Iago demands the audiences complicity: we cannot help being fascinated by him Evaluate this view by exploring the dramatic impact of Iago in Othello

Brabantio and Roderigo think badly of him. The fact that the opening act does not feature an appearance from the title character shows that Shakespeare wanted the audience to see how the other characters talk about him when he is not around. Iago does not bother hiding his contempt of Othello from the audience, openly referring to Othello as ‘the moor’. Iago takes advantage of Roderigo, taking his money and jewellery, promising to give them to Desdemona. Roderigo’s weak character makes it easy for Iago to take him under his wing and force him to do his dirty work e.g. fighting Cassio in act two, scene three. Iago is the only character who openly speaks his mind in public e.g. his opinion about women. Iago never hides the fact that he does not think much of women, openly saying in front of Desdemona ‘players in your housewifery and housewives in your beds.’ Iago suggests that women are hypocritical and contradictory.Iago’s treatment of Emila also has a dramatic impact on the play. Iago treats Emilia as if she is his personal servant rather than his wife as he instructs her to bring him Desdemona’s handkerchief and once he receives it quickly sends her away without thanking her or showing any kind of affection. Iago says to Emilia ‘I have use for it. go leave me’ showing that he is not very affectionate or polite to his wife. The line distribution between Emilia and Iago during the beginning of act three, scene three is unequal with Emilia questioning Iago’s motives for wanting the handkerchief and Iago giving Emilia short abrupt answers. Iago’s unnerving attitude towards the end of the play shows when he kills Emilia when she finds out that he was the cause for Othello’s jealousy and Desdemona’s tragic death. Even though Iago is shown to be a skilled manipulator and plans to take revenge against Othello, his aims become pretty unclear when he speaks of ‘the removing of Cassio’. At the beginning, Iago’s plan was to take revenge on Othello, but then allows the deaths of several characters to take place. It is never clear at any point in the play why Iago would want Cassio and Desdemona to die. Othello predominantly follows Iago thoughts and ideas, making him the central character. The critic Ruth Counting says ‘Iago’s destructive cruelty has seemed to many characters to be inadequately motivated’. This shows that many regard Iago’s motives for revenge to be weak. However, it can be noted that the emotions that Iago expresses to the audience as purely hatred, suggesting that Iago is so consumed with hatred that he allows Desdemona and Cassio’s deaths to happen alongside destroying Othello’s life. Although, when Iago is apprehended in the final scene, he is silent throughout the act which could suggest that he is defeated or that the impact of his actions have finally dawning on him. The last time Iago speaks in the play is ‘I bleed sir, but not killed’. could be seen as defiant which could be Iago inferring that his revenge was worth it as his life is saved and gets to see the affects of his actions after his plan is complete. Iago posses very skilled social skills. He knows exactly what to say and when not to, and when to heavily lay on compliments. Iago uses flattery on Othello to show that he is on his side ‘my lord, you know I love you’. He makes it easy for Othello and the other characters to believe that he is someone that they can trust and confide in. Iago also makes it seem like he is reluctant to reveal Desdemona and Cassio’s affair to Othello, purposely not answering Othello’s questions. Iago can be seen as a puppet master as the other characters react and act exactly how he wants them to e.g. Cassio becoming embarrassed when Othello enters the room, making Othello think that he is leaving out of guilt and that he is really having an affair with Desdemona. Iago revealing his thoughts to the audience adds to the dramatic impact of the play as the audience already know what is going to happen or what should happen before the other characters do, making it tense and exciting. The sexual imagery is present throughout as Iago shows himself to be obsessed. Iago uses sexual imagery both times to make both Brabantio and Othello angry. Iago first cruel describes Othello and Desdemona ‘making the beast with two backs’ to Brabantio to make him angry at Desdemona for getting married to a black man and then later describes Cassio and Desdemona in bed together to anger Othello. Iago seems to get a sick pleasure from describing sexual acts to other people to make them angry. Iago describing sexual acts to Othello seems to make the affair a realistic idea to him, which could link back to the fact that Iago is a skilled manipulator. Once Iago’s revenge is complete, he does not seem to show any remorse showing that he could have simply always have been a bitter and unhappy person.Overall, Iago adds to the dramatic impact in a number of different ways as he shows himself to be a skilled manipulator, making the other characters do something they would not usually do. Iago’s effective storytelling leaves everyone utterly convinced. As well as being a skilled manipulator, Iago is a skilled actor, playing several different roles to fit in with each scene. Iago is never once suspected and is generally well trusted as presents a shoulder to cry on for Cassio and moral support for Othello. Iago is allowed to see their vulnerable sides which allow him to toy with their insecurities. Ultimately, it could be said that Othello would not be the same play if Iago was not one of the central characters and he did not present soliloquies to the audience. Iago causes a big dramatic impact in the play.