Iago and His Motives Under Modern Eyes

International Journal of English Literature and Social Sciences (IJELS) Vol-3, Issue-4, Jul - Aug, 2018
https://dx.doi.org/10.22161/ijels.3.4.28 ISSN: 2456-7620
Iago and His Motives under Modern Eyes

Amany Abdelrazik
PHD Researcher - Freie Universität Berlin, Germany
Abstract—Shakespeare's plays depict the turn from the to the issues which appear in Othello have greatly
pre-modern era with its traditional values and mores into changed between Shakespeare’s time and our
the modern approach towards life and individuals. These own...” (Holloway, 1961, p. 155), I am encouraged
plays deal with specific questions that were significant in to re-read Iago´s behaviour in light of modern
Shakespeare's time and his cultural contexts, such as the thought that could satisfy the modern individual
mores and meanings of Christian values in the so ciety, understanding without taking the text out of its
the rise of humanism, monarchy and questions related to original context.
the economy. Nonetheless, Shakespeare´s questions on Rereading Iago´s behaviour through the
religious values and the modern individual seem to be modern lens, I am going to contradict
relevant today, in particular, with the recent post-modern Coleridge´s claim of Iago´s “motiveless
discussions on the limits of secular rational modernity malignity” through trying out two
and a return to a new condition of believing in arguments. Firstly, I argue that Iago´s
contemporary societies. Taking the character of Iago as motives lurked inside his own narcissist
my reference point, I shall attempt to reread Iago´s character that believed deeply in the
actions and psyche in light of a critique of the narcissist individual’s willpower. Secondly,
character along with the modern individual´s rational Iago´s attitude could be read in light of a
attitude towards life. recent post-modern critique of the
Keywords —Iago, modernity, Christianity, rationality, modern rat ional attitude. This attitude
emptiness, superiority. endeavours to suppress and negate the
mean ing of spiritual feelings for the
I. INTRODUCTION sake of a claimed “civ ilized” rational
In Othello, Shakespeare introduces Iago to the audience individual.
as a person full of evil and hatred fro m the first mo ment In the fo llo wing pages, I shall trace the
of the play. The play starts with Iago persuading Roderigo unlimited self- love in Iago´s character
to wake Desdemona’s father, Brabantio, up saying “Call and how it controls his attitude and
up her father, Rouse him…po ison his delights…do, with reactions. Then, I shall attempt to shed
like timo rous accent and dire yell.” (I. i. 64-65, 72) Then, light on Iago´s sense of superiority and
Iago confesses his hatred for Othello to Roderigo saying, his feelings of “emptiness”. A brief
“... I hate him (Othello) as I do hell-pains . . .” (-1. i.150). conclusion in the last section sums up
And, as the play progresses, Iago turns out to be a villain my argument.
who conspires not only to destroy Othello´s life but that
of all those who trusted him without clear reasons. This II. THE HIDDEN FACE OF IAGO: IAGO AND
led some critics like T.S. Coleridge to claim that Iago´s HIS UNCONDITIONAL SELF-LOVE
actions stem fro m his “mot iveless malign ity”, as a result In "Othello", critics argue that Iago is the most perplexing
of his love for evil for its own sake and hating “good in character among all Shakespearean villainous characters
itself” (Bradley, 1951, P.209). because he did not give any convincing reasons to justify
Coleridge´s aforementioned argument of his misdeeds and massive desire to destroy the lives of
“motiveless malignity” could have satisfied the those around him. A lthough Iago tried hard to justify to
Elizabethan audience who explained the action in the audience his hatred by, firstly, introducing himself as
terms of the dichotomy of virtue and vice (Scragg, an amb itious person who had been unfairly treated by
1968) and therefore “did not expect every Othello. Othello gave Cassio a military pro motion which
character to produce one rational exp lanation for Iago deserved, it became even apparent that Iago is not
every given action” (Bradbrook, 1983, p. 59-60). interested in taking the position of Cassio but in
Such an argument, however, seems to be hardly destroying him.
