Professional Documents
Culture Documents
Folger Shakespeare Library and George Washington University are collaborating with JSTOR to digitize,
preserve and extend access to Shakespeare Quarterly.
http://www.jstor.org
OTHELLO
ADELMAN
Other
tragediesbeginwithancillaryfigurescommentingon thecharacterwho
willturnout to be at the centerof the tragedy-one thinksof Lear,Macbeth,
and Cleopatra-but no otherplaysubjectsitsostensiblytragichero to
Antony
so long and intensivea debunkingbeforehe even setsfootonstage.And the
audience is inevitablycomplicitin thisdebunking:beforewe meet Othello,
we are utterlydependent on lago's and Roderigo's descriptionsof him. For
the firstlong minutesof the play,we knowonlythatthe Moor, "the thicklips"
(1.1.66),' has done somethingthat Roderigo (like the audience) feels he
should have been told about beforehand;we findout whatit is for the first
time only throughlago's violentlyeroticizingand racializingreportto Brabantio: "Even now,verynow,an old black ram / Is tuppingyourwhiteewe"
(11. 88-89).2
126
SSHAESPEARE
QUARTERLY
127
resentationas a thought-experiment
withtwo aims: first,to testout the applicabilityof psychoanalytictheory-especially Kleinian theory-to problems of race, an arena in which its applicabilityis often questioned; and,
second, to identifysome of the waysin whichracismis the psychicproperty
(and rightlythe concern) of the racist,not simplyof his victim.
lago erupts out of the night (this play, like Hamlet,begins in palpable
darkness),as thoughhe were a condensationof itsproperties.Markinghimselfas opposite to lightthroughhis demonic "I am not whatI am," lago calls
fortha world,I willargue,in whichhe can see his own darknesslocalized and
reflectedin Othello's blackness,or ratherin what he makes-and teaches
Othello to make-of Othello's blackness.
lago's voice inductsus intothe play:long beforeOthello has a name,much
less a voice,of his own,lago has a distinctive"I." The matterof Othello,and
satisfaction
oftheaudience's urgentcuriosity
about whatexactlyRoderigohas
just learned, are deferreduntilafterwe have heard lago's catalogue of injuries to that "I" ("I know myprice, I am worthno worse a place" [1.1.11];
"And I, of whomhis eyeshad seen the proof,... mustbe lee'd, and calm'd"
[11.28-30]; "And I, God bless the mark,hisworship'sancient" [1.33]). lago's
"I" beats throughthe dialogue withobsessiveinsistence,claimingboth selfsufficiency
("I followbut myself"[1.58]) and self-division,
definingitselfby
what it is not ("Were I the Moor, I would not be lago" [1. 57]), in fact
simultaneouslyproclaimingitsexistenceand nonexistence:"I am not whatI
am" (1. 65). I, I, I: lago's name unfoldsfromthe Italian io,Latin ego;and the
injured "I" is his signature,the ground of his being and the ground,I will
argue, of the play. For lago calls up the action of the play as though in
response to thissense of injury:"Call up her father,.. . poison his delight"
(11.67-68), he says,like a stage manager, or like a magician calling forth
spiritsto performhis will;and withhis words,the action begins.
