Joan Didion’s Play it as it Lays famously opens with the question, “What makes Iago evil? Some people ask. I never ask.” I’m one of the people who asks. Samuel Coleridge might have called the search for Iago “the motive hunting of motiveless malignity,” but I lack the capacity to accept that certain truths are just inscrutable. I reason that because fictional characters are born in the mind of the author, their actions must necessarily stem from something resembling Kantian categorical imperatives. Within the confines of their own logic, their actions make perfect sense. There is internal consistency and cause and effect. The system is governed by rules; the game is to discern exactly what those rules are. It’s a cliché that nothing is more interesting to people than other people, but in essence, those of us who ask about Iago do so because he is not so different a puzzle from human beings. He is only a more tantalizing one, because his author has deliberately controlled what we see and know of him, as though dispensing clues. But the prize for solving a literary conundrum is the same as for solving a human one: if I can figure out Iago, I can figure out Hamlet, I can figure out anyone and I can figure out you. 1. As An Aside Having searched for Iago predominantly throughout other works of fiction, I think it is worth pointing out that I’m aware of the tenuous merit of this project. It’s considered fairly dubious practice to explain the motivations of real people via fictional characters. But what about explaining the motivations of fictional characters via other fictional characters? Let alone fictional characters created long after the fictional characters in question? Won’t that turn into something of an analytical Ponzi scheme? It may also be worth noting that real world psychology, if not always an exact science, is farther along than any such fictional goose chase. Iago might simply be found in the entry under “Antisocial Personality Disorder” in the Diagnostic and Statistical Manual of Mental Disorders IV for demonstrating "a pervasive pattern of disregard for, and violation of, the rights of others that begins in childhood or early adolescence and continues into adulthood.” Real world sociopaths have been described in detail in nonfiction, from Charles Manson in Helter Skelter to Dick Hickock in In Cold Blood. Dick Hickock has “one of those smiles that really work,” an IQ of 130 and the sort of toughness that “existed solely in situations where he unarguably had the upper hand.” Dick even looks exactly how Iago should look: “his own face enthralled him. Each angle of it induced a different impression. It was a changeling’s face, and mirror-guided experiments had taught him how to ring the changes, how to look now ominous, now impish, now soulful ...” But I’m not interested in diagnosing Iago, per se. I’m not trying to discern what he looks like, or what his childhood practices might have been. I am searching for the emotional truth of his nature, which (as Tim O’Brien famously opined) may be better found in another fictional story than in facts. 2. Excerpts From A Guide To Literary Sociopaths The sort of villains in popular fiction that enjoy the same level of celebrity as Iago include the likes of Thomas Harris’ Hannibal Lector, Cormac McCarthy’s Anton Chigurh and Sir Arthur Conan Doyle’s Professor Moriarty. The common thread through many a literary sociopath is, as you may have noticed, that they have extremely evil-sounding names. Sociopaths in fiction are often intended to either appeal to readers’ fantasies that good and bad could be so easy to identify in real life, or are so absurdly riddled with diabolical clichés that they are parodies of themselves (like the pantheon of villains in Pynchon’s and Heller’s comic masterpieces, or Jasper Fforde’s Acheron Hades, who explains in his memoir, “Degeneracy for Pleasure and Profit,” that the “best reason for committing loathsome and detestable acts - and let's face it, I am considered something of an expert in the field - is purely for their own sake.”) But there is something far more understated, and sinister, about Iago as a villain. Like Zoe Heller’s Barbara Covett from Notes on a Scandal, Daphne Du Maurier’s Mrs. Danvers, or perhaps even Brontë’s Heathcliff, the real evil that Iago inflicts is upon the people to whom he is closest. He is the godfather of villains who rot from the inside out. Destroying those to whom one is closest reeks of a certain sort of motivelessness. Kevin Frazier, in his excellent essay on A.C. Bradley here at The Millions, points to the following discussion of Iago from Bradley’s Shakespearean Tragedy: To ‘plume up the will’, to heighten the sense of power or superiority—this seems to be the unconscious motive of many acts of cruelty which evidently do not spring chiefly from ill-will, and which therefore puzzle and sometimes horrify us most. It is often this that makes a man bully the wife or children of whom he is fond. The boy who torments another boy, as we say, ‘for no reason’, or who without any hatred for frogs tortures a frog ... So it is with Iago. His thwarted sense of superiority wants satisfaction. What strikes me most about this passage is that the examples chosen for being akin to Iago’s cruelty suggest that Iagoesque cruelty is almost commonplace. Horrifying though it is, there is nothing particularly rare or exotic about a man bullying a wife or child, or about thwarted superiority craving satisfaction. The implication is that it might not be such a mystery why Iago’s victims line up so