convincing to the modern rational mind, which Secondly, Iago hated Othello even
seeks to find a plausible explanation for each before Cassio was promoted. He
action. Therefore, and given that “men’s attitudes repeatedly professes his hatred for
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Othello, he says “I have told thee often, On another occasion, Iago states that he
and I re-tell thee again and again,” he fears that Cassio may spoil the
says. “I hate the Moor: my cause is relationship between him and Othello,
heartened; thine hath no less reason. Let and once again Iago claims that he
us be conjunctive in our revenge against suspects that Cassio has deceived him
him.” (I.iii.373) by having an affair with Emilia. He,
Then, on another occasion, Iago claims however, contradicts himself and
that he was a wronged husband and his confesses that he is not certain about
wife betrayed him with Othello. Iago this suspicion.
says: Although one can argue that Iago´s
... I hate the Moor; circu mvented ways of revealing his real
And it is thought abroad that 'twixt my motivations for his vicious behaviour
sheets make them less convincing, critics argue
'Has done my office. I know not if't be that the problem with Iago is not that he
true; did not have motives but that he did not
Yet I, for mere suspicion in that kind, reveal h is real reasons, and that what we
Will do as if for surety. (1.3.378-82) get fro m Iago´s direct wo rds “is only
And, therefore, Iago threatened that he part of the truth, an evidence of things
would take revenge for his honour, he says, not seen, or not entirely seen”. (Eis man
"And nothing can, or shall content my 1995, p. 177). Indeed, unlike many
soul other Shakespearean characters,
Till I am even'd with him, wife, for Shakespeare chose not to psychologize
wife. about Iago. Throughout the play, we
Or failing so, yet that I put the Moor know Iago through the others and his
At least into a jealousy so strong actions towards them. The final scene,
That judgment cannot cure." (II. i. 331- in which Othello challenges Iago to
5.) express and explain himself ended up in
Interestingly, Iago´s behaviours toward Iago´s famous lines: “Demand me
his wife do not reflect his love for her. nothing. What you know, you know.
On the contrary, he despises her. For Fro m th is time forth I never will speak a
instance, when Emilia steals word.” (V.ii.303).
Desdemona’s handkerchief for him, he Following the aforementioned
comments on her action by saying, “It’s argument which suggests that Iago
a co mmon thing–to have a foolish wife” reveals just part of the t ruth behind his
(III. iii.302-304). In the essay “The hatred on the stage what could be h is
Polarization of Erotic Love in real motives to hate those around him?
“Othello,” Arthur Kirsch affirms this Here, I am going to reveal another
idea, he writes: “Although Emilia’s motive behind Iago´s vicious actions
portrayal is very comp lex, it is following his psychological reasons. I
nevertheless obvious that Iago has little argue that Iago´s motive can be ascribed
affection for her.” (Kirsch 1978, p.758) to his psyche.
Furthermore, in a co mparison between Critics argue that Iago´s egoism and
Othello´s react ion when he was told unconditional self- love can be
about his wife´s adultery and Iago´s considered one of the key reasons for
reaction when he suspects a vicious his behaviour. It seems that Iago´s ego
relationship between Othello and his plays the most important role in his life.
wife it shows that; "while Othello reacts In this context, one can start by referring
to his wife’s adultery by spying on her to the choice of the name “Iago” itself
and obsessing about knowing her which seems not a random choice but it
infidelity for sure, Iago focuses all of his carries an implicit message. The name
energy on Othello and noton the Iago "unfolds from the Italian io, Lat in
claimed unfaithful wife. This could add ego" (Adelmann ,1997, p. 127) a
to the argument that Iago´s motive is to suggestion that manifests itself in the
destroy Othello and that he is indifferent omnip resence of the "I" of Iago in his
about "the stealing of his wife´s heart". speech; for instance, when Iago
describes his injured " I" he says, "I Desdemona also describes Iago as a
know my price, I am worth no worse a good man. For instance, when she gives
place" (1.1.11); "And I, of whom his Cassio her pro mise that she will help
eyes had seen the proof... must be lee'd, him get his job back, Emilia says that
and calm'd" (11. 28-30); "And I, God Cassio's difficult situation deeply
bless the mark, his worship's ancient" grieves Iago, here Desdemona
(1. 33). comments, "O, that's an honest fello w."
