OTHELLO Study Guide
Questions & Answers
Proof of Iago’s Character in Act 1, Scene 1
From the outset , Shakespeare presents Iago as a cunning and multifaceted character, an
idea epitomised by his own admission ‘I am not what I am.’ This sentence, in context, is
referring to the fact that Iago is not the faithful soldier he appears to be to Othello.
However, it is worth noting that the phrase is remarkably similar to one used in the bible:
when Moses asks God his name, God replies ‘I am that I am’. If ‘I am that I am’ is taken to
mean God, Iago’s statement is the direct opposite, implying he is the opposite of God and
all things associated with him.
Given the nature of Iago’s character throughout the play, one could say this implication
that he is the devil is not too far from the truth. In Act 1 Scene 1 alone he causes trouble by
rousing Brabantio with Roderigo.
In fact it is actually his idea to “call up her father” and “poison his delight.” He also
encourages Roderigo to “plague him with flies”, an idea which is reminiscent of the plague
of dog-flies described in the bible. This was God’s act of revenge against the Egyptians and
it could be inferred that Iago is seeking similar revenge, something emphasised by the fact
that he is only following Othello’s orders so that he can “serve [his] turn upon him”.
,Given the similarities between the results of the plague(s) described in the bible and the
results of Iago’s actions, it could be said that Shakespeare was foreshadowing here.
However as well as presenting Iago as potentially evil, Shakespeare also presents him as
extremely intelligent. He is not only able to convince Roderigo that he is trustworthy, but
also arouses a panic in Brabantio so extreme that he feels the need to rush out in the
middle of the night to seek his daughter.
Core character traits that Iago displays
1. Duplicity and Deception
Iago defines himself from the outset as a master of performance who hides his true self. He
explicitly tells Roderigo that his loyalty is a lie.
Proof (Quote):“I am not what I am.”
Analysis: This is Iago’s defining statement. He is admitting that everything he does is a
fabrication. He warns Roderigo (and the audience) that his “honest” persona is a mask,
making him the archetype of appearance versus reality.
Supporting Proof (Quote):“I follow him to serve my turn upon him.”
Analysis: Iago confesses that he only follows Othello in order to exploit and betray him. He
establishes his service as entirely transactional and self-serving.
2. Deep Professional Envy and Resentment
His entire motivation is derived from not receiving a promotion, which he blames on an
unfair system of patronage (nepotism).
Proof (Quote):“Preferment goes by letter and affection, And not by old gradation, where
each second Stood heir to the first.”
Analysis: Iago is bitter that Michael Cassio, a “great arithmetician” from Florence, was
chosen over him, “of whom his eyes had seen the proof.” He argues that promotions are
based on “affection” and “letter” (personal recommendations) rather than “gradation”
(seniority and experience).
Supporting Proof (Quote):“By heaven, I rather would have been his hangman”
Analysis: His hyperbole shows the depth of his hatred; he would prefer to execute Cassio
than serve him.
, 3. Racist and Dehumanizing Language
Iago uses toxic racial and animalistic imagery to manipulate Brabantio and secure
immediate rage. He attacks Othello’s race as “other” and “monstrous.”
Proof (Quote):“An old black ram Is tupping your white ewe.”
Analysis: This is the primary proof of Iago’s racist vitriol. He reduces Othello to a “black
ram” (animalistic and base) and Desdemona to a “white ewe” (pure and a passive victim),
framing the marriage as a violent, unnatural violation.
4. Manipulative and Vulgarly Provocative
Iago is a master of shocking language. He uses explicit imagery to torment Brabantio and
guarantee that Othello becomes the enemy.
Proof (Quote):“The devil will make a grandsire of you,”
Analysis: He plays on Brabantio’s deepest paternal and societal fears, using “devil” (a
common racist trope of the 17th century associated with black skin) to suggest a corrupt,
hellish corruption of his bloodline.
Supporting Proof (Quote):“Your daughter and the Moor are now making the beast with two
backs.”
Analysis: This vulgar, sexual imagery is meant to incite visceral disgust and panic in
Brabantio, forcing immediate action.
5. Strategic and Cowardly Self-Preservation
Iago is careful not to be caught. He sets the chaos in motion but removes himself before
the consequences unfold.
Proof (Quote):“I must show out a flag and sign of love, Which is indeed but sign.”
Analysis: After successfully waking Brabantio and inciting the search, Iago must retreat. He
realizes that as Othello’s ensign, he must appear to be supportive. He tells Roderigo that
his loyalty is a mere performance, a “flag and sign,” ensuring his survival while continuing
his manipulation from within the system.
, Brabantio’s accusation
• When Iago and Roderigo wake Brabantio with the news of Desdemona’s elopement,
his accusations transform from initial confusion into a formal charge of witchcraft
and theft.
The •
The Basis The Underlying Fear
Charge
Theft Elopement without permission. Loss of patriarchal control over property.
Use of "spells" and Inability to accept Desdemona’s
Witchcraft
"medicines." agency/choice.
Unnaturalness Crossing racial and social lines. Pollution of the Venetian bloodline.
The secret nature of the Loss of public reputation (the "cuckold"
Deception
marriage. father).
