Iago is motivated by the desire to know and show what Othello is really like

-          W H Auden

To what extent do you agree with this view?

Argument; disagree.
It is not Iago’s desire to reveal Othello’s true character that motivates him, but rather on a more profound level we see that lago's true motive is his blatant love of evil. Iago is using jealousy and anger as excuses to perpetrate evil. Even if Iago had received the promotion; even if he had no suspicions or jealous feelings, he would invent other motives to provide the framework for the diabolical mischief he must create. To Iago, the ruination of Othello is a game:
Quotes in chronological order to support the idea of Iago’s true evil nature:
One Michael Cassio, a Florentine
(A fellow almost damn'd in a fair wife),
That never set a squadron in the field
But he, sir, had th' election ... (1.1.20-27)
Here it is evident this is an unsatisfactory reasoning for bringing about the tragic ending of the play, thus leading us to conclude that Iago himself must be mentally challenged through his desire to perpetuate evil constantly.
... I hate the Moor;
And it is thought abroad that 'twixt my sheets
'Has done my office. I know not if't be true;
Yet I, for mere suspicion in that kind,
Will do as if for surety. (1.3.378-82)
Again, his evil intentions are highlighted here as it is apparent he does not believe these rumours are true; there is a deeper meaning to his schemes.
Let us be conjunctive against him. If thou canst cuckold him, thou dost thyself a pleasure, me a sport. (1.3.363)
Honour, loyalty, reverence, and fidelity - the highest and the holiest virtues of humanity - are but base commodities to be bought and sold. Iago is "an unbeliever in, and denier of, all things spiritual, who only acknowledges God, like Satan, to defy him" (William Robertson Turnbull, Othello: A Critical Study, 269).
In act 3 scene 3 Othello demands ocular proof, Iago brings out the handkerchief, the magical symbol of Othello's manhood and source of his jealousy:

I know not that; but such a handkerchief--
I am sure it was your wife's--did I to-day
See Cassio wipe his beard with.

Upon proof that Cassio has the handkerchief, Iago gets Othello to effectively divorce Desdemona and align himself with Iago.  His plan to kill her is not only persuasive but very clever: he knows that Othello will be put to death for the crime.  Othello says,

Damn her, lewd minx! O, damn her!
Come, go with me apart; I will withdraw,
To furnish me with some swift means of death
For the fair devil. Now art thou my lieutenant.

Proof of Iago's evil is easy to come by, but he is no more evil that when he uses his wife as a pawn in his twisted revenge plot.  In act 5 scene 2 he calls her a ‘Villanous whore!’ and ‘Filth, thou liest!’ he then he stabs her.  Pure evil.
Possible counter-argument; rather than Iago’s evil nature that possesses him and causes the ultimate tragedy of the play to occur, it could be credible to believe that Iago merely desires to show Othello’s true qualities. Othello often relies on stories such as those that won over his gentle Desdemona, similarly those he attempts to use to persuade the state that his love should be accepted because of the acts of magnitude he has committed in the past e.g. ‘shall outongue his complaints’. Iago may believe Othello is a threat to society with such a high status for a Moor whom cannot possess that much authority and remain sane. Hence his reasoning for his what appears an evil plot; he succeeds in displaying how easily Othello can be led astray.Conclusion; therefore it could be credible to formulate an argument based around the ideology that Iago has no conscience, no ability to perform good deeds. Iago is a psychopath, and is not capable of forming affectionate relationships or feeling guilt and concern over his behaviour. Unlike Othello, Iago does not have the free will to refrain from wickedness. His nature does not enable him to see the goodness in anyone or anything; he is driven by a lust for evil beyond his control, as opposed to a quest to reveal Othello’s true nature as Auden suggests.

Psychologically Iago is a slighted man, powerfully possessed by hatred against a master who (as he thinks) has kept him down, and by envy for a man he despises who has been promoted over him.

Neville Coghill

To what extent do you agree with this view?

Argument; agree.

