Othello IOC Specific
Introduction The passage I have received is Act __ scene __ of Othello. Othello is a play written in ___ by William Shakespeare. It tells the story of ___. This passage is significant due to its eplorations of the themes!. That are dominant thoughout the entire play. At the time time Shakespeare was writing" writing" there were in fact free free blacks in #ngland #ngland $owever" $owever" racism was even more pronounced in Shakespeare%s #ngland than it is in Othello A character like Othello Othello could not have have risen to such ranks ranks in #ngland at the the time Shakespeare%s play is much more progressive than the time in which it was written. Othello even manages to avoid stereotype more effectively than another Shakespearean character like Shylock Stereotypes are linked to Othello by other characters" but he manages to evade them through his nobility and individuality. individuality. Themes &ealousy The imagery associated with the central theme 'ealousy suggests the destructive" terrifying and perhaps unnatural (ualities of this emotion. It is %the green)eyed monster" monster" which doth mock * The meat it feeds o n% +III.,.-/)01" %a monster * 2egot upon itself" born on itself% +III.3.--)41. a strong sense of devouring and being devoured in these images" which fits in with Iago%s description of Othello as being %eaten up with passion%. These lines suggest the eact (uality of Othello%s monumental 'ealousy5 once he becomes convinced that his wife is unfaithful" his 'ealousy does indeed feed itself" leading the hero to behave monstrously. monstrously. &ealousy is also deeply humiliating in Othello; Iago is correct when he says that it is %A passion most unsuiting such a man% as the noble 6oor of 7enice +I7.- .8/1.
There are three eamples of 'ealousy Iago%s personal and professional 'ealousy" which is linked to feelings of envy and sets events in motion5 2ianca%s suspicions" which mirror Othello%s closely5 6oor%s towering 'ealousy" which propels him towards tragedy. ) Iago says says that that hatred hatred and 'ealou 'ealousy sy gnaw at his inward inwards s like like poison5 poison5 his aim is to make make Othello Othello and 9assio 9assio suffer as he suffers because he fears he has been cuckolded. We can never be sure that Iago%s suspicions are true +#milia denies that they are1 but we feel that the ensign ) uses 'ealou 'ealousy sy to ration rationalise alise his devilm devilment. ent. :ike :ike Othell Othello o and 2ianca" 2ianca" his his suspici suspicions ons are groun groundless. dless. What Othello shares with Iago is covetousness5 both men feel 'ealous because they have lost possession of something that they held dear" 'ust as 2ianca fears that she has lost 9assio%s heart to a new lover. 2ecause ;esdemona and #milia insist that they have done nothing to give their husbands cause to be 'ealous" we cannot see 'ealousy see 'ealousy ecept as a negative negative emotion. We We agree with #milia%s #milia%s assessment that it is monstrous5 monstrous5 it destroys destroys love" honour and nobility in those it afflicts. It makes both male protagonists murderous and violent< it is a form of tyranny. tyranny. it is the nature of 'ealousy not to be satisfied. Iago continues plotting against 9assio after he has disgraced him and is not content with disturbing Othello%s peace of mind" he must continue until ;esdemona is dead. 'ealousy as ridiculous ridiculous as well as terrifying terrifying and chaotic. chaotic. Iago%s motives for revenge are surely surely inade(uate and the handkerchief absurdly comes to symbolise ;esdemona%s virtue.
