Once again, here, we find Shakespeare having the antagonist become out to snare more than just the equality that he was initially denied. Just as crossing this line lead to the eventual downfall of the harbingers of chaos in both Othello and the Merchant of Venice, we find it to be true once again. At the end, when the situation is described as “all’s cheerless, dark and deadly,”(5,3,292) it makes us remember the Earl’s statements about Edmund that “there was good sport at his making.”(1,1,23-24) Hindsight judgement certainly make us wonder whether that “sport” was worth it.
One last instance where we get certain parallel qualities between Edmund and Iago is found nearing the end of the finale where we find evidence of Edmund’s pleasure that Goneril and Regan have died for his sake. This particular excerpt reminds us exactly of Iago’s malicious commentary on his using of Rodrigo for a “purse,” and his attempts at having “Every way make my gain.”(5,1,14)
Yet Edmund was beloved
The one the other poisoned for my sake,
And after slew herself. (5,3,241-43)
Even worse than this we see him mockingly saying, “Which one of them shall I take? / Both, one neither.”(5,1,57-58) Just as Iago has no preference over whether Cassio kill Rodrigo, or vice versa, Edmund cares not because he is concentrating only on the flattery he finds in being the object of love from two women. The two are closely tied judging from their obvious narcissistic similarities, overall motives and even the end result. (A curious aspect in Lear is found when we realize that Shakespeare has added another a disruptive force in the characters of both Goneril and Regan. They compound the by adding a suspense angle, for because of their presence, at first the audience is unsure of which antagonist is the correct one to focus attention. Seemingly, they are equally as depraved, for early on we find that they, as they are described as “tigers” and “wolves,” seek the death of their father.
The last character to be brought into this discussion is Puck from “Dream”, for unlike the other works considered, Dream is fully intended to be a comedy(Venice had elements of both). Puck is relevant because he demonstrates that the trickery and duping behavior, which we find so often associated with the major villains throughout Shakespeare. The lines which Puck rattles off to make one think immediately of Iago are found when Puck finishes a little rhyming statement with “Lord what fools these mortals be.”(3,2,110). The reason for this is that it is Puck’s actions/statements as he is manipulating (incorrectly the first time) the other characters are exactly like Iago and Edmund orchestrating their will upon others. This playful, innocent condescension that we see Puck expressing is essentially the comedic interpretation of Iago and Edmund getting their jollies from the using of others. Puck is essentially saying the same thing, yet more as an honest observation than as a credit to his own talents. Really, the purpose and relevance of Midsummer Nights Dream in relation to the overall course is limited. Mentioning “Dream” is really only intended to show how characteristics which we attribute to Iagos and established villains can appear elsewhere (even in comedies).
Diverging from this final section character dissection(or assassination J), to look at the somewhat rough chronological approximations for the order of these plays, we begin to find some more evidence supporting the possibility of Iago’s influence upon further antagonists. Both Anthony & Cleopatra, and Lear were written following Othello in the so-called Middle tragic Period between 1600-1608. Because of this, we certainly see supporting evidence that the manipulative characteristics of Iago might have somehow been a kind of influence upon the creation of the manipulation side(if nothing more)Cleopatra’s character. Also, Edmund, with perhaps the most striking comparison, certainly draws from all aspects of Iago’s character. Oddly, the Merchant of Venice comes midway through the Poetic period which falls before the Tragic period, and in some ways we could consider it a transitional work because of its obvious similarities and stark differences.
Either way, whether we consider above chronological significance or not, there is certain thread constantly reminiscent of Iago running throughout these plays which cannot be denied. Thus Iago, and all the horrible splendor surrounding him, must certainly fall into the category of Shakespeare’s greatest and most complex villains. Hopefully, if nothing more, examination of these characters will help us to avoid calling out, as Cassio did for the very enemies who have created our unfortunate situations. In Act 5, Scene 1, we hear Cassio say “Iago! I am spoil’d, undone by villains! / Give me some help!”