Iago uses the power of his hatred to guide the play along the tragic route it follows. Iago claims the reason for his hatred is that Cassio has been promoted over him –

One Michael Cassio, a Florentine
(A fellow almost damn'd in a fair wife),
That never set a squadron in the field
But he, sir, had th' election ... (1.1.20-27).

Counter argument: it is not just this reason that Iago 

2 paragraphs from internal exam

The fact that the extract is set in a dark location which lacks daylight, indicated by the mention of ‘torches’ emphasises the duality of night and day. The darkness introduces an eerie feel and a certain disorder rules over the proceedings. With the torches that illuminate the scene, there is a corresponding call for some kind of order; darkness vs. light and order vs. disorder are important juxtapositions within the play. This theme will appear again at the end, as the play returns to darkness, and also to chaos. The darkness also suggests the attendants that hold the torches are attempting to illuminate the truth, it is tragic in which the noble manor Othello responds to these abrupt demands of the truth in comparison to less noble manor in which his characters begins to act in as the play continues – such as the equivalent of modern day swearing ‘fire and brimstone’ in Act 4 Scene 1.

This extract is also tragic in relation to the play as a whole as it demonstrates not only the duality of night and day but also the duality of Othello’s character. ‘Shall out-tongue his complaints. ‘Tis yet to know – Which, when I know that boasting is an honour, I shall provulgate’ indicates this as it is evident that Othello is both an insider because of his status in the military as a ‘worthy general’, but similarly how he is an outsider because of his race as a ‘moor’. Othello is confident his past service to the state will counteract any negative emotion society will feel upon his love for Desdemona. Othello depicts this view through his talk of stories, similar to his stories that he states enabled him to win the love of his wife. This correlates to McEvoy’s view that Othello ‘lives according to a set of stories’, it is tragic that he believes these stories that won ‘thee gentle Desdemona’ will also win over society. Arguably it is not society that needs to be persuaded of the legitimacy of their love, but Othello himself as he so easily allows his mind to be poisoned by Iago; thus contributing to the tragedy of the play as a whole.

How does Shakespeare create a sense of fear and confusion in Act 5 scene 1?

How does Shakespeare create a sense of fear and confusion in Act 5 scene 1? Consider:

Setting – Shakespeare sets the scene at ‘Night’ on ‘A Street’ in a faraway land away from home, creating an initial sense of fear and confusion for both the audience and characters on stage. It is a similar setting to A1S1, suggesting that the play must soon reach its climax and there is no turning back on the path of destruction that duplicitous Iago has released.

Language - Language spoken by the pawns in Iago’s plan creates confusion within the characters as Cassio is unaware that Roderigo and Iago plan to kill him. Fear is built when Iago instructs Roderigo to ‘wear thy good rapier bare’ and as the instruction implies striking Cassio, the audience fears for Cassio’s safety. Cassio states ‘that thrust had been mine enemy indeed’ which indicates that the attacker has no identity as far as Cassio is aware. After Othello’s entrance, Rodrigo admits to his crime ‘O, villain that I am’ however Othello thinks that the person confessing to being villainous is Cassio which could spark a sense of confusion within the audience if the actors have similar sounding voices and/or are unfamiliar with the play.

Structure of lines - Iago’s lines tends to be a centre of confusion in this scene especially when he strings Bianca into his plan. With Bianca being a woman, Iago’s word will be taken over hers due to her status being much lower than Iago’s and the 17^th century being a suppressive time for women. Iago states ‘I do suspect this trash to be a party in this injury’ and ends up arresting her for ‘provoking’ the fight between Roderigo and Cassio ‘I charge you’. Bianca, showing her confusion of being blamed and fear of her punishment, defends herself ‘I am no strumpet but of a life as honest as you’ however even the truth coming from her doesn’t account for the power Iago has manipulated for himself.

Use of characters – The use of Iago’s manipulative schemes have leaded him to be portrayed as the devil; even more so in this scene. The fact that “I’ll be at thy elbow” can suggest him saying ‘talk to the devil and he will be at your elbow’ and similarly the more modern saying ‘speak of the devil’. Audiences in the 1600s would be afraid of the devil causing Shakespeare to evoke fear in the audience through the use of Iago’s villainous schemes being related to the devil himself. Due to the fact he is the antagonist; many audiences would associate him with the devil without the direct comparison from Shakespeare and therefore would be aware that death would shortly follow.

