Roderigo as a character is little more than a tool, created by Shakespeare to advance Iago’s dastardly plot. It is made apparent that his one true goal is simply the object of his desires, Desdemona; his obvious and overpowering love for her tragically leads to his pitiful end. He becomes a puppet to Iago, enslaving himself to the villain’s schemes in pursuit of Desdemona’s acknowledgement and affections. However, what if his willingness to become part of Iago’s plan may not be indicative of a powerful love, but of a lazy infatuation? What if the fact that he is entirely willing to listen to what somebody else says shows a disinterest in trying for himself? Roderigo shows that he is incapable of wooing her himself, perhaps not because he is undesirable, but because he simply doesn’t try as hard as Othello. Roderigo’s enthusiasm to find a safe “instruction manual” into getting Desdemona to love him is clearly indicative of no true dedication.
Roderigo is introduced to the reader exactly as what he is: a patsy. During his entire introductory scene, surprisingly the first of the play, Roderigo takes a blatant backseat to the vastly more intelligent and nefarious Iago. In fact, in his very first line, which is also, interestingly, the first line of the play, Roderigo says “I take it much unkindly/that thou, Iago, who hast hast had my purse/As if the strings were thine, shouldst know of this” (I.i.1-3). This sentence is already showing Roderigo’s half-hearted enthusiasm in the face of Iago’s absolute control, and it doesn’t show much in the way of dedication to a goal. In fact, most readers believe that Roderigo is simply a means by which Iago can exact his plans, a puppet of a much greater mind, and the sad thing is that t...
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...e lacks in virtue or influence he makes up in relevance and metaphor.
The true mystery of Roderigo is rarely ever analyzed by the casual reader, he is simply looked over. He is seen as lovesick, a puppy who tragically listens to the first man offering him his greatest dream. But his willingness to leave his success with his supposed greatest love to another man shows not an act of desperation, but of indifference. He didn’t go to Iago as a last resort, he went as a way to pass the effort off to someone else. Roderigo never shows the initiative to ever talk to Desdemona, he never appears to really even try to do anything in the pursuit of Desdemona… except listen to Iago. His brief moment of rebellion was brought more about what Iago was having him do rather than anything involving Desdemona, and he seems to walk like a lamb to the slaughter that Iago had set.
...e used Roderigo to do his dirty work and without him he would have never been able to compromise Cassio in the first place. Roderigo seems to know Iago the best, possibly having figured out that he may have been betrayed by him, he writes letters he keeps with him which later serve to compromise Iago’s character and motives completely. Iago throughout the whole play feels like he is justified in his actions and does not let sympathy or understanding as a result.
In this quote, Roderigo talks about his misery. He talks about how he has went all this way to Cyprus, spent all of his money, and got beat up. In return, he has got nothing. The reason why Roderigo went through all of this is just for Desdemona. Through all of these actions, Roderigo clearly shows that he loves Desdemona and is desperate to make Desdemona love him. He went through all of these tough times just in hope of getting Desdemona.
For Shakespeare’s Iago, humans are affected by their emotions - these can be empowering or debilitating. Literature naturally mirrors this and within Othello Iago is empowered by Roderigo’s infatuated debilitation. In Act I Scene III, Roderigo is brought into a deep despair due to his inability to court Desdemona. He proclaims, “I will incontinently drown myself”; the hyperbole represents how much he craves for Desdemona. However, Roderigo is not the focal point; it is in fact Iago who feeds off his vulnerability by manipulating him into fighting with Cassio. This represents Iago’s Machiavellian nature in that he is able to make Roderigo give him money as well as bringing Cassio into a state of fury; this is so he is stripped of his Lieutenant rank and in turn promoting Iago to Lieutenant. This parallels what Iago’s monologue at the very end of Act I Scene III is trying to establish; the foreshadowing of the events that will occur. In a way this does allow for the concept that through Iago’s seeming adversity, he has strengthened his motives. On the other hand, Rodrigo’s adversities have led him down a path of turbulence making
	The first scene of Act I illustrates Iago's use of manipulation. Iago knows that Roderigo is upset about losing Desdemona to Othello. Iago himself is angry at Othello for being passed over for promotion to lieutenant for Michael Cassio. Realizing that by playing on Roderigo's jealousy he can gain an ally to work against Othello. Iago does this in a subtle manner. He explains to Roderigo that he was passed up for promotion by Othello. While doing this he makes Othello look inferior by reinforcing the fact that he is a Moor. By pointing out that Othello is a Moor Iago causes Roderigo to become even more jealous, because of the fact that he lost Desdemona to someone who he feels is of a lesser race. It even seems that Iago is toying with Roderigo when he reveals that he is a fraud when he says, "I am not what I am." (I.i.62) By using these tactics, Iago has almost gained total control of Roderigo.