$onour and =evenge 2rabantio%s honour is tarnished by ;esdemona%s elopement. A respectable young woman in -th century Italy or 2ritain could not be married without her family%s knowledge a nd involvement any more than she could today. It would have also been shocking that a girl would marry outside her own society" culture and race" and this would have added to 2rabantio%s loss of honour. ;esdemona is not remotely apologetic or remorseful which increases his shame. The best he can get out of the the situation is that at least they they are married ) it would have been worse if Othello had seduced ;esdemona then refused to marry her. 2ecause his honour has been so thoroughly soiled" 2rabantio chooses to pine away a nd die rather than attempt to live with what is for him an impossible situation. 9assio" who loses honour by losing his good name. $e is so ashamed of his drunken behaviour that at first he cannot even think of asking Othello for his 'ob back and has to be persuaded by Iago. Ironically" Ironically" Iago in Act Two" Two" Scene Two" Two" urges 9assio that a good name means nothing< the opposite argument from that he later gives Othello in Act Three" Scene Three. Othello%s honour is tarnished by the accusation against ;esdemona and this is why he re'ects her so drastically. drastically. Iago deliberately rubs salt into this wound" saying<
'But he that filches from me my good name Robs me of that which not enriches him, And makes me poor indeed. ' +III.,.->0)--1 It is possible that in Othello%s culture" honour killings were commonplace +or even epected1 when a girl%s chastity +if she was single1 or fidelity +if married1 was suspect" and this eplains why he is so ready to kill both 9assio and ;esdemona ) he has no choice. When Othello finds out that ;esdemona is innocent" he must restore both her honour and his own. Iago is responsible for casting the slur on his honour so Othello attacks him. When he fails to kill Iago" the only honourable course of action left is to commit suicide. This is why 9assio says< This did fear, but thought he had no weapon! "or he was great of heart. ' +7.4.,>/)01
Appearance and =eality =eality dramatic irony" irony" vast difference between what appears to be happening from the stand point of its various characters" and what is actually happening +something that only the audience and Iago fully appreciate1. ?rom the outset of the play the audience is made aware that Iago is deceitful and plans revenge on Othello" yet every character in the play is completely blind to this aspect of his character. character. $e is constantly referred to as %honest% and the unconditional trust placed in him enables him to so successfully weave %the net that shall ensnare them all% +III.,.,8@)-1. Iago represents the ability to manipulate the truth and create a distorted image of reality. reality. 9hance events are instantly seied upon and twisted to serve his purpose and" before too long everyone is seeing things in the light by which he presents them. $e uses suggestion and implication" along with his personal knowledge of others to achieve this. 2y telling others what they want to hear he knows he is likely to be taken at his word. 2ecause of the way he has manipulated other people%s perceptions" he can then leave events to unfold for themselves. When Iago%s dishonesty is laid bare" the shock is palpable. $is motivation unclear" unclear" none of the other characters can understand what has prompted him to act this way. $e is finally deprived of his ability to deceive and at this point he vows not to speak again. With only his true self left" there is nothing more for him to say. say.
The State*9ivilisation State*9ivilisation and a nd Order Bolitics and matters of state are important in Othello in that they provide a backdrop to the intensely personally tragedy of the play. #ach of the male characters has their part to play in the state and sometimes personal issues impinge on this. ?or eample" the marriage of ;esdemona and Othello has to be discussed before the senators can decide what to do about the Turks invading 9yprus5 9assio is unable to perform his official role after getting drunk5 and e(ually" Othello has lost interest in matters of state when the senators arrive in 9yprus" so preoccupied is he with the state of his marriage. The play shows a constant conflict between the public and the private and suggests that it is not always possible to separate the two. #ven men of great public standing" who affect the lives of many others" have personal failings and weaknesses. :odovico restores order" venice is order ;iminished by iago One of the themes o f the play is the nature of what people consider to be civilied. Within the world of the play" 7enice 7enice represent the CciviliedC #uropean world and Othello" as a 6oor" is a CbarbarianC or outsider
6en and Women 7arious ideas are eplored through same se and male)female relationships relationships in Othello; se and violence" love and hate" honour and dishonesty" loyalty loyalty and betrayal" trust and suspicion. Bower is also a key factor in all the relationships portrayed. powerful womanhood5 a daughter has deceived her father and asserted her independence from patriarchy by choosing her own husband. The eample set by ;esdemona shows that male)female relationships are to be locus of conflict in this play5 they are about opposition and power. power. Throughout the play we see further power struggles between couples and friends5 Iago vies with ;esdemona for Othello%s ear" ;esdemona and #milia defend themselves against their husbands% suspicions" 2ianca works hard to assert her rights as 9assio%s mistress. Initially" Initially" ;esdemona and Othello stand apart from the other couples in this play because they appear to have an e(ual relationship5 there is no disillusionment or dissatisfaction here. 2ianca and 9assio and #milia and Iago are not happy couplings. The former is clearly an une(ual match between a %customer% +I7. +I7. -.-4@1 who feels a limited affection and a %bauble% +I7.-.-,31" +I7.-.-,31" whose genuine love makes her unhappy. 9assio reveals the limitations limitations of this relationship D which he clearly feels is unworthy in some way ) when he tells 2ianca to be gone because he would not be seen in her company. #milia #milia and Iago have a chilling match. 6arriage has made #milia cynical about male)
