Is a man who plans his every move, anticipating the reaction of his victims and leading them to their ultimate doom, a madman or a scheming, cold-hearted villain? In the play The Tragedy of Othello, the Moor of Venice by William Shakespeare, Iago reveals his impressive and complex plan to bring Othello, his commander, to his tragic demise. Throughout the play, Iago displays extraordinary organizational skills and the ability to strategically use language to deceive many characters, including Othello, Desdemona, Michael Cassio, and Roderigo. On the surface, he appears to have good intentions, giving the characters helpful advice and guidance with their problems. However, it is soon revealed that behind every good intention lies a well-thought-out plan that will destroy the unexpected character, proof that Iago is truly a villain, the master of deception. A madman is foolish and reckless, showing no signs of preparation and instead acting spontaneously in an irrational manner. Iago therefore cannot simply be described as mad. His actions are not unplanned, but are premeditated down to the smallest detail. This is evident during Iago's revealing soliloquies in the play. The first occurs in Act I, scene iii, when Iago explains that his hatred for Othello began when he appointed the inexperienced Michael Cassio as his lieutenant, even after Iago provided Othello with recommendations from three of the Big ones. Additionally, Iago suspects Othello of having slept with his wife, Emilia. Iago then tells the audience his plan to take Roderigo's money and convince the naive Othello that his wife Desdemona is having an affair with Cassio, ultimately destroying Othello. According to Jacobsen, what is most striking about Iago's soliloquies is "the impression...... middle of paper...... there is no doubt that Iago is the true master of deception." Works Cited Caro, Robert V. "Ignatian Discernment And the World of Othello." Crosscurrents 44.3 (nd):332. Literary Reference Center Plus. Internet. April 24, 2014. Christofides, RM “Iago and Equivocation: The Seduction and Damnation of Othello.” Modern Ancient Literary Studies 15.1 (2009): 6. Literary Reference Center Plus. Internet. April 24, 2014.Jacobsen, Ken. "Iago's Art of War: The 'Machiavellian Moment' in Othello." Modern Philology 106.3 (2009): 497-529. Literary Reference Center Plus. Internet. April 24, 2014.Jain, PK “Othello: a tragedy of passion”. Poetcrit 19.1 (2006): 55-59. Literary Reference Center Plus. Internet. April 24, 2014.Shakespeare, William. “The Tragedy of Othello, the Moor of Venice.” The Norton Anthology of English Literature. Ed. general. Stephen Greenblatt. 9th ed. New York: Norton, 2013. 555-635. Print.