Iago Quotes

I'd like to do more Shakespeare. I'd like to do Iago in Othello. I look so benign. It would be interesting to see that black evil come out of my soul. ~ Kyle MacLachlan

Shakespeare will not allow Falstaff to die upon stage. We see and hear the deaths of Hamlet, Cleopatra, Antony, Othello, and Lear. Iago is led away to die silently under torture. Macbeth dies offstage but he goes down fighting. Falstaff dies singing the Twenty-third Psalm, smiling upon his fingertips, playing with flowers, and crying aloud to God three or four times. That sounds more like pain than prayer.
We do not want Sir John Falstaff to die. And of course he does not. He is life itself. ~ Harold Bloom

You get Don King's point of view in what is almost a Shakespearean, classical technique. He comes across almost like a lovable rogue, like Iago in 'Othello' or Richard III. He's doing all these bad things, but I kind of like him. It's like 'Pulp Fiction': Everybody's a bad guy, yet you like them. ~ Ving Rhames

Methinks the lady doth protest too much," said Iago.

"Methinks the lady protests just the right amount," said Emilia. "Methinks the lady is just getting fucking started protesting. ~ Christopher Moore

Very well." The Red Wind shrugged, turning the pistol handles toward her. It didn't matter a whit to the Wind who did the deed, as long as it was done. She seemed to look at September fully for the first time. "You know, I do believe that's my coat," she mused. "And that is most certainly my cat."
Iago roared - a roar of love and remembering and recognition and regret. He did not leave the Marquess's side, but the roar said that he was sorry about it. ~ Catherynne M Valente

Iago, on the other hand, seems to be malice personified, a manifestation of manifold vice with no discernible vestiges of grace. ~ Williiam Shakespeare

Both Othello and Iago seem a bit cracked. If you spend 15 years being responsible for death and destruction, that sense of suppressed horror is strong. ~ Rory Kinnear

For when I speak of the banality of evil, I do so only on the strictly factual level, pointing to a phenomenon which stared one in the face at the trial. Eichmann was not Iago and not Macbeth, and nothing would have been farther from his mind than to determine with Richard III 'to prove a villain.' Except for an extraordinary diligence in looking out for his personal advancement, he had no motives at all… He merely, to put the matter colloquially, never realized what he was doing… It was sheer thoughtlessness - something by no means identical with stupidity - that predisposed him to become one of the greatest criminals of that period. And if this is 'banal' and even funny, if with the best will in the world one cannot extract any diabolical or demonic profundity from Eichmann, this is still far from calling it commonplace… That such remoteness from reality and such thoughtlessness can wreak more havoc than all the evil instincts taken together which, perhaps, are inherent in man - that was, in fact, the lesson one could learn in Jerusalem. ~ Hannah Arendt

Evil is such a simplistic way to describe any character, be it Iago or Caliban, or any character from history. ~ Denis O'Hare

When I'm given a role, the first thing I do is read the play over and over again. I scour the script and write down everything the character says about himself and everything that everyone else says about him. I immerse myself in my character and imagine what it might be like to be that person.
When I played Cassio in Othello I imagined what it would be like to be a lieutenant in the Venetian navy in 1604. I sat down with Ewan McGregor and Chiwetel Ejiofor and together we decided that Othello, Iago and Cassio had soldiery in their bones.
I took from the script that Cassio was talented and ambitious, with no emotional or physical guard - and that's how I played the part.
For me, acting is about recreating the circumstances that would make me feel how my character is feeling. In the dressing room, I practise recreating those circumstances in my head and I try to not get in the way of myself. For example, in act two of Othello, when Cassio is manipulated to fight Roderigo and loses his rank, some nights I would burst into tears; other nights I wouldn't but I would still feel the same emotion, night after night. Just as in life, the way we respond to catastrophe or death will be different every time because the process is unconscious.
By comparison, in Chekhov's Ivanov I played the young doctor, Lvov. Lvov was described as "a prig and a bigot … uprightness in boots … tiresome … completely sincere". His emotions were locked away. I worked around the key phrase: ~ Tom Hiddleston

The most interesting characters keep us hooked. Not likeable ones! Iago, Shylock, Darth Vader - are they likeable? Do you want to invite them to dinner? ~ Alison Owen

Maybe at the very bottom of it ... I really don't like God. You know, it's silly to say I don't like God because I don't believe in God, but in the same sense that I don't like Iago, or the Reverend Slope or any of the other villains of literature, the god of traditional Judaism and Christianity and Islam seems to me a terrible character. He's a god who will ... who obsessed the degree to which people worship him and anxious to punish with the most awful torments those who don't worship him in the right way. Now I realise that many people don't believe in that any more who call themselves Muslims or Jews or Christians, but that is the traditional God and he's a terrible character. I don't like him. ~ Steven Weinberg

In scenes like these, any man could be Iago. ~ Stephen King

There's an Iago and a Romeo within all of us. There is that lover, and there is that sociopath. ~ Tom Hiddleston

