Iago’s speech exposes Iago’s explicit delights in his treachery. His true concept of his position is revealed and with it the philosophy underlying his malice. We are shown an insight into the mind of Iago.

Iago’s inferiority complex is most prominent at the opening of his speech. From this, his philosophy to follow Othello “to serve [his] turn upon him” is born. Iago’s venomous ridicule for “duteous and knee-crooking knave” is patronising and contemptuous. His scornful mockery is furthered by the use of the noun “knaves” this insinuates that they are insignificant and are inferior to him. He derides those who:

“Wears out his time much like his master’s ass.”

He sees these men, who are faithfully devoted to their masters, as nothing more than mere donkeys: brainless and foolish. This use of bestial imagery runs through out the play and is a very aggressive insult. Iago doubtless has Othello in mind when he ridicules duty. Iago seems to hold less regard for a servant who is not only loyal but enjoys his work:

“that doting on his obsequious bondage”

Iago does not appreciate the purpose in being trustworthy to a master, to Iago it achieves you no purpose as “when he is old” they are “cashier’d”. Iago words suggest scorn for the people who hold honestly and honour dear. His short sneering dismissal “Whip me such honest knaves” of these servants sharply contrasts to the praise he places on servants who are:

“trimm’d in forms and visages of duty.”

When Iago ridicules “honest knaves”, he assumes that the world is divided into schemers and their victims; to trust is to be vulnerable: that trust can be rewarded, not abused, Iago does not consider. Iago now introduces another type of servant, one who shows all outward signs of loyalty but hides behind a veil of lies, secretly scheming behind their master’s backs. These men Iago admires “do themselves homage.” They, in Iago eyes, will make a profit for themselves:

“lin’d their coats”

unlike the pathetic loyal servants who will have nothing. This shows the importance Iago places upon money. “These fellows have some soul,” Iago professes. This is ironic, as Iago seemingly is not using the noun “soul” in the religious sense nor does Iago seem to have a notion of the natural order, Othello being his superior. Presumably Iago uses the noun to mean these people have wit, a backbone, courage and have a strong spirit, all of which Iago believes he has. Through out Othello religious imagery is used, this creates strong links with God and the Devil himself. Iago’s use of imagery is the basis for his power. There is double irony in this statement that Iago passes off as the truth. People who act this way scarcely deserve the credit that Iago is giving to them. Also Iago seems to have no soul; he never repents, never lets up on his schemes and never seems to tire of the damaging consequences he leaves in his wake. Iago now shows his true self to Roderigo: “and such a one do I profess myself”

Iago makes it unmistakable his principle is to worship but himself, and has no concern for his master, Othello. In the Arden addition of Othello, Iago’s speech consists of a 15-line sentence. This suggests Iago does not do things directly; he is conniving, deep, confident of himself and most of all devious. His complex lines expose how cunning and manipulative he is. The lengthy sentence suggests it is Iago’s run of thought, his intelligence is twisted and distorted and the sentence mirrors this. This prolonged sentence unfolds and builds intensity to Iago’s feelings.

“For, Sir”

Iago once again is being ironic as he is doing exactly the same thing to Roderigo as he is to Othello. Iago declares, “Were I the Moor, I would not be Iago” he may be implying he is more intelligent than the “Moor” and would be able to see through Iago and would punish him. “In following him I follow but myself,” Iago also confesses; this is a paradox and reveals Iago’s purposes in serving Othello. Iago exclaims:

“Heaven is my judge”

once again comparisons are made to religion, Iago sees himself as equal with God. Iago confesses to exploiting Othello:

“In following him, I follow but myself”

Iago with- holds his true character and brilliance under pretence of truth. He uses the cliché “But I will wear my heart upon my sleeve” to convey how his heart is false, and his shows off emotion are also imaginary. But Iago turns this cliché into something more dark and sinister, when he adds “for daws to peck at”, “daws” are seen as carrion birds, scavengers of dead flesh and Iago creates the image of them tearing at his heart. Already Iago has foretold the immense deceptions that he will manufacture, and the disturbing qualities that make up his core.

“I am not what I am.”

Iago rephrases St. Paul’s “By the grace of God, I am what I am” once again supports the image that Iago sees himself as god. Iago declares he is not what he seems to be. This we can be certain of, however could this then be a warning that his apparently open confessions to the audience are not what they seem either? Perhaps they are an invitation to look further than the motives he openly admits: for a deeper motive. Iago’s self-conscious dishonesty is greatly theatrical calculated to shock the audience; Iago is a classical two-faced villain. He is a master with words, a charmer in his own right. With words Iago directs the minds of others, he is certainly not what he seems.

Iago tells Roderigo several truths about himself; he even trusts Roderigo with the knowledge that Iago serves Othello, but only to further himself. It is ironic that after Iago’s lengthy confession of betrayal, Roderigo still does not suspect him of double-crossing or manipulation. Exactly how long Iago has been capitalising upon the trustfulness of Roderigo we do not know, however it is apparent that Iago has no value for Roderigo’s intelligence. The guile he explicitly uses to stay in Roderigo good stead is not exceptionally devious, unashamedly he tells Roderigo “I am not what I am” yet Roderigo still trusts him. He directs the likes of Roderigo with flippant disdain, the resentful malcontent revealing all in Iago’s soliloquies. Iago might not be what he seems as far as the other characters are concerned, but the audience enjoys the privileged exhibit of Iago’s intricate plot as he intertwines his network of lies around the rest of the unsuspecting characters.