IAGO S MANIPULATION

IAGO’S MANIPULATION

Iago cites multiple and incompatible motives for wanting to destroy Othello. Earlier, he said he hates Othello because "the Moor" passed him over for a promotion but, here, he tells us he hates "the Moor" because he's heard a rumor that Othello has been hooking up with Iago's wife, Emilia, "twixt [Iago's] sheets." It's just not clear whether or not we, as an audience, can believe anything Iago has to say.

From beginning to end Iago moves the characters of Othello as if they were chessmen. He uses their individual aspirations and passions to motivate them to whatever devious plan he desires. His adroit manipulation of those characters range from convincing Roderigo to serve Cassio another glass of wine, to leading Othello to the conclusion that only by killing Desdemona could he save himself and mankind from her treacherous acts of infidelity. However, in each case Iago doesn’t have to push very hard because his suggested actions either seem harmless resolutions to each character’s woes or take advantage of character flaws. In each case, because he does not have to push very hard, he is able to maintain an air of apathy while promoting his ultimate malevolent goals: ?I am not what I am?(I, i, 71). In this manner, Iago manipulates Cassio, Desdemona, Emilia, Roderigo, and Othello to play their separate pieces in the puzzle that will ultimately mean Desdemona’s death.

Iago’s most destructive manipulation of the characters of Othello, is his manipulation of Othello himself. Othello’s insecurities about his race are what Iago uses to bend him to his will. In his discourse to the Duke, Othello’s love seems elevated and pure. It is filled with religious words such as ?pilgrimage? and ?prayer? which demonstrate both the strength and sanctity of their love. Yet, by the end of the play Iago has so poisoned Othello’s soul that he is convinced that, ?[Desdemona] must die, else she'll betray more men?(V, ii, 6). How did this radical change occur? It is Iago’s gentle prodding and toying with Othello. First, Iago uses Othello’s blackness to create doubt in his mind: ?Whereto we see in all things nature tends. Foh! One may smell in such a will most rank, Foul disproportion, thoughts unnatural?(III, iii, 271-273). Also, Iago takes advantage of Othello’s alienation from Venice to create further doubt mentioning that for the women of Venice, ?their best conscience is not to leave undone, but keep unknown?. Othello’s insecurities, Iago knows, will bolster his argument. Desdemona’s very choosing of Othello indicates that there is something wrong with her. Knowing these insecurities reside in the Othello’s mind, Iago begins dropping subtle hints such as, ?I like not that?(III, iii, 37), that he knows will plaque Othello’s mind. Iago immediately repents saying, ?I cannot think it that he would steal away so guilty like?(III, iii, 41-42), yet he is masterfully planted a seed of doubt in Othello’s mind. As this seed takes root in 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?(III, iii, 411). Iago, then supplies him with the ?ocular proof? that he demands, ?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?(III, iii, 496-8). And thus, with this sole shred of proof, that Othello does not even see himself, Iago has completely bent Othello to his purpose: ?O, blood, blood, blood!?(III, iii, 512). Thus, because Iago is able to exploit Othello’s insecurities about being black in Venice, he is able to easily manipulate him using only hints and thin proofs.
Put out the light, and then put out the light

Iago takes advantage of both Cassio’s yearning for his old position of lieutenant as well as Desdemona’s good-hearted nature in order create the image that Desdemona is being unfaithful with him. Cassio loses his lieutenancy do to his drunkenness and brawl with Roderigo and Montano: ?I love thee, but nevermore be lieutenant of mine? (II,iii,264-265). Dejected, Iago turns to Iago, a self-proclaimed, ?honest man?(II,iii,285), who happens to be nearby. Iago has succeeded in reducing Cassio to a pitiful state; a state in which he will be highly suggestible due to his desperation. Iago first comforts Cassio asserting that, ?Reputation is an idle and most false imposition, oft got without merit and lost without deserving?(II, iii, 287-9), which is ironic since Iago has a reputation as an honest man when he deceives routinely, while Cassio is now considered a wild drunk when in reality he is Othello’s dearest ally. Iago states that, ?Our general’s wife is now the general?(II, iii, 333-4), and that with her as his petitioner his relationship with Othello, ?shall grow stronger than it was before?(II, iii, 344-5). In this scene, Iago masterfully utilizes Cassio’s low tolerance for alcohol, to rob him of his position. He then plants the idea of using Desdemona as his supplicant, on the newly impressionable Cassio. And therein lies Iago’s mastery; he reduces his chessmen to such a state that a mere seemingly well-meaning whisper on his part coaxes them toward his action.

In conclusion, Iago harnesses individual character flaws and situations throughout the play, to serve his own demonic purpose. Indeed, Iago is a satanic character whose manipulations often involve perverting that which is good and moral into a pitifully depraved heap. This theme reverberates throughout the play. Only as the setting moves from Venice to Cyprus, order to chaos, is Iago able to blacken each character’s soul or appearance. In this manner, Shakespeare warns of the corruptibility of society when it veers from the order of a dominant patriarchy.