“To fall in love with what she feared to look upon…I therefore vouch again that with some mixtures powerful over the blood, or with some dram conjured to this effect, he wrought upon her.” (Act 1, Scene III, 26)
What is the greatest deception? The greatest deception is one that you yourself come to believe. How does a man who is so devoted to his wife at the first murder her in the end? The deception grew to great! How is Iago so capable of changing a worshipful husband into a murderous one? He employs many wiles, not the least of which is racial and temporal prejudice. Iago is the voice of three characters: Brabantio, Roderigo, and himself. As such, Iago’s prejudices represent the feelings of the Venetian state. His prejudices, as he desires, are echoed by Brabantio, Roderigo, and finally and most injuriously by Othello himself. The theme of prejudice, and how it sets the stage for an easy manipulation will be traced through three sequential episodes in order to dramatize the theme that the greatest deception is one that you yourself believe. For once Othello believes that he is less than Desdemona, alea iacta est! (The die is cast!)
Desdemona’s father, Brabantio, who cannot fathom how his fine upstanding daughter could fall in love with the Moor if not for knavery and wizardry, speaks this opening quote. Brabantio feels that he could not have raised a daughter who could love him, who she “feared to look upon”. It is obvious that Desdemona did not fear to look upon Othello, as evidenced by the quote, “The heavens forbid but that our loves and comforts should increase even as our days do grow.” One must therefore reason that Brabantio is truly the one who “fears to look upon” Othello the Moor. Brabantio is a common bigot whose flame of prejudice is kindled by ignorance and Iago. He is in such denial that he blames witchcraft for the seduction of his daughter.
Othello the Moor is portrayed in such a light by Iago and Brabantio that it seems plausible to the outside observer that Othello just might be capable of witchcraft. But at this point in the play, Othello is still strong and he negates Brabantio’s statement with a biting quote, “She loved me for the dangers I had passed, and I loved her that she did pity them. This is the only witchcraft I have used.” Iago, however, is just beginning his war of attrition on Othello. His main weapon is repeated intimation and speculation. He will paint Othello in the blackest light possible until Othello himself believes that he is inferior.
Othello is worn down more and more by the constant mention of his differences from Desdemona. He refuses at the first to believe any of what Iago says, but Iago’s claims gain more and more credence as Othello, in his own doubting mind, becomes more and more “aware” of the implausibility that Desdemona could love him. Iago uses a sort of preterition when speaking to Othello; that is to say that by supposedly negating something he affirms it twofold. For example by speaking the lines, “Beware, my lord, of jealousy…”, Iago plants the seed of jealousy into Othello’s heart. Now that the seed of jealousy and betrayal are firmly planted into the Moor’s heart, Iago can leave it up to Othello to foster the entwining growth. Iago merely has to water the vine with doubt.
“Haply for I am black and have not those soft parts of conversation that chamberers have, or for I am declined in the vale of years.” Othello has resigned himself to the fact that he is an inferior, as Iago has so poignantly pointed out. He has fallen for the first of Iago’s tricks, and by doing so he is now susceptible to the further deceptions. Because he now sees himself as different that Desdemona, Iago has the capability now to make Othello believe what he will about Desdemona’s supposed indiscretions. By creating a rift between the husband and the wife, Iago can create a mammoth chasm by mere suggestions.
Othello for a moment feels remorse then he hates her for all that she has done. In a Venetian’s eyes, Desdemona’s actions, if they were true, would be viewed upon as inferior to her class, much in the same way that Othello is viewed. It is therefore that he speaks the following lines, “Her name that was as fresh as Dian’s visage, is now begrimed and black as my own face.” How misguided the Moor is! Othello believes now that he has so corrupted Desdemona that she is as base as Iago leads him to believe he is. Othello believes that it is he himself that has wrought Desdemona’s destruction.
Iago is able to transform a doting husband into a murderous villain merely by making Othello feel that he is less than Desdemona. Iago achieves this subordination by means of preying upon the background differences between Othello and Desdemona, most poignantly the fact that they are of two different races. Brabantio, the voice of the ignorant Venetian, cannot fathom how, without witchcraft, Othello has made his daughter fall in love with him. Brabantio’s feelings typify those, which Iago forces upon Othello. Once Othello believes himself less than Desdemona, Iago has an easy job of convincing Othello that she has been unfaithful with Michael Cassio, who has “a person and smooth dispose to be suspected and framed to make women false.” In Othello’s eyes, he is less than Michael Cassio, and thus stands a great threat of losing his wife. The green-eyed monster of jealousy takes over and Iago’s job is done. Othello has fallen prey to the greatest deception, for he himself believes Iago’s slander and in doing so he is driven to murder his innocent wife.
