‘Iago’s control of Othello in Act 3 is impressive because of its subtlety’- In light of this view,
how does Shakespeare present Iago as a manipulative character in the extract and the rest of
the play (up to Act 3) (Engaging with historical context- issues of male pride/position)
When taking into consideration the tactics of manipulation utilised by Iago, not only just in
Act 3 of Othello, but throughout the play as a whole, one is struck by the subtlety in which he
conducts his scheming. This has led to many holding the viewpoint that it is this very subtlety
which makes Iago a master at manipulation, however this is far from the only option.
Alternative theories may be considered; such as the notion that it is Othello's Hamartia that he
is too trustworthy which leads to him being a perfect victim for Iago to target. However, no
matter which theory or point of view the audience finds to be the most plausible, it is evident
that Shakespeare has succeeded in presenting Iago as a manipulator able to shift and alter his
tactics to better suit the target of his plot.
In this particular extract, it becomes evident to the reader that Shakespeare may be aiming to
present Iago as a character who is manipulative by subtle means. From the very beginning of
the extract, Iago utilises the imperative phrase ‘Trust me,’ in order to manipulate Othello in
an assertive yet discreet manner. He continues to somewhat juxtapose his assertive authority
by making the claim that his accusations of Desdemona’s infidelity ‘comes from [his] love’,
therefore further duping Othello into falling for his lies. This subtle form of manipulation is
not just observable in this specific extract, but elsewhere in the text as well. Earlier on in Act
3 Scene 3, Iago informs Othello that the women in Venice ‘do let God see the pranks they
dare not show their husbands’, alluding to adulterous typicalities of Venetian women. Not
only does Iago use an indirect and subtle approach to plant the seed of doubt in Othello’s
mind that Desdemona had committed adultery, as seen in the extract, but he also uses
imagery of cuckoldry, as the ‘pranks’ that he is referring to are in relation to sexual exploits.
Perhaps in making use of this imagery, Shakespeare may be using Iago to reinforce a toxic
masculine agenda of protecting your honour, demonstrating ownership over your wife, and
needing to control her as a means of upholding your name in society. This ultimately results
in Othello mistrusting Desdemona, therefore succumbing to those masculine ideals which
were so prevalent in Jacobean England at the time in which Shakespeare was writing.
how does Shakespeare present Iago as a manipulative character in the extract and the rest of
the play (up to Act 3) (Engaging with historical context- issues of male pride/position)
When taking into consideration the tactics of manipulation utilised by Iago, not only just in
Act 3 of Othello, but throughout the play as a whole, one is struck by the subtlety in which he
conducts his scheming. This has led to many holding the viewpoint that it is this very subtlety
which makes Iago a master at manipulation, however this is far from the only option.
Alternative theories may be considered; such as the notion that it is Othello's Hamartia that he
is too trustworthy which leads to him being a perfect victim for Iago to target. However, no
matter which theory or point of view the audience finds to be the most plausible, it is evident
that Shakespeare has succeeded in presenting Iago as a manipulator able to shift and alter his
tactics to better suit the target of his plot.
In this particular extract, it becomes evident to the reader that Shakespeare may be aiming to
present Iago as a character who is manipulative by subtle means. From the very beginning of
the extract, Iago utilises the imperative phrase ‘Trust me,’ in order to manipulate Othello in
an assertive yet discreet manner. He continues to somewhat juxtapose his assertive authority
by making the claim that his accusations of Desdemona’s infidelity ‘comes from [his] love’,
therefore further duping Othello into falling for his lies. This subtle form of manipulation is
not just observable in this specific extract, but elsewhere in the text as well. Earlier on in Act
3 Scene 3, Iago informs Othello that the women in Venice ‘do let God see the pranks they
dare not show their husbands’, alluding to adulterous typicalities of Venetian women. Not
only does Iago use an indirect and subtle approach to plant the seed of doubt in Othello’s
mind that Desdemona had committed adultery, as seen in the extract, but he also uses
imagery of cuckoldry, as the ‘pranks’ that he is referring to are in relation to sexual exploits.
Perhaps in making use of this imagery, Shakespeare may be using Iago to reinforce a toxic
masculine agenda of protecting your honour, demonstrating ownership over your wife, and
needing to control her as a means of upholding your name in society. This ultimately results
in Othello mistrusting Desdemona, therefore succumbing to those masculine ideals which
were so prevalent in Jacobean England at the time in which Shakespeare was writing.
