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Prctico #4 OTHELLO, by Shakespeare Manipulation

Iao, the pupeteerRegarding the theme of manipulation, in Shakespeares Othello, Iago is the main character whoe!ploits his capacity to "anipulate people in orer to achie$e his sel%&interests. In many ways,Iago is the ri$in %orcebehind the plot, a playwright of sorts whose "achinations inspire the actionof the play. Iago is a classic t'o&%ace $illain, a type of character known in Shakespeares time as aMachia$ela !illain who, adhering all too literally to the teachings of the political philosopher

"achia!elli, lets nothing stand in his way in his #uest for power$ the end %ustifies the means.It is Iao(s talent %or unerstanin an "anipulatin the esires o% those aroun hi"that makeshim both a powerful and a compelling figure. &e can shi%t his ientityaccording to his situation andsurroundings. Iao(s skille reconition o% his culture(s an!ietiesallows him to perform upon hisopponents fears and manipulate them into carrying out his plot. &e uses his rhetorical artistrytorecreate his identity multiple times, becoming a different person to different people. &e uses theinstable ientities o% Othello an )assio by ani"atin their an!ietiesto them and bringing forththeir fears about their rhetorically constructed personas. &e con$inces the" o% his $ersion o% thetruth, manipulates their actions, and carries out his plot. 'hats why hes like a puppeteer or chessplayer.

Iao(s "anipulation o% *oerio

In Roderigos case, Iago not only manipulates his obtuseness, but also his esperate lo$efor(esdemona. )y e*ploiting *oerio(s i"'itte nature, Iago is able to attain any "onetaryresourceshe wishes$ +my sick fool Roderigo, whom love hath turn'd almost the wrong side ou t II, iii,-/-01. Roderigo tells Iago that he is in lo!e with (esdemona and he complains that that he has nochance of breaking up Othellos marriage, and that if that comes true, she would fall in lo!e with 2assio.So Iago counsels Roderigo that he should cast 2assio into disgrace by starting a fight with 2assio at thee!enings re!els. In a solilo+uy, Iao e!plains to the auience that eli"inatin )assio is the %irstcrucial step in his plan to ruin Othello'hat night, Iago gets 2assio drunk and then sends Roderigo tostart a fight with him. 3pparently pro!oked by Roderigo, 2assio chases Roderigo across the stage.4o!ernor "ontano attempts to hold 2assio down, and 2assio stabs him. Iago sends Roderigo to raisealarm in the town. Iago takes ad!antage of *oerio(s %oolish, na-$e natureand his desire to be with(esdemona to further his e!il purposes and get his money in e*change for his ad!ice.

Iao(s "anipulation o% )assio an .ese"onaIago takes ad!antage of both)assio(s yearnin %or his ol position o% lieutenantas well as.ese"ona(s oo&hearte naturein order create the image that (esdemona is being unfaithful withhim. 2assio loses his lieutenancy due to his drunkenness and brawl with Roderigo and "ontano.(e%ected, 2assio turns to Iago, a self/proclaimed, +honest man II,iii,5-1, who happens to be nearby.Iao has succeee in reucin )assio to a piti%ul state/ a state in 'hich he 'ill be hihlysuestible ue to his esperationIago first comforts 2assio asserting that, +Reputation is an idleand most false imposition, oft got without merit and lost without deserving II, iii, 56/71, which is ironicsince Iago has a reputation as an honest man when he ecei$es routinely, while 2assio is nowconsidered a wild drunk when in reality he is Othellos dearest ally. Iago states that,Our generals wife

is now the generalII, iii, 888/01, and that he can appeal to her good/nature so that she helps himreco!er his relationship to Othello. In this scene, Iao "aster%ully utili0es )assio(s lo' tolerance %oralcoholto rob him of his position. &e then plants in )assio the iea o% usin .ese"onaas hissupplicant or petitioner.Iao(s "anipulation o% .ese"ona occurs throuh )assio. &e e*ploits .ese"ona(s naturalprocli$ity to help others, toward his dark purpose9 he turn[s] her virtue into pitch II, iii, 85:1. Iago ispresented as a satanic %iure 'ho enea$ors to per$ert that 'hich is pure an oo. 'hrough hissuggestion to 2assio, Iago can now be certain that 2assio will entreat (esdemona to petition for himwith Othello. 2assio implores (esdemona for her aid and predictably she responds$ Be thou assured,good assio, ! will do all my a"ilities in thy "ehalf#III, iii, ;/1, and thus Iagos plan succeeds. Iago will

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use their interactionto further e*tend his e!il plot. Iagos suggestions to Othello will cause him toconstrue (esdemonas pleas for 2assio as pleas for her paramour.

Iao(s "anipulation o% OthelloIagos manipulati!e beha!ior and rhetoric are e!ident from the start with his actions towards Roderigobut it isnt until Iagos first solilo#uy in the end of 3ct I that the reader gets a glimpse into his mind. In hissolilo#uy, Iago breaks the fourth wall and speaks directly to the audience$!ago$ ! hate the %oor,

&nd it is thought a"road that 'twit my sheets'(as done my office) ! know not if 't "e true,But !, for mere suspicion in that kind,*ill do as if for surety) (e holds me well)+he "etter shall my purpose work on him) -).)/012./3

! follow him to serve my turn upon him -,-3

!ago eplains in a solilo4uy how he plans to get his revenge on Othello$ he will 5a"useOthellos ear 6 +hat [assio] is too familiar with his wife# &ct -3)7!'ll pour this pestilence into his ear7 &ct 0, scene.3

Iagos most destructi!e manipulation is his manipulation of Othello. Othello possesses a free and opennature, which his ensign Iago uses to twist his lo!e for his wife, (esdemona, into a powerful anddestructi!e %ealousy I.iii.85;1 and make Othello trust him completely.Iago poisons Othellos soul with subtle hints about the false idea that