ENG3U1 - Iago's Acts of Character Manipulation This is my essay AFTER edits from my teacher Original Essay Here: http://www.slideshare.net/Puffeycream/othello-essay-29935918

1. OTHELLO ESSAY- Edited Copy
Iago’s Strategic Acts of Character Manipulation
W.H. Auden once said, "There is more than meets the eye", suggesting that there may be
a hidden or deeper meaning behind a person's initial appearance. Lies and deceits are common in
society, and many individuals mask their true intentions with a veneer. In Shakespeare's play
Othello, the character Iago is no different from those deceptive individuals. Behind his façade as
a trustworthy ensign and friend, Iago is a multilayered, deceptive and manipulative villain,
concocting chaos and causing mishaps to other characters for revenge. Iago uses his deft and
astute strategic acts of manipulation to undermine each character’s weaknesses. He exploits
Roderigo’s love for Desdemona, cajoles Cassio under the guise of friendship, and toys with
Othello’s mind by playing on his self-doubt. Evidently, Iago manipulates the people around him
by using their weaknesses against them.
Iago uses Roderigo’s gullible and naive personality to his advantage. Roderigo’s
obsessive love for Desdemona renders him susceptible to Iago’s manipulation. This obsession
causes him to unquestioningly believe anything Iago says in hopes of getting Desdemona.
Initially, Iago robs Roderigo of his fortune. He convinces him that the gold and jewels will be
given to Desdemona as a proclamation of his love when in actuality, Iago plans to keep it for
himself. Iago states: “Thus do I ever make fool my purse” (Shakespeare.I.iii.374). Evidently,
Iago takes advantage of Roderigo’s devotion by conning him out of all his money. Similarly,
Iago uses Roderigo once more by convincing him to kill Cassio. Although Roderigo is reluctant
at first, he relents once Iago insists by helping him, Roderigo will win Desdemona’s heart.
Roderigo states: “I have no great devotion to the deed/ And yet he hath given me satisfying

2. reasons./ ‘Tis but a man gone. Forth, my sword: he dies” (V.i. 8-10). Evidently, gullible
Roderigo falls for Iago’s mendacity and attempts to kill Cassio. Ultimately, Iago chooses to kill
Roderigo. Iago mercilessly states: “I have rubbed this young quat almost to the sense,/ And he
grows angry/ May unfold me to him-there stand I in much peril. /No, he must die. But so, I hear
him coming” (V.i. 11-23). This portrays how Iago ruthlessly takes advantage of foolish Roderigo
for his own needs and disposes of him once his value is used up. Overall, Roderigo is a pawn in
Iago’s schemes, controlled and enslaved through his blind lust for Desdemona (Baker and
Womack 1538). Thus, Iago exploits Roderigo’s naiveté and obsession with Desdemona by
deceiving and manipulating him in order to bring about the downfall of the other characters.
Iago capitalizes on Cassio’s trusting nature by pretending to be his friend while
clandestinely misleading him. Initially, Iago pressures Cassio to drink, getting him intoxicated to
cause a fight. As a result, Othello demotes Cassio from his high-ranking position as lieutenant.
Cassio’s reputation is of utmost importance to him, and having just been demoted exposes him to
Iago’s schemes. In fact, despite the fact that Iago is behind Cassio’s drunken melee, he betrays
Cassio by telling Montano that Cassio is an alcoholic. Iago tells Montano, “Tis evermore the
prologue to his sleep. He’ll watch the horologe a double set/ If drink rock not his cradle”
(II.iii.115-118). Iago intentionally slanders Cassio to diminish his reputation despite appearing to
be Cassio’s friend. With this in mind, Iago further plots against Cassio by advising him with
malicious intentions. He gives Cassio hope of getting his position back by telling him to ask
Othello’s wife, Desdemona for help. Although, this may seem like legitimate advice, Iago plans
to use this in his ploy to bring him down. Iago appeals to Cassio’s trusting nature, “I protest, in
the sincerity of love and honest kindness” (II.iii.309) but follows it up in his soliloquy by
sarcastically saying, “And what’s he then that says I play the villain?/ When this advice is free I