Lodovico and Gratiano’s presence in the scene bring about fear because these men trust Iago ‘a very valiant fellow’ (52) and through dramatic irony, the audience know that Iago is not to be trusted. Also, as Iago has instructed to kill Cassio, he is a fearful character because he is putting his so called friend’s life on the line. Iago has gone from doing small and petty actions to get his way such as intentionally allowing Othello and Roderigo to misconstrued what he says, however now is willing to have someone die for what he wants; the audience should be fearful as to what other lengths he will go to for his plan to follow through.

Other dramatic methods - Confusion may be caused by the props used in Act 5, Scene 1. The darkness of the stage invites fearinto the audience as well as the confusion when Cassio and Roderigo are involved in combat using swords. Although the audience are aware of Iago’s plan, they cannot predict the outcome of  the attack. It is clear that Othello is morally blind through “It is even so” as he believes it is Iago killing Cassio and therefore Shakespeare has created confusion for Othello when he later discovers Cassio’s life remains. The audience would be fearful for Cassio and Desdemona as they are aware of their innocence through dramatic irony which can also be implied when “O brave Iago, honest and just” is stated by Othello as they are all the things the antagonist is not and has only pretended to be. It is clear that peripeteia has occurred and Othello is too convinced by Iago’s lie to accept anything else. This could portray Othello’s hubris as he overlooks the truth through believing Iago and the circumstantial evidence rather than seeking real proof. It could suggest that Othello believes that he is far too respected by his fellow soldiers for any of them to lie and scheme against him who portrays his character as naïve making the audience fear his tragic mistake.

Act IV Scene 2

Act IV Scene 2

1)      What does Othello ask Emilia at the beginning of the scene, and how does Emilia respond?

Othello asks Emilia at the beginning of the scene ‘You have seen nothing then?’ and she responds ‘nor ever heard, nor ever did suspect’. Here, Emilia is insisting that Desdemona has done nothing suspicious – she truly believe it is just a rumour within Othello’s mind.

2)      What does Othello say to Desdemona and how does Desdemona respond? Is Othello treating Desdemona fairly?

Othello is immediately unfair to Desdemona – upon her entrance he flies into a passion, falling into tears. He has convinced himself that Desdemona is cunning in her harlotry, and it's no surprise she wouldn't be found out. He directly accuses Desdemona of being false (particularly, by cheating on him). When Desdemona fervently denies being unfaithful, Othello sarcastically replies that he begs her pardon: he took her for the “cunning whore of Venice” who married Othello. This is an unfair accusation as Othello lacks legitimate evidence of her apparent adultery – so by labelling her as a ‘whore’ is wildly unfair.

3)      When Desdemona and Emilia tell Iago about Othello’s behavior, how does Iago respond? What does Iago say he thinks is the cause of Othello’s anger? What does Emilia think is the cause?

Emilia informs her husband that Othello must have been deceived by some villain, the same sort of villain who made Iago suspect Emilia of sleeping with Othello. Iago assures Desdemona that Othello is merely upset by some official business, and a trumpet flourish calls Emilia and Desdemona away to dinner with the Venetian emissaries.

4)      Why is Roderigo angry and how does he threaten Iago? In response, what does Iago say Roderigo must do and why? According to Iago, what will be Roderigo’s reward if he follows Iago’s advice?

Roderigo is furious that he is still frustrated in his love, and ready to make himself known in his suit to Desdemona so that she might return all of the jewels that Iago was supposed to have given her from him. In response, Iago tells Roderigo that Cassio is being assigned to Othello’s place. Iago also lies, saying that Othello is being sent to Mauritania, in Africa, although he is really being sent back to Venice. He tells Roderigo that the only way to prevent Othello from taking Desdemona away to Africa with him would be to get rid of Cassio. He attempts to persuade Roderigo that he is just the man for “knocking out [Cassio’s] brains”. Iago is clear: murdering Cassio is the only way to get to Desdemona. Roderigo points out that this plan really doesn't make any sense but somehow is appeased when Iago promises he'll explain it all later.

https://drive.google.com/open?id=0BwEuKrasyOVUZXZtOHVjQ0w5dVU

Scene 3

Scene 3:

For what two reasons does Desdemona agree to plead Cassio's case?