Also, Soellner co mments on Iago´s (3.3.5)
judgement of himself writing, “is not Such good opinions of Iago illustrate
only arrogant but also egotistic and that Iago had exerted a great effort to
immo ral; he compounds the sin of pride achieve his ultimate goal, which is to
with the sin of self-love. He never yet preserve his admirable image in the eyes
found a man who knew "how to love of those around him to prove for h imself
himself" (I.iii.315) except, of course, his “uniqueness and grandeur" (Vakn in
himself.” (Soellner, 1972, p. 265) 2003, p. 27). But Iago´s belief of
Iago´s unconditional self-love and himself as unique had been attacked
sense of superiority, wh ich are when Othello gave Cassio the position,
considered the essential factors that which Iago believes should have been
control his feelings and actions towards given to him. Iago felt that Cassio´s
those around him, created an insecure promotion over him attacked his honour
character of h im. Iago radically changed since he, Iago, claimed that he deserves
fro m an honest person to a devil this position and that he was treated
destroying the lives of those around him unjustly. He says "I know my price; I
without showing any regret for their am worth more no worse a place."
suffering. In this context, can one read (l.i.12)
Iago as a narcissist and self-centred Iago thinks of himself as a more
character? efficient soldier than Cassio whom he
Sam Vaknin in “Malignant Self Love: describes as merely”...a bookish
Narcissism Rev isited” argues that a theoric” (I.i.24) guilty of “mere prattle
narcissist is in love with h is own without practice” (I.i.26); and a person
reflection, therefore he loves people´s who had “...never set a squadron in the
impressions of him, and thus field, nor the division of battle knows”
endeavoured to maintain an ad mirable (I.i.21-22). Here, like all narcissists,
image by satisfying people around him, Iago started to blame h is failure on the
not because he appreciates those people, unfair outer world believing that such
but because he uses those people as a promotion “...goes by letter and
mirror that reflects the beauty of his self affection, And not by old gradation”
(Vaknin, 2003, p. 27). (I.i.36) and felt that his pride was
Vakn in´s argument about the narcissist attacked when Othello chose Cassio to
character explains to a great extent why be his lieutenant. Here, Marjorie Pryse,
Iago endeavoured to gain the trust of all in her art icle Lust for Audience: An
around him and succeeded in that as it Interpretation of Othello, argues that”
man ifested itself in the opinions of those Iago was not interested in the pro motion
around him. For example, when the in itself and that his resentment to
Duke co mmanded Othello to leave for Othello after he pro moted Cassio was
Cyprus and to designate an officer to because Othello “has refused to listen to
deliver docu ments from the Senate, Iago and the advocates Iago sends. As
Othello appoints Iago to be that officer far as Othello is concerned, Iago does
and describes him as "A man he is of not exist. He does not recognize Iago’s
honesty and trust" (1.3.284). Once worth, and Iago is offended.” (Pryse,
again, when Othello asks Cassio to take 1976, p. 461).
care of the festivities in Cyprus, Cassio Moreover, Iago also destroyed not only
answers that he has already commanded Othello and Cassio´s lives after Cassio
Iago to do so, here, Othello co mments was promoted but also that of
that "Iago is most honest" (2.3.6) Desdemona, who did not play any role
in Cassio´s military pro motion. Why In line with Tylor´s aforementioned
did Iago hate Desdemona? term of “sense of fullness,” one can
Critics argue that Iago also wanted to argue that Iago ´s character could be a
destroy Desdemona when he thought representation of the dilemma of the
that she was becoming a threat to his void of religious aspect in human´s
own image; when Desdemona asks him psyche.
about his opinion of women, and here One can see this in Iago´s desire to
Karl Zender in his article The destroy all who he consider “full” and
Hu miliation of Iago (1994), maintained “ all in all” unlike him shows his envy
that “In posing her challenges, of those people as Adam Ph ilip says
Desdemona places Iago in a “Tell me what you need to spoil and I
situation…of being required to express will tell you what you want,"(Philip in
affection at someone else’s request” Boris 1994: v ii-xi, esp. ix.). Although
(325). Iago felt that he was hu miliated Iago endeavours to show his high
and his thus “Anger at Desdemona vies opinion of himself it seems clear this is
with anger and Cassio and Othello as just a fragile mask to cover his feelings
Iago’s primary mot ive in the remainder of inferiority when he compares himself
of Othello; and this anger…decides with those whom he is trying to prove
Desdemona’s fate,” concludes Zender foolish and he himself envies.
