Even a spinster, Iago says, knows more of the "division of a battle" (23) than this "bookish theoric" (24). What knowledge Cassio has of the battlefield, according to Iago, he gained from textbooks in other words, he is a student, not a practitioner of battle. Cassio is a Florentine, Iago reminds Roderigo, which is a damning epithet condemning the city's reputation as being a collection of financiers and bookkeepers. He is not even a Venetian, Iago says, but, of course, neither is Othello. Iago further points out to Roderigo that Cassio, the newly appointed lieutenant, is not a true soldier. This argument is bolstered by the facts that none of the other characters, including Othello and Emilia (Iago's wife), ever mention or allude to these facts, and, indeed, Iago never mentions them again. The other interpretation is that Iago was never in contention for the position and that he makes up this entire set of circumstances including the unnamed "great ones" in order to convince Roderigo of his hate for Othello. Instead, Othello chose Cassio, a man, Iago tells Roderigo, whose military ineptitude is an insult to Iago's proven superiority on the battlefield. One is that Iago had expected to be promoted to the rank of Othello's first lieutenant and tells Roderigo that three influential Venetians ("Three great ones of the city"), in fact, had recommended him to Othello. There are at least a couple of interpretations of Iago's feelings toward Othello. Thus Roderigo gains a measure of our pity he is a weak figure, probably victimized by everybody, not only in this matter of deceit.įar more important, however, than catching our interest and establishing Iago's basic character, this opening scene sets forth the key elements of the tragedy's conflict: It reveals Iago's deep resentment toward Othello. Besides this statement being a capsule condemnation of Iago, it serves to point out that Roderigo trusts this man. The guile he openly uses to stay in Roderigo's good stead is not even particularly crafty blatantly, for example, he tells Roderigo, "I am not what I am" (65). Iago apologizes profusely for failing Roderigo and claims that he never dreamed that such an elopement might occur: "If ever I did dream of such a matter," he says, "Abhor me" (5-6).Įxactly how long Iago has been capitalizing upon the gullibility of Roderigo, we do not know, but it is clear that Iago has no respect for Roderigo's intelligence. After all, Iago intends to keep a hand in this wealthy nobleman's pocketbook, which, Roderigo says, belongs to Iago, "as if the strings were thine" (3). Its tone easily catches our interest, and it reveals Iago's wily nature he must make amends to Roderigo for failing to arouse Desdemona's interest in him. The play begins with a quarrel of sorts between Iago and Roderigo, and, as such, it serves several functions. Iago tells him in inflammatory words that Desdemona has run away with Othello, and Brabantio, enraged, joins Roderigo to wake the neighbors and organize a search party. They bang and shout until Brabantio comes out onto the balcony. First, they must wake Brabantio and cause an outcry. Iago plans to bring about Othello's downfall, and Roderigo will have Desdemona. He hates Othello for promoting Cassio to the position of lieutenant, a position that Iago wanted for himself. Iago reveals to Roderigo that it is in his (Iago's) nature to plot and tell lies to get what he wants and that he has a plan. Roderigo fears he has lost both his lady and his money. However, they now have news that Desdemona has left the house of her father, Brabantio, a Senator, and eloped with Othello, a Moor (an African) who is a General in the defense forces. Roderigo hopes to win Desdemona's love and marry her. Roderigo, in love with the noble lady Desdemona, has paid large sums of money to Iago, on the understanding that Iago would give her gifts from him and praise him to her. On a street in Venice, there is an argument between Roderigo, a nobleman, and Iago, an ancient (captain) in the defense forces.
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