Character of Iago

Shakespeare employs a variety of language, d bone upatic and theatrical techniques in formation my understanding of the rather enigmatic yet definitely Machiavellian, char stageer of Iago. Shakespeare reveals him to be a cunning and conniving exploiter and manipulator of otherwise characters who plump caught in his web of lies, deceit and evil schemes. Iago is forever the cold, calculating pragmatist who is misanthropical about anything associated with goodness, much(prenominal) as love, virtue, reputation and honour.Iago constantly plays the role of near Iago, which is dispositionn by Shakespeares constant dramatically ironic riding habit of this diction over twenty-three times. all told characters have no hesitation in trusting every word Iago says, and taking everything he tells them to be true. The two-handed nature of Iago is shown in conjunction with the symbolism of the Roman God, By Janus. Janus is a two faced God, who perfectly represents the nature of Iago, the t wo sides, one he all displays to the public and Roderigo and one single displayed to everyone else.This nature is further emphasized by Iago by dint of his negotiation, I am non what I am. Similar to this includes the dialogue, I serve him to serve my turn upon him. The honesty that the other characters cogitate Iago has, allows him to adapt the individualisedity of cunning, conniving manipulator of people, allowing him to exploit their emotions for his personal uses. He achieves his aims under the pretence of acting to help individuals but genuinely he is egotistical and serves scarce for himself.He plays on Othellos uninvolved and open nature, on his mission to prove Desdemonas infidelity and realise the metaphor of the green-eyed monster, which both Othello and Iago go forth nurture. Iagos as well as gives Cassio free and honest advice about asking Desdemona for his position back aft(prenominal) his fall from grace, showing again the dramatic irony Shakespeare portr ays. Iago also continues to settle Desdemona that Othellos sudden change in mood has nonhing to do with Desdemona herself, but instead to do with state business. This further serves him in his visualise for Othellos downfall.Poison imagery by Shakespeare refers to the poisonous effect of address that Iago has caused seen in The Moor already change with my poison. The Machiavellian scoundrel of Iago is constantly portrayed through the symbolism of hell or dickens throughout the play. Hell and night/Must bring this monstrous give birth to the worlds light. While this shows Shakespeares symbolism of sinlessness being equivalent to good and dark to evil, it also references the fact that only Iago can bring about this action, or so he believes, and show the world of a crueller Othello.In the intertextual temptation scene, to that of the Garden of Eden, Iago is playing the traitorous and evil snake convincing Othello to do something which he would have neer though of before. For Iago women are simply a means to an end. They are only needed to fulfil mens sexual appetites and serve the unlike needfully of men. He believes that women are not as intellectual as men and hence their opinion should not be valued nor asked for.It is of Iagos opinion that emotions can leave one weak and rash decisions get into about from those who think with their hearts rather than their heads shown in this dialogue, If the balance of our lives had not one scale of reason to poise another of sensuality, the blood and despicableness of our natures would conduct us to most preposterous conclusions. Any man that becomes demoralize by their feelings or the heart in a fool, hence Iago does not believe in love of another person. He does however believe in self-love, that is to say Iago is the epitome of selfishness.Iago is unable to love another male or female, as a friend or lover. He describes the act of lovemaking with continuous reference to distasteful and crude animal images such as Goats and Monkeys or Black ram and White Ewes. Iago also employs the use of the symbolism of sexual appetites, suggesting that just like food they are something that needs to be regular or often. As seen with Emilias dialogue They eat us hungrily and when they are full/ they belch us The racist Iago is also obvious throughout Othello.He feels resentment and plague towards Othello because, not only is Othello a general or commander of the Venetian Navy, he has managed to win such a prize as the lovely Desdemona. This is shown through Iagos dialogue and comparison of Othello to a Black ram, Barbary horse or having Thick lips. He also constantly refers to Othello as The Moor. While this may not have been considered racist at the time, Iago does it in such a way that he wishes to alienate Othello from etiolated society. He rarely says the name Othello, and if he does he mentions it with venom and irritation towards him. Finally in the last scenes the real Iago is revealed.Th rough dramatic irony in Emilias dialogue, Shakespeare shows how the other characters innocence in date to the man who has convinced Othello to believe such horrible tales, I will be hangd if some eternal villain/ just about busy and insinuating rogue/Some cogging, cozening slave to get some function/Have not devisd this slander. Ill be hangd else. It appears that honest Iago no longer exists but instead has been transformed into a villainous knave. As the situation worsens and the culprit is identified the insults pay back into demi-devil, damned slave, Spartan dog and notorious villain.All these term are juxtaposed to the constant positive emotive terms that have been used to describe Iago throughout the rest of the play. Throughout Shakespeares tragedy Othello, we see the cunning and manipulative character that is Iago. Each scene, through Shakespeares use of theatrical, language and dramatic techniques, as more of Iagos cunning plan s revealed, more evil within Iago is uncov ered and left goodness or virtue within him. Even in Iagos final lines he offers no remorse but only self-satisfaction for the deed he has caused.