female relationships5 she knows she is merely %food% +-l-.3.-@>1 for Iago" acceptable until she disobeys him and refuses to be silent" at which point she is d ismissed as a %7illainous whore% +7.4.4481. +7.4.4481. The misogyny of Iago +and 9assio1 casts a dark shadow over Othello%s relationship with ;esdemona" which seems so bright and full of optimism and delight at the start of the play. ;espite their different social" cultural and racial backgrounds the hero and heroine symbolise a meeting of two minds in Acts I and II. $e loves her for her feminine grace and sympathy" sympathy" she loves him for his masculine heroism. #ssentially" #ssentially" Othello and ;esdemona love each other harmoniously because of the differences they perceive in each other. differences become distorted during the course of the play by an interloper" interloper" a man who cannot bear to see two lovers %well tun%d% +--.-.-0/1. +--.-.-0/1. Othello);esdemona)Iago Othello);esdemona)Iago relationship as a kind of love triangle5 perhaps the e nsign seeks to force Othello to return to the masculine values he embodies as a soldier. lago%s responses to the feminine reveal a miture of fear and loathing. part of his contempt for Othello is located in his fear that ;esdemona has power5 he has been displaced and what%s more" Othello married without his knowledge. We know from his sneering references to ;esdemona as being the general%s %general% +-l.,.,-@1 that he cannot bear the fact that a female now seems to eert power" that he despises Othello for giving into feminine emotions like love. $is relationship with Othello becomes a power struggle in which he attempts to assert his false love over ;esdemona%s true love. $e achieves this by denigrating her" her" by making her voice seem unreliable and his the voice to be believed. This power struggle becomes clearer when we consider the vow he makes at the end of Act III Scene ,. Iago%s hatred destroys Othello%s love" and leads him to assert his masculine power in an overbearing way. The 6oor believes that ;esdemona has begun to assert herself seually in a masculine way5 adultery with 9assio means that the duty she said she owed to him has been subverted. We might see the events of Acts I7 and 7 as an attempt by Othello to rein in his wife and reassert his own power over her< we come to associate masculine love with violence. Iago%s misogyny triumphs5 all the female characters are silenced" their fragile power negated. That they ever had any power in this play is debatable5 they are only ever seen in relation to the male characters" who have the power to describe" define and kill them. #ven in Act I7 Scene , when we see ;esdemona and #milia together" together" the topic of conversation is men a nd how to interpret them. 2ut although the women are d estroyed and the masculine state reasserts itself" masculine power" values and behaviour are not condoned or affirmed by the events of Othello. The masculine hierarchy has lost ;esdemona and her valiant husband" who were its 'ewels" both personally and professionally. Othello%s Othello%s tragedy is that his love" which could have co)eisted peacefully with his military career +the state seems to accept this when they allow Othello and ;esdemona to go to 9yprus together1 is destroyed by the masculine code of one of its basest elements. And finally" finally" it is the women" their characters and actions which are 'ustified. They behave honourably and are vindicated.
Women
• • • • •
Overall" Shakespeare presents us with three female characters D ;esdemona" #milia" and 2ianca. In some way or another" each of these women is depicted as a whore5 2ianca is known as a prostitute" Othello sees ;esdemona as a whore due to IagoEs scheming" and although it is not focused upon" Iago is convinced that Othello has slept with his wife" #milia. Fantley states that it seems as though GShakespeare has written this play simply using the women as convenient ploys of which he can wrap the plot around.H +Fantley" +Fantley" 4@->1. #milia is not enough to compensate for the degradation of women in the p lay. lay. ;esdemona gradually loses her voice voice and independence. When Othello begins to think she is unfaithful" unfaithful" ;esdemona has to convince him that she is an obedient wife. Though Iago is married" he does not have as favorable an impression of women as 9assio does. Women are Cwildcats in your kitchens" saints in your in'uries" devils being offendedH +4.4.--@1 +4.4.--@1 $e even declares that they Crise to play" and go to bed to workG +4.4.--,1 Iago%s perception of women as deceptive" dominating" and lusty colors the way he portrays both #milia and ;esdemona5 both are good women ;esdemona eceedingly so" yet he is able to convince other men that they are anything but what they are.
:ove and =elationships comparing three relationships within the play< Othello ;esdemona" Iago #milia and 9assio 2ianca.
Othello ;esdemona are newlyweds who have come together against all social epectations. She is considerably younger than him" and of a vastly different background" culture and race. $owever" $owever" they are deeply in love and it seems that this is enough to overcome all of the obstacles in their path. Their initial initial trust in each other seems to be unshakeable and is evident in the things they say" for eample" '#y life upon her faith$'
+I.,.401
At first" Othello always speaks of ;esdemona with with the utmost respect and he allows allows her to speak her mind freely to him and others. In turn" ;esdemona fre(uently professes her love for Othello and always behaves in a manner thought to be appropriate for married women of the time. $ow (uickly Iago reduces this apparently watertight marriage to a hollow shell of its former self. Once he sets to work it becomes clear that Othello%s trust in ;esdemona is shaky and can easily be destroyed. 2y Act ?our" Othello describes his wife as" 'that cunning whore of %enice% %enice% +I7.4.//1 Whether Othello%s willingness to take Iago%s word over that of his wife%s tells us more about Othello%s insecurities or Iago%s persuasive abilities is open to debate" but it is clear that what first seemed to be an eample of love triumphing over all barriers is not (uite so strong. Iago and #milia%s marriage is clearly not based on the same romantic love that brought Othello and ;esdemona together. together. In this case there are no eamples of lyrical language and tenderness to indicate how much this couple love each other" indeed there are no outward signs of affection at all. Iago and #milia are rarely alone on stage together and when they are their conversation is about things eternal to their own relationship. When Iago speaks of his wife it is always in unflattering terms and when he speaks to her it is usually to try to make some personal gain. #milia often speaks bitterly of the way men treat women" and one could infer that she is not treated well by her own husband. These bold speeches imply that she is strong and independent" yet she steals ;esdemona%s handkerchief to please Iago" even though she suspects that he plans something sinister. sinister. Jltimately" Jltimately" #milia will die at the hands of her own husband< a man who has shown he r neither love nor respect. This is an empty relationship" which seems to provide no warmth for either party. party.
