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We have already seen what I call Iago's "pornographic" view of love. Now, in 2.1, we see that Iago will begin to take advantage of others who have a different view of love by using their vulnerability in love to entrap them in his wiles. However, because his own view of love keeps him from entrusting himself to anyone else, Iago will be immune from attack on the ground of love. His fall, when it comes, will be because of poor planning rather than love gone awry.

Iago's Unrelenting Attack on Women

Iago certainly has an unhappy marriage. He criticizes his wife incessantly, beginning with the comment to Cassio that he would have experienced enough if Emilia treats him with her lips the same way she treats Iago with her tongue (2.1.100). He attributes to her an ability to chide him without even talking (2.1.107), and then gives several lines of cutting comments about women in general:

"Come on, come on; you are pictures out a'doors,/ Bells in your parlors, wild-cats in your kitchens,/ Saints in your injuries, devils being offended/ Players in your huswifery, and huswives in your beds (2.1.109-111)."

In sum, "You rise to play, and go to bed to work (2.1.115)." Women, therefore, are play-minded creatures, showing themselves off and incessantly making noise, and then only getting around to work when it is lying on their backs (for prostitution). It is in this context that one can understand Iago's unexpected description of Cassio as "A fellow almost damn'd in a fair wife (1.1.21)." That is, Cassio is cursed by being married.

Desdemona reproaches Iago for his views, and while waiting for Othello to disembark, she engages in a 50-line conversation, in which she seemingly tries to humor him. But the upshot of the throw away lines from 2.1.115-160 is that even the most "deserving woman (2.1.145)" is only worthy to "suckle fools and chronicle small beer (i.e., to tend babies and keep small account records, 2.1.160)."

Taking Note of Cassio

But this light misogynistic banter is replaced by true enmity when Iago notices Cassio taking Desdemona by the hand. Though he had not disapproved of Cassio's kissing his wife on the lips, he sees in this current action of of Cassio an opportunity for his own perfidy:

"He takes her by the palm; ay, well/ said, whisper. With as little a web as this will I ensnare as great a fly as Cassio (2.1.167-169)."

Since one of his goals is to "get his place (1.3.393--replace Cassio as lieutenant)," he must not simply bring down Othello but also discredit Cassio. But notice how he intends to do this. He will take advantage of Cassio's "goodness," so to speak, in order to do this. Cassio is a noble ladies' man, a man who appreciates and honors the feminine. But in Iago's mind he is "fram'd to make women false (1.3.398)." Thus, Iago must exploit this "weakness" in Cassio by making it appear that his outward shows of affection toward women, which Cassio attributes to his "breeding," are really malefic signs of sexual interest in the women. If it is true for a Shakespeare character that a brief conversation alone is sufficient to fall in love ("even so quickly may one catch the plague"--Twelfth Night 1.5.295), why isn't it also true that even so small a gesture as "paddling" with the palm of the hand (2.1.254) can be the means of one's undoing?

Iago's Intention Toward Desdemona

Not only will Iago want to take the natural inclination of Cassio and twist it for his own treacherous designs, but he will also use the good inclinations of Desdemona against her. Indeed, Iago says near the end of Act II,

"So will I turn her (Desdemona's) virtue into pitch,/ And out of her own goodness make the net/ That shall enmesh them all (2.3.360-362)."

So, he will use the same method toward Desdemona that he will employ against Cassio. Use their virtues to bring them low. That is what makes Iago such a bewitching character. He doesn't try to get people to act "unnaturally," by having them commit an evil to which they are otherwise uninclined. He will, as he says elsewhere, lead Othello by the nose as one might lead an ass (1.3.401-402). The epitome of evil is to take our good instincts and inclinations and so convert or pervert them so that we end up killing the ones we love. That is Iago's ultimate triumph.