Iago’s Use of Tone and Simile to Deceive Othello in Shakespeare’s Othello

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Iago’s Use of Tone and Simile to Deceive Othello in Shakespeare’s Othello The greatest and best villains in literature are those who possess the ability to manipulate others in order to further their own causes. In Othello, Iago has the insight and tact to manipulate the other characters, such as Cassio, Roderigo, Desdemona, and in this case, Othello. The methods by which Iago works the other characters are varied, and one prime example of his cunning ability to manipulate can be seen in Act III.iii.333-450. In this passage Iago utilizes many rhetorical strategies to his advantage; in particular he uses tone and simile. These rhetorical strategies are instrumental in the deception of Othello. Throughout this passage Iago’s tone when he speaks is critical in his effort to make Othello do as planned. This tone is one of innocence and loyalty, and is used effectively to make Othello trust Iago’s statements. Iago appears to be innocent in his reluctance to relate to Othello what he knows about Desdemona and Cassio, as seen on lines 373-380. In this particular passage Iago uses his tone to demonstrate how he did not want to make enemies by telling the truth. Consequently, Othello assumes that Iago is not a part of any scheme and therefore must be telling the truth. The tone of innocence and loyalty to Othello is one of the methods by which Iago successfully manipulates Othello. Not only does Iago utilize the rhetorical strategy of tone, he also employs similes to emphasize points. On lines 403-405, Iago uses multiple similes with the intent of deceiving Othello into thinking that Desdemona and Cassio had a promiscuous relationship. By saying that they were “as prime as goats” and “as hot as monkeys”, Iago is almost directly saying that they are having wild sexual relations. Furthermore, by using these similes, Iago helps to confirm Othello’s suspicion of Cassio and Desdemona, which was brought about by Iago in the first place. The use of similes is instrumental in Iago’s manipulation of Othello as seen in this passage.

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