides suspects of intimate traffics with his married woman, has at least done more to raise that fright when he kisses Emilia on the lips in forepart of Iago in 2.1.99-100. These feelings are made clear in lines 270 – 280 of Act 2 Scene 1 He states that his psyche will non be sated:
With no redress for his status, with a occupation that is beneath him, with a superior that he knows and will finally show has frailties incompatible with military leading, with a system that has shown that its values are inverted, what can he make? Strike back at the system and people who have failed him. Iago so tries to make civic lawlessness in Venice. First, he suggests to Roderigo that he wake Brabantio, Desdemona ‘s male parent, in the center of the dark to denote her elopement with Othello. While Brabantio is bestiring his household to action, Iago slips off for his 2nd provocative act. He meets up with Othello and attempts to spur him on to force.
The phrase, ‘Motiveless Malignity ‘ is non an accurate portraiture of Iago. There are many illustrations throughout the drama which show clearly Iago ‘s villainousness. Iago manages to turn all his friends, who trust him most, against each other. These actions finally lead to the slaying of Roderigo. While the act of slaying can non be condoned, this shows the arrant desparation of Iago as a adult male whom was pushed to the border by a society which failed to demo him sufficient regard. Iago himself offers several possible motivations for his actions to the audience throughout the drama in his different monologues. Evil and hopeless Iago clearly is, but this needs to be set besides against a class-based society which trapped Iago in 2nd category citizenship, a position which he did non merit. The absolute trueness and dedication Iago showed towards his Masterss was ne’er rewarded and it is this which led him to prosecute in malevolent Acts of the Apostless against everybody including his loved 1s.