Editing Othello (section)

===Iago's motivation===
{{See also|Iago's manipulativeness and character}}

The word "honest" is used more than 40 times in the play, sometimes with reference to Desdemona's chastity, but in almost all other cases with reference to Iago, where it has a double meaning—as a condescending term for a social inferior, and as a reference to his supposed truthfulness.<ref>Mowat, Barbara A (ed.), Werstine, Paul (ed.) and Shakespeare, William, "Othello", Folger Shakespeare Library edition, Simon and Schuster, 2017, p.xxii.</ref>

Iago's role is (in Robert Watson's words) "overdetermined in renaissance dramatic convention": he is partly the scheming [[Niccolò Machiavelli|Machiavel]] of [[Tragedy#Renaissance|Renaissance tragedy]], partly the vengeful malcontent of [[revenge tragedy]], partly the instigator of jealousy in [[domestic tragedy]] and partly the devil incarnate of [[morality play]]s.<ref>Watson, Robert N. "Tragedy" in Braunmuller, A. R. and Hattaway, Michael (eds.) "The Cambridge Companion to English Renaissance Drama" Second Edition, Cambridge University Press, 2003, pp.292-343 at p.329.</ref>

The character's own motives are never made clear, because Iago himself expresses too many motives:{{sfn|Honigmann|1997|p=34}}
*He hates the Moor: often with reference to Othello's race.<ref>''Othello'' 1.1.5-7, 1.1.32, 1.1.87-90 & 1.1.108-112</ref>{{sfn|Honigmann|1997|p=35}}{{sfn|Neill|2008|p=31}}
*He is angry that Cassio has been promoted to Lieutenant, over himself.<ref>''Othello'' 1.1.7-32.</ref>{{sfn|Muir|McAlindon|2015|p=xliii}}
*He suspects Othello of having slept with Emilia.<ref>''Othello'' 1.3.385-9 & 2.1.293-297.</ref>{{sfn|Muir|McAlindon|2015|p=xliii}}{{sfn|Honigmann|Thompson|2016|p=45}}
*He suspects Cassio of having slept with Emilia.<ref>''Othello'' 2.1.303-305.</ref>{{sfn|Muir|McAlindon|2015|pp=xliii-xliv}}
*He himself is in love with Desdemona.<ref>''Othello'' 2.1.289-291</ref>{{sfn|Neill|2008|p=31}}
*He envies Cassio's virtues.<ref>''Othello'' 5.1.18-20.</ref>{{sfn|Muir|McAlindon|2015|p=xliv}}

These led [[Samuel Taylor Coleridge]] to refer to Iago's "motive-hunting of motive-less Malignity".<!-- sic, as regards capitalisation --><ref>[[Samuel Taylor Coleridge]]'s marginal note to the closing speech of Act 1 in his own personal copy of ''Othello'', cited by {{harvnb|Honigmann|Thompson|2016|p=45}}; {{harvnb|Neill|2008|p=31}}; {{harvnb|Muir|McAlindon|2015|p=xliv}} and by {{harvnb|Honigmann|1997|pp=33-34}}</ref>

Some critics have suggested other motives: psychologist [[Ernest Jones]]'s suggestion that Iago may be motivated by a repressed homosexual desire for Othello has been influential in subsequent performances of the role.{{sfn|Honigmann|1997|pp=50-51}}

As Robert Watson summarises it: "The seemingly endless critical debate about Iago's motivation reflects a truth, rather than a confusion, about the play. ... If it is disturbing to suspect that a devil may be lurking around us in human form, perhaps within our most trusted friend, it is even more disturbing to realize <!-- sic (i.e. for the American spelling of that word in a British English article) --> that this devil may be ... a reflection of our own destructive tendencies."<ref>Watson, 2003, p.329.</ref>

Ultimately Iago provides no answer—refusing, at the end of the play, to reveal his motive: "Demand me nothing. What you know, you know. From this time forth I never will speak word."<ref>''Othello'' 5.2.300-301</ref><ref>Watson, 2003, p.331.</ref>