Iago also persuades Desdemona's father Brabanito to hate Othello and distrust his daughter by revealing their secret marriage and describing the situation in graphic and vulgar terms. In this way, Iago is appealing to Brabanito's pathos and ethos. By revealing the relationship and the secrecy, Iago is appealing to his emotions of anger and shock. By describing the relationship in a racist and vulgar manner such as "an old black ram is tupping with your white ewe," he is appealing to his values and morals - he knows that Brabanito does not want his daughter married to a Moor.
Monday, September 27, 2010
Act One: Iago's Persuasion to ethos, pathos, or logos
In Act One, Iago reveals to the audience how masterful he is in the art of persuasion based on his conversations with Roderigo and Brabanito. The play opens with Iago's subtle manipulation of Roderigo, which has huge implications for the end of the scene when he speaks with Roderigo again privately. In the first scene, Iago appeals to the pathos of Roderigo to gain his sympathy and trust. After Iago explains his situation with Othello and his reason for resentment, Roderigo responds by saying, "...I would rather have been his hangman" and that he "would not follow him then." The impact of Iago's long monologues discussing his unjust treatment by Othello are obvious in these two small phrases said by Roderigo: he is sympathizing with Iago and relating the situation back to his own life. Then when Iago describes his plan of revenge for Othello, Roderigo becomes excited and eager to join his plans. By appealing to Roderigo's pathos, Iago transferred his own emotions (anger and revenge) to Roderigo. This proves to be very significant in the last part of Act One when Roderigo (now trusting Iago and seeing them as people in similar situations) says he is so plagued by frustration with his love for Desdemona that he is going to drown himself. In the proceeding conversation, Iago appeals to Roderigo's logos. He exclaims to Roderigo that killing himself over frivolous emotions would be ridiculous and that as his friend he would help him attain the love of Desdemona. Iago sets forth a plan for Roderigo: he will make money so he can go to Cyprus and win the love of Desdemona who will soon grow tired of a Moor - they will both work together to bring revenge on Othello. By creating a plan and convincing Roderigo that he is also invested in this plan, Iago easily manipulates Rodergio by appealing to his logos.
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Iago uses Logos to persuade his friend Roderigo.
ReplyDeleteFirst within the first few lines of the play, Iago needs to convince Roderigo that Cassio is a horrible choice for second in command. As a result, Iago starts citing facts that reflect poorly on Cassio's army ability. For example, on line 23 in Act 1 scene 1, Iago claims that Cassio has "never set a squadron in the field" or in plain terms, Cassio has never actually been involved in battle. Iago is using the inartistic approach of Logos to persuade Roderigo to help in the downfall of Cassio. Later, (as Haley mentioned), Iago also uses the artistic approach of Logos to convince Roderigo; Iago explains, in logical steps, that Roderigo can win the heart of Desdemona by helping remove and later by killing Cassio.
The above posts covered numerous good examples. Another one that I feel is important is Iago's use of ethos and pathos in persuading Cassio to drink, and then in convincing others of his ineptness as lieutenant. Having just defeated the Ottomites/Turkish fleet, Iago uses pathos to appeal to any soldier's desire to celebrate a victory. It is a "night of revels," as he put it (Act 2, Scene 3, line 37). Iago also uses song to reach to Cassio's emotions (line 61-65).
ReplyDeleteIago uses ethos when speaking to Montano. Having served under Othello for a long time, Montano gives him credibility for what he says about Cassio. Iago says Cassio always gets drunk before he sleeps and Iago expresses his fear of the trust Othello puts in him (line 113-118).
I think there's also a great appeal to ethos from Iago. In the first Scene of Act 1, Iago says out right that "I am not what I am" (line 64). Right away, Iago establishes his credibility by being totally candid and honest. He does this later as well later in that same scene on page 152, when Iago tells Roderigo that "I do hate [Othello] as I do hell-pains". Again, Iago establishes his credibility not only to Roderigo but also to the audience.In contrast, Othello has done the exact opposite: he has run off in secret with Desdemona creating a sense of incredibility. Iago also appeals to Ethos and establishes his 'good' character by sharing in responsibility with Roderigo: "Call up her father, rouse him, make after him..." (I.I.63). Here Iago expressed authority and shoulders some of the responsibility. He appears confident to both the audience and Roderigo. Iago uses ethos very effectively in presenting himself both to Roderigo and the audience as authoritative, confident, and credible.
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