Othello and Iago’s Manipulation

“The way to seduce others is to operate on their individual psychologies and weaknesses.” (Robert Greene’s “The 48 Laws of Power”) Iago makes this observation about his superior Othello,”He hath a person and a smooth dispose to be suspected—framed to make women false. The moor is of a free and open nature, that thinks men honest that but seem to be so, and will as tenderly be led by the nose as asses are.” I conclude binarily 1.) That Othello has a mindset framed at accusing women of being unfaithful; and 2.) that he takes mens’ honesty for granted. Now the most striking thing is that Desdemona is as true and loyal as a heart pure, and Iago is as treacherous as they come, but because Iago preys to Othello’s simple-minded perspective, he’s able to manipulate him for his own gain. The first thing in Iago’s equation for treachery is familiarizing himself with the weaknesses of Othello, and he carries out his machinations with a nefarious dexterity all his own. When interacting with Othello in Act 3 Scene 3, Iago acts superlatively reluctant to tell Othello his maliciously construed fabrications about how Cassio is in love with Desdemona; when in reality he would love to have him listen to his lies, but here again Iago is playing to Othello’s weakness of “thinking men honest that but seem to be so.” A good liar usually tells their lie with some sense of confidence and fortitude, but a great liar incorporates other characteristics into to their fabrication, such as reluctance: “Good my lord, pardon me; though I am bound to every act of duty, I am not bound to that [which] all slaves are free to—utter my thoughts? Why, say they are vile and false? As where’s that palace whereinto foul things sometimes intrude not? Who has a breast so pure but some uncleanly apprehensions keep leets [a high court] and law-days in session sit with meditations lawful?” This confident reluctance in Iago’s words and delivery, appear to translate into true honesty to Othello, yet Iago knows the Moor to have an infirmity distinguishing between seeming honesty and true honesty, and he uses this infirmity of Othello’s to cruel proportions; about as cruel as anywhere in the Shakespeare Canon; the suffocation of an innocent and pure and loving wife; the gentle Desdemona.