The structureof the firstscene models lago's relationto the worldthathe
calls up, forthe playproperseems to arise out of lago's injured "I": it is not
onlyset in motion by lago's "I" but becomes in effecta projectionof it, as
lago successfully
attemptsto rid himselfof interiorpain by replicatingit in
Othello. Othello-and particularly
in relationto Desdemona-becomes Iago's primarytargetin partbecause Othello has the presence,the fullnessof
being, that lago lacks.6 Othello is everywhereassociated with the kind of
6
See W. H. Auden's relatedaccount ofJagoas practicaljoker: "The practicaljokerdespiseshis
victims,but at the same time he envies them because theirdesires,howeverchildishand mistaken,are real to them,whereashe has no desiTewhichhe can call his own.... Ifthewordmotive
is givenitsnormalmeaningof a positivepurpose of the selflike sex, money,glory,etc.,thenthe
practicaljoker is withoutmotive.Yet the professionalpracticaljoker is certainlydriven,.. . but
the driveis negative,a fearof lackinga concreteself,of being nobody.In anypracticaljoker to
whom playingsuchjokes is a passion, thereis alwaysan element of malice, a projectionof his
self-hatredonto others,and in the ultimatecase of the absolutepracticaljoker, thisis projected
onto all created things" (The Dyer'sHand and otheressays[New York: Random House, 1962],
256-57). The emptinessof Auden's practicaljoker is sometimesassociatedby later criticswith
lago's facility
in role-playing;see, e.g., ShelleyOrgel,whose lago gains a temporarysense of self
byplayingtheroles thatothersprojectonto him ("lago," American
Imago25 [1968]: 258-73, esp.
272). Greenblatt'slago "has the role-player'sabilityto imaginehis nonexistenceso thathe can
existfora momentin anotherand as another"; but forGreenblatt,lago's imaginedemptinessis
less an ontological state than a cover for his emptyingout of his victim(235 and 236). More
recentlylago's emptinesshas reminded criticsof a Derridean absence of selfor meaning; see,
128
SHAKESPEARE QUARTERLY
129
130
SHAKESPEARE QUARTERLY
categoryonlywhen it is imagined as threatenedby its opposite. lago's language here worksthroughseparation,worksby placing "blackness" outside
of "whiteness"even as it provokesterrorat the thoughtof theirmixture.But
the playhas alreadyaffiliated
lago himselfwithdarknessand thedemonic;the
threatof a contaminatingblacknessis alreadythere,alreadypresentinside
the "whiteness" he would invoke. lago creates Othello as "black"-and
thereforehimselfas "white"-when he constructshim as monstrousprogenitor; and he uses that racialized blackness to destroywhat he cannot
tolerate.But the trope throughwhichlago imaginesthatdestructionmakes
lago himselfintothe monstrousprogenitor,filledwitha darkconceptionthat
onlydarknesscan bringforth:"I ha't, itis engender'd," he tellsus; "Hell and
night/ Must bring this monstrousbirthto the world's light" (1.3.401-2).
This trope makes the blackness lago would attributeto Othello-like his
monstrousgenerativity-somethingalreadyinside lago himself,something
thathe mustproject out into the world:as thoughlago were pregnantwith
the monsterhe makes of Othello.'3
If the structureof the firstscene predictsthe process throughwhichlago
becomes the progenitorof Othello's racialized blackness,the trope of the
monstrousbirthin the firstact's finallines perfectlyanticipatesthe mechanism of projectionthroughwhichlago willcome to use Othello's black skin
as the container for his own interiorblackness.Cassio uses Othello as the
locus for fantasiesof inseminatingsexual renewal;Jagouses him as the reand his self-disgust.
For lago needs
positoryforhis own bodilyinsufficiency
the blacknessof others:even the "whiteewe" Desdemona is blackenedin his
imaginationas he turns "her virtueinto pitch" (2.3.351). How are we to
understand lago's impulse to blacken, the impulse for which Othello becomes the perfectvehicle?Whatdoes it mean to take anotherperson's body
as the receptacle for one's own contents?The textgivesus, I think,a very
of lago's proexact account of whatI've come to call the psycho-physiology
jection: that is, not simplyan account of the psychologicalprocesses themselves but also an account of the fantasizedbodily processes that underlie
them. "Projection" is in its own waycomfortingly
abstract;by invokingthe
body behind the abstraction,Othelloin effectrubs our noses in it.'4
"constructsthe significanceofrace" (" 'An essence that'snot seen': The PrimalScene ofRacism
in Othello,"SQ 44 [1993]: 304-24, esp. 305-6).
