In doing this, Iago uses dramatic irony to educate the audience on his deceptive nature, but retain his façade of false appeal to the characters around him; by reducing each of the main characters to an object easily manipulated. Roderigo is described as Iago's purse, Cassio is a simple and handsome pawn easily placed to spark jealousy, and Othello is "As tenderly led by the nose as asses are" painting him as an inhuman figure incapable of understanding what is to unfold. Iago's wife Emilia is even referred to as Iago's office, a tool he uses to conduct his business. The conclusion of this soliloquy with a metaphorical comparison of Othello and Desdemona's marriage to a monstrosity in "Hell and night, must bring this monstrous birth to the world's light," which Shakespeare uses as a tool to position the audience against or alongside Iago's ideology depending on which faction they have aligned
In doing this, Iago uses dramatic irony to educate the audience on his deceptive nature, but retain his façade of false appeal to the characters around him; by reducing each of the main characters to an object easily manipulated. Roderigo is described as Iago's purse, Cassio is a simple and handsome pawn easily placed to spark jealousy, and Othello is "As tenderly led by the nose as asses are" painting him as an inhuman figure incapable of understanding what is to unfold. Iago's wife Emilia is even referred to as Iago's office, a tool he uses to conduct his business. The conclusion of this soliloquy with a metaphorical comparison of Othello and Desdemona's marriage to a monstrosity in "Hell and night, must bring this monstrous birth to the world's light," which Shakespeare uses as a tool to position the audience against or alongside Iago's ideology depending on which faction they have aligned