Manipulation in Othello
Control in Othello From beginning to end Iago moves the characters of Othello as if they were chessmen. He uses their private goals 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 just by killing Desdemona could he save himself and humanity from her treacherous acts of cheating. Nevertheless, in each case Iago doesn’t need to press really hard due to the fact that his recommended actions either appear harmless esolutions to each characters trouble or take advantage of character defects. In each case, since he does not have to push really hard, he has the ability to maintain an air of apathy while promoting his supreme malevolent objectives: “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 indicate Desdemona’s death. Iago takes advantage of both Cassio’s yearning for his old position of lieutenant as well as Desdemona’s good-hearted nature in order develop he image that Desdemona is betraying 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, “truthful guy”(II, iii, 285), who occurs to be close by. Iago has actually prospered in lowering Cassio to a pitiful state; a state in which he will be highly suggestible due to his desperation. Iago first comforts Cassio asserting that,? Credibility is an idle and most false imposition, oft got without benefit and lost without deserving? II, iii, 287-9), which is paradoxical because Iago has a track record as a sincere male when he deceives routinely, while Cassio is now thought about a wild intoxicated when in truth he is Othello’s dearest ally. Iago mentions that, “Our general’s partner is now the general”(II, iii, 333-4), and that with her as his petitioner his relationship with Othello, “will grow more powerful than it was in the past”(II, iii, 344-5). In this scene, Iago masterfully uses Cassio’s low tolerance for alcohol, to rob him of his position. He then plants the concept of utilizing Desdemona as his supplicant, on the freshly impressionable Cassio.
And therein lies Iago’s proficiency; he lowers his chessmen to such a state that a simple relatively well-meaning whisper on his part coaxes them toward his action. Iago’s manipulation of Desdemona occurs through Cassio. He exploits Desdemona’s natural predisposition to assist others, toward his dark function; he “turn [s] her virtue into pitch”(II, iii, 380). Iago is a satanic figure who endeavours to pervert that which is pure and excellent. Through his idea to Cassio, Iago can now be particular that Cassio will entreat Desdemona to petition for him with Othello. Cassio does urge
Desdemona for her help and naturally she responds that, “Be thou guaranteed, great Cassio, I will do all my capabilities in thy behalf. “(III, iii, 1-2), and hence Iago’s strategy succeeds. Iago will use their interaction to more extend his wicked plot. Iago’s tips to Othello will trigger him to construe Desdemona’s pleas for Cassio, as pleas for her admirer. Each time she suggests,” [Casio’s] present reconciliation take”(III, iii, 51), “she will undo her credit with [Othello](II, iii, 379), even more. Hence Iago manipulates Desdemona’s wholesome desire into entreaties that fall as roofings of cheating on Othello’s ear. Iago also controls the undeserving commitment that Emilia reveals him. We learn from Emilia at the end of the play that Iago, “begged [her] to take”(V, ii, 272), the scarf that Othello offered to Desdemona: “that scarf? I found by fortune, and did offer me spouse”(V, ii, 267-9). Iago’s control of his better half is awful; she plainly sees his “stubborn”(III, iii, 336) nature, and yet she stays obedient despite the fact that she knows that it is her girlfriend’s, “first remembrance of the Moor”(III, iii, 335). Like
Desdemona’s great nature, Iago exploits Emilia’s commitment toward his harmful objectives. He then, lose [s] this napkin in Casio’s accommodations, where it will function as the ocular evidence that Othello demanded before concluding that Desdemona was unfaithful. Therefore, as Iago was able to control Desdemona through her character flaw of good will, he is likewise able to flex Emilia to his function by exploiting her spousal dedication. In Rodrigo’s case, Iago manipulates both his obtuseness, in addition to his desperate love for Desdemona. By making use of Rodrigo’s dim-witted nature, Iago is able to attain any financial resources he wishes.
