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Honest Iago EssayIago is the most unique villain of Shakespe are There has been a lot of controversy about his motives and he has been con stancered as an incarnation of the devil. At the aforementioned(prenominal) time, Iago is one of the most brilliant Shakespearean characters although Shakespeare uses his cunningness only for diabolical purposes. He has can rightly be called an atheist of human nature and a stealthy corrupter of human piety, a fearless disturber of domestic calm and an unbeliever in and denier of anyaffair spiritual. This is interesting to none that all characters in the play, except for Roderigo (to whom he sometimes shows his he rusey face) cede a high spirit of Iago and refer to him as honest Iago. He uses this high oestimation of him by these major characters to befool them. The Mutual relationship between Iago and Othello is of trust and reliance on the part of Othello exactly it is conniving and devious on the part of Iago. Iago has comparable r elationship with Cassio. Cassio is also deceived by the seeming equity of Iago and actually believes that ensign is a kind-hearted man.But at the same time is a rival to Iago in the royal court. Another facets of his relationship with Othello and Cassio is that he (Iago) lives the part of a blurt outspoken plain blighter who is always prepared to say what he really thinks without caring for the effect it may absorb on others. Othello is sh consume as a trustful and thorough in his trust for Iago. Although when Iago starts working on him, he suspects him and asks for evidence, only from the beginning of the play, he seems to have put entire confidence in the honesty of Iago, who had not been his companions in arms.This confidence is misplaced exclusively it is no sign of stupidity in Othello. He does not have a distinctive fear of him. We find this even out front Iago has set a trap for him. Othello fears the titan too hideous to be shown that he discerns about Iagos thoughts. This manifests a strange relationship base on paradoxical feelings. It is of confidence, trust and fear. But latter events show that Othellos trust in Iago overpowers the automatic fear. This happens due to Othellos non-meditative nature.He does not contemplate over issues and does not weigh their motive and consequences. And this is the thing that helps Iago to get control over Othello. A. C. Bradley rightly says in this regard The sources of danger in this character are revealed but too clearly by the story. In the first place, Othellos mind, for all its poetry, is very simple. He is not observant. His nature tends outward. He is quite free from introspection, and is not given to reflection. Emotion excites his imagination, but it confuses and dulls his intellect.On this side he is the very opposite of Hamlet, with whom, however, he shares a great openness and trustfulness of nature. In adjunct, he has little experience of the corrupt products of civilised life, and is ignoran t of European women. (p. 217) Relationship between Iago and Cassio exists and develops on the same lines as that of Othellos. Cassio has a high opinion of Iago and considers him an unmatched person in Florence but Iagos opinion of him is prejudiced and biased. Iago dismisses Cassio as a mere theorist and not a practical warrior.In their vernacular relationship Cassios genuine honesty is contrasted with Iagos seeming honesty. We are never certain that we watch why Iago commits his evil deeds. Coleridge calls his evilness as motiveless malignity (315) there is no doubt that he is throughout an artist in villainy. There is no mystery in the psychology of Iago and the key to Iagos motives may lie in the composition of his character. One of the noticeable traits in his character is keen perceive of superiority and contempt for others.There also the annoyance of having always to play a part, the enjoyment of the bodily process and the absence of fear. Iagos sense of superiority has be en thwarted and it needs satisfaction. The fullest satisfaction, it could find would, no doubt, be in the consciousness to take revenge from those who are so successful and popular. In addition to his strong lust to satisfy his sense of power, there are also certain other forces which drive him on. One of these is a pleasure in action very difficult and perilous. This action and pleasure lends him artistry in the art of being spiteful over against other.All these characteristics if nature and his disposition play a part in do him a great villain of Shakespeare. These motives appear and disappear in the most extraordinary manner. Resentment as Cassios appointment is expressed in the first conversation with Roderigo, and from that moment is never once mentioned again in the whole play. Hatred of Othello is expressed in the first act only. Desire to get Cassios place scarcely appears after the first soliloquy, and when it is gratified Iago does not refer to it by a single(a) word.T he suspicions of Cassios intrigues with Emilia emerges suddenly as an afterthought. Iagos love of Desdemona is alluded to in the support soliloquy there is not the faintest trace of it in word or deed either before or after. The mention of jealousy of Othello is followed by declarations that Othello is infatuated about Desdemona and is of a constant nature, and during Othellos execrable Iago never shows a sign of the idea that he is now paying his rival in his own coin.In the second soliloquy he declares that he quite believes Cassio t0o be in love with Desdemona it is limpid that he believes no such thing, for he never alludes to the idea again, and within a few hours, he describes Cassio as an honest fool. All these motives have strange paradoxical characteristics in them but it could not have been coincidence that Shakespeare has attributed so many motives to Iago. All these motives manifest the intricate nature of Iagos characters and disposition. In addition to a man of acti on, Iago also seems to be something of an artist who takes delight in undertaking a entangled task in a meticulous manner.The action he starts and works out is intricate. We get an tactual sensation that at some stage, the action Iago initiates remain no longer within his control and power but rather becomes his master. It is as he was fated to do what he does. Works Cited Bradley, A. C. Shakespearean Tragedy Lectures on Hamlet, Othello, King Lear, Macbeth. 2nd ed. London Macmillan, 1905. Colderidge, Samuel Taylor. Lectures 1808-1819 On Literature. Ed. R. A. Foakes. Volume 2. Princeton, New Jersey Princeton University Press, 1987. Shakespeare, William. Othello. New York Penguin Books. 1993.