An Analysis of Iago's Manipulation of Each of the Characters in Othello

The essay describes in detail Iago's manipulation of Cassio,

Desdemona, Emilia, Roderigo, and Othello.

From beginning to end Iago moves the characters of Othello as if they

were chessmen. He uses their individual aspirations 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 only by killing Desdemona could he save himself and mankind from
her treacherous acts of infidelity. However, in each case Iago doesn?t
have to push very hard because his suggested actions either seem
harmless resolutions to each character?s woes or take advantage of
character flaws. In each case, because he does not have to push very
hard, he is able to maintain an air of apathy while promoting his ultimate
malevolent goals: ?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 mean
Desdemonas death.
Iago takes advantage of both Cassios yearning for his old position of
lieutenant as well as Desdemonas good-hearted nature in order create
the image that Desdemona is being unfaithful 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,264265). Dejected, Iago turns to Iago, a self-proclaimed, ?honest man?
(II,iii,285), who happens to be nearby. Iago has succeeded in reducing
Cassio to a pitiful state; a state in which he will be highly suggestible due
to his desperation. Iago first comforts Cassio asserting that, ?Reputation
is an idle and most false imposition, oft got without merit and lost without
deserving?(II, iii, 287-9), which is ironic since Iago has a reputation as an
honest man when he deceives routinely, while Cassio is now considered
a wild drunk when in reality he is Othello?s dearest ally. Iago states
that, ?Our general?s wife is now the general?(II, iii, 333-4), and that with
her as his petitioner his relationship with Othello, ?shall grow stronger
than it was before?(II, iii, 344-5). In this scene, Iago masterfully utilizes
Cassios low tolerance for alcohol, to rob him of his position. He then
plants the idea of using Desdemona as his supplicant, on the newly
impressionable Cassio. And therein lies Iago?s mastery; he reduces his
chessmen to such a state that a mere seemingly well-meaning whisper
on his part coaxes them toward his action.
Iago?s manipulation of Desdemona occurs through Cassio. He exploits
Desdemonas natural proclivity to help others, toward his dark purpose;
he ?turn[s] her virtue into pitch?(II, iii, 380). Iago is a satanic figure who
endeavors to pervert that which is pure and good. Through his

suggestion to Cassio, Iago can now be certain that Cassio will entreat
Desdemona to petition for him with Othello. Cassio does implore
Desdemona for he aid and predictably she responds that, ?Be thou
assured, good Cassio, I will do all my abilities in thy behalf.?(III, iii, 1-2),
and thus Iago?s plan succeeds. Iago will use their interaction to further
extend his evil plot. Iago?s suggestions to Othello will cause him to
construe Desdemonas pleas for Cassio, as pleas for her paramour.
Each time she suggests, ?[Cassios] present reconciliation take?(III, iii,
51), ?she shall undo her credit with [Othello]?(II, iii, 379), further. Thus
Iago manipulates Desdemonas wholesome urge into entreaties who fall
as proofs of infidelity on Othello?s ear.
Iago also manipulates the undeserving devotion that Emilia shows him.
We learn from Emilia at the end of the play that Iago, ?begged [her] to
steal?(V, ii, 272), the handkerchief that Othello gave to Desdemona: ?
that handkerchief?I found by fortune, and did give me husband?(V, ii,
267-9). Iago?s manipulation of his wife is tragic; she clearly sees his ?
wayward?(III, iii, 336) nature, and yet she remains obedient even though
she knows that it is her mistress?s, ?first remembrance of the Moor?(III,
iii, 335). Like Desdemonas good nature, Iago exploits Emilia?s devotion
toward his malicious goals. He then, ?lose[s] this napkin?in Cassio's
lodging?, where it will serve as the ?ocular proof? that Othello
demanded before concluding that Desdemona was unfaithful. Thus, as
Iago was able to control Desdemona through her character flaw of good
will, he is similarly able to bend Emilia to his purpose by exploiting her
spousal devotion.
In Roderigo?s case, Iago manipulates both his obtuseness, as well as
his desperate love for Desdemona. By exploiting Roderigo?s dimwitted
nature, Iago is able to attain any monetary resources he wishes.
Roderigo?s mental function is also inhibited by his love for Desdemona,
which shames him in its strength: ?I confess it is my shame to be so
fond, but it is no in my virtue to amend it?. Thus, with the promise that
Desdemona might be swayed to divorce Othello and marry Roderigo,
Iago procures whatever funds he wishes: ?Thus do I ever make my fool
my purse?(I, iii, 426). Roderigo desperately desires Desdemona and is
unable to reason that no amount of money will help the situation. Iago
seizes upon Roderigo?s inability to draw this conclusion, and slowly
bleeds Roderigo?s purse. By simply stating to Roderigo that, ?
[Desdemonas] eye must be fed?(II, i, 246), and that ?Desdemona is
directly in love with [Cassio] ?(II, i, 240), he convinces his
impressionable cretin. Thus Roderigo simply accepts Iago?s unlikely
theory, given Desdemonas exceedingly chaste nature, without a shred
of proof. Iago is a puppeteer that knows just how to play on Roderigo?s
weaknesses to produce the desired affect. Iago. Iago?s recognition of
Roderigo?s weakness in his love for Desdemona is clear: ?my sick fool
Roderigo, whom love hath turn'd almost the wrong side out?(II, iii, 5254). Iago?s manipulation of Roderigo is indeed perfect; the more he fails

