In the case of Othello, it seems that Roderigo is the candidate for the embarrassing soliloquies, simply because he appears the foolish of all characters. However, he never has much of a chance to speak for long enough that it becomes a soliloquy. However, it is unfair to say that he is the most unwise in following Iago as loyally as he does. All the characters are puppets of Iago and his evil and all of them have soliloquies which could appear to be embarrassing. In terms of them being outdated, it is a fair point. Who in their right mind bursts into a lengthy discussion about their deeper thoughts, in the middle of a conversation, the audience may think. The language of the soliloquy also may make it seem out of date. But then of course it will be; it was written in the 16th and 17th centuries. Therefore I believe it is too easy to say simply that the soliloquy is out dated and embarrassing; after all, how much effect would Shakespeare's plays lose without them we may question. It is fair to say that to an extent, the soliloquies do give a stranglehold on the audience, and they do raise tension, but only because of the storyline. .
.
The soliloquies are said mainly by the more important characters, naturally. Almost every character that is involved in the plot in a major way, has something to say in terms of revealing the true thoughts and feelings. Perhaps it can be said that Iago's soliloquies are the most important. As readers and audiences we are constantly searching for the answer to Iago's evil plans, instantly giving the actor a stranglehold on the audience. Therefore the answers may lie in the depths of his soliloquy. They are indeed, a device, used more cunningly by those cleverer character's such as Iago. In the very beginning scenes of Act one we see in the dialogue the relationship between Iago and Roderigo. Some of the speeches Iago makes to Roderigo are so foolishly ignored; they might as well be soliloquies.