13 The familiarassociationsof blacknesswithmonstrosity
(see, e.g., Newman,148; and James
R. Aubrey,"Race and the Spectacle of the Monstrousin Othello,"Clio 22 [1993]: 221-38) and
specifically
withmonstrousbirths(see Neill, 409- 10; and Aubrey,222- 27) would probablyhave
made the subterraneanconnectionbetweenOthello and lago's monstrousbirthmore available
to Shakespeare's audiences than it is to a modern audience.
14 Projectionhas classicallybeen invokedas a mechanismin Othello,
but usuallyin the other
direction,fromOthello to Jago;see, e.g.,J.I.M. Stewart,Character
and Motivein Shakespeare:
Some
Recent
AppraisalsExamined([London, NewYork,and Toronto: Longmans,Green and Company,
1949], 102-5), though Stewartultimatelyabandons a naturalisticreading of the play through
projectionfora symbolicreadingof lago and Othello as partsof a singlewhole. For somewhat
laterversionsof lago as Othello's projection,see, e.g., HenryL. Warnken,"lago as a Projection
of Othello" in ShakespeareEncomium
1564-1964, Anne Paolucci,ed. (NewYork:The CityCollege,
1964), 1-15; and Orgel, 258-73. In theseaccountsprojectionis looselyused to indicatethatlago
expressesunacknowledgeddoubtsor desiresin Othello's mind (or, in Orgel's reading,Othello's
unacknowledgedneed fora punitivesuperego); theygenerallydo not explore the mechanismof
projectionor considerthe degree to whichthe structureof the playpositslago-not Othelloas its psychicstartingpoint. For Auden, who reads the play throughlago as practicaljoker,
projectionbegins withlago, not Othello (see n. 6, above); see also Leslie Y. Rabkinand Jeffrey
131
132
SHAKESPEARE QUARTERLY
fingers Cassio kisses in show of courtesy to Desdemona should be "clysterpipes" for his sake (1. 176), lago says; through the bizarre reworking of lago's
fantasy,Cassio's fingersare transformed into enema tubes, an imagistic transformation that violently brings together not only lips and faeces, mouth,
vagina, and anus, but also digital, phallic, and emetic penetration of a bodyDesdemona's? Cassio's?-imagined
only as a container for faeces. Early in
the play, poor Roderigo is a "sick fool.. . Whom love has turn'd almost the
wrong side outward" (2.3.47-48); by the end, he is a "quat" rubbed almost
to the sense (5.1.11), that is, a pus-filled pimple about to break. The congruence of these images suggests that Roderigo becomes a "quat" for lago
because he can't keep his insides from running out: the love that has almost
turned him inside out is here refigured as pus that threatens to break through
the surface of his body. In lago's fantasy of the body, what is inside does not
need to be contaminated by a foul intruder because it is already pus or faeces;
in fact, anything brought into this interior will be contaminated by it. lago
cannot imagine ordinary eating, in which matter is taken in for the body's
nourishment; any good object taken in will be violently transformed and
violently expelled. When he is done with her, lago tells us, Othello will excrete Desdemona ("The food that to him now is as luscious as locusts, shall
be to him shortly as acerb as the coloquintida," an emetic or purgative
[1.3.349-50]); when Desdemona is "sated" with Othello's body (1. 351), she
will "heave the gorge" (2.1.231-32).
(Poor Emilia has obviously learned
from her husband: in her view men "are all but stomachs, and we all but
food; / They eat us hungerly, and when they are full, / They belch us"
[3.4.101-3].)
Given this image of the body's interior as a mass of undifferentiated and
contaminated matter, it's no wonder that lago propounds the ideal of selfcontrol to Roderigo in the garden metaphor that insists both on the rigid
demarcation and differentiationof the body's interior and on its malleability
to the exercise of will:
... 'tisin ourselves,thatwe are thus,or thus:our bodies are gardens,to thewhich
our willsare gardeners,so thatifwe willplant nettles,or sow lettuce,set hyssop,
and weed up thyme;supplyit withone gender of herbs,or distractit withmany;
eitherto have it sterilewithidleness,or manur'd withindustry,
why,the power,
and corrigibleauthorityof this,lies in our wills.