in securing Desdemonas love for Roderigo, the more desperate for it

Roderigo becomes. Given that Roderigo threatened to, ?incontinently
drown [him]self?(I, iii, 347), his desperation for Desdemonas love at this
point in the play has reached a feverish pitch. In this incapacitated
mental state Roderigo accepts Iago?s suggestion that he kill Cassio: ?I
have no great devotion to the deed; and yet he hath given me satisfying
reasons?(V, i, . Yet in the audience we wonder, what ?satisfying
reasons?? Iago has offered only wild conjecture and no proof. Yet, Iago
successfully manipulates Roderigo to his purposes, as he and Cassio
fight, leaving only Cassio for Iago to deal with.
Finally, Iago?s most destructive manipulation of the characters of
Othello, is his manipulation 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 seems elevated and pure. It is
filled with religious words such as ?pilgrimage? and ?prayer? which
demonstrate 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 convinced
that, ?[Desdemona] must die, else she'll betray more men?(V, ii, 6). How
did this radical change occur? It is Iago?s gentle prodding and toying
with Othello. First, Iago uses Othello?s blackness to create doubt in his
mind: ?Whereto we see in all things nature tends. Foh! One may smell in
such a will most rank, Foul disproportion, thoughts unnatural?(III, iii, 271273). Also, Iago takes advantage of Othello?s alienation from Venice to
create further doubt mentioning that for the women of Venice, ?their best
conscience is not to leave undone, but keep unknown?. Othello?s
insecurities, Iago knows, will bolster his argument. Desdemonas very
choosing of Othello indicates that there is something wrong with her.
Knowing these insecurities reside in the Othello?s mind, Iago begins
dropping subtle hints such as, ?I like not that?(III, iii, 37), that he knows
will plaque Othello?s mind. Iago immediately repents saying, ?I cannot
think it that he would steal away so guiltylike?(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 only supply, ?trifles light as air?, which
Othello demands from Iago: ?Villain, be sure thou prove my love a
whore?(III, iii, 411). Iago, then supplies him with the ?ocular proof? that
he demands, ?I know not that: but such a handkerchief,-- I am sure it
was your wife's,--did I today see Cassio wipe his beard with?(III, iii, 4968). And thus, with this sole shred of proof, that Othello does not even see
himself, Iago has completely bent Othello to his purpose: ?O, blood,
blood, blood!?(III, iii, 512). Thus, because Iago is able to exploit Othello?
s insecurities about being black in Venice, he is able to easily manipulate
him using only hints and thin proofs.
Put out the light, and then put out the light
In conclusion, Iago harnesses individual character flaws and situations
throughout the play, to serve his own demonic purpose. Indeed, Iago is a
satanic character whose manipulations often involve perverting that

which is good and moral into a pitifully depraved heap. This theme
reverberates throughout the play. Only as the setting moves from Venice
to Cyprus, order to chaos, is Iago able to blacken each character?s soul
or appearance. In this manner, Shakespeare warns of the corruptibility of
society when it veers from the order of a dominant patriarchy.

To what extent is manipulation central to the play as a whole?