9assio%s relationship with 2ianca is not revealed until Act Three" long after the audience has formed an impression of him as a well)mannered and courtly man. ;iscovering that he is conducting a n affair with a woman well beneath his station +who may even be a prostitute1 is (uite a surprise. Kow we see a new side to this character who had seemed so wholesome. ?rom 9assio%s point of view" 2ianca is simply a distraction. While he is loving and charming to her face" when she is absent he mocks her openly" openly" and the idea that he should marry her is (uite ridiculous. In short" 9assio is u sing 2ianca and blatantly lying to her. ?or 2ianca%s part" she seems completely unaware of this and accepts his proclamations of love at face value. She wishes to be seen with him in public and appears oblivious to his reluctance for this to happen. 9assio appears to be a true a nd honest lover so she believes this is the reality of their relationship. This relationship relationship is based on false premises and is very much a one)way thing. These three relationships tell us that love may not always be the basis for marriage. In Shakespeare%s time marriage was as much a social arrangement as anything" and crossing social barriers was fraught with opposition and insecurity. =ace and 9olour Strictly speaking" race cannot be considered a theme in the same way that 'ealousy and love are themes in Othello; however" however" it is impossible to arrive at a satisfactory interpretation of the play" its characters and events without considering the way race and colour are presented. As we have seen above" the wealth of imagery of black and white" light and dark suggests that colour is important in this play. It is not possible to define Othello%s race and colour eactly5 critics have argued about Shakespeare%s intentions for his hero5 that he is an African" that he is Arabian" that he is some o ther race. A number number of critics have a lso argued that the hero%s race is irrelevant5 but if this is the case" why did Shakespeare bother to break with dramatic tradition and present a 6oorish hero at allL 2efore Othello black characters in #liabethan drama were usually villains5 the presentation of a noble 6oor must mean something. Some commentators suggest that Shakespeare presents a black hero to introduce the idea of difference. Others argue Othello%s racial origins make him an outsider. 9ertainly we might consider the use of a black hero in relation to two key ideas that are eplored in the play5 dislocation and opposition.
We are presented with at least two opposing views of Othello%s blackness. #arly in the play positive descriptions come from the 6oor himself" who seems proud of his he ritage" the ;uke of 7enice and ;esdemona. The fact that Othello has risen to the important and powerful position of general and is accepted as a distinguished member of 7enetian 7enetian society suggests that the state he serves is at least %colour blind%" prepared to see good in foreigners and accept that they have a useful role to play. play. 2ut it is noticeable that even ;esdemona" who never regrets her marriage and refuses to accept that her love for valiant Othello can ever be tainted" has to eplain her choice5 she defends her marriage by saying she %saw Othello%s visage in his mind% +-.,.4>,15 in other words" she looks past his colour. Is Shakespeare suggesting that Othello is the eception to the rule that black is usually bad" or urging us to see that racial differences do not matter in affairs of the heartL If this is the case" ;esdemona holds a radical point of view5 she is probably the only character in the play who does not view miscegenation with aniety. ;o the ;uke%s words to 2rabantio suggest
cautionL 9onsider the line" %your son in law is far more fair than black% +-.,.40-1. Is this an attempt by the ;uke to ecuse Othello%s blacknessL ;oes this line mean %try to accept your daughter%s marriage because the man she has married is virtuous" even though he is black%L Or is this an eample of another white character pleading for racial toleranceL There is another very negative view of Othello%s blackness" which is undermined because we do not respect the speakers" or at least (uestion their 'udgement. To Iago" =oderigo and 2rabantio Othello%s colour and racial background ) particularly in relation to his marrying a white female ) are alarming. Their references to a %sooty bosom% +-.4.8@1" %the thicklips% +I.-.>1" and %an old black ram% +I.