3. give and honest,/ Probal to thinking and indeed the course,/ To win the Moor again?” (II.iii.245-
248). Evidently, Iago deliberately misleads Cassio so that he can use Cassio’s misguided
behavior to insinuate that he desires Desdemona. In a sense, Iago is the devil in disguise, preying
on Cassio’s trusting nature. Just like he uses Roderigo’s gullible nature to turn him into a pawn,
Iago manages to do the same to the trusting and unwitting Cassio. In short, Iago manipulates
Cassio by taking advantage of his trusting nature to deceive him under the guise of friendship.
Iago plays on Othello’s personal insecurities to bring about his downfall. Othello is
notably an outcast, being the only black man in a white society. Throughout the whole play, he is
referred to as “The Moor”. His skin colour resuls in unfavorable preset assumptions and prompts
the association of savage animalistic characteristics. Even more so, his relationship with
Desdemona is “in a period when such a marriage would be rare and controversial” (Baker and
Womack 1534). As a result of society’s prejudice, Othello’s self-esteem diminishes, allowing
Iago to capitalize on his insecurity to invoke the feeling of jealousy in Othello. To start off, Iago
insinuates that Desdemona is unfaithful to Othello, as she prefers only people of her ‘type’, a
class Othello will never belong. Iago convincingly states, “As, to be bold with you,/ Not to affect
many proposed matches/ Of her own clime, complexion, and degree,/ Whereto we see in all
things nature tends” (III.iii. 232-236). Using this logic, Iago claims that Desdemona would prefer
Cassio, who is like her in age, race, and class, as opposed to Othello who is older, black and
unattractive (1538). Similarly, Iago uses Desdemona’s gender and past to convince Othello of
her infidelity. Iago states: “She did deceive her father, marrying you,/ And when she seemed to
shake and fear your looks,/ She loved them most” (III.iii. 210-213). He suggests that Desdemona,
having betrayed her father, is very likely to betray Othello. Combined with the knowledge that
women of that time period were unvirtuous and unfaithful, this tips Othello over the edge. Piece

4. by piece, Iago wears down Othello’s layers, and places a heavy cloud of doubt and jealousy
around him. Furthermore, Iago muddles with Othello’s mind to such an extent that Othello
believes no one but Iago. He cocoons Othello in a coat of lies, using his doubt and jealousy to
turn him against Desdemona. Othello states: “Oh, damn her, damn her!/ Come, go with me apart.
I will withdraw/ To furnish me with some swift means of death/ For the fair devil. Now art thou
my lieutenant” (III.iii. 482-485). Undoubtedly, Othello shapes a realm of truth from Iago’s lies,
and promotes Iago to his desired position as lieutenant. Ironically, Othello accepts Iago’s lies and
believes them to be the truth, but believes Desdemona’s truthful pleas to be a lie. In essence, Iago
takes advantage of Othello’s self-doubt to cradle him in a deceitful environment, and
“dehumanizes the noble general, making him into a brute against his own wife” (1538). Thus,
Iago toys with Othello’s mind by using his insecurity against him.
Iago undermines each characters weakness to ensure the success of his strategic schemes
against them. The gullible fool Roderigo, the trusting Cassio and the insecure noble Moor all fall
for Iago’s wiles, illustrating his conniving nature and ability to diabolically manipulate
characters. Iago is much like a spider, twisting his prey deeper while spinning his web of lies
around them. All in all, Iago masterminds the downfall and deaths of many characters, and now
he lives with the consequences of his actions and the weight of all the deaths he caused on his
shoulders.

5. Works Cited
Baker, William, and Womack, Kenneth. “The Facts On File Companion to Shakespeare, 5-
Volume Set.” New York: Facts On File, 2012. Infobase eBooks. Web. 31 Oct. 2013.
Shakespeare, William. Othello. Ed. Roma Gill. Oxford: Oxford UP, 2009. Print.
Works Consulted
Christofides, R. M. "Iago And Equivocation: The Seduction And Damnation Of Othello." Early
Modern Literary Studies (2010): 6.Literary Reference Center. Web. 31 Oct. 2013.
Feather, Jennifer. "O Blood, Blood, Blood": Violence And Identity In Shakespeare's Othello."
Medieval & Renaissance Drama In England 26.(2013): 240-263. Literary Reference
Center. Web. 31 Oct. 2013.