Othello Manipulation Quotes

Tush! never tell me; I take it much unkindly
That thou, Iago, who hast had my purse
As if the strings were thine, shouldst know of this.

– William Shakespeare

Othello, Act 1, Scene 1. The opening lines of the play are spoken by the gullible simpleton Roderigo, who has more money than brains. This wealthy young man allows himself to become an instrument in the sinister villain Iago’s plan to bring about the downfall of Venice’s black army general Othello. Roderigo loves Desdemona and has been giving Iago large sums of money to buy expensive gifts for her so that Roderigo can win her love. But Roderigo is a disappointed suitor, the "this" he refers to is the news that Othello has eloped with Desdemona. From the very opening of the play, we see Iago’s evil manipulation at work. In a simile, Roderigo says that Iago has control of his money as if the drawstrings on his purse were Iago’s.

Call up her father,
Rouse him: make after him, poison his delight,
Proclaim him in the streets; incense her kinsmen,
And, though he in a fertile climate dwell,
Plague him with flies: though that his joy be joy,
Yet throw such changes of vexation on ‘t,
As it may lose some colour.

– William Shakespeare

Othello, Act 1, Scene 1. In his bid to ruin Othello, a vindictive Iago hatches a malevolent plan to recruit the easily manipulable Roderigo to do his dirty work for him. He incites Roderigo to wake up Desdemona’s father in order to destroy Othello’s marital bliss and enrage her family by shouting in the streets about the pair’s secret marriage. Iago’s use of poison and plague imagery and metaphor associates him with corruption and disease and foreshadows how he will poison Othello’s mind in Act 3. His racism is also suggested in his wish that the black Othello’s joy will "lose some colour."
Iago old black ram quote about Othello

Even now, now, very now, an old black ram
Is tupping your white ewe.

– William Shakespeare

Othello, Act 1, Scene 1. Shakespeare’s most notorious villains Iago is a manipulative, sinister and destructive character. He uses an inflammatory animal and racist metaphor to compare Othello to a "black ram," and another metaphor to describe Desdemona as a "white ewe." Iago is shouting this to Desdemona’s father Brabantio in order to incite his rage against Othello. He dehumanizes the black Othello and portrays the match between him and the white or pure Desdemona as something unnatural. “Tupping” is an old English slang word for having sex, and Iago uses it here to convey something dirty and vulgar. Iago also sees Desdemona as Brabantio’s property – "your white ewe" – which is in keeping with Iago’s sexism and low regard for women. Iago’s hatred of Othello is evident here.

Arise, arise;
Awake the snorting citizens with the bell,
Or else the devil will make a grandsire of you.

– William Shakespeare

Othello, Act 1, Scene 1. Iago shouts this out in the street at night in front of Brabantio’s house. Using a metaphor, he suggests to Brabantio that the "devil" Othello will make his daughter Desdemona pregnant, so that Brabantio will be grandfather to an evil devil child. The malevolent Iago is displaying his racial prejudice here, as he attempts to whip up a father’s anger against his daughter’s elopement with the black Othello.

Zounds, sir, you are one of those that will not serve God, if the devil bid you. Because we come to do you service and you think we are ruffians, you’ll have your daughter covered with a Barbary horse; you’ll have your nephews neigh to you; you’ll have coursers for cousins and gennets for germans.

– William Shakespeare

Othello, Act 1, Scene 1. Brabantio appears at his window to hear a voice shouting up to him from the dark below. It is Iago, hidden in the shadows, using racist language and a vulgar and insulting animal metaphor to tell him that his daughter Desdemona is being ravished by a "Barbary horse" – Othello. The Barbary horse is a North Africal breed of horse. Master maniplator Iago, in his bid to set Brabantio against Othello, warns that Brabantio’s grandsons will be beasts too.

And spoke such scurvy and provoking terms
Against your honour
That, with the little godliness I have,
I did full hard forbear him.

– William Shakespeare

Othello, Act 1, Scene 2. Iago tells Othello that Brabantio insulted the general’s honor and he had to restrain himself from hurting Brabantio. Iago is of course lying because he is trying to manipulate and provoke Othello into attacking Brabantio. A two-faced Iago puts on the appearance of loyalty to Othello, when we know that he has nothing but hatred for him. Othello appears not to see through the facade Iago hides behind, setting himself up for a tragic downfall. It is ironic for Iago to speak of his "godliness," when we know that he is a villain with no morals.

That the magnifico is much beloved,
And hath in his effect a voice potential
As double as the Duke’s. He will divorce you
Or put upon you what restraint or grievance
The law, with all his might to enforce it on,
Will give him cable.

– William Shakespeare

Othello, Act 1, Scene 2. Iago advises Othello that the powerful Venetian Senator Brabantio can use his considerable influence to force him and Desdemona to divorce. The master puppeteer and manipulator is putting on a show of sympathy for Othello in order to gain his trust.

