Allison Chang AP Lit Pd. 1 Othello Final Draft Shakespeare’s Othello is a disturbing tale of the transformation of Othello, a Moor who has become general of Venice, from an upright and good-hearted man into a paranoid man who murders his own wife for a crime of which she was innocent. In Act III, scene iii, Othello’s ensign Iago successfully instigates this transformation in order that he may rise up in military rank and prestige. The relationship between Iago and Othello is a metaphor for Satan’s corruption of man in the Garden of Eden. This can be seen in Iago’s verbal and psychological manipulation of Othello, Othello’s moral decline, and the hellish imagery found in this part of the tragedy. First, Iago’s manipulation of Othello is akin to that which the devil employed upon Adam and Eve in the Garden of Eden. Iago not only uses his words to manipulate Othello, but also makes use of psychological manipulation in order to plant seeds of doubt in the general’s mind. He repeatedly stresses the “love and duty” that he bears toward Othello, his superior, and assures Othello that “what is spoke comes from [his] love,” not some ulterior motive. This strategy is played in order to establish trust between the two men and to make Othello more receptive to what Iago says next. Iago also stresses that “Cassio’s [his] worthy friend” in attempts to not appear to be trying to be hostile towards Cassio because of a personal grudge. Thus, Iago has arranged it so that Othello, who is of an unsuspecting nature, sees him as but a decent and upright man who wishes to express some qualms. Iago then piques Othello’s curiosity by making use of repetition – he repeats such things that Othello says as “Indeed,” “Honest, my lord?” and “Think, my lord?” because he knows very well that Othello will be driven by his curiosity to demand that Iago reveal the “monster in [his] thought” to which he is not giving voice.

Shakespeare’s Othello is a disturbing tale of the transformation of Othello, a Moor who has become general of Venice, from an upright and good-hearted man to a paranoid man who murders his own wife for a crime she did not commit. In Act III, scene iii, Othello’s ensign Iago successfully instigates this transformation in order that he may rise up in military rank and prestige. The relationship between Iago and Othello is a metaphor for Satan’s corruption of man in the Garden of Eden. This can be seen in Iago’s verbal and psychological manipulation of Othello, Othello’s moral decline, and the hellish imagery found in this part of the tragedy.

Iago’s verbal and psychological manipulation of Othello brings his plan to fruition. Iago uses pathos in order to win over Othello’s trust. He repeatedly speaks of his love toward Othello as Othello’s ensign in order to seem like a dutiful and upright man. “love and duty that I bear you” “too much loving you” “”what is spoke comes from my love” / He also praises Cassio. “Cassio’s my worthy friend” “I cannot think it/That he would steal away so guiltylike”/ Iago also uses repetition in order to pique Othello’s curiosity. “Indeed” “Honest, my lord?” “Think, my lord?” Iago also repeatedly acts like he is sorry that he ever brought up the subject in order to erase the notion that he is purposefully driving Othello into believing that Desdemona is unfaithful. He even refuses at points to tell Othello of what he claims to know about Desdemona’s relationship with Cassio. “I do repent me that I put it up to you” “beseech you of your pardon” “honesty’s a fool” “To be direct and honest is not safe.” (145)/ Iago even accuses Othello of being irrational when Othello begins to express doubts on Desdemona’s faithfulness “O grace! O heaven forgive me!/Are you a man? Have you a soul or sense?” “Nay, but be wise. Yet we see nothing done.” (147)

However, at the same time, Iago takes every opportunity to sow seeds of suspicion into Othello’s mind “did deceive her father” “I like not the office” “Ha, I like not that”

He even creates emotions in hopes that Othello will begin to feel them out of suggestion, which is indeed what Othello does. Iago plants ideas into Othello’s head. “I see you’re moved” “O, beware, my lord, of jealousy!” “Ay, there’s the point” Iago jumps in when Othello starts giving in, guiding him along a path to perdition.

Othello’s moral decline is seen clearly in scene iii. He moves from being moved “not a jot” by Iago’s words, to feeling suspicion and insecurity, to downright outrage and “bloody thoughts.” He goes from thinking that he believes Desdemona to be “honest” and claiming that Iago’s words have no impact on him to starting to see reason in Iago’s comments. “And yet, how nature erring from itself” Othello questions why Desdemona chose him over wealthier suitors, thus discarding the thought that she could have loved him more. “Why did I marry” “O curse of marriage” He throws away all his love for Desdemona without even having solid proof. “O, farewell!” “Ha, ha, false to me?...What sense had I of her stol’n hours of lust?” “I’ll tear her all to pieces” “All my fond love thus do I blow to heaven” Othello goes beyond outrage into violence, intent on murdering the innocent Desdemona for a crime he has not even seen with his own eyes. “Some swift means of death for the fair devil”

Third is the hellish imagery which abounds throughout this scene.

“Perdition catch my soul/But I do love [her]!” “And when I love thee not, Chaos is come again.” This can be seen as a foreshadowing comment of events to come later on when Othello does, indeed, cease to love Desdemona. “He thought ‘twas witchcraft!” Iago compares Desdemona’s actions to witchery, thus transferring the witch stigma onto her. “If she be false, heaven mocks itself!” “Dangerous conceits are in their natures poisons/Which…But with a little act upon the blood/Burn like the mines of sulfur” This is an obvious reference to the fires of Hell. “Not poppy nor mandragora” will allow Othello to return to his previous state of happiness and contentment, says Iago. “For nothing can cast thou to damnation add/Greater than that” “Arise, black vengeance, from the hollow hell!” Here, the reader can clearly perceive Othello’s transformation – he has associated himself with hell and thus signified that he has forsaken his previous morals and beliefs. “Yield up, O love…To tyrannous hate! Swell, bosom, with thy fraught,/For ‘tis of aspics’ tongues!” “O, blood, blood, blood!” “O, damn her, damn her!” “fair devil” “My bloody thoughts, with violent pace shall ne’er look back” “All my fond love thus do I blow to heaven./’Tis gone.” Othello, upon saying this, has completely thrown away all love for his wife and gone over to evil and darkness.