Cassio has explained the whole situation to Desdemona, and she promises to not rest until she's convinced Othello to grant Cassio's acceptance back into the military as well as Othello's personal friendship. Cassio declares he's forever indebted to her, and Desdemona again emphasizes that she'll do everything she can. This is because she likes Cassio and believes him to be a man of honour, she thinks that she has the compassionate ear of Othello and is oblivious to Iago’s evil intention.

What is Iago referring to when he says, "Ha! I like not that."

Iago is attempting to peak Othello’s curiosity in relation to what Desdemona and Cassio have been having such an intimate conversation about. By making it a negative act with Iago’s apparent dislike towards witnessing it worries Othello.

After Othello repeatedly urges Iago to tell him what's on his mind, Iago says "O, beware, my lord, of jealousy;/It is the green eyed monster, which doth mock / The meat it feeds on." What is Othello's response? What does he want from Iago?

Othello responds with ‘O misery!’ as he gradually loses his potential to converse. He wants Iago to reveal what he knows/what evidence he has of Desdemona’s unfaithfulness – he has fallen out of certainty in relation to his wife’s loyalty in 80 lines.

What does Iago say about the women of Venice?

Iago implies women are secretive and want to have sex with a myriad of different men. He claims only God truly knows what every woman gets up to through ‘in Venice they do let God see the pranks’. He also states it’s better to keep the truth unknown as women will just break your heart and cheat on you.

What contextual evidence do we have to support Iago's views of Venetian women?

Contextually the women of Venice are supposed to have been locked in their houses by their husbands as if they were able to roam the streets it would be inevitable that another man would have sex with your wife.

Why might this cause Othello to believe this or, at least, not dismiss it immediately?

This contextual evidence causes Othello’s suspicions to be increased as he is aware of the stereotype of Venetian women. He fears this stereotype may be true as he has heard of the ideology previously.

Who echoes Brabantio's earlier warning to Othello?

Iago by saying ‘she did deceive her father, marrying you’ and ‘to seel her father’s eyes up close as oak’ he refers to how Desdemona lied to her father and so would be quite capable of lying to Othello.

In his duplicitous fashion, what bold statement does Iago make about Desdemona and Othello?

Iago claims their relationship is unnatural and Desdemona was always destined to find a spouse ‘of her own clime, complexion and degree’. This shows duplicity as he doesn’t really believe this, it is him that has enforced the turmoil of their relationship to occur, not because the match of the couple is unnatural due to race.

Desdemona's handkerchief becomes an important piece of stage business. Why did Desdemona produce it? What happens to it? What might this symbolise? What happens to it? What does Emilia plan to do with it?

Since the handkerchief was the first gift Desdemona received from Othello, she keeps it about her constantly as a symbol of Othello's love. Iago manipulates the handkerchief so that Othello comes to see it as a symbol of Desdemona herself—her faith and chastity.

What do you think motivates Emilia to take the handkerchief to Iago?

Emilia believes her husband may want to get her a similar handkerchief made to show his love and devotion – she desires this so she gives it to him.

What does Iago plan to do with the handkerchief?

Iago plans to use the handkerchief as evidence of Cassio and Desdemona’s apparent love as Othello’s first gift to her is now being wiped on Cassio’s beard = disrespect.

When Othello returns to the scene upset, what warning does he give Iago?

Warns him his death will follow shortly.

What 'proof' of Desdemona's disloyalty does Iago give Othello?

Claims he was awake with toothache and Cassio began sleep talking about Desdemona and the love they share, then he begun humping his leg implying he had done the same to Othello’s spouse as a result.

What is Iago's final 'proof'?