willingly to be abused. Likewise, there might be nothing so superhuman about Iago’s power to abuse them. From Katherine Dunn’s sublime novel Geek Love, the following description of Arturo Binewski, the book's megalomaniacal villain, struck me as pure, undifferentiated Iago: “He seems to have no sympathy for anyone, but total empathy.” Empathy is a curious source of power. Relatively speaking, it is unglamorous in the extreme - it is of the sort best suited to Dostoevsky’s contention in Crime and Punishment that “Power is only given to those who dare to lower themselves and pick it up.” Far more than any sheer irresistibility, the ingratiating, servile role Iago must steadfastly play for both Desdemona and Othello is the key to his seductiveness. Othello the Venetian general might be a natural leader, but Iago cannot be puppet master without being puppet himself. He succeeds as long as he does solely because the near-sightedness of his victims prevent them from asking - not “why would he lie?” but - “why doesn’t he have any life of his own?” 3. How I Picture Iago When He Is Off-Stage In Geek Love, while attempting to gain total control over his family, Arturo Binewski starts bugging the room of his sisters Iphy and Elly. Reports his documentarian Norval: I find this depressing. The idea of Arty sitting and listening to hour after hour of footsteps, pages turning, toilet flushing, comb running through hair. Elly’s conversation has been reduced to the syllable mmmmmm and Iphy is not in the mood for song. Her piano is covered with dust ... and Arty is listening to her file her nails. 4. A Comic Detour That villainy can be pathetic is a well-explored contradiction in fiction. Brett Easton Ellis’ oddly beloved misanthrope and American Psycho Patrick Bateman and his ilk suffer from the incurable disadvantage of being impossible to take seriously. Their particular breed of literary sociopath consists, perhaps naturally, of comic characters, because there is something so pathetic about hating absolutely everyone. Grandiose ambitions aside, these characters are as paralyzed by issues as Phillip Roth’s Portnoy, and just about as menacing. In Sartre’s darkly funny "Erostratus," the narrator sends out over a hundred letters announcing the following: I suppose you might be curious to know what a man can be like who does not love men. Very well, I am such a man, and I love them so little that soon I am going out and killing half a dozen of them; perhaps you might wonder why only half a dozen? Because my revolver only has six cartridges. A monstrosity, isn’t it? And moreover, an act strictly impolitic? Now, there is a relationship between the extent to which someone declares themselves to be a particular thing, and the extent to which he or she actually is that thing - and that relationship is plainly inverse. The comic sociopaths are so desperate to be taken seriously that they can never be taken seriously, and so fumbling and impotent in their attempts that you know they will only get themselves into trouble. Returning now to Othello and the genre of tragedy, if you subtract the comedic element from being pathetic, who are you left with? 5. The Regular Joe I suppose I always knew I’d arrive here at the end. Dunn gets here first, of course. In one of Geek Love’s final notes on Arturo, his documentarian writes: General opinion about Arty varies, from those who see him as a profound humanitarian to those who view him as a ruthless reptile. I myself have held most of the opinions in this spectrum at one time or another ... however, I come to see him as just a regular Joe - jealous, bitter, possessive, competitive, in a constant frenzy to disguise his lack of self-esteem, drowning in deadly love, and utterly unable to prevent himself from gorging on the coals of hell in his search for revenge. What Dunn so evocatively indicates is that the trick to the complexity of characters such as Arturo is that there is no complexity. The documentarian’s final notes on him ring of disgust upon making this discovery - self-disgust, and perhaps even a little disgust for his subject. Likewise, we build a labyrinth of motive and mythology around Iago because for all of his manipulation and the epic destruction it causes, we believe - or hope - he must be a monster. We are wont to compare him to the vilest of both real world and fictional sociopaths. We resist stripping away at him, knowing we will be sorely disappointed by what we find underneath.
1. I’m guessing that most readers these days know A. C. Bradley secondhand, through the excerpts and quotes found in the study materials for the Arden series and the other popular editions of Shakespeare’s plays. This is a shame, because Bradley is a better critic in full than he is in bits and pieces, and Shakespearean Tragedy continues to be an exciting book for anyone interested in literature. Bradley’s specialty is the passionate discussion of literary characters in vivid, consuming detail. He feels that exploring the mind and actions of Hamlet or Iago is worth every last bit of effort we can give it. He has a point—one that applies to the work of many modern writers as much as it does to Shakespeare. It would be fascinating, for instance, to see the Bradley touch brought to bear on books like Underworld or Infinite Jest. 2. In the history of literary criticism, Bradley is a worthy successor to Johnson and Coleridge, two of the earlier writers whose names and opinions spring up repeatedly in Shakespearean Tragedy. Like his predecessors, Bradley still instructs and amuses long