Iago’s Scheming in Shakespeare's Othello

Iago’s Scheming in Othello

Iago is a powerful predator who exploits those around him by infecting their perceptions of truth with carefully chosen fallacy. His skill in finding the proverbial chinks in others' armor allows him to skillfully weave his machinations of destroying Othello into their minds and actions; by manipulating character's perceptions of Desdemona, Iago gains the leverage he needs to exploit each character. No one is impervious to Iago's seething purpose; even Othello falls prey to Iago's suggestions and insinuations about Desdemona. Iago's constant presence as the stager, as well as his ceaseless - but subtle - reinforcement of events through narration, allows him to be the pivotal force that directs Shakespeare's Othello.

In the opening scene, Iago provokes Brabantio against Othello by means of his pawn, Roderigo, and constantly stages the scene, ensuring that everything goes according to his plan. Iago realizes that Brabantio is very susceptible to attacks on his daughter; Iago uses Roderigo as a dummy, through whom he makes such antagonizing claims: "An old black ram / is tupping your white ewe" and "your daughter and the Moor are now / making the beast with two backs" (1.1.90, 121). By inflaming Brabantio's protective nature as a father, Iago directs Brabantio's wrath towards Othello while using Roderigo as a front. Iago successfully bends an unwitting Brabantio to the common goal of destroying Othello.

The climax of Iago's power occurs during Iago's successful attempts to convince Othello - against the poor Moor's better judgment - that Desdemona fails to be loyal and that Othello differs too greatly from his fellow citizens to be a part of the Venetianworld. Iago craftily inflames Othel...

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... that Iago felt compelled to engineer to perfection and totality; and once Iago's plan falls short of his mark, his pawns grow out of his control and finally expose his dark scheming.

Fragility permeates Iago's liminal existence and, as shown, he has to be omnipresent in order to execute and oversee every aspect of his plan. His ambition leads to his downfall; modest desires for revenge blossom into extravagant and uncontrollable machinations which necessitate the deaths of all those involved. Iago finds it impossible to manipulate everyone at every moment, and for this sole reason, fails to bring his plan into full fruition.

Work Cited

William Shakespeare, The Tragedy of Othello, The Moor of Venice (from Literature: An Introduction to Fiction, Poetry, and Drama, sixth edition. Ed. X.J. Kennedy and Dana Gioia. New York: Harper Collins, 1995.