With Roderigo, someone he commands control over, Iago employs pathos, allowing his plan to appeal to Roderigo’s sensitive emotions about Othello. Roderigo and Iago discuss about how each of them despise Othello when Iago says, “If ever I did dream of such a matter, / Abhor me” using pathos to confirm his hatred towards the General (1.2. 5-6). The play commences with Iago employing direct rhetoric and partnering up with Roderigo to enhance a sense of comradery. Harsh language such as “Abhor me”, exemplifies the hateful emotions Iago feels toward Othello as well as enhances the emotions Iago wants to appeal to in Roderigo (1.2. 6). Affecting Roderigo more influentially, Iago uses deeper, more personal pathos, by highlighting the seemingly good qualities in Roderigo. Iago contrasts Roderigo to Othello pointing out, “Let not they discreet heart think it…manners and beauties: all which the/ Moor is defective in” (2.1. 215, 219-220). Firstly, Iago weighs Roderigo’s positive qualities against Othello’s negatives ones, convincing Roderigo to feel more confident with Iago and following along with his scheme. Secondly, Iago alters this rhetoric to include Roderigo’s love interest, Desdemona. By exemplifying a more personal and sensitive side when talking about “manners and beauties”, Iago can create a bigger impact in
Roderigo is consumed by jealousy. Roderigo is jealous of the marriage of Othello and Desdemona. Roderigo loves Desdemona. With romance in Roderigo is able to be controlled by Iago thinking the down fall 0f Othello and Cassio would get Roderigo Desdemona. Roderigo is the biggest pawn Iago possesses. And probably the saddest character in the whole drama.
He foolishly entrusts his new bride to Iago. Iago has already been depicted as an untrustworthy, scheming character and it is quite possible that he will take advantage of the new situation. Iago is straight away introduced as a dubious character. Having his fingers in Roderigo's purse show his interest in money. The language that he uses is vulgar and rude and he has no shame in his deceitful actions.
Roderigo’s Achilles' heel is his love and desire to be with Desdemona. Roderigo had asked Brabantio for Desdemona prior to the first act. Even Brabantio regrets not giving Desdemona to Roderigo, “O, would you had had her” (I.i.174). Iago immediately recognizes Roderigo’s fault and begins to take full advantage of him. It is easy to say that Roderigo was the fool of the play because Iago toys with his emotions, but Roderigo was one of the closest characters to Iago.
Roderigo begins with a small jealousy of Othello for being married to Desdemona. It isn't until Iago makes Roderigo believe Desdemona does not really love Othello that Roderigo becomes destructive. Iago tells Roderigo, "It cannot be that Desdemona should long continue...
One person Iago deceives is Roderigo. Throughout the play, Iago tells him that he hates Othello and that Roderigo should make some money so he could give gifts to Desdemona, who he admires from afar. Thinking that this is sound advice, Roderigo does just that. However, Iago is actually keeping the gifts that Roderigo plans to give Desdemona for himself. Eventually, Roderigo begins to catch on to the act and confronts Iago, but he falls right into Iago’s trap again when he tells him that killing Cassio will help him win over Desdemona. Roderigo is then lead to his death by the hands of "Honest Iago."
Roderigo is foolish and even at times unusually feeble-minded. This explained partially by Roderigo's jealousy: he is infatuated with Desdemona and has been for some time. He is willing to do anything to win her love. He is jealous that Desdemona loves Othello and not him.
Roderigo learns about the elopement of the Moor and Desdemona. He questions Iago in pursuit of the money he has given him in order to woo Desdemona. These lines show that even before the play begins, Iago greatly influences Roderigo. The relationship and trust the two characters have is made apparent through the first lines. Iago takes enjoyment in influencing people, as seen through his first soliloquy.
Iago lulls Roderigo into believing that there is just one more thing standing in the way of Roderigo having Desdemona. Iago understands how to use people. He knows what to say and how to act to influence people’s actions. This is why he is such a terrifying villain. The character of Iago is the perfect mould to start with when crafting the perfect villain.
Shakespeare’s utilization of characterization through personal thoughts illuminates the willingness of Iago to betray during his quest for revenge. While blissfully deceiving Roderigo, Iago’s reveals his
Roderigo blindly follows Iago’s lead and while his contribution to the disaster is minimal at best, he still is able to feed Iago’s desire for revenge, as all the characters do. The only difference between Roderigo and the other characters is how he does it. Roderigo is madly in love with Desdemona and wants her for himself. The first sign of Roderigo’s desires comes from Barbantio when he speaks: “I have charged thee not to haunt my doors:/In honest plainness thou hast heard me say/My daughter is not for thee…”(I, i)