His final proof is that Cassio now has Othello’s first gift to Desdemona which shows her betrayal of giving away an item of such great importance.

What is noticeable about Othello's language in this scene? 

Othello loses his ability to speak within the scene and begins to respond monosyllabically and often with grunts and not even words, for example ‘O, blood, blood, blood!’

Othello Act 1 Scene 1-3 questions

Othello Act 1 Scene 1

Thoughts on Othello after Act 1 Scene 1 – he’s a different race to all other characters, hence the repeated use of racial colloquialism ‘moor’. He is also referred to in a racist manor such as by his ‘thick-lips’ and ‘old black ram’. It is implied by Iago that Othello is a thief (‘thieves’) who has stolen Brabantio’s daughter. Othello is perceived to be a man of magic by Brabanio’s instant reaction in reference to witchcraft – ‘is there not charms’, highlighting how truly absurd it would be for his daughter to willingly fall in love with a black moor. Lastly, Othello is depicted to be a threat to society who needs to be eliminated due to the amassing of ‘weapons’ needed to approach this monster.

We believe Iago due to his multitude of speeches in which his tone and intonation of delivery are persuasive. He provides valid reasoning for the audience to understand his reasoning as he explains how he’s displeased about Cassio being made lieutenant when he has no knowledge of battle. Othello’s name remains unmentioned in this act but it is this black ‘moor’ who is the General of the Army who chose this to occur. Iago appears a more sensible and sophisticated character to believe as opposed to Roderigo’s drunken, short lines.

Brabantio reacts with such dismay as socially it would be highly frowned upon for a black (older) man to take a younger, innocent white girl to be his spouse. Brabantio is outraged at the mere thought of this action due to the objectification of women in the 16^th century – he ‘owns’ Desdemona hence the use of ‘thieves’ highlighting how a possession of his has been snatched without his knowing. Due to racial inequalities his immediate reaction is to blame ‘charms’ as the only logical explanation for this monstrosity to occur, as he is so adamant his daughter would not choose this herself.

Iago highlights what is ‘wrong’ with Michael Cassio on lines 17-27. For example, “a great arithmetician” implies Cassio is more Scholar like than an actual solider, hence why he shouldn’t have been promoted above Iago in his eyes.  This is further emphasised by the quote “Mere Prattle without practise” Iago here is saying that Cassio is all talk and no action.

Iago is depicted to be the perfect Venetain man (28-39) as he highlights his previous victories in battle in ‘Rhodes, Cyprus, and on other grounds’ showing his great qualities as a soldier, as he helped the state of Venice.

Brabantio thinks Othello has won Desdemona (168-173) through ‘charms’ and witchcraft. (see above).

We may doubt Iago’s honesty by the end of this scene as Iago quickly leaves the scene right before an angry Brabantio and his men to enter the stage. This occurs directly after they have been rudely awakened in the dead of night. Why is Iago so keen to quickly escape is he truly thinks he’s doing Brabantio a favour?

Othello Act 1 Scene 2

The introduction of Othello is this scene changes the current image of him depicted in the first scene. He is not the threat to society Brabantio suggests he is – for examples his first line ‘Tis better as it is’ merely seeks peace despite Iago’s harsh words in relation to murder. Othello’s entrance brings light, whereas the introduction of Iago shown him to be shrouded in darkness – this is ironic as his hubris disallows him to see Iago for what he truly is. Othello’s high ranking position within society is exemplified in this scene, firstly due to his intelligence as he is aware of how his marriage will be received; reminding us of his royal blood. Unlike Iago Othello is an eloquent character as he speaks in verse; highlighting his sophistication and confidence, he uses lexical field to further promote his authority. Othello is greeted with respect by Cassio as he greets him (‘The Duke does greet you, General’). Othello’s worth to society is again emphasised as ‘the senate hath sent about three several quests ‘in attempt to find him. Othello remains unconcerned and still remains calm.

Othello responds to Iago’s baiting (or agenda setting) in a calm and civilised manor on lines 1-17. Iago over exaggerates the situation in attempt to make Othello fearful but Othello’s intelligence and reason keep him calm and cause him to desire only one thing; peace. This is highlighted through Othello’s lines ‘Tis better as it is’.

