Sample Essay: Iago’s Manipulations in Othello

Student

Professor

Subject

Date

                                      Iago’s Manipulations in Othello

             In Shakespeare’s Othello, though the play revolves around the character Othello, one might argue that the character with much focus is Iago, seeing that the story is expedited by his actions. Indeed, unlike Othello, the center of attention is Iago, and his negative and manipulative character. As Alkoli and Ji note, “it is Iago who manipulates all other personalities at will, controlling their movements and trapping them in an intricate net of lies” (420). Throughout the story, the reader is provided with a series of dramatic ironies as presented at the end of each act, where one is given a preview of Iago’s manipulations of other characters. Iago’s success as a manipulator comes from his skillful use of words and exploitation of other characters’ trust. He has mastered this rather negative art and uses it to his advantage, especially because he believes to be superior to the other characters. He portrays himself as a loyal and concerned friend to characters such as Othello, Roderigo, Cassio, Emilia, and Desdemona, even though this portrayal of himself is false. His ability to get close to people, understand them, and use his words to make people do as he wishes is quite impressive, seeing that none of the characters ever suspect his intentions until the end. Even more impressive is his ability to remain in the shadows, hidden away from the consequences of his directed scandals and tumults. As will be shown, Iago’s ability to manipulate characters such as Roderigo, Cassio, Desdemona, Emilia, and, most importantly, Othello comes from his impressive use of words and false portrayal of concern even though his intentions are self-centered and evil.

               Roderigo is arguably the most gullible person in the story who often falls victim to Iago’s manipulations. These manipulations often come when Iago wishes to remain hidden despite influencing most of the conflicts in the story. In the story, it was commonplace for Iago to push Roderigo to the shadows while he remained concealed in the shadows, away from harm or suspicions. His very first manipulation of Roderigo occurs in the first act of the play, where Iago uses Roderigo to incite Brabantio into believing that Othello stole his daughter Desdemona. Iago yells while hidden from the view of Brabantio, contrary to Roderigo who is in plain sight. It, therefore, seems that all the words are coming from Roderigo, even though this is not entirely the case. His manipulation is revealed even further when he decides to leave Roderigo once Brabantio decides to come down. As he so connivingly says,” Farewell; for I must leave you: It seems not to meet, nor wholesome to my place, To be produced—as, if I stay, I shall— Against the Moor: for, I do know, the state” (13). From this statement, the reader understands that Iago wishes to hide his involvement in the plot against Othello. Thus, Roderigo bears the fault while Iago drifts away into safety, thereby illustrating Iago’s willingness to sacrifice others for the sake of his plot and “happiness”.

             Roderigo falls victim to Iago’s manipulation due to his love for Desdemona. Once Iago understands the extent to which Roderigo loves Desdemona and his willingness to do anything to get her, he defines a plan to get both Roderigo and Cassio out of the way. To him, Roderigo is a mere puppet with whom he can use to do anything he wants, provided it keeps him out of sight. It is certainly difficult for any character to understand the involvement of Iago in most of the conflicts with each other, seeing that Iago is not directly present in most of them. In this case, posing as a concerned and caring ally, Iago lies to Roderigo that Desdemona, the love of his life, is in love with Cassio. As he states, “I must tell thee this: Desdemona is directly in love with him” (59). By telling this lie to Roderigo, Iago gets full control over him. After successfully convincing Roderigo that Desdemona loves Cassio, Iago derives a way of using the anger and hatred within Roderigo to get rid of Cassio. He urges Roderigo to find some occasion to anger Cassio and, consequently, use this scenario as a way of inciting Cassio for his sake and his love for Desdemona. Although the fight is linked to Roderigo, it is Iago’s manipulation that causes it, which eventually leads to Cassio’s job loss. Eventually, Iago is successful in urging Roderigo to kill Cassio by convincing him that making Cassio incapable of taking Othello’s place would serve him best. However, what Roderigo does not understand is that by killing or getting killed by Cassio, Iago benefits either way. Once again, Iago successfully hides from the scandals and conflicts within the story at the cost of other characters who are naively manipulated by Iago.