-./81 who practises witchcraft in order to subdue a terrified maiden construct a negative stereotype of the hero. These descriptions are inaccurate. The Othello they describe does not eist" although it is possible to argue that the hero begins to display some of the negative aspects of the stereotype when he is persecuted by Iago5 he is superstitious +the handkerchief1" he is passionate and he does becomes violent. $owever" many would argue that he shares these characteristics with the white devil who torments him. Jltimately" regardless of the pre'udice these characters ) and #milia ) show" we will probably respond to Othello%s blackness positively" even when the hero himself doubts his attractions. $e is more noble and impressive than any of the other male characters in the play and his history is fascinating. We can see why ;esdemona chose Othello and appreciate the uni(ueness of her choice5 is important to remember that the heroine made a very active and positive choice. Othello stresses this when he says %she had eyes and chose me% +III.,.-0415 there is no (uestion that the black hero had to force himself on the white heroine and it is also of course ;esdemona who insists ) publicly ) on being allowed to en'oy her marital rights" not her husband. If Othello%s colour becomes slightly problematic in the second half of the play it is because Iago%s racism is insidious5 he destroys the black)white harmony that eisted and makes the hero behave in a way that we feel is u nnatural for him +Othello finds it almost impossible to re'ect and destroy ;esdemona5 for Iago violence comes easily1. So far as dislocation is concerned" critics have argued that the hero%s tragedy comes about because he can never be anything ecept an outsider5 he is in an untenable position as a black man serving a white patriarchy. These critics would argue that it is absurd of OthelIo to epect to carve out a place for himself in his adopted society because its members will never truly accept him. There are other ideas of dislocation to consider too. We might feel that the black hero is dislocated because he marries a white woman" turning his back on his profession to become a lover)husband. Othello becomes further dislocated when he views his own race negatively" giving in to Iago%s racism. $e himself claims his blackness very directly< CI am black...C +III"iii1 Iago" =oderigo" and 2rabantio establish the early attitudes in the play" and they" of course" readily work with the eisting pre'udices" from Iago%s Cold black ram"C to =oderigo%s Cthick lipsC and 2rabantio%s Csooty bosom.C =acial issues and themes which are at the core of Othello%s story and position are beginning to surface. When =oderigo refers to Othello" he calls him Cthe thick lipsG This singles out one prominent characteristic of Othello%s foreignness and black heritage It displays a racial distrust of Othello based on his color. =oderigo and Iago are not the only characters to display racism when referring to Othello =acism is a pervasive theme within the work" spreading misconceptions and lies about Othello by tying him to incorrect stereotypes. 6agic is another recurrent theme" and here is linked to stereotypes of African peoples as< knowing the black arts of magic being pagans being lusty 2lack is associated with sin" evil" and darkness5 These negative things are also associated to black people" merely because of the color of their skin. The ;uke%s statement is ironic" since Othello is black" but truthful" because his soul is good and light.
6achiavellianism 6achiavellianism is Cthe employment of cunning and duplicity in statecraft or in general conductC. The word comes from the Italian =enaissance diplomat and writer KiccolM 6achiavelli. Iago does what he needs to do to accomplish his goals. $e is willing to resort to lying" cheating and trickery to get what he wants. This is 6achiavellian because he gains power by manipulation of others" such as Othello and ;esdemona" and the ends 'ustify the means. 6achiavelli was into the whole Cfeared but not hatedC deal" which is eactly what Iago was. $e was in a position of friendship with his victims" so he was not hated at all" and yet" like you said" he was feared. $e also used cruelty o get what he wanted. 6achiavelli also figured that a person had to have other (ualities such as mercifulness" faithfulness" humaneness" frankness" and religiousness" but that a pe rson could re'ect them when they didn%t suit his purpose" which is eactly what Iago did. And he also said CThe mob is impressed by appearances" and the world is composed of the mob.C So Iago made himself look good to get followers" and then used his power to get his revenge.