When Brabantio meets Othello (62-99) he reacts with great anger. He immediately addresses Othello as a ‘foul thief’ and refers to him as the devil in Shakespearian times due to ‘damned’. He goes on to imply that Othello has bewitched his daughter in ‘chains on magic’, again emphasising his implication of Othello being a creature similar to the devil. As religion was of incredible importance to everyone in society contextually, this would be incredibly offensive. Brabantio contrasts Othello with the idealised image of a man that his daughter should desire – a ‘wealthy curled darling of our nation’ not a ‘sooty bosom’. Again, this racial slur diminishes Othello purely because of his race, his soul is not considered anything of worthy quality – for it is that that Desdemona loves so greatly.

Othello reacts to Brabantio’s charges (59-91) calmly. Even after Brabantio and his men dominate the stage Othello states that they should just talk and not fight, even seconds from death he is extremely confident as he states ‘keep up your bright swords, for the dew will rust them’. Othello has a clear conscience and honourable nature, shown through his calm actions and request for the opportunity to answer the charges made against him – ‘to answer this your charge’.

Othello Act 1 Scene 3 (45-225)                                                                               

The Duke and senators speak of Othello in racial language, but they also highlight his determination. For example the first senator addresses Othello as ‘the valiant moor’. The duke continues to use the word ‘valiant’ to describe Othello, contrasting Iago’s earlier depiction of him.  The senator refers to Othello as "Moor", which immediately isolates him. He doesn't need to be referred to by his name as Brabantio is, as there are no other Moors. The Duke's utterance (valiant) shows how important Othello is to the Venesian cause: without a word of greeting, he jumps to their need to ‘straight employ’ him against the ‘Ottoman’.

Brabantio speaks of his daughter (58-106) hyperbolically again. His grief is so immense that it feeds upon other sorrows and remains the same, and is a ‘flood-gate and o'erbearning nature’. He uses a semantic field of witchcraft; ‘spells’ ‘medicines’ and ’mountebanks’ (seller of magical goods). The idea of Desdemona being a possession that can be "stol'n" is also emphasised here. He suggests there is something 'unnatural' in the pairing of her and Othello, ‘nature so preposterously to err’.

We learn of the contextual views towards foreigners/moors within this section.  Brabantio for example assumes with no evidence that a black face is ‘what she feared to look on’ (98). He is blinded by his own prejudices, and he ascribes them to Desdemona, illuminating his ideology that his daughter who could not possibly fall in love with a black man. His reasoning here arises due to racism. Intimate relationships between different races are evil and entered into by good people through witchcraft. His daughter is good and shares his views; therefore, she was forced into this relationship with Othello by witchcraft. Othello also tells the story of his life, perhaps giving reasoning as to why the white dominated community are against him being with a white woman. He states how he was a fighter since his early years, he was ‘taken by the insolent foe / And sold to slavery’ (136). Shakespeare makes Othello's story rich in visual detail, but he makes it unclear where the events occurred, distorting geographic facts for dramatic effect. Slave trading was part of general trade along the shipping routes of East and North Africa, and many slaves were sold in markets in the cities of the Middle East. 

Considering the previous line, ‘rude’ (referring to simplistic) seems ironic. This is because Othello's elaborate speech is anything but simple. As we discover later, it was his ability to tell the story of his life that impressed Desdemona. This line can perhaps be seen as a foreshadowing of his tragic flaw; the unconscious belief in his self-deficiency.

Othello shows his loyalty and trust towards Desdemona. He wagers his ‘life’ on her honest word. This is also ironic and foreshadows the end of the play as both him and Desdemona die as a result of Othello’s belief that Desdemona has been dishonest and unfaithful. It is also startling he lets Desdemona speak on his behalf as she is a woman, who should not be listened to in such an important scenario such as the Senate. This is a man’s scene.

