Shakespeare never authentically makes clear Iago's reasons for hating Othello as much as he does. Although at first he tells Iago that he is angry because Othello passed him over for a promotion, he later also says that he hates Othello because he himself is in complete with Desdemona and because he call ups that Cassio and Othello have both slept with his wife (Rackin 70). Rackin believes that Iago's motives, "like his plans, seem to originate in an infernal region whose depths fifty-fifty he cannot fathom" (71).
Iago, therefore, would seem to be offered as an compositor's case of pure, unexplainable evil. He feels the need to do evil for its have got sake. Othello, on the other hand, is offered as an exploration of the effects of evil on a mortal soul. He is, however, slightly more elevated in stature than ordinary mortals, not scarce in his position within the military, but also as a man. But Shakespeare seems to have specifically chosen a man who would not seem to be the type who would expunge for Iago's tricks. But that very fact makes Othello's downfall even more poignant. Thus, Shakespeare seems
Bradley's clarification, therefore, helps the reader to understand Lamb's censure in On the Tragedies of Shakespeare. Lamb states the following:
In Othello, Shakespeare defines distributively character by language and public lecture patterns (Rackin 73). Rackin states that Iago, for example, uses animal images to portray human beings contractd in virtuous actions because Shakespeare wants "to define Iago's evil as a depraved habit of mind and soul, a quintessential subversiveness, an obsessive need to reduce humanity and the ideals to which it aspires to a base and bestial condition" (Rackin 73). Rackin also states that, in Shakespeare's time, medicinal drug and musical pen were associated with cosmic order and human love (73).
She argues that Iago's affinity for chaos is expressed in the broken, unrhythmical verse he uses in his thoughts and his actions (73)
Because Iago was unable to ruin Othello's marriage by revealing it to Brabantio, he now begins to plot to make Othello believe that Desdemona is having an affair with Cassio, the man who was promoted in lieu of Iago (II,i). Deliberately, Iago begins to stir up everyone's passions in the play to lure them to their own downfall. He rouses Roderigo to be jealous of Cassio so that he can encourage Roderigo to engage in a fight with Cassio. When the two men do fight, Othello angrily comes in to demand why they are fighting. Lily Campbell states that Othello's speech here signals the beginning of his own downfall:
My blood begins my safer guides to expression;
to be exploring the way Othello's character changes as he gives in to Iago's evil.
Assays to lead the way (II,iii, 204-07).
Finally, Rackin observes that Desdemona's point of view is not greatly developed in the play (77). Rather, she seems to serve as the someone on which Iago practices his evil and the person through which Othello's nature slow gives in to Iago's evil. The reader and audience know throughout the play that Desdemona has not been unfaithful to
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