The Use Of Imagery In Shakespeare's Othello

Roderigo’s character throughout the exchange in Act 1 Scene 3 is largely played to comic effect as a melodramatic young man who Iago is easily able to talk circles around. Iago’s emphasis on masculinity in his dialogue with his firm “Be a man!” and commanding stage presence seen in the hardy slap on the back he gives Roderigo with this line that aids in developing the sense of control Iago exhibits (III.iii.388). Likewise, Milam further develops this dichotomy between Iago and Roderigo as traditionally masculine versus more effeminate through costuming with Iago’s worn leather suit creating a somewhat imposing figure whereas Roderigo’s lace collar and black silk clothing imply a softer figure which ends up overpowered by Iago. Moreover, it is interesting to note that the slashing in Roderigo’s over-shirt suggests a sense of wealth, as slashing was a typical 16th century fashion trend that evolved in order to show off the textiles underneath the over-shirt as a status symbol. Keeping with the motif of money, Iago repeatedly advises a dejected Roderigo to ‘Put money in thy purse’ (I.iii.340), a phrase notable not only for its repetition, but also its symbolic significance in relation to the power dynamics which underscore the play and which Iago largely controls.

Moreover, Iago’s application of bawdy imagery in his proposition that “when [Desdemona] is sated with [Othello’s] body,” she will seek out others suggests that sex and money operate on the same notions of trade. The metaphor suggests that Iago’s holding the purse-strings of others “As if they were thine” encompasses more than a desire for material gain, but more so one for power over others by assuming a puppet master-type role, controlling the other characters via “strings” (I.i.3). This role enables Iago to control the sexual relations, and thus the power dynamics, at work within the play by leveraging not only Othello’s insecurities about his marriage but also through stringing along Roderigo’s naïve lust for Desdemona. Though Roderigo takes Iago’s insistence to fill his purse with money literally (Roderigo exits with a promise to “sell all my land” (1.3.380)), Iago immediately complicates this purely literal view as the “sport and profit”, Iago speaks of is less tangible than riches (I.iii.385). Iago’s reference to his scheming as “sport” implies more than mere amusement, it also bears sexual overtones as when he later refers to Desdemona as being “sport for Jove” revealing a sexually charged, patriarchal nature that Iago operates on (II.iii.17). Purses come to signify the safe keeping of far more valuables beyond money, such as reputation and chastity – qualities which operate within an economy of language. Iago is able to manipulate language to serve his own truths in a way which hints at the physical impact such choice diction has. Extending this analogy, purse strings come to signify the means of controlling how such attributes are cast and distributed and it is Iago’s recognition of this which grants him a position of furtive power over those he claims to serve – a locus of control implied the opening lines of the play: ‘Iago, who hast had my purse/As if the strings were thine’ (I.i.2-3).

Oddly, in Iago’s exchange with Roderigo, someone of a lesser post and in Iago’s exchange with Othello in Act 3 Scene 3, someone above Iago, he is able to maintain the locus of control in both dialogues. Iago is able to maintain control over Othello through playing up his role as a subordinate to Othello and through aligning himself with a moral bent – foregoing material wealth for more abstract qualities, seen in the metonymy of a “good name” for reputation over money, which he compares to “trash” (III.iii.184-5). Milam emphasizes Iago’s subordinate status to Othello through blocking, having Iago remain stage left behind a pillar at the beginning of their exchange whereas Othello stands centre stage, drawing more attention and therefore placing more emphasis on Othello rather than Iago. Eventually, as Iago becomes able to propose his own narrative, therefore gaining control over Othello, he moves centre stage to meet Othello. Furthermore, the linguistic duplicity Iago employs with “trash” not only gives Othello the impression that he is of a moral character for valuing the abstract over a worthless monetary sum but also ties back to the motif of string as “trash” may refer to a leash used to restrain a dog, again, implying the motif of control. With this second meaning in mind, his earlier line to Othello is far more revealing: though Iago may play at servitude, what Iago holds most dear is control.

Iago’s understanding of how reputation is formed and the anxieties it produces is what ultimately lends him the power to manipulate relations as he does. Knowledge of others – how they see themselves in relation to society and how they believe others to perceive them – proves to be an effective and profitable tool for devising events. Ultimately, it is Iago’s duplicity, his “trash”, which proves the most valuable and productive asset within the play. It is the store of secrets gained from his manipulation of others as well as his own motivations – a collection of words, lies and secrets which retain their worth from his ability to draw close the purse-strings of his mind. In preying on the insecurities of others, Iago is able to tear them apart. Through the undoing of Othello, Shakespeare highlights the importance of communication and understanding to avoid becoming complacent with the information that is fed to us. Today, we live in a world where the truth is often obfuscated to maintain systems of control, and while the truth may be difficult to uncover or believe, it is important that we continue in our search for it to avoid falling prey to ignorance.