(1.3.319-26)
This is not, presumably, his experience of his own body's interior or of his
management of it; it seems rather a defensive fantasy of an orderly pseudoEden, in which man is wholly in control both of the inner processes of his
body/garden and of the troublesome business of gender, and woman is
wholly absent.'6 His only explicit representation of his body's interior belies
this defense: the mere "thought" that Othello has leaped into his seat (even
though he "know[s] not if't be true" [1. 386]) "Doth like a poisonous mineral gnaw [his] inwards." No reassuring gardener with his tidy-or even his
untidy-rows here: lago's "inwards" are hideously vulnerable, subject to a
poisonous penetration. Through an imagistic transformation,Othello as penetrator becomes conflated with the "thought" that tortures lago inwardly;
16 Gender
can of course mean "kind"; but, as Ridleynotes, "Shakespeare normallyuses it of
differenceof sex" (40n).
133
What I have earliercalled lago's injured "I"-his sense thathe is chronicallyslightedand betrayed,his sense of self-division-produces (or perhaps
is produced by) fantasiesof his body as penetratedand contaminated,especiallybyOthello. In fact,anytraffic
betweeninnerand outeris dangerousfor
lago, who needs to keep an absolute barrierbetween them by makinghis
outsideopaque, a false"sign" (1.1.156 and 157) ofhis inside;to do lesswould
be to riskbeing (Roderigo-like) turnedalmost the wrongside outward,to
"wear [his] heartupon [his] sleeve,/ For dawes to peck at" (11.64-65).18 To
allowhimselfto be seen or knownis tantamountto being stabbed,eaten alive:
pecked at fromthe outside unless he manages to keep the barrierbetween
innerand outerperfectlyintact,gnawedfromthe inside ifhe letsanyonein.
Jago's need for sadisticcontrolof others ("Pleasure, and action, make the
hours seem short" [2.3.369], he says, aftermanaging Cassio's cashiering)
vividsense ofvulnerability:
unable to
goes in tandemwithhis extraordinarily
be gardener to himself,he will sadisticallymanage everyoneelse, simultaneously demonstratinghis superiorityto those quats whose insides are so
sloppilyprone to burstingout,and hidingthe contaminationand chaos ofhis
own insides.
Roderigo plays a pivotalrole in thisprocess.As the embodimentof what
lago would avoid, Roderigo existslargelyto give lago repeated occasions on
whichto displayhis masteryoverboth selfand other:in effect,lago can load
his contaminatedinsides into Roderigo and then rub him to the sense in
order to demonstratethe differencebetween them and, hence, the impermeabilityof Iago's own insides.Moreover,in managingRoderigo,Iago can
continuallyreplenishhimselfwiththe fantasyof new objectsto be takeninto
the self:objects over which-unlike the thoughtof Othello, whichgnawsat
his inwards-he can exert full control. Obsessively-six times in fourteen
lines-Iago tellsRoderigo to "Put moneyin thypurse ... fillthypurse with
money" (1.3.340, 348). We know thatIago has receivedenough jewels and
gold fromRoderigo to have half-corrupteda votarist(4.2.189), but we never
see Iago takingthe miser'sor even the spendthrift's
ordinarydelightin this
treasure;detached fromanyordinaryhuman motivation,the moneyaccrues
almostpurelypsychicmeaning,becoming the sign not of any palpable economic advantagebut of Jago'spleasure in being able to emptyRoderigoout,
and
to fillhimselfat will. "Put moneyin thypurse," he repeats insistently,
then adds, "Thus do I evermake myfool mypurse" (1.3.381), as thoughthe
emptied-outRoderigobecomes thecontainerthatholds the illusionof Iago's
fullness.For his repetitionsignals a compulsive need to fill himselfwith
objectsin order to compensateforthe contaminationand chaos inside: hard
shinyobjectsthatmightbe keptsafeand mightkeep the selfsafe,objectsthat
could magicallyrepair the sense of what the selfis made of and filledwith.
