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0. Introduction

I. Iago and Roderigo
   A. Roderigo's desire for Desdemona presents Iago with a vehicle and funding
   B. Iago's use of Roderigo to rouse Cassio

II. Iago and Cassio
   A. The destruction of Cassio - his reputation
   B. Enter Desdemona - Her appeal for Cassio and the nail in her own coffin

III. Iago and Othello
   A. I like not that
   B. Saying much though saying little
   C. The Handkerchief
   D. Resulting to lies
   E. Faithful servant.

 

A wondrous verbal tapestry, which hath been woven with quills sympathetic to the poor Moor of Venice, surely thou knowest. Tis a tragic tale indeed, but far from truth the author of the history hath strayed in it's telling. In this tainted version a swap of hero and villain hath ta'en place. True is it that I hath suffered a slight from good Othello, and well did I plan to right that wrong. If for this I am cast the role of devil, so be it. Who hath lived that had not the indignation to set themselves as the corrector of wrongs, when such wrongs burn the eyes and soul with such alacrity? In sooth, I say it is I who played the victim, so cast not your misguided judgment upon Iago, for Iago merely speaks; those who listen make their choices and, with faulty character and convictions, stumble their way upon their own path.

 

   In William Shakespeare's Othello, we find ourselves thrown into a world of tumultuous emotion and deception. We are introduced to the character of Iago, who stands amidst the irrationality and shapes it to his advantage. Utilizing the fervor of Iago's revenge against Othello, coupled with his ability to read and manipulate those around him, Shakespeare creates the most succinct study of a master manipulator, eloquently achieved through a masterful use of wordplay, insinuation and through Iago's use of supporting characters as pawns in his chess game of deceit.

   Iago begins by positioning his pawn, Roderigo, whom he seduces into service with the promise of a service: to unite Roderigo with Desdemona. We soon learn that this is merely a façade Iago projects in furtherance of his own, underlying cause. As Act I closes, we find Iago advising Roderigo not to fret over the marriage of Desdemona and Othello. Within his mockingly motivating speech, Iago insinuates to Roderigo what it is he requires of him: "Put money in thy purse" (I.iii.341). It is Iago, however, who profits from Roderigo's fortunes. As Roderigo exits the scene, Iago speaks his true feelings for his 'friend' in the closing soliloquy:

Thus do I ever make my fool my purse;
For I mine own gained knowledge should profane
If I would time expend with such a snipe
But for my sport and profit." (I.iii.377-380)

   The next strategic move for the dim-witted pawn shall set the stage for Iago's positioning of the Knight, Cassio. Iago first convinces Roderigo that Cassio and Desdemona are having an affair and then instructs him to confront Cassio and rouse him to anger. Iago then convinces Cassio to drink, in celebration of the victory over the Turks, knowing Cassio cannot handle alcohol very well. Roderigo fulfills his part in the set up and Cassio reacts in Iago's favor. He attacks Roderigo and Montano (a notable in Cyprus) and is renounced by Othello. Cassio feels remorse for his actions and pines that "[he has] lost the immortal part of/ [himself]…[his] reputation" (II.iii.253-254). Iago knows that Cassio values his reputation above all else and uses this to further his devious scenario. He advises Cassio to seek out Desdemona and "importune her help to put [him] in [his] place again" (II.iii.304-305). Iago subsequently arranges for Cassio to see Desdemona without Othello being present.

   Knowing that Desdemona will accept the plight of Cassio and speak with Othello on his behalf, Iago moves to place his checkmate. With carefully unspoken words, Iago plays on Othello's naïve trust of those around him and his penchant for quick judgments. Othello admires Iago's honest and thoughtful assessments and believes Iago is "full of love and honesty" (III.iii.119). It is with this misconception that Iago is able to pique Othello's jealousy with a simple phrase: "I like not that" (III.iii.35). With a simple phrase, Iago begins a well-developed attack upon the insecurities and fears of Othello. With Cassio already in Othello's disfavor, Iago has not yet the need to utter lies. He relies instead on insinuation and leading statements.

   Here we see the master of the unspoken word speak volumes. Iago leads Othello to ask questions about Cassio's character. Iago does not answer the inquiries; instead, he parrots Othello's words with a tone of mock avoidance:

Othello: Is he not honest?
Iago: Honest, my lord?
Othello: Honest. Ay, honest.
Iago: My lord, for aught I know.
Othello: What dost thou think?
Iago: Think, my lord?
Othello:Think, my lord?
           By heaven, he echoes me,
           As if there were some monster in his thought
           Too hideous to be shown. (III.iii.103-112)

   It is through this form of insinuation that Iago has his greatest success. Othello believes Iago to be honest and knowledgeable about human nature. He fears the avoidance of Iago in answering his queries, believing there is something hidden that Iago is loath to speak. Iago thus leads Othello on a search of his soul, an unexplored territory for this man of action. Othello is confused by the fact that he is questioning everything about himself and his relationship with Desdemona, which he thought as solid as the earth beneath him. Being a man who takes all at face value, the very fact that there may be complexity within shakes his very foundation.

   The final movement of Iago's game comes in the form of Desdemona's lost handkerchief, which Othello had given to Desdemona as a symbol of their love and everlasting union. He plants the handkerchief on Cassio and leads events so that Othello sees it in Cassio's possession. Othello, having all the proof he believes he needs, vows to kill both Cassio and Desdemona. Iago, being the faithful servant that he leads Othello to believe, vows to assist Othello in any way, even pledging to kill Cassio. Othello progresses through the remainder of the play in maniacal confusion. He is heaved to and fro by the tumultuous waters of his stormy mind. As he prepares to end Desdemona's life, we see the conflict in his words:

When I have plucked the rose,
I cannot give it vital growth again;
It needs must wither. I'll smell thee on the tree.
He kisses her
O balmy breath, that dost almost persuade
Justice to break her sword! (V.ii.13-17)

   Here we see a man brought to ruin, not by the implementations of his own devices, but by the insidious implications implanted by a master of deception and a devil versed in the speaking of dishonest truths. Yet it is Othello who acts upon the temptation; he accepts, without proof, the words of his "honest" friend. When Emilia questions Iago whether he told Othello that Desdemona was false, he states, "I told him what I thought, and told no more/ Than what he found himself was apt and true" (V.ii.177-178). The definition of evil that we are given in the text of Othello is this: that evil understands the weaknesses of man and exploits the self-serving uses to which they may be applied. The character of Iago is a vile metaphor for the evil that pervaded not only the society of Shakespeare's time, but still inhabits our own.

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Works Cited

Shakespeare, William. Othello the Moor of Venice. New York: Penguin Books, 1970.