Iago's Puppetry

Iago’s Puppetry
In William Shakespeare’s Othello, Iago plays a masterful role in the destruction of all the major characters, truly making him one of the most evil villains. He is one of the most appealing, controversial and ambitious of all the characters. He uses the aspirations and passions of individuals to motivate them to do whatever devious plot he desires. These can range from convincing Roderigo to serve Cassio another glass of wine, to leading Othello to the conclusion that he can only save himself and mankind from her deceitful acts of betrayal, by killing Desdemona. Iago doesn’t have to push very hard because the actions he suggests usually appear to be harmless, “I am not what I am” (Act I, i, 71.) Iago manipulated Cassio, Desdemona, Emilia, Roderigo and Othello to all partake in different pieces in his puzzle that will ultimately lead to Desdemona’s death. Iago takes advantage of both Cassio’s longing desire for his old position of lieutenant as well as Desdemona’s good-hearted nature in order create the appearance that Desdemona is being unfaithful with him. Cassio loses his lieutenancy due to his drunken actions where he fought with Roderigo and Montano. ‘I love thee, but nevermore be lieutenant of mine’ (Act II, iii, 264-265). This left Cassio in a pitiful and desperate state, in need of comfort, in which Iago was by his side. “Reputation is an idle and most false imposition, oft got without merit and lost without deserving” (Act II, iii, 287-9). Ironically, Iago has the reputation of an honest man, when truly he is constantly deceiving others for his own benefit. Cassio is now perceived as a reckless drunk, when in reality he is Othello’s dearest ally. Iago masterfully exploits Cassio’s low tolerance for alcohol, to rob him of his position and status. Iago is a satanic figure who alters that which is pure and good. Cassio pleads to Desdemona for her aid and she responds that “be thou assures, good Cassio, I will do my abilities in thy behalf.” (Act III, iii, 1-2). Iago’s plan is a success and uses their interaction to further extend his sinful plot. Othello is corrupted with evil thoughts planted into his brain from Iago, which has caused him to interpret Desdemona’s pleas for Cassio, as pleas for her love towards Cassio. Every single time she merely suggests, Cassio’s to re-obtain his rightful position. Furthermore, Iago influences Desdemona’s wholesome urge into a humble request which will fall as proof of unfaithfulness towards Othello.

Iago also manipulates the unworthy devotion that Emilia shows him. Iago begged her to steal the handkerchief that Othello gave to Desdemona: “that handkerchief, I found by fortune, and did give me husband” (Act V, iii, 267-9). Iago’s manipulation of his wife is tragic; she clearly see his dishonesty, and yet she remains obedient even though she knows that it is her mistress’s, “first remembrance of the Moor” (Act III, iii, 335). Iago exploits Emilia’s devotion toward his malicious goals. He then, plants the handkerchief in Cassio's possession, where it will serve as the needed proof that Othello demanded before concluding that Desdemona was unfaithful. Thus, as Iago was able to control Desdemona through her character flaw of good will, he is similarly able to turn Emilia to his purpose by exploiting her spousal devotion. In Roderigo’s case, Iago manipulates both his stupidity, as well as his desperate love for Desdemona. By abusing Roderigo’s dimwitted nature, Iago is able to attain any financial resources he commands. Roderigo’s mental function is also repressed by his love for Desdemona, which shames him in its strength: “I confess it is my shame to be so fond, but it is no in my virtue to amend it. Thus, with the promise that Desdemona might be swayed to divorce Othello and marry Roderigo, Iago procures whatever funds he wishes. Thus do I ever make my fool my purse?” (Act I, iii, 426). Roderigo desperately desires Desdemona and is unable to reason that no amount of money will help the situation. Iago take hold of Roderigo’s incapacity to draw to this conclusion, and slowly takes his money. By simply declaring that Desdemona is undeniably in love with Cassio. Thus Roderigo humbly accepts Iago’s questionable theory, given Desdemona’s innocent nature, without a shred of proof. Iago knows just what to say to make anyone do what he desires. He is playing on Roderigo’s weaknesses to produce the desired effect. Iago’s acknowledgment of Roderigo’s weakness towards his undying love for Desdemona is clear: “my sick fool Roderigo, whom love hath turn'd almost the wrong side out.” (Act II, iii, 52-54). The more he fails in securing Desdemona’s love for Roderigo, the more desperate he becomes. Given that Roderigo threatened to, “incontinently drown himself” (Act I, iii, 305), his desperation for her love has reached full capacity. In this incapacitated mental state Roderigo accepts Iago’s suggestion that he should kill Cassio: “I have no great devotion to the deed; and yet he hath given me satisfying reasons.” (Act V, i, 18). As the reader, I fail to see what satisfying reasons were given, but yet Iago still successfully manipulates Roderigo to do his dirty work.

Lastly, Othello’s insecurities about his race are what Iago uses against him in his manipulation. Othello’s love seemed eminent and pure, yet, by the end of the play Iago has poisoned Othello’s soul that he is now convinced that, Desdemona life must be put to an end, or else she'll betray him once more. How did this happen? Was it Iago’s gently pushing and toying with Othello mind? Firstly, Iago used the color of Othello’s skin against him to create doubt in his mind: “Whereto we see in all things nature tends. One may smell in such a will most rank, Foul disproportion, thoughts unnatural” (Act III, iii, 271-273). Secondly, Iago took advantage of Othello’s alienation from Venice to create more doubt stating that for the women of Venice, their best conscience is not to leave undone, but keep unknown. Othello’s insecurities, Iago knows, will support his argument. Knowing these insecurities exist in the Othello’s mind, Iago begins dropping subtle hints. Iago immediately apologizes for saying, “I cannot think it that he would steal away so guilty like” (Act III, iii, 41-42), yet he has successfully planted a seed of doubt in his mind. As this seed takes root in the back of Othello’s mind Iago need only supply, “trifles light as air”, which Othello demands from Iago: “Villain, be sure thou prove my love a whore” (Act III, iii, 370). Iago, then supplies him with the needed proof that he demanded to see. “I know not that: but such a handkerchief,-- I am sure it was your wife's,--did I today see Cassio wipe his beard with” (Act III, iii, 496-8). Even though Othello has not seen it for himself with his own eyes, he has trusted Iago’s word and accepted it as proof. “O, blood, blood, blood!” (Act III, iii, 451). In summary, Iago harnesses the individual character faults and circumstances throughout the play, to serve as his own immoral purpose. Indeed, Iago is a satanic character whose manipulations often involve doing what seem to be good and moral when truly he wreaks havoc on the other characters' lives for his own pleasure. He uses this manipulation for his own ascension of power to take over the throne and to seek revenge on the moor. Only as the setting moves from Venice to Cyprus, order to chaos, is Iago able to darken each character’s soul or appearance. In this manner, Shakespeare warns of the corruptibility of humanity when it deviates from the order of a dominant patriarchy. Ultimately, Iago’s manipulations are driven by a basic desire to get back at those who have hurt him in the past and to gain what he believes is rightfully his. In Act 1 Scene 1 Iago describes his disgust at being overlooked for Othello’s lieutenant and instead have to settle as being ‘his Moorship’s ancient’ (Act I, i, 33) a position below Cassio, we are now able to see here that his main motivation was revenge and anger towards the Moor and Cassio due to jealousy.