The Imagery In Shakespeare's Othello

The power of persuasion is a dominant and influential tool which can easily be misused for personal benefit. Lies and deceits are becoming more common in society, with multiple individuals masking their true intentions. In William Shakespeare’s Othello, the character Iago is no different from those cunning human beings. He is able to prey and trigger the character's doubts and insecurity, and twisting it to make him look like the most reliable, trustworthy, and righteous man in the midst of the moment. Iago’s drive for manipulation stems from his own hatred and jealousy, which ultimately fuels his desire to create a plan to destroy the lives of those who have wronged him. He is an eloquent speaker with the capability to turn a few meaningless words into a phrase containing subtle and in-dept meaning upon further thinking. Iago manipulates characters within the play by using Aristotle's methods of persuasion.

To begin, Iago manipulates Roderigo by imposing pathos, in order to affirm Othello as an opponent they have to get rid of. Iago elaborates on how Othello gives Cassio a promotion, a man who has “never set a squadron in the field” (Shakespeare 1.1.23), thinking he himself qualifies as a better fit. Amidst their conversation, Iago makes comments like, “I follow [Othello] to serve my turn upon him” (1.1.45) and “In following him, I follow but myself” (1.1.64). Iago says he plans to take his revenge on Othello and encourages Roderigo to assist him. By voicing Iago’s hatred for Othello, Roderigo is able to relate to Iago; further implemented with Iago’s constant repetition of the pronoun “I”, showing Iago’s own hatred for the Moor is identical to Roderigo’s personal feelings. As a matter of fact, appealing to Roderigo’s emotions give Roderigo more reasons to dislike Othello, as not only did the Moor marry the woman Roderigo loves, he also does not promote Iago, his close friend, though he has more experience than Cassio. Additionally, Iago continues to use Roderigo’s emotions towards Desdemona to take advantage of Roderigo and benefit himself. He goes on to reassure Roderigo of his chances of winning Desdemona over if he “put money in thy purse” (1.3.386). Roderigo is blinded by love to the point where Iago is able to effortlessly convince him that money can buy Desdemona’s love. Ultimately, Iago uses Roderigo’s desire for Desdemona and turns it into a way that will benefit himself, taking advantage of Roderigo’s feelings for his own personal gain. Using pathos, Iago is able to manipulate Roderigo by portraying Othello as a rival while making use of Roderigo’s wealth and want for Desdemona for his own financial benefits.

In addition, Iago makes full use of Cassio by using pathos combined with reasoning to stress the importance of the victorious night and to make an exception for another glass of wine. Iago notices Cassio’s utmost loyalty and appreciation to Othello, being part of a military lifestyle, and uses it to his advantage by taking into account Cassio’s position and suggesting they “have a measure to the health of black Othello” (2.3.32-33). Proposing a toast to Cassio’s undefeated boss, in front of witnesses, makes it harder for Cassio to not accept the offer. If Cassio turns down the toast, it would be seen as ill-mannered and impolite from a professional and personal viewpoint. Furthermore, it depicts Cassio as a man who does not respect Othello as he declines wanting to celebrate on the night of his boss’ great victory. Moreover, Iago uses an extension of pathos to convince Cassio to drink by appealing to his humor when he breaks into song “And let me the cannikin clink, clink” (2.3.60). Iago uses his newfound knowledge of Cassio’s low tolerance for alcohol and humors Cassio into drinking, which will result in Cassio’s loss of self-control. The humorous song about drinking makes Cassio feel more at ease and makes him worry less about his job, while at the same time encourages him to drink. The song is more appealing to Cassio as it is a sign to let loose and enjoy the night, as compared to keeping watch of the constant unchanging landscape. As Cassio is more relaxed and joins Iago in the song, he starts to forget about his responsibilities and is more open to the idea of having another glass. Of course, this ultimately leads to a series of bad decisions and makes it easier for Iago to make use of Cassio’s drunken state. Iago brilliantly manipulates Cassio’s emotions and appeals to his humor to the point where Cassio is intoxicated, allowing Iago to easily manipulate him.

Furthermore, Iago uses logos to make Othello question Desdemona’s loyalty and relationship with him. Iago points out that Desdemona has lied before when “she deceived her father by marrying [Othello]” (3.3.238). By stating this fact, Iago plants the idea that Desdemona is capable of repeating her actions. Iago reasons that if Desdemona can betray her father, the one whom she loves and has shown respect for her entire life, she could definitely do it to a man with whom she has been married for a short period of time. It also makes Othello doubt Desdemona’s integrity; society views women as property of men who have to have their marriage approved, if not arranged, by their fathers. As a result of Desdemona’s secret marriage, she now has a reputation as someone who is able to sneakily do things behind people’s backs, which causes Othello to believe that this kind of behaviour can also extend into their marriage. Furthermore, Iago also uses repetition when he repeats Othello’s words saying, “Honest, my lord” (3.3.116) and “Think, my lord” (3.3.120). This, of course, entertains and fuels Othello’s suspicious of Cassio as Iago creates the impression he is still unsure of Cassio’s honesty. The repetition of Othello’s words forces Othello to further think about the topic, and explain his thoughts and emotions. Upon his additional explanation, Othello reveals his raw self and emotions which gives Iago the perfect chance to manipulate Othello in his most vulnerable state. With Iago’s excellent use of logos and repetition, Iago now has a strong control over Othello which he can smoothly play to his.

Iago also proceeds to manipulate Brabantio, a Venetian senator, a well-known citizen, and Desdemona’s father. Like many Venetian men of the time period, Brabantio’s reputation is the upholder of his honour. In a conversation with Brabantio, Iago mentions that “even now, now, very now, an old black ram/ Is tupping your white ewe” (1.1.89-90). Iago uses this metaphor to emphasize sexual and visual images of Brabantio’s daughter. By comparing Othello to a black ram and Desdemona to a white ewe, Iago points out the difference in their skin colour and relates it to purity. Othello, being a man of colored skin, is portrayed as a beast on top of the pure and innocent Desdemona. By referring to Othello as a “black ram,” Iago demotes his position from a human to an animal, indicating he is less than human. Furthermore, Iago uses logos not to refer to his own credibility, but rather Brabantio’s. By reminding him “[he] is a senator” (1.1.118), Iago highlights how Othello and Desdemona’s marriage would affect Brabantio’s honour and pride as his daughter is a reflection of him, being his property. Traditionally, it is the father’s duty to pass their daughter to a proper man of the same race and social class; however, the defiance on Desdemona’s part negatively affects her father’s untarnished honor as it appears he has lost control. This makes Brabantio think about how society would view this. If Brabantio cannot control his own daughter, people will start to question how credible and capable he is of making decisions concerning the state. Iago also incorporates the technique of pathos when he tells Brabantio, “Your heart is burst” (1.1.96). Iago refers to Brabantio’s heart as a symbol full of love and emotion. To say that it has burst, speaks to Brabantio’s feelings, telling him that his beloved Desdemona has been taken from him. The phrase not only confronts Brabantio’s love, but also develops hate for Othello. In this state, it is easier for Brabantio to hate the Moor more effortlessly, as he calls to “get weapons” to “apprend [Desdemona] and the Moor” (1.1.200), and believe Iago’s insults without thinking twice. Iago’s use of persuasion enables him to use Brabantio’s love for Desdemona and twist it to make the respected war-hero, Othello, look like the enemy.