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 His language is heavily ironic, repeatedly calling Cassio a ‘knave’, though we know this is the role Iago himself gleefully identifies with. As he reminds us in his following soliloquy, ‘knavery’s plain face is never seen till used'

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 His language is heavily ironic, repeatedly calling Cassio a ‘knave’, though we know this is the role Iago himself gleefully identifies with. As he reminds us in his following soliloquy, ‘knavery’s plain face is never seen till used'

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a historicist reading could examine his depiction of women as a product of his time and culture.

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Not only is Iago misogynistic throughout, but he is also racist, often referring to Othello as 'the devil' or 'defective', and uses this to show how Desdemona can't really love him to Roderigo

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To Bradley Iago is not a violent man ‘but a thoroughly bad, cold man, who is at last tempted to let loose the forces within him, and is at once destroyed.’ He thinks that the important question about Iago is ‘Why?’ and comes to the conclusion that his vanity, love of power, ego and ability to plot combine to bring out the evil in him. He is a monster for doing monstrous things, but he is a human monster.

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Fred West argues that Iago has all of the psychological traits of a psychopath. West wrote “It is not sufficient to simply drape Iago in allegorical trappings and proclaim him Mister Evil or a Machiavel or a Vice. Such a limited view of Iago is an injustice to the complexity of his character.

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Iago is misogynistic - strongly prejudiced against women. Jacobean portrayals often reduce women to saints, mothers or whores.

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iago is misogynistic. But a historicist reading could examine his depiction of women as a product of his time and culture.

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Iago's power over Roderigo is emphasised through his sentence structure. Repeated imperatives begin the speech: 'Come hither', 'Lay thy finger thus', 'let thy soul be instructed', 'Mark me'. All are instructions to be quiet and listen, which Roderigo submissively obeys.

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Iago's speech is in prose, like many of his asides.

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Iago's main aim is discord - his main aim is to disrupt order and essentially portray Othello in a negative light in all a get rid of Othello

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Iago is controlling and has manipulation over Othello and Desdemona's relationship. Shakespeare shows this through the metaphor of Othello and Desdemona as ‘well tuned’ string instruments, which portrays their current harmony but also implies their vulnerability and h is not difficult for Iago to ‘set down the pegs’ – fiddle with the tuning keys – of their relationship.

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Coleridge is marvelling at the fact Shakespeare could create such an evil figure, like the Devil, but still human.

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Iago’s reputation for straightforward honesty is the foundation of his deceptions. Iago’s crude language is excused as that of a straightforward soldier

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What is perhaps scariest about him as a 'villain' is how he doesn't resort to physical violence, but rather manipulates those around him, to provoke them to further his plans

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Iago portrays Desdemona as lustful, desperate to trade Othello for a more refined Cassio.

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(Aside) O, you are well tuned now!But I'll set down the pegs that make this music,As honest as I am.	(2.1.191–93 

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(Aside) O, you are well tuned now!But I'll set down the pegs that make this music,As honest as I am.	(2.1.191–93 

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Iago is the conductor or composer adjusting and controlling the plot from the outset

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Iago’s success lies in his ability to distort and pervert what should be other characters’ most positive traits

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Iago is a motiveless malignant, who's aim of becoming second in command is quickly overturned to present him acting out of pure spite and his hateful nature

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The whole thing's really his fault