Shakespeare's play Othello Iago's Strategic Acts of Character Manipulation Essay Gr 11 English *UPDATE* This is my original essay. Here is a link to my edited copy after my teacher edited it. http://www.slideshare.net/Puffeycream/othello-essay-edited-copy-iagos-acts-of-character-manipulation

1. OTHELLO ESSAY
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 toother 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, cajolesCassio 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: Roderigo‟s naiveté, Cassio‟s trusting nature, and Othello‟s insecurity,
against them.
First of all, Iago uses Roderigo‟s gullible and naive personality to his advantage.
Roderigo‟s obsession and lust 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 dupes 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 of 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 that this will win him Desdemona. Roderigo states: “I have no

2. great devotion to the deed/And yet he hath given my satisfying 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 himthere stand I in much peril. /No, he must die. But so, I hear him coming” (V.i. 11-23). This
portrays how Iagoruthlesslytakes advantage of foolish Roderigo for his own needs and disposes
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.
Secondly, 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 fracas. 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 Iago being behind Cassio‟s drunken confrontation,he backstabs
Cassio by telling Montano that Cassio is a drinking addict. Iago states to 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 plead to Othello‟s wife, Desdemona. Although, this may seem like legitimate advice to Cassio,
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

3. by sarcastically saying: “And what‟s he then that says I play the villain?/ When this advice is free
I give and honest,/Probal to thinking and indeed the course,/ To win the Moor again?” (II.iii.
245-248).Evidently, Iago deliberately ill-advisesCassioand plans to use Cassio‟s actions to
insinuate that he desires Desdemona. In a sense, Iago is the devil in disguise, preying on
Cassio‟strusting nature. Just like he uses Roderigo‟s gullible nature to turn him into a pawn, Iago
manages to do the same to trusting and unknowing Cassio. In short, Iago manipulatesCassio by
taking advantage of his trusting nature to give him bad advice under the guise of friendship.
Lastly, Iago plays on Othello‟s personal insecurities to bring about his downfall. Othello
is notably an outcast, being the black man in a white society. Throughout the whole play, he is
referred to as “The Moor”, with his skin colour resulting in unfavorable preset assumptions and
prompting 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). By the same logic, 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 Othelloof 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 alludes that Desdemona, having
betrayed her father, is very likely to betray Othello. Combined with the knowledge that women

4. of that time period were unvirtuous and unfaithful, this tips Othello over the edge. Piece by piece,
Iago wears down Othello‟s layers and places a heavy cloak of doubt and jealousy on him, much
like a thunderous cloud over someone‟s head. Furthermore, Iago muddles with Othello‟s mind to
an extent where Othello believes no one but Iago. He cocoons Othello with a coat of lies, using
his doubtand 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.
In closing, Iago undermines each characters weakness to succeed in his strategic schemes
against them. The gullible fool Roderigo, trusting Cassio and insecure noble Moor all fall for
Iago‟s wiles, illustrating his conniving nature and ability to diabolically manipulate characters to
his doing. 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, 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, 5Volume 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.