sequent mystification" (Eagleton 69). Iago's plans are carried out by causing sexual jealousy. The successes of his plans depend on "his pose of unswerving honesty - a pose which none of the other characters, not even his wife, is able to penetrate" (Scragg 52). The other people involved in Iago's plan have no idea what is about to happen to them. Iago uses their ignorance to destroy all of them. " All are oblivious of the false mind behind the honest' mask and of the many specific machinations by which they are victimized" (Evans 116). Even though Iago is accused of all these evil deeds, that are not revealed until the end of the play, it can still be reduced to look like a minute act. "Iago can be reduced to a resourceful intriguer who exposes the hero's weakness to ridicule and devises an appropriate punishment," says Mehl in Shakespeare's Tragedies: An Introduction. In order to first fool Othello, Iago must victimize several other people. "Iago's success in fooling Othello is but the culmination of a series of such betrayals that includes the duping of Roderigo, Brabantio, and Cassio. Each duping is the explanatory image of the other, for in ever case Iago's method and end are the same: he plays on and teases to life some hitherto controlled and concealed dark passion in his victim. In each case he seeks in some way the same end, the symbolic murder of Desdemona, the destruction in some form of the life principle of which she is the major embodiment" ( Tragedies 80-81). Iago thinks that Desdemona is somewhat trying to get a little too far out of her shoes. He thinks that she is trying to have some control in the home. "For Iago the "house" or "home" is the place where a woman belongs, and the notion of displacement elaborates or exaggerates other feminine trespasses against masculine notions of order and propriety" (Garner and Sprengnether 180). "Emilia, too, is accused by Iago of speaking out of place and is remanded ...