Rodrigo’s mental function is also hindered by his love for Desdemona, which shames him in its strength: “I admit it is my shame to be so fond, but it is not in my virtue to change it”. Thus, with the guarantee that Desdemona may be swayed to divorce Othello and marry Roderigo, Iago obtains whatever funds he wishes: “Thus do I ever make my fool my handbag”(I, iii, 426). Roderigo frantically desires Desdemona and is not able to factor that no quantity of cash will assist the scenario. Iago takes upon Rodrigo’s failure to draw this conclusion, and gradually bleeds Rodrigo’s bag.
By simply mentioning to Roderigo that,” [Desdemona’s] eye should be fed”(II, i, 246), and that “Desdemona is directly in love with [Cassio](II, i, 240), he convinces his impressionable cretin. Hence Roderigo merely accepts Iago’s not likely theory, provided Desdemona’s extremely chaste nature, without a shred of evidence. Iago is a puppeteer that knows simply how to use Rodrigo’s weak points to produce the desired result. Iago. Iago’s recognition of Rodrigo’s weak point in his love for Desdemona is clear: “my sick fool Roderigo, whom love hath turn ‘d almost the incorrect side out” II, iii, 52-54). Iago’s control of Roderigo is indeed ideal; the more he fails in protecting Desdemona’s love for Roderigo, the more desperate for it Roderigo ends up being. Considered that Roderigo threatened to, “incontinently drown [him] self”(I, iii, 347), his desperation for Desdemona’s love at this moment in the play has reached a feverish pitch. In this incapacitated mental state Roderigo accepts Iago’s tip that he eliminate Cassio: “I have no terrific commitment to the deed; and yet he hath given me rewarding reasons”(V, i,) yet in the audience we wonder, what satisfying reasons?
Iago has actually used just wild guesswork and no evidence. Yet, Iago effectively controls Roderigo to his functions, as he and Cassio fight, leaving only Cassio for Iago to handle. Finally, Iago’s most destructive adjustment of the characters of Othello is his control 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 appears elevated and pure. It is filled with spiritual words such as “expedition” and “prayer” which show 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 encouraged that,” [Desdemona] should die, else she’ll betray more males”(V, ii, 6). How did this transformation occur? It is Iago’s mild prodding and toying with Othello. First, Iago uses Othello’s blackness to develop doubt in his mind: “Whereto we see in all things nature tends”. Foh! One might smell in such a will most rank, Foul disproportion, ideas abnormal”(III, iii, 271-273). Also, Iago benefits from Othello’s alienation from Venice to produce further doubt pointing out that for the females of Venice, “their best conscience is not to eave undone, however keep unidentified”. Othello’s insecurities, Iago understands, will boost his argument. Desdemona’s really picking of Othello shows that there is something incorrect with her. Understanding these insecurities live in the Othello’s mind, Iago starts dropping subtle hints such as, “I like not that”(III, iii, 37), that he understands will plaque Othello’s mind. Iago immediately repents stating, “I can not think it that he would take 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 just upply, “trifles light as air”, which Othello demands from Iago:? Bad guy, be sure thou prove my love a whore? (III, iii, 411). Iago, then provides him with the “ocular proof” That he demands, “I understand not that: but such a scarf,– I am sure it was your wife’s,– did I today see Cassio wipe his beard with”(III, iii, 496-8). And therefore, with this sole shred of evidence, that Othello does not even see himself, Iago has totally bent Othello to his purpose: “O, blood, blood, blood! “(III, iii, 512). Therefore, because Iago has the ability to exploit Othello’s insecurities about being black in Venice, he is able to asily manipulate him using only hints and thin evidence. In conclusion, Iago utilizes specific character defects and circumstances throughout the play, to serve his own demonic purpose. Certainly, Iago is a hellish character whose manipulations frequently include perverting that which is good and ethical into a pitifully depraved load. This theme reverberates throughout the play. Just as the setting moves from Venice to Cyprus, order to chaos, is Iago able to blacken each characters soul or appearance. In this way, Shakespeare cautions of the corruptibility of society when it veers from the order of a dominant patriarchy.