Iago's Alter Ego: Race as Projection in Othello
Janet Adelman, University of California, Berkeley
Othello famously begins not with Othello but with Iago. Other tragedies begin with ancillary figures commenting on the character who will turn out to be at the center of the tragedy—one thinks of Lear, Macbeth, Antony and Cleopatra—but no other play subjects its ostensibly tragic hero to so long and intensive a debunking before he even sets foot onstage. And the audience is inevitably complicit in this debunking: before we meet Othello, we are utterly dependent on Iago's and Roderigo's descriptions of him. For the first long minutes of the play, we know only that the Moor, "the thicklips" (1.1.66),1 has done something that Roderigo (like the audience) feels he should have been told about before-hand; we find out what it is for the first time only through Iago's violently eroticizing and racializing report to Brabantio: "Even now, very now, an old black ram / Is tupping your white ewe" (11. 88-89).2
At this point in my teaching of the play, I normally point to all the ways in which Othello belies Iago's description as soon as he appears; in the classroom my reading of race in Othello turns on this contrast as Shakespeare's way of denaturalizing the tropes of race, so that we are made to understand Othello not as the "natural" embodiment of Iago's "old black ram" gone insanely jealous but as the victim of the racist ideology everywhere visible in Venice, an ideology to which he is relentlessly subjected and which increasingly comes to define him as he internalizes it—internalizes it so fully that, searching for a metaphor to convey his sense of the soil attaching both to his name and to Desdemona's body, Othello can come up with no term of comparison other than his own face ("My name, that was as fresh / As Dian's visage, is now begrim'd, and black / As mine own face" [3.3.392-94]).3 Othello's "discovering" that his blackness is a stain—a stain specifically associated with his sexuality—and "discovering" that stain on Desdemona are virtually simultaneous for him; hence the metaphoric transformation of Dian's visage into his own begrimed face. If Desdemona becomes a "black weed" (4.2.69)4 for Othello, her "blackening" is a kind of shorthand for his sense that his blackness has in fact contaminated her; as many have argued, his quickness to believe her always-already contaminated is in part a function of his horrified recoil from his suspicion that he is the contaminating agent.5
In other words, in the classroom I usually read race in Othello through what I take to be the play's representation of Othello's experience of race as it comes to dominate his sense of himself as polluted and polluting, undeserving of Desdemona and hence quick to believe her unfaithful. But although the play locates Othello in a deeply racist society, the sense of pollution attaching to blackness comes first of all (for the audience if not for Othello) from Iago; though Iago needed Brabantio to convince Othello of Desdemona's tendency to deception and the "disproportion" of Othello as her marriage choice, Iago legitimizes and intensifies Brabantio's racism through his initial sexualizing and racializing invocation of Othello. And if the play offers us a rich representation of the effects of racism on Othello, it offers us an equally rich—and in some ways more disturbing—representation of the function of Othello's race for Iago. I offer the following reading of that representation as a thought-experiment with two aims: first, to test out the applicability of psychoanalytic theory—especially Kleinian theory—to problems of race, an arena in which its applicability is often questioned; and, second, to identify some of the ways in which racism is the psychic property (and rightly the concern) of the racist, not simply of his victim.
Iago erupts out of the night (this play, like Hamlet, begins in palpable darkness), as though he were a condensation of its properties. Marking himself as opposite to light through his...
(The entire section is 12,535 words.)