Manipulation of Appearance in Othello

The mirage grows bigger when you realize that your eyes are tricking you. Despite the fact that an illusion can cloud perception and impair thinking, conscious instincts still exist and will often surface when a perceived good ends in tragedy. Through the prisms of William Shakespeare's play "Othello the Moor of Venice," deception and manipulation for self-serving ends will be assessed.

Iago manipulates Othello's characters like chess pieces throughout the entire play. After determining each character's unique interests and goals, the author uses this knowledge as bait to further his cunning plans. The deception ranges from instilling a staunch belief that the only obstacle to Othello’s success is Desdemona and by eliminating him he would achieve two objectives; save himself as well as men of status from perfidious acts of infidelity. In each of the cases, he uses little to no effort since his carefully selected suggestions appear harmless resolutions to the woes that the characters undergo or take advantage of their flaws. He maintains a facial apathy while in real essence promotes his malevolent goals alluding that “I am not what I am” (I, i, 71). This “friendly talk” projects to massive manipulation of Desdemona, Casio, Roderigo, Emilia an Othello to undertake their separate roles in a pyramid-like schemer towards Desdemona’s death.

Iago takes advantage of the kind nature of Desdemona and Casio’s aspiration of returning to his earlier lieutenant position; to create a false picture of a brewing love between Desdemona (Othello’s wife) and Casio which resulted in a physical confrontation with Roderigo and Montano. Casio, believing he has made a significant accomplishment to ascend to the Lieutenancy, is turned down because of his drunkenness as well as his violent nature.

“I love thee, but never more be lieutenant of mine” (II, iii, page 264-265).

Iago has successfully reduced Casio to a pitiful state to make him more susceptible to future deceits until he achieves his ultimate objective. He consoles Casio that:

“Reputation is an idle and most false imposition, often acquired without merit and; lost without deserving” (II, iii, 288).

The statement is ironical as what Iago does best is a routine deception for ulterior motives contrary to the true identity of an honest man. Casio character has also been twisted to depict a foolish wild drunkard while in reality; he is one of Othello’s loyal allies when he states that:

“Our general’s wife is now the general…and that with her as his petitioner, his relationship with Othello shall grow from strength to strength than it was before” (II, iii, 344-5).

In the same scene, the king of deception (Iago) after wittingly exploiting Casio’s low alcohol tolerance to cut him off his position as a lieutenant shifts his schemes to Desdemona to be his supplicant through the impressionable Casio. And as per his imagination, Desdemona falls into the trick.

“Be thou assured, good Casio, I will do all my abilities in thy behalf” (III, iii, 1-2).

Iago thus succeeds in manipulating Desdemona as well through entreaties that will be evidence of Desdemona’s infidelity in the presence of Othello, her husband.

As if that was not enough, Iago proceeds to exploit Emilia’s undeserving marital devotions begging her to steal the handkerchief that Desdemona received as a present from her husband, Othello. Iago will then deliberately “lose” the handkerchief in Casio’s lodging to serve as an absolute evidence to propagate his earlier allegations of Desdemona’s promiscuity. With a belief in the ability of a divorce between Othello and Desdemona and marry Roderigo, Iago will be assured of continuous access to the wealthy estate of Roderigo as the later is much in love with Desdemona that can use anything within his power to make it happen.

“Thus do I ever make my fool my purse” (I, iii, 426).

Finally, the most profounding Iago’s manipulation syndicate is that of Othello. He uses, Othello’s race insecurities to bend him towards achieving own objectives. As depicted in Othello’s discourse with the Duke, their love is pure premised on the strong pillars of the church. Towards the end of the play, Iago has poisoned Othello’s mind to the extent that he cannot fathom any malice in the manner in which Iago tends to destroy his marriage. Othello is convinced by Iago’s infidelity allegations towards Desdemona that he believes that “Desdemona must die, or else she will betray more men” (V, ii, 6).

Through the use of irony, Shakespeare enhances the power of sycophancy that makes an individual an extension of the other in a parasitic relationship human beings subjects their fellow beings into without any trace of guilt. Shakespeare also demystifies the notion that those in higher position have higher access to intelligence and higher moral standards than those in the lower cadres and can use their position to deceive juniors into their extortion schemes. The author also creates hatred between the audience and Desdemona tainting the kind nature of the character to the extent that she doesn’t sense any ploy to dethrone her from the man who truly loves her for selfish gains.

Work cited

Shakespeare, William. othello. Vol. 6. JB Lippincott Company, 1886.