Iago

is a being next to the devil, driven by motiveless malignity.

At the beginning of the 19th century, Coleridge offered a view of Iago's characterisation that has been influential. He argues that Iago is 'a being next to the devil,' driven by 'motiveless malignity.' Coleridge suggests that Iago operates without adequate motivation; he is bad because he is bad.

is a character so conducted, that he is from the first scene to the last hated and despised.

The character of Iago is so conducted, that he is from the first scene to the last hated and despised.'

is a kind of working-class hero whose actions are politically justified as a legitimate grudge against a bourgeois system that has oppressed him.

May consider whether his subversion of the social order in the play is politically justified. Can Iago be considered a working-class hero? To what extent does he have a legitimate grudge against a bourgeois system that has oppressed him? We need to consider Iago's motives for revenge against Othello and Cassio, and whether or not Othello is a tyrant to be removed from power.

is an example of the typical stage Machiavel who personifies... self-interest, hypocrisy, cunning

Iago has been considered as an example of the typical stage Machiavel who 'personifies... self-interest, hypocrisy, cunning' (Leah Scragg in Iago - Vice or Devil?).

is appealing to us as more amusing than other characters because his victims lack humour.

Because '(Iago's) victims lack humour, Iago appeals to us as more amusing' than other characters.

is given a dramatic perspective by Shakespeare which compels us to see with Iago's eyes and to share his jokes. His humour also makes him seem cleverer than his victims.

Shakespeare's 'dramatic perspective compels us to see with (Iago's) eyes and to share his "jokes". His humour also makes him seem cleverer than his victims.'

is motivated by his racial prejudice to try to engineer it so that Othello's deeds fit in with the prejudice that his face excites.

Iago's racial prejudice means that he wants to make Othello's deeds 'fit in with the prejudice that his face...excited.'

has a cool malignity. He is silent in his resentment, subtle in his designs, and studious at once of his interest and vengeance.

The cool malignity of Iago, silent in his resentment, subtle in his designs, and studious at once of his interest and vengeance.'

iago, n.All

iago