after most of the general literary theories of his time have fallen away. The first edition of Shakespearean Tragedy came out in 1904, and is based on work Bradley prepared for teaching at Oxford, Liverpool and Glasgow. The volume takes the form of a set of imaginary lectures, largely a series of detailed examinations of the most important characters from Hamlet, Othello, Macbeth and King Lear. Bradley’s learning is formidable. He has an easy acquaintance with the imposing German tradition of Shakespeare scholarship, along with an elegant, lightly-worn knowledge of the many influences Shakespeare drew upon for his writing. At heart, though, Bradley’s method is personal. He says what he thinks of Shakespeare’s characters, and why he feels they matter to our understanding of life. Obviously, this approach exposes him to ridicule. His only real shield against failure is his own insight into people, based on his inevitably dated and incomplete notions of human nature. In the end, he can’t begin to tell us more about Hamlet or about the world than Shakespeare tells us himself. Bradley knows this, and his modesty is appealing. He assumes that good literature always has more to give us than even the best critics can express in topic sentences and abstractions. And it’s precisely Bradley’s humility—his willingness to embrace his ultimate defeat—that allows him to polish and display certain facets of Shakespeare we aren’t likely to have seen so sharply on our own. 3. The Hamlet lectures are the standouts here. Bradley highlights Hamlet’s disastrous failure, which leads not only to his death but to the deaths of many others, including his mother and the young woman he has loved—a domino fall of wasted lives that goes far beyond the intended murder of Claudius. Mentally and emotionally, Hamlet is both overwhelming and exasperating. His mind whirls with all the clashing thoughts and passions that come out in the abrupt swerves of his thrilling verbal agility. Whatever the motives for his delays and decisions, we never doubt his intelligence or the complexity of his feelings. He has always been one of Shakespeare’s most popular characters, even though I suspect most of us would rather see him from the safety of the audience than change places with Rosencrantz and Guildenstern for some of those abusive conversations at Elsinore. Bradley confronts us with one of the play’s many mysteries: Why does Shakespeare show us this smart, resourceful, startlingly changeable young man destroying himself and everyone around him? Elizabethan tragedy is a long way from our modern appetite for uplifting stories about sympathetic people overcoming adversity. In Hamlet, nobody overcomes adversity—everyone is crushed by it. Yet Hamlet remains an exhilarating play, and Hamlet an exhilarating character. He isn’t likeable in any narrow sense, but his flaws are electric, a high-voltage display of humanity at its most disorienting. 4. For Bradley, Hamlet’s key mistake is his failure to kill Claudius while the king is praying. At this point, Hamlet has seen Claudius’s reaction to the play-within-the-play and has confirmed that Claudius is the murderer of Hamlet’s father. With loving attention to counterarguments and conflicting evidence, Bradley sets forth the different possible reasons for Hamlet’s hesitation, from his stated refusal to kill someone in the middle of a prayer to the less conscious repulsion that Hamlet now feels for all human action. “His whole mind is poisoned,” Bradley says. In Bradley’s view, Hamlet is serious about his stated reasons, yet he also follows emotional, philosophical and mystical impulses that he barely comprehends. It’s characteristic of Bradley that he chooses less to limit the possible interpretations here than to open them up and allow a wide and sometimes contradictory range of options. Many modern critics are so polemical that they sound like lawyers defending a consortium of tobacco companies. Bradley, in contrast, takes an inclusive approach that seems nicely suited to fiction in general. Fiction writers have the advantage of not needing to settle on a single explicit thesis. Instead, they can grow as many vines and branches of motive and implication as a story allows. Few authors are better at this than Shakespeare: it seems to have been a natural part of the way he thought about life. This is one reason his poetry tends to be so suggestive, filled with images that unfold in many different directions at once. At any rate, Hamlet’s refusal to kill the praying Claudius is, Bradley claims, the turning point of the play: So far, Hamlet’s delay, though it is endangering his freedom and his life, has done no irreparable harm; but his failure here is the cause of all the disasters that follow. In sparing the King, he sacrifices Polonius, Ophelia, Rosencrantz and Guildenstern, Laertes, the Queen and himself. Bradley feels that, from this scene on, Hamlet’s melancholy combines with the circumstances around him to bring about the story’s increasingly out-of-control destruction—starting, of course, with the reckless murder of Polonius. Have you ever wished that, just once, the gun-toting hero of an action movie would accidentally shoot the wrong person during a car chase and spend the rest of the film facing the consequences of his mistake? Well, that’s a bit what Shakespeare does with Hamlet’s killing of Polonius, which leads to Ophelia’s suicide, the executions of Rosencrantz and Guildenstern, and the quadruple slaughter of the swordfight scene. 