(330). Iago always affirms his sense of
To sum up, one can argue that Iago "emptiness and nothingness, he says, "I
could strongly represent an egoistic am not what I am"; "I am nothing, if not
character that was always faithful only critical" (2.1.119). Iago feels inferior to
to his own self-interest. He adopted the Othello who " has the presence, the
virtue of honesty just to satisfy his own fullness of being, Othello is "all in all
sense of uniqueness in the eyes of the sufficient" (4.1.261), a "full soldier"
others and turned into a villain when he (2.1.36), whose "solid virtue" (4.1.262)
felt that his pride had been attacked. and "perfect soul" (1.2.31) allow him to
achieve the "full fortune" (1.1.66). Here,
III. THE DILEMMA OF IAGO´S Janet Adelman maintains that “the
SUPERIORITY AND MODERN extent to which Othello's fu llness and
RATIONALITY solidity are the objects of lago's envy
3.1,Iago´s Lurked feelings of Emptiness: can be gauged by the extent to which he
Charles Tylor starts his book A Secular Age (2007) works to replicate his own self-d ivision
questioning the nature of secular modern ity and the in Othello.”(Adelman, 1997, p. 128)
mean ing of what he called “sense of fullness”. Tylor This argument can be supported by
argues that all societies tend to find an answer to the recent work on Shakespeare and
question of “what constitutes a fulfilled life? What makes religion by Eric S. Mallin. In his book
life really worth living? What do we most admire others Godless Shakespeare (2007), Mallin
for? (Cf. 2007, p. 16). Here he co mes up with the term traces Shakespeare’s attitude towards
“fullness.” He maintains that” Somewhere, in s ome religion. He argues that despite the
activity, or condition, lies a fullness, a richness; that is, in prevailing Biblical imag inary and
that place (activity or condition), life is fuller, richer, religious language, Shakespeare was
deeper, mo re worth while, mo re ad mirable, more what it against orthodox Christianity.
should be. This is perhaps a place of power: we o ften Shakespeare, however, was in favour of
experience th is as deeply moving, as inspiring. Perhaps spirituality and not a secular rational
this sense of fullness is something we just catch glimpses state. At the beginning of his book,
of fro m afar off; we have the powerful intuition of what after ad mitting his suspicious “about
fullness would be, were we to be in that condition, e.g., of Shakespeare’s lack of assurance in the
peace or wholeness; or able to act on that level, of God and entrenched myths of Judeo-
integrity or generosity or abandonment or self - Christian culture,” he affirms that there
forgetfulness. But sometimes there will be mo ments of were t wo ideas that Shakespeare sought
experienced fullness, of joy and fulfilment, where we feel to support. Fist “to supply entertainment
ourselves there (2007, p. 5). rather than offence”, and the belief in
“an occult world, one cheerfully or
menacingly beyond rationality. . . . In Ven ice, they do let God see the
Specifically, he buys into the notion of pranks
the soul” (9–10). They dare not show their husbands;
3.2,Iago´s Attacked Superiority and his Absolute Belief in their best conscience
the Power of Will: Is not to leave undone, but keep‘t
“the most delightful thing to such a man would be unknown. (3.3.201-204)
something that gave an extreme satisfaction of power and Also, Iago’s subtle choice of words to
superiority …and the mo ment most dangerous to such a hint to whatever he wants the other to
man would be one when his sense of superiority had met get can be clearly seen when Iago says
with an affront, so that its habitual crav ing was reinforced to Othello, “She did deceive her father,
by resentment, while at the same t ime he saw an marry ing you” (III. iii. 206). Here Iago
opportunity of satisfying it by subjecting to his will the reminds Othello of what Desdemona
very persons who had affronted it” (Bradley, 1951, p. 94- did previously and to arouse his mind
95) to think of his wife´s behaviour.
Iago is an egoistic, self-centred person Another interesting example is when
who seeks to maintain for h imself the Iago says to Othello, “I hear [Cassio]
most beautiful image, amount of say, ‘Sweet Desdemona…let us hide
fortune, and social rank at any cost. our loves!’” and “Such a handkerchief I
When he fails to achieve his goals, am sure it was your wife’s –did I today
however, he conspires to spoil the see Cassio wipe h is beard with” (III. iii.
pleasure and fortune of those whom he 416-417, 434-436). Iago chose
deemed as more fortunate. Iago´s Desdemona´s handkerchief to prove her
conspiracy aims not only to spoil the infidelity, to arouse Othello´s jealousy
pleasure of his enemies but also it and to send him over the edge. As a
strengthens his sense of superiority reaction to Iago´s words, Othello says,
over them. “I’ll tear her all to p ieces!” (III. iii.
