Iago admits as much in a covertly ironic statement he makes to Emilia in the final act. Iago promises Roderigo that he shall have Desdemona's love in return for his help; Roderigo actually receives nothing but a disgraced death following his attempt on Cassio's life. She demonstrates as much when she qualifies her scandalous statement about adultery as follows: “who would not make her husband a / cuckold to make him a monarch? One could argue that Iago’s deep-seated misogyny represents the true source of the play’s dramatic action. Iago then immediately orders Roderigo to go ‘make money’, which further emphasizes Iago’s superiority. His obsession with Desdemona enables Iago to carry out is evil narrative. Later in the play Emilia goes on to make additional, subversive statements that go against the grain of the cultural misogyny of the contemporary era. Use up and down arrows to review and enter to select. Iago in particular serves as a mouthpiece for misogyny, frequently making offensive comments about women both in private asides and soliloquies and in public conversations. When Desdemona expresses surprise that the incident with the misplaced handkerchief should cause so much grief, Emilia reminds her mistress that men can always find ways to exploit women for their own purposes. For the best experience on our site, be sure to turn on Javascript in your browser. By entering your email address you agree to receive emails from Shmoop and verify that you are over the age of 13. Referring to the wounding of Cassio and the near slaying of Roderigo, Iago asserts to his wife: “This is the fruits of whoring” (V.i.). Iago takes the jewelry Roderigo thinks he's giving to Desdemona and sells it for a profit. His obsession with Desdemona enables Iago to carry out is evil narrative. ), where “foul pranks” means sexual acts. Iago’s misogyny also rubs off on others, most notably on Othello, who adopts Iago’s hateful vocabulary and refers to both Emilia and Desdemona as “whores.”. Iago admits as much in a covertly ironic statement he makes to Emilia in the final act. Roderigo is a rich, unintelligent guy who thinks that if he sends Desdemona enough expensive presents, she'll fall in love with him. Roderigo. Iago is able to enlist Roderigo's help because of his feelings for Desdemona. In saying this to line Emilia, Iago clearly means that Desdemona’s alleged adultery has led to violence. Roderigo is a Venetian who lusts after Desdemona, and thus a tool in Iago's plots. Roderigo is Iago’s dupe, his fool. Get an answer for 'In Shakespeare's Othello, what strategy does Iago use to enlist Roderigo in his plot against Othello? Not affiliated with Harvard College. Iago advised Othello that they best go in suggesting that Othello should hide from Brabantio, however, Othello shows his courage which leads him to reply not I; I must be found. For the best experience on our site, be sure to turn on Javascript in your browser. All Roderigo does in response is to fall for Iago's smooth talking again and again. However, despite Emilia’s nascent feminism, her worldview remains centered on the importance of male power. In saying this to line Emilia, Iago clearly means … Such an interpretation makes sense when we recall Iago’s suspicion that both Cassio and Othello have slept with Emilia. A strong current of misogyny flows through Othello, and many of the play’s tragic events emerge from this source. He's hired Iago to be his wingman, but Iago basically uses him as a walking ATM.. Iago takes the jewelry Roderigo thinks he's giving to Desdemona and sells it for a profit. In love with Desdemona and prepared to do anything to get her, Roderigo is easily manipulated by the evil Iago. We know that it was Iago who perpetrated these violent acts, so when he characterizes them as “the fruits of whoring,” we can interpret him as covertly admitting responsibility while also denying fault. In Act II he outlines his perception of women as elusive, mercurial, and deceitful: “You are pictures out of doors, bells / in your parlors, wild-cats in your kitchens, saints in / your injuries, devils being offended, players in your / housewifery, and housewives in your beds” (II.i.). I should venture / purgatory for ’t” (IV.iii.). Iago firmly believes that women are universally untrustworthy and sexually deviant. He's hired Iago to be his wingman, but Iago basically uses him as a walking ATM. Later in the same scene he expresses his related suspicions about female sexuality. She explains, “’Tis not a year or two shows us a man. In this sense, then, all of the events in the play unfold from Emilia’s supposed “whoring.” Thus, Iago’s words also serve as a warning to his wife. Iago promises Roderigo that he shall have Desdemona's love in return for his help; Roderigo actually receives nothing but a disgraced death following his attempt on Cassio's life. What were the repercussions of his actions? / They are all but stomachs, and we all but food; / They eat us hungerly, and, when they are full, / They belch us” (III.iv.). What did Roderigo do to affect the other characters? SparkNotes is brought to you by Barnes & Noble. © 2020 Shmoop University Inc | All Rights Reserved | Privacy | Legal. In the end, Roderigo dies—stabbed in the back (appropriately enough) by his wingman Iago. In one of his ironic couplets in “praise” of Desdemona he quips, “There’s none so foul and foolish thereunto / But does foul pranks which fair and wise ones do” (II.i. Although not completely victorious at the conclusion of the play, Iago does … However, the audience also understands Iago’s words in another light. Roderigo does not feel any loyalty towards Othello, who he believes has stolen his love from him. Roderigo is in love with Desdemona and more than willing to take up the cry in informing her father she has run off with Othello. Referring to the wounding of Cassio and the near slaying of Roderigo, Iago asserts to his wife: “This is the fruits of whoring” (V.i.). JavaScript seems to be disabled in your browser. The audience would now be at a point of indecisiveness, where they are forced to accept the scene i characterisation of Othello or the portrayal that the audience directly sees from Othello, himself. Copyright © 1999 - 2020 GradeSaver LLC. Roderigo is a Venetian who lusts after Desdemona, and thus a tool in Iago's plots. Roderigo is a rich, unintelligent guy who thinks that if he sends Desdemona enough expensive presents, she'll fall in love with him. Against Iago’s misogyny, Emilia provides a countervailing critique of women’s inequality. Iago’s schemes however at times seem to work unrealistically well. Visit BN.com to buy new and used textbooks, and check out our award-winning NOOK tablets and eReaders. Iago’s major mistake, ironically, is that he trusted his wife Emilia and found that she was not as trustworthy as he thought. After all, his unfounded suspicion of his wife’s adultery is what initially leads him to desire revenge against the men who have allegedly cuckolded him: Cassio and Othello. In what lines do we learn about Iago's true feeling toward Roderigo?' When Desdemona asks her if she would consider committing adultery “for all the world,” Emilia scandalizes her mistress with her response: “The world’s a huge thing; it is a great prize / For a small vice” (IV.iii.). 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