This establishes his gullibility. Roderigo now follows a pattern: he first puts his gullibility into question by allowing Iago to overpower every conversation, and by following each of his strategies in the first scene. But in his words with Brabantio, Roderigo now cements his character as "gullible". .
So what should we now make of Iago? Now, this proves Iago's domination over Roderigo. Since Roderigo found Iago to whimper about the funds he paid to persuade Desdemona, we question Iago's intent. Through Roderigo, we first figure out Iago's deception. And between Iago's manipulation of Brabantio and Roderigo, this clearly shows (thus far) his will to regard others as nothing more than a game, so the readers are armed for act two. The second act takes this predilection even further.
In act 2 of the first scene, Iago opens by telling Othello an entirely contrasting story from anything he supported in the previous scene, revealing deception. In front of Othello, he regards Roderigo as a foe, claiming that his "little godliness" (9) restrained his nearly impulsive reaction to "have yerked him here under the ribs" (5), for burdening Brabantio. More deception can be derived as he swears to the Roman God Janus (33): From The Art Institute Online, "Mythography: The Roman God Janus in Myth and Art," .
"The god Janus is often depicted with two faces. Some sources claim that the reason Janus was represented in this peculiar fashion was due to the notion that doors and gates look in two directions. In this way, one of the god's faces could look forward, while the other looked backward." (Loggia.com, Copyright 1997-2002, [www.loggia.com/myth/janus.html]). .
This enforces the double standard he depicts from the opening of this scene entirely. So Iago now earns the readers distrust, but also shows that he is not simply consumed by mere revenge. .
Also in the second scene, Iago, unlike Othello, clearly gains false praise.