In the beginning, Iago starts satiating 428).
his hunger for the sense of superiority The choice of the handkerchief itself is
by manipulating his victims and of a significant meaning for Othello
enjoying the sense of being able to because it was the first gift he ever gave
man ipulate them. He knows exact ly to Desdemona and therefore the symbol
when to use the right words that direct of their love. In this context, Omer and
his victims to the directions he wishes. Verona argue that sy mbols are very
“[Iago] uses suspicion, hints, affirms by significant in everyone’s life (10) and
denying, covers his traces, forestalls therefore, “The handkerchief is the
criticis m, and blurs the contours of attention-narrowing hypnotic symbol of
reality” (Omer & Da Verona, p. 3). profaned love.” (11)
For instance, Iago understands the Although Iago´s manipulat ion of
psychology of Othello and chooses Othello´s mind leads Othello to fall into
cunningly the words which could arouse a pitfall of jealousy that ended up in
his mind, abetting him to suspect his murdering Desdemona and the
wife´s actions. destruction of Othello´s and
Iago said to Othello, Desdemona’s lives, Iago did not show
O, beware, my lord of jealousy! any regret or remorse. On the contrary,
It is the green-eyed monster, which doth he was happy and his happiness was
mock inspired by his success in manipulating
The meat it feeds upon. (3.3. 165-67) Othello to prove for himself his own
sense of power over him. Here, one
Another examp le is when Iago can agree with Bradley who argues that
describes Venetian wo men as unfaithful the irresistible sense of superiority is the
wo men to hint at Desdemona’s real unconscious reason for Iago´s
unfaithfulness without saying it happiness at the misery of his victims.
explicitly. He says to Othello, Brad ley gave the examp le of the person
I [unlike you] know our country bullying his wife or children even with
disposition well: the fact that he loves them most or the
other who tortures a frog without any idleness or manur'd with industry—
reason. Such a person enjoys watching why, the power and corrigib le authority
the suffering of the other because their of this lies in our wills. If the balance of
suffering proves his victory over them our lives had not one scale of reason to
(Bradley, 1951, p. 95) poise another of sensuality, the blood
Brad ley´s aforementioned argument and baseness of our natures would
man ifests itself once again in Iago´s conduct us to most preposterous
extreme happiness after his success in conclusions. But we have reason to cool
ruining Cassio's reputation. Iago says, our raging motions, our carnal stings,
"Pleasure and action make the hours our unbitted lusts; whereof I take this
seem short" (2.2.373). that you call love to be a sect or scion.
Another good examp le of Iago´s desire (I.iii.320-31)
to manipulate the other to assert his Iago´s aforementioned quotation
sense of superiority man ifested itself in reflects his devoid of emot ions and his
the manipulat ion of Roderigo whom contempt for a person like Roderigo,
he, Iago, repeatedly asks to "Put who allo ws himself to be dominated by
money in thy purse ... fill thy purse emotions, which led to h is in jury. Iago
with money" (1.3.340, 348) and he reproaches Roderigo when he declares
could receive enough jewels and gold that he suffers fro m his unrequited love
fro m Roderigo but he, Iago, never for Desdemona on the ground that
shows any delight in this money wh ich Iago´s belief that “It is merely a lust of
asserts that Iago was only interested in the blood and a permission of the will”
proving his sense of superiority and his (1.3.337-8) that causes Roderigo to be
ability to exp loit and foo l those around so injured.
him. He repeats, "Put money in thy Nonetheless, there are critics who
purse," and then adds, "Thus do I ever interpreting Iago´ s motives and actions
make my fool my purse" (1.3.381). in human terms. For examp le, in the
In this context and reading Iago as a Apologetic of Evil: The Case of Iago
character which has an extreme belief (2009), Richard Raat zsch argues that
in the power of the will and self-control we do not have to ignore the fact that
to achieve its own goals, Soellner Iago is a fictional character. For
claims that Shakespeare was interested Raatzsch, Iago is a monster and that we
in the issue of the power of will as a cannot suppose that his psychology can
feature of the modern individuals that represent that of a real human. He goes
differs fro m that of the Mediaeval on to argue that Iago can be a version
devout Catholics. For Soellner, Iago of a hu man but his evil is so extreme
stands for the new acquired of that can stand for an ordinary hu man
personality which emerged as a result category. (Raatsch, 2009).
