Shakespeare’s Othello follows Iago’s relentless pursuit of the position of Lieutenant. Although his plan ultimately collapses in the end, the damage his reckless action causes is felt by almost every character in the play. Even though Iago’s ambitions may not change much throughout the play, these ambitions lead him into greater and greater danger, illustrating the problem of too much ambition in the world. 

Iago’s road to his own demise begins with the construction of his plan to seize the Lieutenant position from Cassio. His plan showcases his evil and his ruthless commitment to it. His lack of empathy, combined with his well-designed plans, makes him an unstoppable villain in the play. The reader can easily infer that he is going to be the villain of the play from the very first act when he bluntly expresses to Rodrigo his displeasure with Cassio’s promotion: “As masterly as he. Mere prattle without practice is all his soldiership. But he, sir, had th’ election and I, of whom his eyes had seen proof at Rhodes, at Cyprus, and on other grounds by debitor and creditor” (1.1, 27-32). Transitioning from his hatred towards Cassio to a plan to have him removed, he tricks Rodgirgo into provoking a fight with Cassio while not being involved directly: “Sir, he’s rash and very sudden in choler, and haply may strike at you. Provoke him that he may. For even out of that will I cause these of Cyprus to mutiny, whose qualification shall come into no true taste again but by the displantin of Cassio” (2.1, 268-271). This plan succeeds as he manages to get Cassio to ask Desdemona to reach out to Othello to inquire about his rehiring. This subtle act plants the seed in Othello’s mind that Desdemona is cheating on him with Cassio. Towards the end of the play, when Othello contemplates the method he will use to kill Desdemona, Iago’s evil surfaces most completely. He persuades Othello to “Do it not with poison ... strangle her in her bed, even the bed she hath contaminated” (Gonzalez 37, 4.1.209-10).

Throughout the play, characters fail to recognize Iago’s distinctive trait, which is his ability to manipulate other people. In general, without the participation of other characters, most notably Rodriego, Cassio, and Emilia, his plan would not have succeeded. From persuading Roderigo to take part in his plans, to coercing Cassio to reach out to Desdemona, to enlisting Emilia to steal the handkerchief from Othello, his skillful manipulation can be seen from start to finish. However, no example better illustrates his masterful manipulation than his conversation with Othello about Desdemona’s potential disloyalty. When Othello questions Iago’s observations, Iago exaggerates his innocence to manipulate Othello’s belief: “Oh, grace! Oh, heaven forgive me! Are you a man? Have you a soul or sense? God buy you,take mine office. O wretched fool that lov’st to make thine honesty a vice! O monstrous world! Take note, take note, o world, to be direct and honest is not safe” (Shakespeare 3.3, 382-386). One main reason why Iago is able to manipulate so many characters is his lost sense of morality. He feels no guilt lying repeatedly: “The psychopath [referring to Iago] does not set out to lie in the self-conscious, guilt-beset way that a normal person would. Lying does not bother him…Though he will lie about any matter, under any circumstances, and often for no good reason, he may on the contrary, sometimes own up to his own errors and appear to be facing the consequences with singular honesty, fortitude and manliness” (West, 32). Protesting his own innocence, as he does with Othello, Iago claims to be “honest.” 

Iago’s ambitions in the play bear a strong resemblance to society’s behaviour both in the past and present. Iago’s manipulation often relies on his ability to read the mind’s of others, something people in the past and present do every day, either consciously or unconsciously. On the surface, Iago appears to be a talented mind reader. He capitalizes on Roderigo's guilability and Desdemona’s purity: “For ‘tis most easy. Th’inclining Desdemona to subdue. In any honest suit” (2.3, 324-326). His ability to identify each character’s weaknesses and his ability to maneuver out of trouble make him a realistic character. 

Iago’s never fulfilled ambitions was overwhelmingly the reason for the tragic ending of the play. In a classic play written in 1603, with many themes that are non applicable to today’s society, Iago’s tireless pursuit of honor remains a warning to the world for the danger of reckless ambitions.

Works cited: 

Gonzalez, Alexander. The Infection and Spread of Evil: Some Major Patterns of Imagery and Language in Othello. Ohio State Press, 1985. 

West, Fred. Iago the Psychopath. South Atlantic Bulletin, 1978. 

Cefalu, Paul. The Burdens of Mind Reading in Shakespeare’s Othello: A Cognitive and    Psychoanalytic Approach to Iago’s Theory of Mind. Oxford University Press, 2013.