Questions & Answers
Proof of Iago’s Character in Act 1, Scene 1
From the outset , Shakespeare presents Iago as a cunning and multifaceted character, an
idea epitomised by his own admission ‘I am not what I am.’ This sentence, in context, is
referring to the fact that Iago is not the faithful soldier he appears to be to Othello.
However, it is worth noting that the phrase is remarkably similar to one used in the bible:
when Moses asks God his name, God replies ‘I am that I am’. If ‘I am that I am’ is taken to
mean God, Iago’s statement is the direct opposite, implying he is the opposite of God and
all things associated with him.
Given the nature of Iago’s character throughout the play, one could say this implication
that he is the devil is not too far from the truth. In Act 1 Scene 1 alone he causes trouble by
rousing Brabantio with Roderigo.
In fact it is actually his idea to “call up her father” and “poison his delight.” He also
encourages Roderigo to “plague him with flies”, an idea which is reminiscent of the plague
of dog-flies described in the bible. This was God’s act of revenge against the Egyptians and
it could be inferred that Iago is seeking similar revenge, something emphasised by the fact
that he is only following Othello’s orders so that he can “serve [his] turn upon him”.
,Given the similarities between the results of the plague(s) described in the bible and the
results of Iago’s actions, it could be said that Shakespeare was foreshadowing here.
However as well as presenting Iago as potentially evil, Shakespeare also presents him as
extremely intelligent. He is not only able to convince Roderigo that he is trustworthy, but
also arouses a panic in Brabantio so extreme that he feels the need to rush out in the
middle of the night to seek his daughter.
Core character traits that Iago displays
1. Duplicity and Deception
Iago defines himself from the outset as a master of performance who hides his true self. He
explicitly tells Roderigo that his loyalty is a lie.
Proof (Quote):“I am not what I am.”
Analysis: This is Iago’s defining statement. He is admitting that everything he does is a
fabrication. He warns Roderigo (and the audience) that his “honest” persona is a mask,
making him the archetype of appearance versus reality.
Supporting Proof (Quote):“I follow him to serve my turn upon him.”
Analysis: Iago confesses that he only follows Othello in order to exploit and betray him. He
establishes his service as entirely transactional and self-serving.
2. Deep Professional Envy and Resentment
His entire motivation is derived from not receiving a promotion, which he blames on an
unfair system of patronage (nepotism).
Proof (Quote):“Preferment goes by letter and affection, And not by old gradation, where
each second Stood heir to the first.”
Analysis: Iago is bitter that Michael Cassio, a “great arithmetician” from Florence, was
chosen over him, “of whom his eyes had seen the proof.” He argues that promotions are
based on “affection” and “letter” (personal recommendations) rather than “gradation”
(seniority and experience).
Supporting Proof (Quote):“By heaven, I rather would have been his hangman”
Analysis: His hyperbole shows the depth of his hatred; he would prefer to execute Cassio
than serve him.
, 3. Racist and Dehumanizing Language
Iago uses toxic racial and animalistic imagery to manipulate Brabantio and secure
immediate rage. He attacks Othello’s race as “other” and “monstrous.”
Proof (Quote):“An old black ram Is tupping your white ewe.”
Analysis: This is the primary proof of Iago’s racist vitriol. He reduces Othello to a “black
ram” (animalistic and base) and Desdemona to a “white ewe” (pure and a passive victim),
framing the marriage as a violent, unnatural violation.
4. Manipulative and Vulgarly Provocative
Iago is a master of shocking language. He uses explicit imagery to torment Brabantio and
guarantee that Othello becomes the enemy.
Proof (Quote):“The devil will make a grandsire of you,”
Analysis: He plays on Brabantio’s deepest paternal and societal fears, using “devil” (a
common racist trope of the 17th century associated with black skin) to suggest a corrupt,
hellish corruption of his bloodline.
Supporting Proof (Quote):“Your daughter and the Moor are now making the beast with two
backs.”
Analysis: This vulgar, sexual imagery is meant to incite visceral disgust and panic in
Brabantio, forcing immediate action.
5. Strategic and Cowardly Self-Preservation
Iago is careful not to be caught. He sets the chaos in motion but removes himself before
the consequences unfold.
Proof (Quote):“I must show out a flag and sign of love, Which is indeed but sign.”
Analysis: After successfully waking Brabantio and inciting the search, Iago must retreat. He
realizes that as Othello’s ensign, he must appear to be supportive. He tells Roderigo that
his loyalty is a mere performance, a “flag and sign,” ensuring his survival while continuing
his manipulation from within the system.
, Brabantio’s accusation
• When Iago and Roderigo wake Brabantio with the news of Desdemona’s elopement,
his accusations transform from initial confusion into a formal charge of witchcraft
and theft.
The •
The Basis The Underlying Fear
Charge
Theft Elopement without permission. Loss of patriarchal control over property.
Use of "spells" and Inability to accept Desdemona’s
Witchcraft
"medicines." agency/choice.
Unnaturalness Crossing racial and social lines. Pollution of the Venetian bloodline.
The secret nature of the Loss of public reputation (the "cuckold"
Deception
marriage. father).