of a new approach towards life that was
developing at Shakespeare´s time. One IV. CONCLUSION
can see Soellner´s aforementioned Iago is the most complex character amongst
argument in Iago´s view of a person as Shakespeare’s villains. His vicious actions lack clear
“the product of his will”. A belief that motives and it is even s uggested that Iago was doing evil
leads him to liberate h imself fro m o ld for its own sake. Moreover, his opinions of the people
“Christian humanis m” and represent the around him, most of the time, contradict themselves. Th is
modern indiv idual (Soellner, 1972, p. has made the character of Iago to be regarded as an
261). unsolved riddle yet to be understood. But when we read
Iago says to Roderigo: the character of Iago through the psychoanalysis of the
' Tis in ourselves that we are thus or narcissist, one can claim that Iago´s actions are motivated
thus. Our bodies are our gardens to the by his unconditional "self-love". The narcissist seeks to
which our wills are gardeners; so that if sustain their desirable self -reflections, whatever the
we will plant nettles or sow lettuce, set consequences would be. This exp lains why Iago
hyssop and weed up thyme, supply it pretended to be honest and gained a loveable unique
with one gender of herbs or distract it image amongst his followers but turned the lives of all
with many, either have it sterile with those whom he knows best into hell when his self - honour
was attacked by the choice of Cassio to be Othello´s [15] Omer,H.& Da Verona. (1991).Doctor Iago's
captain. On the grounds that these people dared to attack treatment of Othello. American journal of
his pride and to treat him unjustly, and above all they psychotherapy, 45(1), 99-112.
were mo re fo rtunate than him. Therefore he plotted to [16] Pryse, M. (1976). Lust for Audience: An
destroy their fortune and pleasure, without any sense of Interpretation of Othello, ELH 43(4), 461-78.
guilt for h is misdeeds and his former friends became h is [17] Scragg, L. (1968) Iago — Vice or
bitter enemies. Finally, one can not affirm that Iago can Devil? Shakespeare Survey: An Annual Survey of
be a representation the modern rational individuals and Shakespearian Study & Production, (21), 53-65.
their belief in the power of their will as claimed by some [18] Zender, Karl. (1994) .The Hu miliation of
critics since other critics and scholars would convincingly Iago.Studies in English Literature, (34), 323-330.
argue that Iago can not be more than an imag ined
character that exceeds all capacities and skills of a
modern individual. . (Raatsch, 2009).
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[1] Bradbrook, M. C. (1993). Themes and Conventions
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Macbeth. 2ed.London: Macmillan & Company.
[3] Burke, Kenneth. (1969). A Gra mmar o f Motives.
Berkeley, U. of California.
[4] Mallin, S.Eric. (2007) Goodless Shakespeare.
London and New York: Continuum.
[5] Raatzsch, Richard (2009). The Apologetics of Evil:
The Case of Iago the Case of Iago. Princeton.
Monographs in Philosophy. New Jersey: Princeton
University Press.
[6] Rolf, Soellner. (1972).Shakespeare's Patterns of
Self-Knowledge. Ohio: Ohio State University Press.
[7] EisamanMaus, Katharine (1995). Proof and
Consequences: Inwardness and Its Exposure in the
English Renaissance”.In I.Kamps(Ed), Materialist
Shakespeare: a history. 157-80. London: Verso.
[8] Shakespeare, William (1980). Othello, the Moor of
Venice. In D.Bevington (Ed). The Complete Works
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[9] Shakespeare, William. (2006) the Tragedy of
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[10] Tylor. Charles. (2007).A Secular Age. Harvard
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[11] Vakn in, Sam. (2003)Malignant Self Love Narcissism
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[12] Adelman, Janet. (1997) .Iago's Alter Ego: Race as
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[13] A Nieu wkerk, Jennifer.”Aural Sex: The Power of
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[14] Kirsch, Arthur. (1978). The Polarizat ion of Erotic
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International Journal of English Literature and Social Sciences (IJELS) Vol-3, Issue-4, Jul - Aug, 2018

https://dx.doi.org/10.22161/ijels.3.4.28 ISSN: 2456-7620

Iago and His Motives under Modern Eyes

PHD Researcher - Freie Universität Berlin, Germany

www.ijels.com Page | 686

www.ijels.com Page | 692

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