5. Bradley believes that all this devastation throws into high relief the waste of Hamlet’s special alertness to the world and its mysteries. “Hamlet most brings home to us at once the sense of the soul’s infinity, and the sense of doom which not only circumscribes that infinity but appears to be its offspring,” Bradley writes. Hamlet is, in Jamesian terms, an unusually vital vessel of experience, and the waste of his life is a more catastrophic version of the waste of all our lives, all our potentials: We seem to have before us a type of the mystery of the whole world, the tragic fact which extends far beyond the limits of tragedy. Everywhere…we see power, intelligence, life and glory, which astound us and seem to call for our worship. And everywhere we see them perishing, devouring one another and destroying themselves, often with dreadful pain, as though they came into being for no other end. Tragedy is the typical form of this mystery…and it makes us realize so vividly the worth of that which is wasted that we cannot possibly seek comfort in the reflection that all is vanity. A passage like this is obviously overreaching, but it’s overreaching in a way that feels entirely appropriate to Hamlet. Bradley risks bombast in criticism of this sort, but so does Shakespeare in most of his best plays, and critics need to throw off their restraint sometimes and write as freely as Bradley has written here. We can quarrel with his language, we can disagree with some of his assumptions, but this passage has more than enough insight in it to excuse its flaws. 6. Bradley loves guiding us through the tragedies scene by scene, giving us his views on the characters’ words and acts. Every page hums with energy: Bradley has an expert sense of pace, and carries us along from one brisk comment to the next. He has much to say on Othello, all of it interesting. Although most of the criticism is delightfully specific, Bradley also does what Shakespeare surely wanted us to do, and draws from our encounters with Iago a fuller attention to certain forms of cruelty: To ‘plume up the will’, to heighten the sense of power or superiority—this seems to be the unconscious motive of many acts of cruelty which evidently do not spring chiefly from ill-will, and which therefore puzzle and sometimes horrify us most. It is often this that makes a man bully the wife or children of whom he is fond. The boy who torments another boy, as we say, ‘for no reason’, or who without any hatred for frogs tortures a frog, is pleased with his victim’s pain, not from any disinterested love of evil or pleasure in pain, but mainly because this pain is the unmistakable proof of his own power over his victim. So it is with Iago. His thwarted sense of superiority wants satisfaction. Later, in his lectures on Macbeth, he teases out the title character’s thread of dark inner poetry: Macbeth’s better nature—to put the matter for clearness’ sake too broadly—instead of speaking to him in the overt language of moral ideas, commands, and prohibitions, incorporates itself in images which alarm and horrify. His imagination is thus the best of him, something usually deeper and higher than his conscious thoughts; and if he had obeyed it he would have been safe. In addition, Bradley is as good on the tragedies’ secondary characters as he is on Hamlet and Iago. He stands up for Ophelia against the old charge that her mental collapse is a result of her personal weakness: …her critics hardly seem to realize the situation, hardly to put themselves in the place of a girl whose lover, estranged from her, goes mad and kills her father. They seem to forget also that Ophelia must have believed that these frightful calamities were not mere calamities, but followed from her action in repelling her lover. Similarly, with Kent in King Lear, he clarifies that character’s particular mix of nobility and foolishness: One has not the heart to wish him different, but he illustrates the truth that to run one’s head unselfishly against a wall is not the best way to help one’s friends. 7. In the years after his death in 1935, Bradley took some beatings for his belief that Shakespeare’s characters can be treated as people and not as fictional conceits. Looking back on these complaints now, they seem overstated. Any extended character study, with its presumption that a character has some independent life or personality outside the text, relies as much on imagination as on scholarship. Bradley isn’t merely critiquing Shakespeare—he’s writing a fiction of his own. Still, to critique one fiction with another fiction is both defensible and potentially exciting, and shouldn’t bother readers who enjoy Borges or Nabokov or Sebald. If we take Bradley as an artist—a role his modesty would probably deny—his fictional versions of Shakespeare’s creations are rich achievements. Besides, Bradley always sticks closely to the plays themselves, and grounds his speculations in his intimate study of the tragedies’ theatrical and poetic details. I suspect that Bradley would want us to end by giving less credit to him and more to Shakespeare. Again and again, Bradley takes up these four tragedies and uses them to bring his personal observations about the world into focus. He approaches the plays as if they were a collection of powerful lenses, and puts them on when he wants to look at things that are too distant or too obscure for his unaided sight to make out as clearly as he would like. This is one of the ways that many of us use good writing, and Bradley’s method has a straightforward intelligence to it that still impresses, and always entertains.