Here he shows how his manipulation is actually paying off, "[...] He [Othello] holds me well; / the better my purpose shall work on him," (I.3.382). Iago shows his audience yet another motivation for his ensuing treachery in this passage as well. Earlier in the play, Iago spoke about his own jealousy towards Cassio when Othello choose him over Iago for the position Iago desperately wanted. Despite Othello's reasoning behind his decision, Iago's jealousy has obviously not subsided at this point in the play, "Cassio's a proper man. Let me see now: / to get his place, and to plume up my will / in double knavery-" (I.3.384-386). Iago reveals that he will commit double treachery, ruining both Cassio and Othello in his plot to frame Desdemona's betrayal with the innocent Cassio. The last chunk of the passage is where Iago's role as the internal playwright is most emphasized. From the very beginning, he uses his skills of manipulation to contort the events of the play. In this soliloquy, Iago lets loose his plan of action to the audience, "After some time, to abuse Othello's ears / That he is too familiar with his wife," (I.3.387-388). He goes on to continue to forwarn the audience of what is soon to come. Othello has no idea of the oncoming betrayal, and so Iago is still in complete control of his manipulation to convince Othello of his wife's false infidelities with Cassio, "He hath a person and a smooth dispose / to be suspected - framed to make a woman false," (I.3.389-390). The innocently ignorant Othello is pitted against the malicious Iago, who frames Desdemona's betrayal. Despite his more personal relationship with the audience, Iago's own language in describing Othello leads the audience to sympathize with the helpless Othello, "The...

The audience can see how Iago is praying on Othello's trust. Othello is the tragic hero, who despite his initial honesty, is ultimately destroyed. The playwright Iago is the direct effect of Othello's downfall. He, who controls the characters as if he were not one himself, forces them to act in ways unfamiliar to their natural personas, "And [Othello] will as tenderly be led by th'nose / as asses are," (I.3.393-394). The physically strong Othello is no match to the manipulative powers of the deceptive Iago. He is so successful in his deception, that it is not until the end of the play that he is fully exposed. Despite his wife's eventual confession, Iago succeeds in his manipulations, which only the audience knows how much effort he put into crafting, "I have't! It is engenered! Hell and night / Must bring this monstrous birth to the world's light," (I.3.394-3950).
It is through his soliloquies that the audience truly sees Iago for who he really is. Shakespeare uses this technique as a way to open up Iago's twisted mind. Iago's multiple manipulations show the extreme mania of his inner psyche. By implementing the soliloquy, Shakespeare reveals important details about the character who controls the events of the play. Iago is seen for the internal playwright he is. However, Shakespeare does in a sense re-instate his role as the true playwright; Iago is himself betrayed by is wife and is also ultimately ruined at the end of the play. This leaves the true puppet master, William Shakespeare, to finish telling the tale of the ruined Othello and the murdered Desdemona.

Works Cited

Shakespeare, William. Othello. (Complete with exact pages and publication of the version of the First Folio which you used... The line numbers cited in the text do not need to be changed.)