Appearance vs =eality*6isrepresentation 6isrepresentation is a theme that surfaces often through Iago%s villainy $e makes ;esdemona seem like a fickle" lusty woman" which he will soon try to convince Othello of as well. Iago%s speech plays on Othello%s insecurities perfectly $e speaks of Othello%s age" race" and manners as reasons why ;esdemona will grow tired of him" which are also reaons why Othello fears he might lose her. +4.4.4-81 Iago is also a master of temptation" another theme in the story $e is able to figure out eactly what people want" and then drive them to it. =eputation =eputation is a theme in the book that obviously holds some resonance for 9assio Iago also knows the importance of reputation" which is why he makes sure that people see him as ChonestC before anything. C=eputation is a most idle and false imposition"C Iago says< this statement is meant as false consolation to 9assio" and is filled with great irony. =eputation is always of concern when individuals are involved Koble Savage Othello%s trance also marks his descent into the savage Ironically" he becomes the passion)stirred" wicked pagan that others had accused him of being" merely because of his skin color. Iago notes that Othello Cbreaks out into savage madnessC in this fit5 indeed" the primal seems to be taking over the more civilied aspects of Othello. Othello refers to himself as a Chorned man"C ashamed of this descent $ow does the GKoble SavageH relate to OthelloL Othello is introduced to us as a military leader and a 9hristian" both characteristics of a noble G7enetian.H $e has found his place in the society and has portrayed himself to be e(ual to the nobles5 Othello has managed to o vercome the handicaps of being foreign and black. #ven when he is accused of wooing ;esdemona using potions or witchcraft" he conducts himself in a very respectful and mature manner. $owever" one can see how Othello might be compared to a NKoble SavageE as he begins to act out the part of the stereotypical black role assigned to him by Iago and the rest of the society. $e begins to speak and act cruelly during the second half of the play" especially once he realies that his integrity and chastity are at risk of being 'eopardied. Although he is included within the society" his inevitable downfall informs us that he is utterly unable to comprehend the subtle and sophisticated society that he has married into5 this suggests that the 6oor is essentially a NKoble SavageE. $owever" this criticism can be refuted by saying that a man who cares for his honor" is an obsession not of a savage but of a virtuous character who understands and subscribes to the codes of his adopted society. All in all" no matter how hard he tries to fit in" Othello will always be a 6oor. #veryone accepts and respects him until he marries ;esdemona" and then suddenly everyone remembers how NotherE he truly is. Although" Othello does not match perfectly with the term NKoble SavageE as he is included within the aristocratic 7enetian society" his still falls into IagoEs trap and loses his composure" ultimately leading to his demise. ;o you find the idea of a GKoble SavageH offensiveL Why or why notL The word savage has a deep historical contet" and whether it is prefaced by the word NKobleE or N2loodthirstyE it will still remain highly offensive. The term NKoble SavageE" particularly in literature" is used to describe someone who is other and foreign. It is an outright display of racism due to the isolation inflicted upon the individual as well as the discrimination implemented towards them. There is some romanticism involved in the notion as it eplores nature and the beauty in isolation" however" this is not usually highlighted upon when the term NKoble SavageE is used. Characterization and Character Analysis Othello Othello is a play about opposites and opposition" and the many contradictions contained in the play are embodied in the tragic hero. We are aware from the opening scene that there are a number of possible views of Othello5 all the characters hold very specific views of the tragic protagonist and we have to 'udge him in the light of the evidence they present" whilst also taking into account the h ero%s words" actions and idea of himself +which changes1. The hero%s two contradictory roles also need to be considered< we are re(uired to respond to the 6oor as both military man and lover)husband. There are other contradictions to accommodate. Othello occupies contradictory personal and political positions5 he is a trusted
foreign servant +an outsider1" wielding power on behalf of the 7enetian state" who then seeks to become an e(ual member of and participant in that society through marriage. $e is also" of course" a black man in a white world. 2efore he appears on stage we are led to believe that the 6oor is professionally bombastic and proud and personally lascivious +Iago dwells on the general%s abhorrent b lack seuality in the opening scene1. 