17 Ridleynotes that "supply= satisfy"(40n); for a specifically
sexualized use, see Measurefor
Measure,5.1.210.
18
"Doves" is the reading in Ridley and QI; I here depart fromit in givingF's and Q2's
"dawes."
134
SHAKESPEARE
QUARTERLY
135
136
SHAKESPEARE
QUARTERLY
erate the existence of goodness in the world: its whole delight lies not in
possessing what is good but in spoiling it. And that spoiling takes place in
fantasy through a special form of object-relating: through the violent projec-
Klein, 183.
For an earlystatementof thisposition,see Klein, "Early Stages of the Oedipus Conflict"
(1928) in Love,Guiltand Reparationand OtherWorks
1921-1945 (London: HogarthPressand the
Instituteof Psycho-Analysis,
1975), 186-98, esp. 190-91 and 193-96.
28 Klein, Envyand Gratitude,
181.
29
Klein,Envyand Gratitude,
186.
30 Quoted here fromBernardSpivack'sdiscussionof Jagoand the moralitytraditionin Shakespeareand theAllegory
ofEvil: TheHistoryofa Metaphorin RelationtoHis Major Villains(New York:
Columbia UP, 1958), 184.
26
27
137
tion of bitsof the selfand itscontaminatedobjects-often localized as contaminatedbodilyproducts-into the good object. By means of thisprojection,the selfsucceeds in replicatingitsown innerworld"out there" and thus
in destroying
the goodness itcannot tolerate;at the end of theprocess,in the
wordsof one Kleiniananalyst,"There is nothingleftto envy.'"'3 Throughthe
lens of a Kleinian perspective,we can see traces of thisprocess as Iago fills
Othello withthe poison thatfillshim.
In Iago's fantasy,as I have suggested,thereis no uncontaminatedinterior
space: he can allow no one access to his interiorand has to keep it hidden
awaybecause it is more a cesspool than a palace or a garden.And thereare
taken in
no uncontaminatedinnerobjects:everyintruderis foul; everything
turnsto pus or faeces or poison; everything
swallowedmustbe vomitedout.
This sense of inner contaminationleaves him-as Klein would predictparticularlysubject to the sense of goodness in othersand particularlyambivalenttowardthatgoodness. His goal is to make those around him as ugly
to theirbeauty.Even
as he is; but thatgoal depends on his unusual sensitivity
afterhe has managed to bring out the quarrelsome drunkard and classhim into a man who clearlyenjoys
conscious snob in Cassio, transforming
sneakingaround to see his general's wife,Iago remainsstruckby the daily
beautyin Cassio's life-at a point when thatbeautyhas become largelyindenies the
visibleto the audience. To Roderigo,Iago alwayscontemptuously
goodness of Othello and Desdemona (he is an erringbarbarian and she a
supersubtleVenetian); but in soliloquy he specificallyaffirmstheir goodness-and affirms
it in order to imaginespoilingit. Othello's "freeand open
nature" he willremakeas the stupidityof an ass who can be led by the nose
(1.3.397-400). He will not onlyuse Desdemona's virtue;he will turnit into
pitch,in a near-perfectreplicationof the projectionof faeces into the good
breastthatKlein posits.
