Explore The Many Aspects And Points Of View Of Iago Essay Example

light." This quote, along with the light/dark imagery used as an extended metaphor, is frequently spoken by or towards Iago. For instance, when he talks about Othello and Desdemona with the statement "an old black ram is tupping your white ewe," he cleverly contrasts the darkness of Othello with the purity of Desdemona, creating a perception that Desdemona is in danger of being tarnished.

The use of the words "ram" and "ewe" creates a sense of revulsion in the reader, as it brings to mind bestiality. Iago cleverly highlights these stark contrasts because they represent what the people of Venice fear. Othello is portrayed as an older, seductive man who corrupts the young Desdemona. In a society rampant with prostitution, no father would want his daughter to be corrupted in this way. This demonstrates Iago's adept understanding of the psychology of those around him. One quote that exemplifies Iago's understanding of people is "There's many a beast in a populous city, and many a civil monster." This quote not only applies to Iago himself, who hides behind the facade of a typical Venetian man, but also reveals his knowledge of what lies hidden within the human mind. However, he fails to recognize that he himself embodies this monstrous nature. Additionally, this quote suggests Iago's fear that there is nobody he can truly trust, which allows him to exploit Othello's insecurities.

Iago capitalizes on Othello's insecurities as an outsider and uses his insights to intimidate him, portraying himself as an all-knowing insider. Throughout the play, the repeated use of devilish language such as "beast" and "monster" creates a sense of impending doom and foreshadows Iago's destructive intentions. While

Iago effectively manipulates Othello, it is also interesting to consider how other characters perceive him. He utilizes each character's perception of him and the world to manipulate their emotions for his own gain. One notable example of this is his relationship with his wife Emilia. Despite knowing her distrust for him, Iago still manages to find ways to manipulate her. Emilia's lack of trust in Iago stems from his absence of love or regard for her.

Emilia's insecurities about Iago's hidden actions drive her to desperately try to please him, hoping to earn back his affection. This is evident in the quote, "I do nothing but to please his fantasy," which ironically exposes Iago's true intentions towards Emilia. The term "fantasy" signifies that she is merely a pawn in Iago's malicious scheme, as he cunningly reveals the information about the handkerchief, knowing the extent of her actions to win his love. Typically, Iago obtains the handkerchief through deceitful acts like a kiss. As he coldly commands her to "Go, leave me," the audience can empathize with the pain he inflicts upon her. Dramatic irony is also present, as the audience understands the significance of the handkerchief while Emilia remains innocent.

Emilia is the sole character in the play that Iago manipulates by sowing seeds of mistrust. This relationship is particularly terrifying as it appears incredibly realistic and showcases the true power of Iago's control. When portrayed effectively, it is this relationship that is most likely to shift the audience's perception of Iago from a comedic character to a truly heartless one. Another fascinating character to examine in terms of Iago's manipulation is Roderigo, as Iago seems to

exert minimal effort in manipulating him. (DO MORE "jewels you have from me. ... " "Put money in thy purse" hypnotic, subliminal) A significant portion of Iago's impact stems from his adept use of language. Notably, there is a recurring motif of light and dark imagery that persists throughout the play, particularly in Iago's soliloquies.

The quote "hell and night/ must bring this monstrous birth to the world's light" is a brilliant example because it uses horrific imagery like "monstrous" and "night" to highlight the dark side of Iago. The enjambment of this line contrasts with the two shorter statements that precede it, providing a sense of conclusion to the soliloquy and leaving it on a cliffhanger. The cliffhanger effect on the audience is that it leaves us wanting more insight into this confusing and obscured situation. In his next soliloquy, Shakespeare effectively uses similes to reveal the confusion in Iago's mind.

Iago talks about his jealousy using vivid metaphors to illustrate its overwhelming impact on him. He describes it as a "poisonous mineral" gnawing at his insides, emphasizing its destructive power and suggesting that it fuels his ability to make Othello jealous. The term "poisonous" portrays jealousy as a sickness in Iago's mind. Later, he compares jealousy to the burning mines of sulphur, indicating its toxic nature and how it consumes everyone involved in his plans. Iago also refers to jealousy as a "green eyed monster" that both mocks and feeds on its prey, demonstrating his deep understanding of jealousy's effects on the human psyche. The use of "mock" implies Iago's hatred towards the way jealousy influences his actions and emotions. By using the term

"feeds," Iago acknowledges the all-consuming nature of this overpowering feeling that now consumes him.

Another juxtaposition of light and dark imagery can be seen in Iago's third soliloquy. As he discusses his plans, he boldly states his intention to corrupt Desdemona's virtue by turning it into pitch, symbolizing darkness and impurity. This contrast deepens the innocent connotation of "virtue" and emphasizes the heaviness and darkness of "pitch." Remarkably, this soliloquy serves as a self-convincing argument for Iago, fueling his belief in Desdemona's infidelity.