How Does Iago Persuade Othello
In Act 3 Scene 3, how does Iago encourage Othello of Desdemona’s expected adultery? Act 3 Scene 3 is, probably, the most crucial scene in the whole play, for it is the defining moment. It is as if for the whole start of the play you were pushing a substantial boulder up a steep mountain, and in this scene you arrive, and press it down the opposite, powerless to stop it. This is how I see the action in Othello. Iago spends the whole time outlining, and conspiring with the audience, and in this scene you can actually determine the line where he finally pushes Othello over the edge.
Iago manages this in several ways, through imagery, ‘sewing the seed’ in Othello’s mind, and reverse psychology. Nevertheless all of these methods come down to something, Iago, throughout the play, uses Othello’s own insecurities about race, and Desdemona. Iago’s language throughout the scene is very abundant and astonishingly detailed so much so that it actually functions as a projector, projecting vivid, clear photos into the audience’s, and more notably, Othello’s mind. This is more obvious in the later part of the scene, and there is one specific speech I wish to isolate.
Iago’s speech, lines 407 to 423, is where the wealthiest image is developed in the scene. He is describing a night through which he lay with Cassio, and experienced a so-called dream. In this dream, Cassio is meant to have stated “Sugary food Desdemona/ Let us be wary, let us conceal our likes.” He then goes on to explain how Cassio began to kiss Iago, and “laid his leg/ Over my thigh.” This images is so strong due to the fact that it puts Iago in Desdemona’s position, and which somehow makes it more genuine.
Also, the tale recommends that Cassio and Desdemona have actually currently slept with each other. Nevertheless, the bottom line of this specific use of imagery, is that the image it develops is a homosexual one, which takes the image to a brand-new level, and makes it much more horrible to Othello. Another technique used by Iago is the recommendation of an event, or sensation, and then the denial. This covers his tracks, but really skillfully he understands that once an idea has been put into Othello’s head, that no matter what Iago states, Othello will pursue that concept.
The speech, lines 407 to 423 is an exceptional example of this as well as imagery. Firstly he paints the image of Cassio and Desdemona together, as I have actually already discussed, but then he rejects the worth and fact of his story by saying, “Nay, this was however his dream.” He has stitched the concept into Othello’s mind, and Iago knows that although this line was essential to protect himself, it would have no impact on Othello’s faith in his tale. Comparable to the previous method, Iago uses a little reverse psychology in this scene.
A clear example of this is towards the very end of the scene. Iago and Othello are talking about the murder of Cassio, but then Iago states, “however let her live,” (471) referring to Desdemona. They have not yet said anything about her, however that phrase will make Othello consider killing her, and will motivate him to do so. More examples of this are found earlier, when he initially introduces the supposed infidelity into the scene. He says, “I see this hath a little dashed your spirits,” (212) and later on, “In faith, I fear it has. # 8221; (214) Iago is clearly ideal; Othello is much impacted by Iago’s news, however the reality that Iago points it out, two times, in such a way makes Othello feel even worse. So one the exterior, he appears caring, stating helpful, but really, he understands that what he is stating is making things worse. However, all of these three methods relate to Iago’s main, core target, Othello’s own insecurities about his colour and his relationship of his skin. An apparent example of this is Iago’s speech, lines 226 to 236.
This speech is a response to Othello’s previous line, “And yet, how nature erring from itself.” What he indicates is that Desdemona’s expected infidelity is extremely abnormal, and unusual, and Iago appears to concur. However, what may seem Iago’s attack on Desdemona, i. e. that she is strange and unnatural, is in fact a backwards attack on Othello and his colour. He calls their relationship “rank,/ Foul disproportion, ideas abnormal.” We see the impacts on Othello, of Iago’s remarks and speeches at the very end of the scene.
All through the play there have actually been comments about Othello in relation to race, and here he is lastly swept away by them. When he is outlined the scarf he reacts in a dramatic, violent storm of words and guarantees. Expressions such as “Arise black vengeance, from hollow hell” (444) and referrals to the Black Sea in the future suggest racial undertones, and likewise the pairings of black and white to evil and excellent are more prevalent now than in the past in the play, and they originate from Othello. Iago wields a lot of power over all the characters throughout the entire of the action, however in this scene, he is at his most powerful.
He utilizes extremely creative techniques of persuasion, however they all are subsidiaries of the very same thing; Othello’s own insecurities and doubt about his colour and his relationship with his other half. Iago’s brilliant shrewd sees these insecurities and brings them out, utilizing images, putting in concepts, and reverse psychology. None of these techniques are naturally accountable for the persuasion of Othello, however they all have a part to play in the exposition and focus of Othello’s insecurities and doubts.