He comes dangerously close to recognizing his status as text and precisely the recognition that the play as a whole will reveal to be insupportable" (238).3. Yet in the case of Iago, Greenblatt seems to suggest, this recognition is not so insupportable as Iago "is fully aware of ...
‘The whole thing will be in the lips and the colour,’ he told Life magazine in May 1964. ‘I’ve been looking at Negroes lips every time I see them on the train or anywhere, and actually, their lips seems black or blueberry-coloured, really, rathe...