During Othello’s speech to Senate, he tells various stories relating to the time he has spent with Desdemona. Othello describes the course his romance took. Desdemona played an active role in the wooing, in ‘She'ld come again’ it shows that she came to him, rather than the typical male approaching the female. Othello begins to repeat himself (She swore, in faith, twas strange, 'twas passing strange,'Twas pitiful, 'twas wondrous pitiful) breaking the flow, as though Othello has lost himself for the moment in nostalgia, showing again the purity of his love, unlike Iago's suggestion.  The repetition of ‘strange’ hints at Othello’s self-deficiency and the idea of the ‘strange’ seems to suggest that looking back, he can't quite believe events fell out as they did.

Othello Act 1 Scene 3 (226-386)

The senators listen to Desdemona  as she attempts to persuade them to allow her to accompany him into the war as a faithful wife. Hence ‘. . . [I]f I be left behind, / A moth of peace, and he go to the war, / The rites for which I love him are bereft me, / And I a heavy interim shall support, / By his dear absence. Let me go with him" (255-259).  Desdemona longs to be with her husband, for the rites of marriage, for sexual intimacy, and she finishes with a direct request: ‘let me go with him’.

The Duke notes to Brabantio, Othello ‘is far more fair than black’ this praises Othello but is also a simultaneously racist comment.

Brabantio uses the rhyming couplet ‘Look to her, Moor, have a quick eye to see: / She has deceiv'd her father, may do thee.’ (292-293). These words to Othello in this scene are of high importantance. They are ironic and provide an example of dramatic presaging. Desdemona does not deceive Othello, but in short time Othello will be so convinced that she has deceived him that he will murder her. Othello's reply to Brabantio is likewise ironic: He vows, ‘my life upon her faith!’ (295). Shortly, he will in fact take his own life because of his lack of faith in her faith.

Roderigo is so distraught as he believes he is so deeply in love with Desdemona. Iago attempts to convince him to keep going by using masculinity as a weapon against him. Iago mocks Roderigo in response to his comment about not being able to live without Desdemona (‘when death is our physician’) by comparing him to a horny animal (baboon) to gain the audience’s humour. He effectively tells him to ‘man up’ from a modern day perspective as a respected man would rather have a multitude of women rather than just the one. Iago appeals towards the inner sexual nature of Roderigo through his speech – he disregards emotion and takes a more primal, animalistic stance on attitudes towards women. According to Iago, bodies are built for one thing: sex. He advices Roderigo to sleep with beautiful women (‘lettuce’) or horrible women (‘nettles’) for it does not matter, he can have a taste of the whole ‘gender of herbs’ if he wishes. Iago’s final repetition of ‘put money in thy purse’ outlines his motivation for his actions, he needs Roderigo to keep it together in order to keep the mechanics of his plan adequately functioning.

In the ending soliloquy of the act, Iago introduces a second motive for his hatred of Othello, whilst outlining his plan and motivation. He states that it is common knowledge that the Moor 'twixt my sheets . . . [has] done my office’ (393-394) and, for Iago, ‘mere suspicion . . . will do . . . for surety’ (395-396). There is absolutely no evidence anywhere in the play to indicate that Othello has had an affair with Emilia, thus leading us to the conclusion that Iago must be mentally deranged in some manner, he is also unconcerned about this rumour. This point is emphasised further through ‘but for my sport and profit’, Iago is only doing this to satisfy his own sense of humour. Iago goes on to reveal his next malicious plan of action. As he is aware that Othello trusts him, he will use this trust to manipulate the Moor into believing that Cassio is ‘too familiar’ (402) with Desdemona, the moor’s ‘free and honest nature’ will allow him to do so. Othello has already revealed that he knows ‘little of this great world … [except that which] pertains to feats of broils and battle’ (86-87), so Iago plans to use this against him. He is also convinced his plan will bring him success as Cassio supposedly has the power to make all husbands jealous (‘framed to make women false’). The final couplet contains the reference ‘hell and night’ (409) and to ‘monstrous birth’ (410), here we sense Iago gleeful and Machiavellian; we see all too clearly the unnaturalness and the diabolical elements of his plans to destroy the union of Othello and Desdemona.