This extract, in Act II and just before Cassio is stripped of his place as Othello's lieutenant, reveals chaotic depths to the deceitful influence of Iago. Here, Shakespeare sets up a complex tableau where Cassio is manipulated by Iago, leaving the audience more frustrated and angry at how Iago has used the character in such a moment of vulnerability. One way an audience may engage in this part of the play is by being mildly amused at the drunken state that has been induced upon Cassio. Cassio, clearly feeling the results of the manufactured revelry, comes to explain how "my [his] right hand, and my [his] left hand" are unnecessary and childishly clumsy when he speaks amidst his drunkenness, making Cassio appear very laughable to the audience. Also, when all those present around him answer him in confirmation that he speaks "well enough," with succinct "well", the audience is taken to a rather ingenuous and unique moment of gaiety within the play. Even towards the end of the extract, during which the audience is most acutely aware of the gravity of the situation, the sudden interruption of Cassio chasing after Roderigo to duel is comedic, as it has been going on behind closed doors. The play's use of Iago's words to further entangle Cassio in deeper social and political water ends with a sobering moment of laughter. Therefore, an audience may respond amused to parts of this extract. What makes the audience aware of the severity of the funhouse is Iago's sly comments, not unusual of his Machiavellian character traits, and are responded to met with a growing sense of apprehension over Iago's remarks to Cassio that he apparently "fears" the most Othello puts in him, which at some point "shake the world." The saying "slyly" verb casts the mysterious manner in which Iago speaks reveals his dangerous, scheming intent to a very much uncertain outcome and audience who are already aware of Iago's plan to an extent. This provokes a sense of outrage in the audience that we may have been blinded to meet with Cassio's calligraphic shortcomings. Moreover, as Iago then says that he "[loves] Cassio well" and wants to "cure him of this evil", we recall the two-sided nature of Iago and that an audience reacts with outrage against the fact that he can utter such meaningless mends in the façade of sincerity. Consequently, the audience starts to feel appalled by the underwhelming situation. Finally, as an audience, we too are frustrated with the ways in which other characters are bound to Iago's cunning web of plays in his own game. The moment Cassio exits, Iago blandly starts to name his intention and prospers in exploiting Cassio's state by hinting to Montano that drink is the prologue to Cassio's sleep-full audience with disgust at his behavior. Later, as he tells Cassio to "go after the lieutenant", it becomes clear he is only using Roderigo for the purpose of his scheme and an audience feels irritated that he can say so while offhand and no one else seems to notice his lies. Again, when Cassio almost is furtively exclaiming "he! what now?", the audience feels further hapless to what is steadily beginning to unravel and horrified at Iago's smug knowledge. Thus, an audience responds with frustration to the perplexed plight of Cassio and Roderigo. Conclusion Humor may well still occur amongst an agitated audience at this stage of the play but the audience are far more aware of Iago's plotting in anger and frustration.