Will Davis ENGL 336 Essay 2 4/15/13 Dr.

. Susan Ronnenberg Cosby The Manipulative Genius According to a study done by Dr. Haim Omer and Dr. Marcello Da Verona, Iagos conversations with Othello in Shakespeares play may rank among the greatest displays of persuasive skills ever penned (Omer/Verona, 99). In Shakespeares Othello, the character Iago plays the role of a trickster and a manipulator. He becomes the type of person that depicts the outcome of the entire play. His extreme intelligence and cunning people skills lead to him being able to control many characters in the play. It becomes clear from the beginning of the play that Iago has an extreme hatred for Othello, and will see that no one gets in the way of him ruining Othellos life. As Alexander Leggatt states, Shakespeares Iago has a jumble of motives for what he does: Cassio has got the job Iago wanted as Othellos lieutenant, and Iago suspects both Othello and Cassio have been sleeping with his wife (Leggatt, 846) This is where we first get an understanding for why Iago wants to ruin Othellos life. Iago tells Roderigo, Despise me If I do not. Three great ones of the city Off-capped to him, and by the faith of man I know my price, I am worth no worse a place. But he, as loving his own pride and purposes Evades them with a bombast circumstance Horribly stuffed with epithets of war,

Nonsuits my mediators. For Certes, says he, I have already chose my officer. And what was he? Forsooth, a great arithmetician, One Michael Cassio, a Florentine A fellow almost damned in a fair wife That never set a squadron in the field, Nor the division of a battle knows(1.1.7-22) Iago is telling Roderigo that he hates Othello, because Othello gave Cassio, someone whom did not seem fit to take up such a high promotion, the job of first lieutenant. Iago tells Roderigo that three highly ranked and important nobleman asked Othello to give Iago the promotion, because he seemed to be the best fit for the job. Othello evaded the three noblemans request by telling them of war strategy and that he had already made his decision, and that it would be Cassio. Yet Iago knows that he has a lot more knowledge in the field of battle, and the only knowledge that Cassio has is that from which he has read about. From this point on, Iago plans to set up Othello, for he has taken a very powerful title away from him. It is also at this time that we see a reassurance between Iago and Roderigo, that Iago is on his side and remains his best friend. As we find out, Roderigo has been paying Iago for advice about a woman named Desdemona, whom Roderigo has fallen madly in love with, but she will have nothing to do with him. As Omer and Verona state, Iago begins by assuring Roderigo of his affection and support. In his pain Roderigo cannot but take in avidly Iagos loving reassurances (Omer/Verona, 100). Even though Roderigo senses something off, he is so hurt that he finds comfort that

Iago is there. Of course, Iago uses Roderigos sorrow to his benefit, so that he can stay on Roderigos good graces.

We next see a turn for the worse when Roderigo and Iago are talking and Roderigo asks Iago why he doesnt just quit if he hates Othello so much. Iago tells Roderigo, O sir, content you./ I follow him to serve my turn upon him./ We cannot all be masters (1.1.41-43). Iago is telling Roderigo that he needs to calm down. He stays close with Othello so that Othello will think he is a good and faithful friend. He knows that if he stays in Othellos good graces, he will be able to manipulate him later on to get whatever he wants. This is a bit of foreshadowing to the future. Telling readers that there is going to be much more lying and deceitfulness to come. This is really when we start to see the evil in Iago. He will play Othello by keeping him close to his side, so that when the time is right, he can turn on him and ruin everything. The first part of Iagos plan is to go after Othello through his wifes father, Brabanzio. Brabanzio is unaware that his daughter, Desdemona, and Othello have snuck off together and gotten married without the approval of him. Iagos plan is that he will go with Roderigo to Brabanzios house and wake him up, telling Brabanzio that someone has broken into the house and stolen his possessions. Brabanzio will then awake and find that his daughter is missing, and this is when Iago will tell him that Othello has used spells and tricks to get Desdemona to fall in love with him. It is also during this time that we notice that Iago will do anything to anyone just to get his way. We find out that Roderigo, who is in love with Desdemona, has asked Brabanzio for her hand before, and he has said no. Brabanzio does not like Roderigo, but Iago insists that if he truly loves

Desdemona, she can be his. He has taken his so-called friend to a place where he is not wanted and risked Roderigo getting charged with a crime. Here we see Iago sneak away from any trouble, using his words to diffuse the situation. Iago tells Brabanzio, Zounds, sir, you are one of those that will not serve God, if the devil bid you. Because we come to do you service and you think we are ruffians, youll have your daughter covered with a Barbary horse. Youll have your nephews neigh to you. Youll have coursers for cousins and jennets for germans (1.1.110-115). Iago is saying to Brabanzio that he is being way too stubborn and suspicious. Roderigo and he come to Brabanzio to help him, but Brabanzio is treating them like they are the thieves. Instead of viewing them as the thieves, Brabanzio needs to realize that his daughter has been swept away, right out from under his feet. His family as he once knew it will now be ruined. Another man, especially a black man, has taken his daughter away from him, and is now married to her. He compares Othello to that of a horse, and that Othello and Desdemonas children will act like horses around Brabanzio. We once again see Iagos deceit and manipulation play to his advantage. He turns any blame that may have been placed on him for waking Brabanzio in the middle of the night, to thoughts of it all being Othellos fault. From here, I now shift focus to the end of the play. Iago has gotten Othello to turn on Desdemona, as he believes that Desdemona has been having an affair with Cassio. Iago tells Othello of how he thinks he saw Desdemona and Cassio kiss. Obviously this

would anger Othello, but Iago takes it a step further. Iago tells Othello, Or to be naked with her friend in bed /An hour or more, not meaning any harm? (4.1.3-4). Iago is putting the idea into Othellos head that Desdemona and Roderigo may have just been laying in bed together, but hopefully nothing happened. He is convincing Othello that something happened, without actually saying that it did. He is showing his highest skill of manipulation and Othello is completely buying into it. All of Iagos lies and manipulations have worked in his benefit. He has taken two people who truly loved one another, and destroyed every ounce of love Othello had for Desdemona. With this anger, Othello ends up murdering Desdemona. He suffocates her and at first feels as though what he has done is right. All in all, it isnt until the very end, when Othello realizes that everything Iago has been telling him is a lie, that we truly see the evil that Iagos character represents. Iago confesses his story to Emilia, telling her that he told Othello that Desdemona cheated on him with Cassio. Iago goes as far as killing his own wife, Emilia, because she told Othello the truth about Desdemona. Iago ends his terror with saying, Demand me nothing. What you know, you know. / From this time forth I never will speak word (5.2.309-310). Iago wont even admit anything else he has done. He feels no sorrow, no grief, or remorse for the awful things he has done. He has ruined the lives of many people, including his own, but yet feels no pain. Really showing his true colors as an evil person.

Works Cited Leggatt, Alexander. "Love And Faith In Othello And Otello." University Of Toronto Quarterly 81.4 (2012): 836-849. Academic Search Complete. Web. 14 Apr. 2013. Omer, Haim, and Marcello Da Verona. "Doctor Iago's Treatment Of Othello." American Journal Of Psychotherapy 45.1 (1991): 99. Academic Search Complete. Web. 14 Apr. 2013. Shakespeare, William, Stephen Greenblatt, Walter Cohen, Jean E. Howard, Katharine Eisaman Maus, and Andrew Gurr. "The Tragedy of Othello, the Moor of Venice." The Norton Shakespeare, Based on the Oxford Edition. New York: W.W. Norton & Co, 2008. Print.