For Iago the desire to spoil alwaystakes precedence over the desire to
in their
possess;one need onlycontrasthimwithOthello to see thedifference
relationto good objects.32Othello's anguishover the loss of the good object
givesthe playmuch of itsemotionalresonance.He imagineshimselfas safely
enclosed in itsgarnery,nourishedand protectedbyit,and thencastout: "But
there,whereI have garner'dup myheart,/ Where eitherI mustlive,or bear
no life,/ The fountain,fromthe whichmycurrentruns,/ Or else dries up,
to be discardedthence" (4.2.58-61). When he is made to imaginethatobject
as spoiled-"a cistern,forfoul toads / To knot and gender in"-its loss is
whollyintolerable to him; even at the end, as he kills Desdemona, he is
workingveryhard to restoresome remnantof the good object in her. Although he approaches Desdemona's bed planning to bloody it ("Thy bed,
lust-stain'd,shallwithlust'sblood be spotted" [5.1.36]), his deepest desireis
31 BettyJoseph,
"Envyin everydaylife" in Psychic
Equilibrium
and PsychicChange:Selected
Papers
ofBetty
Joseph,
ed. Michael Feldman and Elizabeth Bott Spillius (London and New York: Tavistock/Routledge,1989), 181-91, esp. 185.
32 In Kleinianterms,
Othello has reached thedepressiveposition,characterizedbythecapacity
to mourn for the damaged object and to make reparationsto it (see especiallyKlein, "A Contributionto the Psychogenesisof Manic-DepressiveStates" [1935] and "Mourning and its Relation to Manic-DepressiveStates" [1940], both in Love,Guiltand Reparation,
262-89 and 34469); Iago functionsfromwithinthe more primitiveparanoid-schizoidposition,withits characteristicmechanismsof splittingand projection/introjection(see especiallyKlein, "Notes on
Some Schizoid Mechanisms" in Envyand Gratitude,
1-24).
138
SHAKESPEARE
QUARTERLY
not to stain but to restorethe purityof the good object, rescuingit from
contamination,even the contaminationhe himselfhas visitedupon it.Bythe
time he reaches her bed, he has decided not to shed her blood (5.2.3).
Instead he attemptsto recreateher unviolatedwholeness ("that whiterskin
of hers than snow,/ And smooth,as monumentalalabaster" [11.4-5]) in a
death thathe imaginesas a revirgination;33
in fantasyhe cleanses "the slime/
That stickson filthy
deeds," remakingher unmarredand unpenetrated,"one
entireand perfectchrysolite"(11.149-50, 146).
But Iago's onlyjoy comes in spoilinggood objects: Othello mournsbeing
cast out fromthe garnery/fountain
thathas nourishedhim; Iago mocksthe
meat he feedson (3.3.170-71). His descriptionof thegreen-eyedmonsterhe
cautionsOthello againstmarkstheworkingsof a veryKleinianenvyin him:34
like the emptyinfantwho cannot toleratethe fullnessof the breast,he will
mock the objectsthatmightnourishand sustainhim,spoilingthembymeans
of his corrosivewit.35(Or perhaps-in good Kleinianfashion-by tearingat
themwithhis teeth:especiallyin conjunctionwiththe image of feedingon
meat, "mock" maycarrytracesof mammock,36
to tear into pieces, suggesting
the oral aggressionbehind Jago'sbitingmockeryand hence the talion logic
in his fantasyof being pecked at.) Mockery-especially of the meat he might
feed on-is Iago's signature:different
as theyare, Othello, Cassio, and Roderigosharean almostreligiousawe towardDesdemona; Jagoinsiststhat"the
wine she drinksis made of grapes" (2.1.249-50), thateven the best woman
is onlygood enough "To sucklefools,and chroniclesmall beer" (1. 160). If
33As many have argued: see especiallyCavell, 134; and Snow, 392. See also my Suffocating
Mothers:
FantasiesofMaternalOriginin Shakespeare,
Hamlet toThe Tempest (New York and London: Routledge, 1992), 69-70.