William Shakespeares eponymously titled play Othello, manifests
greed, ambition, jealousy, revenge and most of all, manipulation. Iagos
skillful manipulation of protagonist, Othello, eventually leads Othello to
self destruct. The once noble and valiant moor is transformed into the
blacker devil as he kills his beloved Desdemona due to her supposed
infidelity with lieutenant Cassio. This is an illusion that Iago had created
by insinuating that the fair and gentle Desdemona had turned her
husband Othello into a cuckold. This manipulation is central to the play
because it leads to the death of many main characters such as
Desdemona, Rodrigo and Emilia. It is also the reason for the ultimate
downfall of Othello.
At the commencement of the play, Othello is poetic in his use of
language, she loved me for the dangers I had past, and I love her for
she did pity them. The citizens of Venice clearly respect Othello due to
his exceptional talent as a general in the Venetian Army. He also has a
proud nature which is evident very early on in the play as he states my
parts, my title and my perfect soul, shall manifest me rightly, clearly
suggesting that these are the most important aspects of his life. Once
swayed by the evil, manipulative Iago, Othello loses all eloquence. His
inability to seek ocular proof due to his trusting nature, quite quickly
leads him to believe that Desdemona is a filthy strumpet. Iago knew
that Othellos pride would quickly turn into aggravated folly. The
accusations of Desdemonas supposed cuckolding causes Othello to
transform his life into turmoil as he refuses to temper his pride and in
turn, loses all self-confidence and composure. The successfulness of
Iagos manipulation could be due to Othellos inflammable nature, which
one may argue as being innate to some extent in all humans. Iago had
never given Othello any reason to deem him untrustworthy before as
honest as I am, so Othellos naivety is somewhat understandable.
Hubris, considered to be the negative aspects of pride is Othellos lapse
in judgement, which results in his downfall. It is the reason that Iagos
manipulation can even take place; thus causing the theme of
manipulation to be the core of the play.
Iago is undoubtably the mastermind, leading Othello to his own demise.

He also manipulates Rodrigo and Emilia. Iago persuades the foolish

Rodrigo to give him money to fuel his destructive plan for vengeance
put money in thy purse, in exchange he promises Rodrigo that he will
win over the beautiful Desdemona. He then manipulates his own wife,
Emilia, into taking Desdemonas handkerchief, the handkerchief she
received from Othello once they were married. Iago strategically uses
the handkerchief to make it look like Desdemona is having an affair with
Cassio. The only person left to be affected by Iagos evil and sadistic
ways was Othello, who immediately buys into Iagos unvarnished tale.
Although he tells Iago Villain, be sure thou prove my love a whore; be
sure of it, give me ocular proof, Othello never receives any proof other
than the illusionary ocular proof conjured up by Iago, the handkerchief.
Which could have just as easily been accidentally left in Cassios bed
chambers or had been misplaced. Othello had already decided that
Desdemona was unfaithful. The task of manipulating Othello was made
easier by the fact that he had started to clearly show signs that he was
feeling inadequate, especially living in this white-dominated society. It
seems as though a general in the Venetian army would be more aware
of such facades like the one Iago uses to hide his cool malignity with, the
side of him that the audience is able to see in his soliloquies, but this is
not the case for Othello. He quite easily falls into Iagos traps, believing
in the perception that Iago is brave and honest.
As Othello is driven to the point of insanity by honest Iago, Venice
suffers. His paranoia becomes uncontrollable as he plans his wifes
murder. Othello kills Desdemona she must die else she betray more
men. He truly believes that what he is doing is noble and honourable,
sacrificing her for the good of the men of Venice. Not once does he
question other possibilities. He never outright questions her about her
infidelity apart from just before he kills her, vaguely asking are you not a
strumpet? The senseless suffering he causes Desdemona is a result
of catalyst, Iago. As it draws to the climax of the play, Iagos lies, deceit
and manipulation cause the destruction of Othello, Desdemona, Rodrigo
and Emilia. By the time Othello realizes that Iago has manipulated him, it
is too late. He has already killed the love of his life. Othello never fully
apologises for killing Desdemona, but his anguish and profound remorse
is shown when he does what he considers to be the honourable thing.
He kills himself to redeem some of his former nobility. To kill oneself was
deemed noble in Elizabethan times when Othello was written (in the
early 1600's). Although is not seen as a noble act today, Othello, being a
Christian, realized that this act was a sin, and therefore damns himself
further. After manipulating Othello into causing the demise of both
himself and his wife, Iago never admits to what he has done what you
know you know, from this time forth I never will speak word.
Iagos manipulation of each of these characters is completely central to

the play as a whole, because it is the reason for all of the major events
that happen in Shakespeares Othello. Motivated by revenge, Iagos
manipulation causes the downfall of protagonist, Othello. He exploits his
friendship with both Othello and Cassio is order to get the revenge he
seeks. His bitterness was conveyed at the beginning of the play when he
tells Rodrigo that he despises Othello for promoting Cassio over
himself. This bitterness grows and remains present right to the bitter
end. Shakespeare strategically places Iagos soliloquies to allow the
audience to see exactly when and how he is going to manipulate the
vulnerable Othello. Having manipulation as the main theme in the play
Othello gives the characters more dimension as we are able to see how
these characters react. It shows true human nature and instinct. This is a
theme that has remained relevant even today, which tells us that the
theme of manipulation is highly central to the play as a whole.