2ut Othello%s appearance in Act I Scene 4 immediately contradicts this reductive assessment. Instead we see an impressive figure who displays a number of fine (ualities5 openness" sincerity" a natural authority" cool)headedness. Although Othello is not unlike Shakespeare%s other tragic protagonists ) a monarch +ing :ear1" an aspiring monarch +6acbeth1 or a displaced prince +$amlet1 he is nevertheless a worthy figure. Shakespeare stresses the paid mercenary%s nobility. The 6oor is the descendant of a royal line of kings +Othello refers to his birthright when he defends his right to marry ;esdemona1 and has been an impressive military commander. In the early scenes of the play we come to understand that Othello is self)confident but modest" 'ust and generous. $is attributes indicate that we should view him as a hero" as does his customary mode of speech +Othello almost always speaks in verse and is a fine rhetorician" despite his protestations to the contrary1. The focus in this play is" as many critics have suggested" domestic< Othello%s previous history" the Turkish invasion and machinations of the 7enetian state provide the backdrop to an essentially private tragedy. Although the play focuses on the terrible conse(uences of seual 'ealousy" we must not ignore the wider worldly or political dimension of Othello%s tragedy. Othello is proud of his profession and as many critics have noted" his reputation as a soldier is an essential part of the hero%s conception of himself. Indeed" some would argue that the impulse for revenge comes directly out of his need to recover his reputation. A &acobean audience would have understood the weight Othello attaches to his reputation< a man%s honour was etremely important and his wife%s chastity was an integral part of it. When he fears that he has been cuckolded the hero doubts himself and is forced to accommodate a new role" that of duped husband" which his pride will not allow him to accept. It is also possible to argue that Othello%s marriage is a political act +a black soldier marrying a white aristocrat cannot be viewed in any other way" even if" as many would argue" the play suggests it is a good match1 and that the precarious situation in 9yprus contributes directly to Othello%s downfall +Iago is able to take advantage of the fact that 9yprus is in a state of uneasiness following the threat of invasion1. When considering Othello%s blackness it is important to remember that the racist descriptions of the hero are all offered by characters whose 'udgement we do not trust and that ;esdemona is not coerced into marriage5 she defends her choice with her dying breath. :et us consider Othello%s roles and how they are perceived by others more closely. %7aliant Othello% +I.,.301 commands the respect of other respected figures +the ;uke of 7enice" 6ontano1. #ven 2rabantio admired the 6oor as a soldier before he became his son in) law. Although we do not see much evidence of his leadership in 9yprus +ecept in the aftermath of the %(uarrel% between =oderigo and 9assio1 we do not doubt that Othello is a conscientious soldier5 he attempts to ensure that the carousing at his wedding festivities does not get out of hand and inspects the fortifications in the town carefully in Act III Scene 4. We are also encouraged to view Othello%s heroic past ) as ;esdemona and 2rabantio do D as intriguing. Othello possesses a mythical" monumental (uality that cannot be denied. $e speaks and acts powerfully and in a way that inspires confidence in his character throughout the first two acts of the play. The difficulty comes ) and not 'ust for 2rabantio ) in accepting Othello wholeheartedly as a perfect wooer" lover and husband. Bart of this difficulty comes from the fact that he has married ;esdemona in secret5 a covert act that sits uncomfortably with Othello%s protestation that he has nothing to hide after the marriage. $owever" we are not encouraged to dwell on the elopement itself because it (uickly becomes clear that ;esdemona was %half the wooer% +-.,.-81 and the couple speak clearly and honestly about their love" to the council and to each other. Their meeting in 9yprus reveals the intensity and sincerity of their mutual affection. We do not doubt that Othello and ;esdemona make a worthy couple. The ;uke of 7enice seems to recognise Othello%s suitability as a wooer when he says" %I think this tale would win my daughter too% +-.,.-8415 he then seeks to reassure 2rabantio" %Pour son)in)law is far more fair than black% +-.,.40-1. $owever" there are tensions and contradictions that must be admitted" and these tensions arise out of Othello%s attempts to reconcile his roles as soldier and husband. In the senate scene ;esdemona insists that she married Othello to live with him and en'oy her marital %rites% +-.,.4>/1" while her husband d eclares that marriage will not distract him from his duties and that he is not prey to seual passion. We gradually come to (uestion the hero%s self)knowledge on this point5 he may be a resolute and capable general" but the events of the play suggest that he is out of his depth in matters of the heart. We also realise that Othello%s seuality is very important" regardless of the hero%s insistence that he is a sedate middle)aged man who is past the ecesses of youthful passion5 not only because ;esdemona insists on her husband%s seual attractiveness" but also because Othello himself eagerly anticipates the consummation of their marriage +see --.,./)--1. $owever" the mutual erotic attraction between husband and wife dissuades us from accepting Iago%s stereotyped portrait of the 6oor as a lascivious %black ram% +-.-./81. Othello%s seuality is not sinister5 he has not had to force his attentions on ;esdemona.