34 Iago's words here, like Emilia's at 3.4.157-60, referexplicitlyto jealousybut nonetheless
define the self-referential
qualities of envy.Althoughthe two termsare sometimespopularly
confused,theyare distinctin psychoanalytic
thought:jealousy occurs in a three-bodyrelationship,derivedfromthe oedipus complex,in whichthe loss of a good object to a rivalis at stake;
envyoccurs in a pre-oedipal two-bodyrelationship,in whichthe "good" qualitiesof the object
are feltto be intolerable.Jealousyseeks to preservethe good object,ifnecessarybykillingit;envy
seeks to spoil the good object. (For thesedistinctions,
see Klein,Envyand Gratitude,
196-99; and
Joseph in Feldman and Spillius,eds., 182.) Jealousyis a derivativeof envybut is more easily
recognizedand more sociallyacceptable (Klein,Envyand Gratitude,
198;Josephin Feldman and
Spillius,eds., 182); partlyas a consequence, it can sometimesserve as "an importantdefence
againstenvy" (Klein,Envyand Gratitude,
198). This defensivestructureseems to me at workboth
in Iago and in the play at large: in Iago, who repeatedlycomes up withnarrativesofjealousy as
though to justifyhis intolerableenvyto himself(tellingly,he uses the traditionallanguage of
envy-Spenser's Envy "inwardly... chawed his owne maw" in TheFaerieQueene[I.iv.30]-to
registerthe gnawingeffectsofjealousy on him); and in Othello
itself,insofaras itsown narratives
ofjealousy are farmore legible and recognizably"human" than the envyrepresentedthrough
Iago and dismissedin him as unrecognizable,inhuman,or demonic.
35 "Mock" has puzzled commentatorsforyears,occasioningfivepages of commentaryin the
New Variorum edition of Othello(ed. Horace Howard Furness [Philadelphia:J. B. Lippincott,
1886]). WilliamWarburton(1747) glosses "mocke" (in termsstrikingly
close to my own) as
"loaths thatwhichnourishesand sustainsit" (176). Withverylittleplausibility
but some interest
formyargument,AndrewBecket (1815) transforms
"mocke" to "muck,"glossingitas to "bedaub
or makefoul"; two other commentators-Zachariah Jackson and Lord John Chedworthapprovedof thisemendationenough to come up withcandidatesforthe monstrousanimal that
befoulsitsfood, mouse and dragon-fly,respectively(179).
36 ZacharyGreysuggestedin 1754 that"mock" is a contractionfor"mammock" (Furness,ed.,
176); as faras I can tell,his suggestionhas been entirelyignored.
139
201- 2.
Klein,Envyand Gratitude,
See Hamlet,2.2.181-82.
39 This destructionalso has the effectof separating the two figureswhose conjunction has
haunted Iago's imagination.Klein hypothesizesthe combined parentfigureas a special targetof
envy ("the suspicion thatthe parentsare alwaysgettingsexual gratificationfromone another
198]); Iago in
reinforcesthe phantasy ... thattheyare alwayscombined" [Envyand Gratitude,
in his initialdescriptionof Othello and Desdemona as fused,a
factevokessuch a fantasy-figure
"beast withtwo backs" (1.1.116), alwaysin the process of achieving the "incorporate conclusion" (2.1.258-59) thatis alwaysdenied him.
40 Boris,36.
37
38
140
SHAKESPEARE
QUARTERLY
41 Myformulation
here is partlyindebtedtoJanineChausseguet-Smirgel'sworkon perversion,
especiallyanal perversion,which she sees as an attemptto dissolve generationaland gender
differencesin order to defend againstacknowledgmentof the pervert'sown puniness and vulnerability;thoughshe does not drawspecifically
on Klein's concept of envy,her worksometimes
intersectsusefullywithKlein's. In Chausseguet-Smirgel'sreading,Sade's intention,forexample,
is "to reduce the universeto faeces,or ratherto annihilatethe universeof differences"("Perversion and the UniversalLaw" in Chausseguet-Smirgel,Creativity
and Perversion
[New York:
W. W. Norton,1984], 4). Insofaras perversionattemptsto replace God's differentiated
universe
withits own undifferentiation,
it is "the equivalentof Devil religion" (9); the undifferentiated
anal universe"constitutesan imitationor parody of the genital universeof the father" (11).
