Othello: Act II

Othello: the Moor of Venice
William Shakespeare

Again, the cunning of Iago becomes even more complex.  In this instance, Iago once again manipulates others to create a conflict in which Othello's relationship would be threatened.  Dramatic irony highlights the manner in which Iago manipulated Cassio and Montano.

The barbaric Turk has been beaten back at sea back to Turkeyland (it's not offensive; that's what Europeans used to call Turkey). It is time to celebrate!  However, Cassio knows celebratory drinking will invariably lead to a brawl ending celebration in punishment.  Nevertheless, Iago pressures him into compromising his position in the military by taking a drink.  One instance of dramatic irony comes in Iago's commission of Roderigo to pick a fight with Cassio which further reinforces Iago's habit of setting traps for others to fall into.

However, the more significant instance of dramatic irony comes when Iago tells Montano of Cassio's supposed alcoholism.  Again, Cassio does indeed have a problem with drinking, but drinking habitually is not a factor.  Iago's scheme comes to fruition when Cassio brawls with Roderigo and stabs Montano.  Then, when Othello interrogates Iago, he once again ingratiates himself to the party he recently jeopardized: "I had rather have this tongue cut from my mouth Than it should do offense to Michael Cassio," (II.iii.200-201).  While others act as pawns in Iago's game, he arrogantly avoids suspicion by claiming to be laboring on everyone's behalf.  Dramatic irony paints Iago as a puppet master who pulls the strings on the hapless toys.