Coleridge's description of Iago's actions as "motiveless malignancy" applies in some degree to all the Shakespearian villains. The adjective motiveless means, firstly, that the tangible gains, if any, are clearly not the principal motive, and, secondly, that the motive is not the desire for personal revenge upon another for a personal injury. Iago himself proffers two reasons for wishing to injure Othello and Cassio. He tells Roderigo that, in appointing Cassio to be his lieutenant, Othello has treated him unjustly, in which conversation he talks like the conventional Elizabethan malcontent. In his soliloquies with himself, he refers to his suspicion that both Othello and Cassio have made him a cuckold, and here he talks like the conventional jealous husband who desires revenge. But there are, I believe, insuperable objections to taking these reasons, as some critics have done, at their face value. ~ W. H. Auden

Iago shrugged his furry shoulders. As you like. Saves me the work of picking the lock with my incisor. ~ Catherynne M Valente

DESDEMONA
Come, how wouldst thou praise me?

IAGO
I am about it; but indeed my invention
Comes from my pate as birdlime does from frieze;
It plucks out brains and all: but my Muse labours,
And thus she is deliver'd.
If she be fair and wise, fairness and wit,
The one's for use, the other useth it.

DESDEMONA
Well praised! How if she be black and witty?

IAGO
If she be black, and thereto have a wit,
She'll find a white that shall her blackness fit.

DESDEMONA
Worse and worse.

EMILIA
How if fair and foolish?

IAGO
She never yet was foolish that was fair;
For even her folly help'd her to an heir.

DESDEMONA
These are old fond paradoxes to make fools laugh i'
the alehouse. What miserable praise hast thou for
her that's foul and foolish?

IAGO
There's none so foul and foolish thereunto,
But does foul pranks which fair and wise ones do. ~ William Shakespeare

Film is a disease. When it infects your bloodstream, it takes over as the number one hormone; it bosses the enzymes; directs the pineal gland; plays Iago to your psyche. As with heroin, the antidote to film is more film. ~ Frank Capra

IAGO
Can't help it? Nonsense! What we are is up to us. Our bodies are like gardens and our willpower is like the gardener. Depending on what we plant - weeds or lettuce, or one kind of herb rather than a variety, the garden will either be barren and useless, or rich and productive. If we didn't have rational minds to counterbalance our emotions and desires, our bodily urges would take over. We'd end up in ridiculous situations. Thankfully, we have reason to cool our raging lusts. In my opinion, what you call love is just an offshoot of lust. ~ William Shakespeare

And what's he then that says I play the villain? ~ William Shakespeare

Shakespeare's Iago could be played as a soul in hell, driven, dark and desperate, willing to do anything, willing to use anyone, in order to escape from that hell. ~ Laura Lee Guhrke

The word "jealousy" is often used as if it were synonymous with envy; but I think the distinction worth preserving. Jealousy is predominantly concerned with the fear of loss of something one possesses, envy with the wish to own something another possesses. Othello suffers from the fear that he has lost Desdemona's love. Iago suffers from envy of the position held by Cassio, to which he feels entitled. ~ Anthony Storr

I've always been way more attracted to playing imposing characters than the hero. I've always been more intrigued by Iago in Shakespeare than playing Romeo. That was always boring to me. ~ Kevin Durand

The Iago trance is a state that we've really come to accept as normal, even if we may not feel it to be natural. ~ Arjuna Ardagh

A character I would love to play is Iago, from Othello. ~ Tim Roth

Consciousness is the materia poetica that Shakespeare sculpts as Michelangelo sculpts marble. We feel the consciousness of Hamlet or Iago, and our own consciousness strangely expands. ~ Harold Bloom

I am glad I have found this napkin.
This was her first remembrance from the Moor,
My wayward husband hath a hundred times
Wooed me to steal it, but she so loves the token
For he conjured her she should ever keep it
That she reserves it evermore about her
To kiss and talk to. I'll ha' the work ta'en out,
And give't Iago. What he will do with it,
Heaven knows, not I.
I nothing, but to please his fantasy. ~ William Shakespeare

As for Iago's jealousy, one cannot believe that a seriously jealous man could behave towards his wife as Iago behaves towards Emilia, for the wife of a jealous husband is the first person to suffer. Not only is the relation of Iago and Emilia, as we see it on stage, without emotional tension, but also Emilia openly refers to a rumor of her infidelity as something already disposed of.

Some such squire it was
That turned your wit, the seamy side without
And made you to suspect me with the Moor.

At one point Iago states that, in order to revenge himself on Othello, he will not rest till he is even with him, wife for wife, but, in the play, no attempt at Desdemona's seduction is made. Iago does not encourage Cassio to make one, and he even prevents Roderigo from getting anywhere near her.

Finally, one who seriously desires personal revenge desires to reveal himself. The revenger's greatest satisfaction is to be able to tell his victim to his face – "You thought you were all-powerful and untouchable and could injure me with impunity. Now you see that you were wrong. Perhaps you have forgotten what you did; let me have the pleasure of reminding you."