            Lago is also successful in manipulating Othello. The ease of Iago’s manipulation of Othello is attributed to the latter’s outward focus (Nahvi 510). Iago carefully and cleverly crafts lies that he constantly throws/hints at Othello. His lies mainly revolve around the false notion that Desdemona, Othello’s wife, has an affair with Cassio. Thus, Iago manipulates Othello to the point that he and his wife are torn apart. Iago creates doubt about Desdemona’s faithfulness to Othello, thereby inciting Othello to take action against his wife’s infidelity. However, at first, it was difficult for Iago to convince Othello of his wife’s apparent infidelity. Nevertheless, his masterful use of words enables him to finally arouse suspicion within Othello. For instance, he, at one point, exclaims that “Cassio, my Lord! No l, sure, I cannot think it, That he will would steal away so guilty-like, Seeing you coming” (95). By uttering these words when Casio comes from meeting with Desdemona, Iago successfully creates suspicion within Othello. However, Othello is yet to be convinced that Desdemona would chart on him with Cassio, which leads to Iago’s hints through his words such as when he states that “I speak not yet of proof. Look to your wife, observe her well with Cassio. Wear your eyes thus, not jealous nor secure: I would not have your free and noble nature, Out of self-bounty, be abused” (105). Here, Iago acts as if he is concerned about Othello’s affairs, even though this concern is false. Eventually, Othello is filled with doubt and suspicion towards Desdemona and Cassio, until he finally believes that the former is guilty of having an affair, especially when the “ocular proof” is given in the form of Desdemona’s handkerchief. It is worth noting that the handkerchief in question was gotten from yet another manipulation, and it was planted, rather than truthful.

               Emilia, Iago’s wife, is also manipulated by Iago. Iago convinces Emilia to steal Desdemona’s handkerchief and when he is asked what he intends to do with it, Iago asks another question that thwarts Emilia’s concerns. Iago asks Emilia upon her wish to know the purpose of the handkerchief, “Why, what’s that to you?” (111). The fact that Emilia is unable to continue questioning Iago after he had dismissed her shows how controlling and manipulative he was of her.

              Other characters who fell victim to Iago’s manipulations, albeit indirectly, are Desdemona and Cassio. These two characters are the object of Iago’s manipulations and all that he does is aimed at portraying them as lovers, consequently inciting anger within Roderigo and Othello. Regarding Cassio, Iago successfully manipulates him by convincing him to drink, knowing very well that Cassio gets too mouthy when drunk. As he states, “O, they are our friends; but one cup: I’ll drink for you” (67). Iago knows that he can use Cassio’s drunken state to get him fired, especially because the former acted with drunken anger. Unfortunately, Iago succeeds in his plans and successfully gets Cassio fired after he sends Roderigo to pick up a fight with him. On the other hand, Desdemona is manipulated because of her goodness and virtue. After Cassio is fired, Desdemona is too eager to get Othello and Cassio together to the point that she champions for Cassio to get his job back. Consequently, Iago uses this eagerness to show that an affair exists between Desdemona and Cassio. Iago is successful in meeting his goal entailed within his words, “So will I turn her virtue into pitch, and out of her own goodness make the net That shall enmesh them all” (85). In the end, his plans of portraying Desdemona and Cassio as lovers succeed, resulting in Desdemona’s death at the hands of her husband.

              Conclusively, Iago is a manipulative character who masterfully uses his words to make characters in Othello believe his well-crafted lies. He successfully manipulates Roderigo, Othello, and Emilia to do his bidding, and successfully uses the virtues and characters of Desdemona and Cassio to get his way. His success is attributed to the victims’ excessive trust in him that conceals his real character and intentions from them.

                                                        Works Cited

ALKOLI, HIND ABDUALLAH, and Shi Ji. "An Analysis of Power Desire of Iago in Shakespeare’s Othello From Psychological Perspectives." Journal of Literature and Art Studies 8.3 (2018): 417-421. http://davidpublisher.com/Public/uploads/Contribute/5a9677fe7fb75.pdf

Nahvi, Alaeddin. IAGO AS THE EMBODIMENT OF EVIL. Dav International Journal of Science. 4. 1 - 13. 2015. https://www.researchgate.net/profile/Alaeddin_Nahvi/publication/303407253_IAGO_AS_THE_EMBODIMENT_OF_EVIL/links/57421c7708aea45ee84a3766/IAGO-AS-THE-EMBODIMENT-OF-EVIL.pdf

Shakespeare, William. Othello, the Moor of Venice. Vol. 10. G. Bell. THE EMC MASTERPIECE SERIES. 1875. https://www.emcp.com/previews/AccessEditions/ACCESS%20EDITIONS/Othello.pdf