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IAGO'S MOTIVATION

OUR GOAL IS TO TRACE THE INTRICACIES
OF IAGO'S PLAN TO TRAP OTHELLO.
BY FOLLOWING THE PARTS OF THIS
EXERCISE, YOU SHOULD BEGIN TO
DRAW THE PROPER INFERENCES
REGARDING IAGO AS 'GOTHIC'...

1. What tactics does Iago use and why; do any of the 'evil' characters you know--from Grendel to Darth Vader behave as Iago does?

2. The one fundamental premise upon which Iago's techniques rest should be noted. This premise can be
inferred from an analysis of his techniques. Is this fundamental premise identifiable as a necessary condition for the gothic temperament. Does Ms. Freitas' identify it in her questions?

3. What elements of humanity are being dramatized by Shakespeare? (Is Bloom's thesis applicable?)

4. In addition to the questions below, you should check out the general questions and motifs found in Othello found on this Siteand Ms. Freitas' questions. The motifs are especially important, and a knowledge of them will help you answer the questions...


PART ONE: IAGO AS A THEORIST

PHASE ONE:

1. Look at Iago’s remarks to Roderigo (I ,i,1-60). Herein he expresses a clue to his initial ensnaring technique. What is it?



2. Significantly, he provides this clue after the first demonstration of its workability. See (I ,i ,60 ff), What do you find here that illustrates the concept in question. Does the biblical imagery/motif provided here suggest a clue?


3. As if in validation, Roderigo immediately enacts Iago's plans showing the former to be the first of his many dupes. Consult (I ,i, 120-150). How is the enactment suggested?



PHASE TWO

1. Look at Act I, scene ii. Iago reveals another technique he will use quite often and with great success, especially against Othello. Study the dialogue 1l.1-19 carefully. There are two clues that prove evidence for another of his techniques. Explain...


2. Brabantio alludes to Othello’s mystical-almost supernatural fascination for the Romantic spirit in I ,ii, 60ff. Although we know he is not fully correct, does it really matter? Why?


3. Iago’s line, “Come Sir, I am for you,” should suggest an important clue to his methods--here dramatized by Shakespeare. What is it?


4. In I iii, 85 ff, Iago is again silent through 185. Why? What is he learning that provides an important clue to his next move?

5. What does Shakespeare provide in I, iii, 320-340 to show that Iago's plan is working?

PHASE THREE:

1. Prose is used in the play with brutal frankness to reveal Iago's intent. Look at I ,iii, 335-390., noting:

2. Iago's use of poetic imagery is important since he does not use much of it. What statement does he make in 345, and what kind of imagery does he use? why?

3. What evidence in I ,iii, 385 exists to show that Iago regards Roderigo as especially stupid? Why is this knowledge important?

PHASE FOUR:

1. Shakespeare uses soliloquy to show the workings of Iago's mind (Don't forget the link on this site for Shakespeare's use of the device.)

2. Of critical importance here is your ability to sift through his motives--what does he believe, and whom is he addressing in his soliloquies?

PHASE FIVE:

1. In Act II, scene one, Iago's dialogue with his wife provides an important clue about his attitude toward women:

2. Study the aside in II,i,95 ff. Indeed Iago advances his plan one more step. He reveals a very important additional technique. What is his plan? What does the plan tell us of his cognitive powers?

PHASE SIX:

1. Act II, scene i, lines 210 ff have been called the microcosm of the play. Why? Note Iago's aside. The impact of this scene is essential, and marks one of the play's major turning points.

2. Importantly, Shakespeare next gives Iago a chance to express his views to Roderigo in along prose narrative followed by a soliloquy:

3. Naturally the soliloquy in ending II,i is important:


PART TWO: IMPLEMENTATION

THE REMAINDER OF THE PLAY CONCERNS HOW IAGO
ACTS ON THE 'PHILOSOPHY' HE DEVELOPED
AS OUTLINED ABOVE. IF YOU FOLLOWED HIS
REASONING, YOU SHOULD BE ABLE TO ASCERTAIN
HOW SPECIFIC IMPLEMENTATION FOLLOWS LOGICALLY
FROM WHAT HE HAS SAID AND DONE THUS FAR.

THE IMPLEMENTATION IS DIVIDED ACCORDINGLY:


PHASE ONE: CASSIO

1. Note: II ,iii, 30 - 55 and 140-160 carefully. What previously mentioned techniques from Part One are at work here? Note: 207-210. Is the meaning lost on Iago? Provide specific details of the trap and its execution.

2. Transition to Othello Phase: What appears to be a successful completion of the Cassio trap is in reality a prelude to a more complex plot--THIS PROCESS IS ESSENTIAL IN UNDERSTANDING IAGO. See
II ,iii, 317 ff. How does Iago advance the action? Note too the soliloquy at lines 338 ff.

PHASE TWO: OTHELLO:

1. This phase begins with III, iii, 38 ff. These lines are critical. The very simplicity of the language (note the tone) and the carefully calculated responses measured precisely to Othello's nature should be studied with great care. What is revealed about Iago's real motives? What previously mentioned techniques are used?

2. Execution of the Plot:

PHASE THREE; EXPOSURE:

1. Observe the exposure of Iago carefully--What does the repeated use of the interrogative mood tell you?

2. Perhaps the coldest lines in the play are in response to Othello's questions in V , ii, 350-51. Lines 352-353 by Iago should be noted carefully. Do you believe him? How do they provide a clue to his character?


CONCLUSION:

WHAT WAS A POSSIBLE INTENTION OF SHAKESPEARE IN CREATING IAGO?


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