When at the end of the play, Othello asks Iago in bewilderment why he has thus ensnared his soul and body, if his real motive were revenge for having been cuckolded or unjustly denied promotion, he could have said so, instead of refusing to explain. ~ W.H. Auden

WHAT WAS JANE AUSTEN'S LAST FINISHED NOVEL?"
"Vaginas and Virginity."
"WHO IS THE LAST PERSON IAGO KILLS IN OTHELLO?"
"His manservant Retardio, for forgetting to change the Brita filter!"
"WHAT HAPPENS TO THE LITTLE MERMAID AT THE END OF CHRISTIAN ANDERSEN'S THE LITTLE MERMAID?"
"She turns into a fish and marries Nemo!"
"Fuck you! ~ David Levithan

Tragedy springs from its own peculiar sorcery, with treachery, born of envy or ambition, a usual instigator. Treachery is apparent only after the events staged are well over, as we know, its victims dead, or living and smarting under its tricks, realizing too late how they have been misused: if indeed they are ever cognizant of its role, if still players, to this wonder and rue. Most unacceptable is its subtlety, the double-face which double-deals, the Iago perpetrators hidden for decades, smiling the smiles of polite and not so polite society. They nod and wave, heroes to many; sly politicians these Claudiuses. Time favours the Macbeths and forgets the maligned. The former enjoy live, some even oblivious to their lies as being lies, for they prefer to bask in blessings, aping the certainties of creed, cheating death and duty while in pavilions of ease. They succeed on their success, trite or vast; wealth for some, and enviably, fame for the few. The unaware, their victims, float off to obscurity on ruptured vessels of injustice to theater lands unknown, never really knowing why, if the job's done property. Normality is, truthfully, life's whore, readily embraced and conveniently embracing; secretly, it has the clap. Thinking of plot should then give pause. The treacherous cheat fate and re-write, their 'intended history'. Call it fate. They become authors of an illicit story, penmen of their own gods, living their own fresh creation through a new, egregious, utilitarian dram ~ Barnaby Allen

She's not sensual. She doesn't want affairs. It's just cold-blooded experiment on her part and the fun of stirring people up and setting them against each other. She dabbled in that too. She's the sort of woman who's never had a row with anyone in her life
but rows always happen where she is! She makes them happen. She's kind of female Iago. She must have drama. But she doesn't want to be involved herself. She's always outside pulling strings
looking on
enjoying it! ~ Agatha Christie

I am apt to think she was too artful to rail at me, but rather pretended to have a kindness for me, and like Iago gave, as she saw occasion, wounds in the dark. ~ Anne Somerset

We become lovers when we see Romeo and Juliet, and Hamlet makes us students. The blood of Duncan is upon our hands, with Timon werage against the world, and when Lear wanders out upon the heath the terror of madness touches us. Ours is the white sinlessness of Desdemona, and ours, also, the sin of Iago. ~ Oscar Wilde

Thou dost conspire against thy friend, Iago,
If thou but think'st him wronged, and mak'st his ear
A stranger to thy thoughts. ~ William Shakespeare

[Talking about Othello] His dying words are about the service he has done to the state -not what he has done to Desdemona. (...) He acknowledges not love but the power structure (...). Othello believes his fellow officer [Iago] rather than his wife, believes death is suitable punishment for infidelity (...).
It makes me uneasy that we so easily state that Othello is a play about race. Race is one of its ingredients, but the most pervasive subject that Shakespeare is tackling is sexism. The two women [Desdemona and Emilia, Iago's wife] end up dead. Bianca, the third woman in the play, Cassio's mistress, ends up in jail for something she never did, and nobody bothers to get her out. Iago, the symbol of evil, remains alive. Brabantio, Desdemona's father, dies of a broken heart because of his daughter's disobedience. And everyone is very regretful about what has happened. But no one, other than Emilia, has pointed out that there is a terrible double standard, something rotten in the system itself. ~ Tina Packer

When devils will the blackest sins put on
They do suggest at first with heavenly shows ~ William Shakespeare

if I were the Moor I wouldn't want to be Iago. ~ William Shakespeare

Macbeth's self-justifications were feeble - and his conscience devoured him. Yes, even Iago was a little lamb too. The imagination and the spiritual strength of Shakespeare's evildoers stopped short at a dozen corpses. Because they had no ideology. ~ Aleksandr Solzhenitsyn

Why, why is this?
Think'st thou I'ld make a lie of jealousy,
To follow still the changes of the moon
With fresh suspicions? No; to be once in doubt
Is once to be resolved: exchange me for a goat,
When I shall turn the business of my soul
To such exsufflicate and blown surmises,
Matching thy inference. 'Tis not to make me jealous
To say my wife is fair, feeds well, loves company,
Is free of speech, sings, plays and dances well;
Where virtue is, these are more virtuous:
Nor from mine own weak merits will I draw
The smallest fear or doubt of her revolt;
For she had eyes, and chose me. No, Iago;
I'll see before I doubt; when I doubt, prove;
And on the proof, there is no more but this,
Away at once with love or jealousy! ~ William Shakespeare