While thisformulationis suggestiveforIago, f thinkthatChausseguet-Smirgelis hampered by
her Lacanian milieu,withitsovervaluationof the phallus and the father'slaw; Iago is at least as
intenton imitatingand ultimately
replacingthe mother'sgenerativefunctionas the father'slaw.
42 With the kind of psychologicalintuitionthateverywhere
animateshis portrayalof Satan,
MiltonreworksEmilia's comment:unable to stand the "debt immenseof endless gratitude"to
the God who has created him (ParadiseLost,Bk. 4, 1. 52), Satan proclaimshimself"self-begot,
self-rais'd/ By our own quick'ningpower" (Bk. 5, 11.860-61). Klein citesMilton'sSatan as an
instance of "the spoilingof creativity
implied in envy" (Envy and Gratitude,
202).
43 Accordingto the Oxford
EnglishDictionary,
birdlimeis a stickysubstancemade out ofthebark
of the hollytreeand smearedon branchesto entrapbirds;"WiththebarkesofHolme theymake
Bird-lyme,"cited fromHenryLyte's 1578 Nieweherballorhistorie
ofplantes(Oxford
EnglishDictionary,prep. J. Simpson and E.S.C. Weiner, 2d ed., 20 vols. [Oxford: Clarendon Press, 1989],
2:216). Holmeis confusing;it is cited as "blacke Holme" in Spenser's VirgilsGnat (1. 215), but
thereapparentlyrefersto the oak, not the holly.In anycase, despite the echo of lime,birdlime
seems to have been dark,not white.
141
142
SHAKESPEARE
QUARTERLY
143
144
SHAKESPEARE
QUARTERLY
Insofaras lago can make Othello experience his own blacknessas a contaminationthatcontaminatesDesdemona, he succeeds in emptyinghimself
out into Othello; and insofaras Othello becomes in effectlago's faecal baby,
Othello-rather than lago-becomes the bearerof thefantasyof innerfilth.
Throughprojectiveidentification,
thatis,lago inventsblacknessas a contaminated categorybefore our eyes,enactinghis monstrousbirththroughOthello, and thenallowingtheVenetians(and mostmembersof theaudience) to
congratulate themselves-as he does-on their distance from the nowracializedOthello. Throughthisprocess,Othello becomes assimilatedto,and
motivatedby,his racial "type"-becomes the monstrousMoor easilymade
jealous-and lago escapes our human categoriesaltogether,becoming unknowable,a motivelessmalignity.
But thisemptyingout of lago is no more than lago has alreadyperformed
on himself:if the projectionof his own inner contaminationinto Othello is
lago's relief,it is also his undoing,and in a waythatcorroboratesboth the
bodilinessof the fantasyof projectionand itsdangersto the projectoras well
as the recipient.Klein notes that excessiveuse of projectiveidentification
resultsin the "weakeningand impoverishment
of the ego"; in the wordsof
BettyJoseph, "at timesthe mind can be ... so evacuated by projectiveidentificationthatthe individualappears empty.'53 If at the end of the playthere
is nothingleftto envy,there is also no one leftto experience envy:lago's
projectionof himselfinto the racial otherhe constructsas the containerfor
his contaminationends not onlybydestroying
his (and our) good objectsbut
also byleavinghim entirelyevacuated.Having poured the pestilenceof himself into Othello, lago has nothingleftinside him: his antigenerativebirth
hollowshim out,leavinghimempty.The closerhe is to hisgoal, theflatterhis
language becomes; bythe end, thereis no insideleft,no place to speak from.
The playthatbeginswithhisinsistent"I" ends withhis silence:fromthistime
forthhe neverwillspeak word.
53