Iago, the Rhetorician

In Shakespeares play, Othello, Iago is substantially more than a cunning antagonist. I

consider him a master in the art of rhetoric. Rhetoric is a method of persuasion, defined by

Aristotle as the power of finding available arguments suited to a given situation (Crowley and

Hawhee). Aristotle categorized rhetorical arguments into three different means of persuasion:

ethos, logos, and pathos. Ethos is the ethical appeal of the speaker, which incorporates his

character and decorum as well as reputation; logos constitutes the logic of the argument itself;

pathos evokes emotion from the audience and uses their desires as methods of persuasion

(Crowley and Hawhee). I understand that rhetoric, when used properly, can be beneficial within

the structure of an argument. However, Iago employs rhetoric as a subtle means of persuasion

and manipulation, using ethos as his primary tool while engaging pathos with Desdemona and

Cassio, logos with Roderigo, and uniting all three elements to use over Othello.

Ethos greatly contributes to Iagos success as a rhetorician. His credibility with the other

characters makes his manipulation achievable. Throughout the play, Iago is praised for his

honesty and kindness by both Cassio and Othello (III.i.43, III.iii.131). Neither of these men

suspects the conniving schemes of Iago. Having served as a soldier, Iago demonstrates reputable

qualities when ordered and builds his image upon them. For example, when a fight breaks out

between Cassio and Montano, Iago acts to restore peace amidst the riot, demonstrating

responsibility and courage (II.iii.152-162). When asked about the brawl, Iago confidently states

the truth without condemning Cassio, giving an appearance of loyalty to the law while being

compassionate toward his colleague (II.iii.214-240). Because he is able to understand other

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characters so well, Iago uses ethos to effectively judge which method of persuasion to use based

on a characters qualities, flaws, motives, and desires, and Iagos relationship to him or her.

Iago easily evokes Cassios emotions through pathos. He recognizes the honorable and

valiant virtues Cassio exhibits and uses these virtues to fashion Cassio into a pawn. Iago,

knowing alcohol to be the counteragent of Cassios virtues, encourages the sport of drinking to

the point where Cassio relaxes his conduct and allows his emotions to overcome him, breaking

out in a fight which causes him to forfeit his position as officer (II.iii.115-243). Cassio has a

strong desire for redemption and reinstallation, and Iago suggests Cassio beseech Desdemona in

order to regain favor with Othello (II.iii.307-319). Cassios desires for valiancy and honorability

drive him to pursue Desdemona in order to plead his case. Iago uses their frequent encounters to

deceive Othello (II.iii.330-356). Later, Iago uses rhetoric to extract Cassios emotions toward

Bianca under the pretense of discussing Desdemona, thus persuading Othello that Cassio is

guilty of having an affair with Desdemona (IV.i.111-146). Iago employs ethos in order to

understand the desires and emotions of Cassio, then uses pathos to manipulate Cassios actions to

conform to those desires.

Cassio is not the only character Iago engages with pathos; he also preys on the innocence

and emotions of Desdemona. Knowing the tenderness of her heart, Iago realizes Desdemona

will do anything to help another person, so when Cassio comes to her, Iago knows she will plead

Cassios case to her husband (II.iii.348-356). Iago easily lays evidence for an affair, because

Cassio and Desdemona are so often in each others proximity and confidence and Desdemona

often speaks to Othello about Cassio (III.iii.38, III.iv.94, and IV.i.238). When she is distraught

over being called a whore by Othello, Iago affirms her innocence and consoles her, reinforcing
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his ethical appeal as a compassionate man (IV.ii.120-141). By utilizing ethos and pathos, Iago

uses Desdemona as a device to get revenge on Othello while upholding his own reputation.

Iago often uses logos, or logic, to persuade Roderigo. Roderigo values Iagos advice

(I.iii.35). In fact, he hardly needs any persuasion; he simply needs instruction. Iago offers

Roderigo simple, concise directions, such as Call up her father. / Rouse him, make after him,

poison his delight (I.i.69-70). When Roderigo exaggerates his torment and contemplates

suicide, Iago reasons extensively with him and explains why that resolution is illogical (I.iii.303-

363). Through logical persuasion, Iago is able to use Roderigo for his own intentions.

Iago engages ethos, logos, and pathos when persuading Othello. Through ethos, he

understands his position is beneath that of Othello so he allows Othello to lead the conversation,

inserting casual comments or questions which encourage Othellos speech, but revealing no

information until Othello demands it (III.iii.351-425). Iago uses logic to defend his accusation of

Desdemona, reasoning that since she loved Othello most when she feared his appearance, if that

fear were to be negated, she might lose interest and regret the marriage (III.iii.220-254). Amidst

tricking Othello, Iago logically sets up safe guards for himself so Othello cannot accuse him of

directly condemning Desdemona. For instance, his arguments are based on dreams and

speculations (III.iii.158, III.iii.442) rather than concrete evidence, because he has none. The

whole idea of his beloved having an affair is emotional for Othello, so it is easy for Iago to

employ pathos. The handkerchief is another tool used by Iago. Although he claims to be

unaware of the significance of the handkerchief (III.iii.452), I suspect he knows something about

its importance because he is always asking Emilia to steal the handkerchief for him (III.iii.326).

Iagos strategy with the handkerchief is a prime example of combining all three elements of

persuasion: ethos, in understanding Othellos connection to and veneration of the handkerchief,

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logos, in placing the handkerchief in Cassios chamber so as to create the impression that it was

given to him, and pathos, in evoking Othellos anger at the mistreatment of such a valuable

object. This scheme deepens Othellos hatred for Cassio and Desdemona and strengthens his

resolve for revenge (IV.i.181-190). Iago incorporates all three methods of persuasion in order to

manipulate Othello.

Iago uses rhetoric in a multitude of ways until the end of the play. After the truth of all

matters is revealed, Iago gives up his rhetoric. Rather than use logic to craft his innocence, ethos

to retell his respectable reputation, or pathos to evoke sympathy from his enemies, he simply

refuses to speak, thus accepting all punishment for his actions (V.ii.311-312). Although he fails

to exhibit any method of rhetoric at the end of the play, the many ways in which Iago uses ethos,

logos, and pathos throughout Othello distinguishes him as an expert rhetorician in my eyes.

Works Cited
Class Discussion (Great Love Stories)
Class Discussion (Rhetorical Theory)*
Crowley, Sharon and Debra Hawhee. Ancient Rhetorics for Contemporary Students. New York:
Longman, 2008. Print.
Shakespeare, William. Othello. New York: Bantam Books, 1988. Print.
*I wanted to be clear that, in my Rhetorical Theory class, we have never discussed Othello or
any of its characters. I cited that class because of information and discussion on rhetoric itself.