Appearance vs.

Reality
I am not what I am. (I.i)
Iago utters these words in conversation with Roderigo, thereby signaling that he is not all that
he appears to be. However, Iago’s words also contain a deeper, more subversive message.
The phrase “I am not what I am” serves as a parodic allusion to a well-known biblical quote
from Exodus 3:14, in which Moses asks God his name and God offers an enigmatic response:
“I am that I am.” By transforming God’s words into a negative formulation, Iago indicates his
identity as a diabolical figure.

The Moor is of a free and open nature

That thinks men honest that but seem to be so,
And will as tenderly be led by th’ nose
As asses are. ([Link].)
Iago delivers these lines in his soliloquy at the end of Act I. He begins his speech by
declaring his intention to manipulate Roderigo for his own gain. Iago then turns his attention
to Othello and his hatred for the man. Much like Roderigo, who believes too readily in Iago’s
friendship, Othello “thinks men honest that but seem to be so.” Thus, Iago intends to use
Othello just as he will use Roderigo, exploiting the man’s naïve belief in the reality of
appearances to lead him (like a trusting donkey) to his own destruction.

Men should be what they seem,

Or those that be not, would they might seem none! ([Link].)
Iago says these words to Othello during a discussion of Cassio’s trustworthiness. Given
Iago’s previous claims about his own deviousness, these words have an ironic ring. Iago’s
words are doubly ironic, in fact, since he espouses the truism not just to cover up his own
treachery, but also to cause Othello to doubt Cassio’s honesty. The kind of duplicity Iago
demonstrates here points to his deep-seated cynicism about the world. It also serves as a
warning to the audience to remain wary of appearances.

Deception and Treachery

Deception and Treachery

Thus do I ever make my fool my purse,

For I mine own gained knowledge should profane
If I would time expend with such a snipe
But for my sport and profit. ([Link].)
Iago makes this confession to the audiences immediately after he sends Roderigo off to sell
his land. Although he ostensibly convinces Roderigo to amass a small fortune for his own
personal advancement, Iago makes it clear here that he intends to manipulate Roderigo in
such a way that he will essentially function as Iago’s “purse.” Iago’s confession is the first
moment in the play where he indicates the depth of his treachery. No one—even those
apparently on his side—will be spared from his plot.
And, good
lieutenant, I think you think I love you. ([Link].)
Iago speaks to Cassio in these lines. As implied by his use of the phrase “good lieutenant,”
the surface meaning of these words has a positive ring. Essentially, Iago tells him, “I think
you know I am your friend.” However, Iago’s recursive use of “think” also conceals a
deceptive second meaning. To say “I think you think I love you” implies love without
actually expressing it. In a single move, then, Iago both comforts Cassio and undermines his
trust.

So will I turn her virtue into pitch

And out of her own goodness make the net
That shall enmesh them all. ([Link].)
Iago utters these lines at the end of a soliloquy in which he further develops his treacherous
plot against Othello. Here, he speaks specifically of Desdemona and how he plans to turn her
goodness against her. Iago uses two ill-matched metaphors. He initially wants to “turn her
virtue into pitch,” which is a sticky, black, tar-like substance. But in mid-sentence Iago shifts
from sticky pitch to the image of a web in which he can ensnare all of his enemies. Iago’s
treachery runs so deep that he cannot even commit to a single metaphor!

Jealousy
Jealousy

Oh, beware, my lord, of jealousy!

It is the green-eyed monster which doth mock
The meat it feeds on. ([Link].)
As Iago makes insinuations about Desdemona’s adultery and Othello pressures him to reveal
what he knows, Iago warns Othello against succumbing to jealousy. Of course, Iago issues
this warning with a false earnestness. That is, he knows that saying the word “jealousy” and
conjuring an offensive visual image will intensify Othello’s concern. Iago’s
anthropomorphizing of jealousy as a “green-eyed monster” is famous, and his use of the color
green stems from a Renaissance belief that green was a “bilious hue,” linked to an imbalance
of the humors that caused fear and jealousy.

Trifles light as air

Are to the jealous confirmations strong
As proofs of holy writ. ([Link].)
Iago delivers these lines in a short soliloquy where he informs the audience of his plan to
plant Desdemona’s handkerchief in Cassio’s room. Here, the handkerchief is the “trifle light
as air.” In itself the handkerchief signifies nothing. However, knowing that Othello’s jealousy
has already ramped up, Iago predicts that he will overestimate the handkerchief’s
significance, taking it as a “proof of holy writ”—that is, as evidence direct from the Bible.

But jealous souls will not be answered so.

They are not ever jealous for the cause,
But jealous for they’re jealous. It is a monster
Begot upon itself, born on itself. ([Link].)
Emilia says these words to Desdemona in an attempt to explain the irrational nature of
jealousy. Even though jealous individuals may state specific reasons for their jealousy,
jealousy has no cause but itself. In other words, jealous people are inherently jealous. Emilia
signals the circularity of this logic with the confounding image of jealousy as a monster that
gives birth to itself. Emilia’s image recalls Iago’s “green-eyed monster.” It also recalls the
ancient symbol of the ouroboros, which depicts a snake swallowing its own tail and therefore
stuck in a self-perpetuating loop.

Villain, be sure thou prove my love a whore;

Be sure of it. Give me the ocular proof,
Or, by the worth of mine eternal soul
Thou hadst been better have been born a dog
Than answer my waked wrath! ([Link].)
In response to Iago’s insinuations about Desdemona’s adultery, Othello demands “ocular
proof”—that is, evidence that will visually verify the allegation against his wife. Othello’s
emphasis on the need for Iago to “prove [his] love a whore” demonstrates his commitment to
justice. However, Othello’s commitment to law and reason also comes into direct conflict
with his emotional and irrational response to Iago’s rumormongering. This conflict disrupts
Othello’s otherwise black-and-white understanding of the world and leads to disastrous
consequences.

It is the cause; it is the cause, my soul.

Let me not name it to you, you chaste stars;
It is the cause. ([Link].)

Othello utters these words as he enters Desdemona’s chambers with the intent to kill. His
refrain of “the cause, the cause” indicates his need to convince himself of the justness of his
planned actions. However, this refrain also recalls Emilia’s words earlier in the play, where
she claimed that jealous individuals “are not ever jealous for the [stated] cause.” In this light,
Othello’s insistence on “the cause” may serve to conceal his innate jealousy and thereby
subvert his commitment to legal procedure.

O perjured woman, thou dost stone my heart,

And mak’st me call what I intend to do
A murder, which I thought a sacrifice. ([Link].)
Othello addresses these lines to Desdemona. His word choice here once again signals his
commitment to the law. Calling Desdemona a “perjured woman,” he implies that by denying
the allegations against her she has lied under oath. Desdemona’s supposed false testimony
has dire consequences for Othello’s interpretation of her death. Whereas he sees her
execution as lawfully necessary and therefore “a sacrifice,” if she is actually speaking the
truth it would make him a murderer. The uncertainty she causes in him turns his heart to
stone.