O thou foul thief, where hast thou stow’d my daughter?
Damned as thou art, thou hast enchanted her!
For I’ll refer me to all things of sense,
If she in chains of magic were not bound,
Whether a maid so tender, fair, and happy,
So opposite to marriage that she shunned
The wealthy curlèd darlings of our nation,
Would ever have, t’ incur a general mock,
Run from her guardage to the sooty bosom
Of such a thing as thou – to fear, not to delight!
Judge me the world, if ’tis not gross in sense
That thou hast practiced on her with foul charms,
Abused her delicate youth with drugs or minerals
That weakens motion.

– William Shakespeare

Othello, Act 1, Scene 2. Brabantio, in his first encounter with Othello in the play, claims that Othello must have used witchcraft to manipulate Desdemona and get her to elope with him. In a metaphor, he likens Othello’s spell to chains used to enshare his daughter. Brabantio shows racial prejudice and hatred towards Othello. He remarks that a beautiful and fair-skinned virgin girl who shunned Venice’s wealthy handsome men would never risk her reputation to run to Othello’s "sooty bosom" unless he used "foul charms" on her. He dehumanizes Othello by calling him a "thing" rather than a person. Gender roles of the time are also reinforced, as Brabantio speaks of Desdemona as a possession, "stow’d" somewhere by the "foul thief" Othello.

Come, be a man. Drown thyself! drown cats and blind puppies. I have professed me thy friend and I confess me knit to thy deserving with cables of perdurable toughness; I could never better stead thee than now. Put money in thy purse.

– William Shakespeare

Othello, Act 1, Scene 3. Iago appears to care for Roderigo and be his friend. He offers advice after Roderigo’s talk of drowning himself over his unrequited love for Desdemona. He urges Roderigo to be a man and says that drowning is for cats and blind puppies, not for a man like him. Iago in a metaphor compares their bond of friendship to indestructable cables that knit them together. He advises Roderigo to get some money and follow the army to Cyprus, forecasting that the love between Othello and Desdemona will not last long. The reality is that masterful manipulator Iago is using Roderigo as part of his plan to exact revenge on Othello and also to get Roderigo’s money for himself.

Thou art sure of me: – go, make money: – I have told thee often, and I re-tell thee again and again, I hate the Moor: my cause is hearted; thine hath no less reason. Let us be conjunctive in our revenge against him: if thou canst cuckold him, thou dost thyself a pleasure, me a sport. There are many events in the womb of time which will be delivered.

– William Shakespeare

Othello, Act 1, Scene 3. Iago responds to Roderigo’s question as to whether he can trust him. Assuring him that he can, he reiterates his hatred for Othello. Like a puppet master Iago pulls Roderigo’s strings to entice him to be his partner in crime in his revenge plot against Othello and Cassio. He grooms the weak and simple-minded Roderigo, luring him with promises of a future and sexual fulfillment with his heart’s desire Desdemona. In a metaphor, Iago compares time to a womb which will deliver these promises.

Thus do I ever make my fool my purse:
For I mine own gain’d knowledge should profane,
If I would time expend with such a snipe.
But for my sport and profit.

– William Shakespeare

Othello, Act 1, Scene 3. Soliloquies can reveal a lot about the character of the person who speaks them. In Iago’s first he sneeringly refers to Roderigo as a fool, having just convinced him to sell all his land, so Iago can further enrich himself. Using metaphors he compares Roderigo to "my purse" and "a snipe," admitting that he only spends time with this idiot to use him as a cash cow and for his amusement. Iago’s deceptive and treacherous nature is on full show here, as he manipulates Roderigo into handing over large sums of money, supposedly to purchase gifts for and win the affections of Desdemona, but instead it is pocketed by Iago.

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 th’ nose
As asses are.

– William Shakespeare

Othello, Act 1, Scene 3. In his first soliloquy, Iago reveals how he likes to take advantage of people’s good nature to use it against them. He admits that Othello is a trusting person who thinks that those who appear to be honest, like Iago, are indeed so. Iago declares his intention to use Othello’s gullible nature to manipulate him and he contemptuously compares him in a simile to an ass that can be led by the hose. Iago’s hatred of Othello is on full display here.

He takes her by the palm: ay, well said, whisper: with as little a web as this will I ensnare as great a fly as Cassio. Ay, smile upon her, do; I will gyve thee in thine own courtship.

– William Shakespeare

Othello, Act 2, Scene 1. Iago in an aside reveals that he will use Cassio’s reputation for gallantry with women to suggest he is having an affair with Desdemona. He plans to use Cassio’s good manners in kissing Desdemona’s hand to compromise him. In a metaphor he compares himself to a spider and Cassio the fly that will be trapped in his web. This is one of the many examples of animal imagery in the play.

Besides, the knave is handsome, young, and hath all those requisites in him that folly and green minds look after: a pestilent complete knave; and the woman hath found him already.

– William Shakespeare

Othello, Act 2, Scene 1. Iago is trying to convince Roderigo that Desdemona will soon leave Othello and may be having an affair with Cassio. The charming Cassio, he claims, has all the bad boy qualities that foolish young ladies look for in a man and Desdemona already likes him. Iago is trying to manipulate Roderigo, who is infatuated with Desdemona, and use him for his own purposes.

IAGO: He hath not yet made wanton the night with her; and she is sport for Jove.
CASSIO: She’s a most exquisite lady.
IAGO: And, I’ll warrant her, fun of game.
CASSIO: Indeed, she’s a most fresh and delicate creature.
IAGO: What an eye she has! methinks it sounds a parley of provocation.
CASSIO: An inviting eye; and yet methinks right modest.
IAGO: And when she speaks, is it not an alarum to love?
CASSIO: She is indeed perfection.
IAGO: Well, happiness to their sheets! Come, lieutenant, I have a stoup of wine; and here without are a brace of Cyprus gallants that would fain have a measure to the health of black Othello.

– William Shakespeare

Othello, Act 2, Scene 3. Iago attempts to manipulate Cassio into making sexual advances towards Desdemona. Ever the misogynist, Iago suggests that she is great in bed, looks provocatively at men and is full of game. But Cassio, always the gentleman, shows his respect for women by not rising to the bait. Instead he says that Desdemona has a "modest" eye, is "most exquisite" and "indeed perfection." He refuses to rise to Iago’s bait and speak of her as a sexual object. Iago then proceeds with his plan to get Cassio drunk on wine, by inviting him to toast his boss Othello.

If I can fasten but one cup upon him,
With that which he hath drunk to-night already,
He’ll be as full of quarrel and offence
As my young mistress’ dog.

– William Shakespeare

Othello, Act 2, Scene 3. In an aside Iago reveals to the audience his scheme to get Cassio drunk and rowdy, by persuading him to drink more wine on top of what he has had already. He is hoping that Cassio will get into a fight and get himself in trouble with Othello. Iago uses a very apt animal simile, because Cassio will later become like a dog when animal passion overpowers his reason and he becomes involved in a drunken brawl.

He is a soldier fit to stand by Caesar
And give direction: and do but see his vice;
‘Tis to his virtue a just equinox,
The one as long as the other: ’tis pity of him.
I fear the trust Othello puts him in.
On some odd time of his infirmity,
Will shake this island.

– William Shakespeare

Othello, Act 2, Scene 3. Iago is full of praise for Cassio’s skills as a soldier to Montano. But his compliment is a double-edged one. In the same breath he tells the Cyprus Governor that Cassio is as great a drunk as he is a soldier and his drunkenness may cause major problems for Othello in Cyprus. Iago goes on to tell Montano that Cassio gets drunk every night. However, he is lying and knows that Cassio is not a regular drunk, but overindulged on this occasion because Iago manipulated him into doing so. Iago is also manipulating Montano here in order to damage Cassio’s reputation, so that he can take over Cassio’s job as Othello’s lieutenant.

Our general’s wife is now the general: may say so in this respect, for that he hath devoted and given up himself to the contemplation, mark, and denotement of her parts and graces.

– William Shakespeare

Othello, Act 2, Scene 3. Iago is at his manipulative best when he echoes Cassio’s earlier words about Desdemona’s control over her husband, when Cassio called her "Our great captain’s captain." Iago tells him that Othello is so under the spell of his wife’s love that Cassio can get her to intercede on his behalf and help restore his relationship with Othello. But Iago is just using Cassio and Desdemona for his own purposes.

His soul is so enfetter’d to her love,
That she may make, unmake, do what she list,
Even as her appetite shall play the god
With his weak function.

– William Shakespeare

Othello, Act 2, Scene 3. Iago is describing Desdemona’s influence over her husband. In a metaphor, he says that Othello is "enfetter’d" or shackled to her love and will do whatever she says. Iago is using this situation to encourage Cassio to plead with Desdemona to intercede with Othello to get his lieutenant’s job back. This is all part of his evil plan to suggest an inappropriate relationship between Cassio and Desdemona.

For whiles this honest fool
Plies Desdemona to repair his fortune,
And she for him pleads strongly to the Moor,
I’ll pour this pestilence into his ear,
That she repeals him for her body’s lust;
And by how much she strives to do him good,
She shall undo her credit with the Moor.

– William Shakespeare

Othello, Act 2, Scene 3. Iago’s devious plan to bring down Cassio, Desdemona and Othello is revealed in one of the most important passages in the play. He uses a disease metaphor to describe how he will whisper poisonous words into Othello’s ear as Desdemona pleads Cassio’s case to her husband. The treacherous Iago aims to use Cassio’s honesty and Desdemona’s good nature to cast her as an adulteress with Othello’s sacked lieutenant. In this soliloquy Iago is delighted with his own badness.

So will I turn her virtue into pitch,
And out of her own goodness make the net
That shall enmesh them all.

– William Shakespeare

Othello, Act 2, Scene 3. Iago in the final lines of his soliloquy uses metaphors of pitch and net to describe how he will bring about Othello’s downfall. He will turn Desdemona’s goodness in helping Cassio against her and ensnare them all in his diabolical revenge plan. The symbolism of light and dark appears here as Iago speaks of turning Desdemona’s shining virtue into pitch, or sticky black tar.
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