When Othello greets ;esdemona in 9yprus we get the first hint that the hero is overwhelmed by his love for wife5 he declares that he is almost too happy. Then in Act III Scene , he says that he fears chaos when he is away from ;esdemona. We are now forced to recognise that Othello cannot master his powerful romantic and erotic feelings5 he is in the grip of emotions that he cannot control" even before Iago sets to work on him. But simply" we might be tempted to feel that the rational soldier has become a blind lover. 6any critics would suggest that his inability to come to terms with his new role as husband contributes to Othello%s tragedy. We might also say that the (ualities that served him so well as a soldier contribute to Othello%s demise5 his decisiveness leads him to seek %ocular proof% +IIl.,.,,1 and then when he is presented with that proof his decision to pursue a bloody course is made swiftly. 2ut it is not (uite this simple. Othello suffers acutely from Act III Scene , onwards and does not perhaps give into his feelings of 'ealousy as swiftly as some critics suggest5 he tries many times to persuade himself that ;esdemona is h onest and has second thoughts about murdering her as late as the final scene. And we cannot ignore Iago%s powerful presence. Othello may have a propensity towards 'ealousy +critics are divided on this issue1 but the ensign is immensely plausible and cunning and Othello has no reason not to trust him. There is a good deal of evidence in the play to indicate that the hero is pushed towards tragedy by a ruthless %demi)devil% +7.4.40/1" who takes advantage of his noble nature. We know 'ust how powerful Iago%s influence is because Othello begins to speak and think like the ensign in the second half of the play when his imagination is polluted. We are forced to come to terms with the idea that the hero is not wholly noble5 he is also capable of savagery and crudeness. Jndoubtedly the transformation in Othello is troublesome and awkward (uestions remain. Why does Othello trust Iago more than he trusts his beloved wifeL Why does he believe the worst of 9assio" who has been a trusted friend and colleagueL 2ut we understand that Othello%s conception of h imself has been challenged5 do not forget that Iago cruelly reminds him that he is an outsider and also addresses him as an ordinary" foolish cuckold +see I7.l.>)8,1. Fiven his pride" the hero finds this intolerable. Some critics have suggested that Othello%s readiness to believe Iago is a sign that the hero is naive and rather stupid" and that lack of intellect contributes to his tragedy. Others suggest that he is not on ly out of his depth in love but is also" because of his ba ckground" utterly unable to comprehend the subtle and sophisticated society that he has married into5 these critics suggest that the 6oor is essentially a noble savage. 2ut these readings are unsatisfactory +and racist1 and they also fly in the face of tetual evidence. 2y the time that he descends into murderous 'ealousy we are well ac(uainted with the noble Othello and also recognise that he has been%ensnar%d% +7.4.4001. Othello may begin to act out part of the stereotypical black role assigned to him by Iago in the second half of the play when he speaks and acts cruelly" but we are constantly aware that h e is directly under his ensign%s poisonous influence and is being pulled in many directions. Surely his p reoccupation with honour and chastity are the obsessions not of a savage" but of a virtuous character who understands and subscribes to the codes of his adopted societyL We might also feel that his desire to revenge himself on 9assio and ;esdemona is the terrible result of Othello%s attempt to combine his roles as soldier and lover. When he fears that he has been betrayed by his wife he says woefully" %Othello%s occupation%s goneQ% +III.,.,@15 it is almost as if ;esdemona was the prie he earned for his military victories. She has perhaps replaced his career as the source of his pride and honour5 no wonder he feels her loss so keenly. It is also possible to argue that it is his insistence on the importance of his honour that both redeems and damns Othello. In the final scene he constantly has an eye on his own reputation" which seems inappropriate to many critics. $owever" others would argue that because h e believes he is preventing ;esdemona from deceiving other men Othello is not entirely incorrect to refer to himself an %honourable murderer% +7.4.40-1. Othello also reminds us of his former services to the state in his final speech5 Shakespeare perhaps wishes us to remember that the hero was a worthy man before he was ensnared by Iago. When he commits suicide the tragic protagonist also reaffirms his honour. Othello courageously takes his own life to pay for the crime of killing his honest wife5 in his final lines and final act he is perhaps finally able to reconcile his two contradictory roles5 the soldier kills the faulty lover. So" while it is impossible to condone his actions in Act 7 Scene 4 it is possible to sympathise with and pity the fallen hero. Two ways to eplain Othello< Koble hero who is brought down by a devil 9redulous fool who is out of his depth among the sophisticated 7enetians ) Othello as inherently flawed instead of a stage villain we see a ma'estic" assured" wise" virtuous" elo(uent" splendid individual" almost out of the world of legends" myth" or eotic dreams. $e is a noble hero" a great warrior" a 9hristian" selected to defend 7enice" 9yprus and the 9hristian faith against the infidel Turks. #ven Iago admits Cthat for their souls * Another of his fathom Rability they have none * To lead their business.C +I"i1
;esdemona ;esdemona occupies contradictory positions in Othello; she is both %half the wooer% +I.,.-81 +an active female who makes her own choices ) to marry Othello and to defend 9assio1 and the passive prey or victim. She is abused by four male characters in the play< her father 2rabantio" who mis'udges and then re'ects her5 =oderigo" who seeks an adulterous liaison with her5 Iago" who uses her cruelly to further his own revenge5 and her husband Othello" who ignores her protestations of innocence and then silences her. We might say that Othello shows us how a woman%s character and reputation can be manipulated and distorted by men. :ike Othello" ;esdemona contradicts early descriptions of her character when she first appears in the play. $er father tells us that she is his %'ewel% +I.,.-01" %a maiden never bold" * of spirit% +I.,.0>)1" modest and opposed to marriage" afraid to look on Othello. She emerges from his descriptions as an innocent" shrinking" girlish figure" so we are unprepared for the forthright" brave young woman we see in the senate scene. ;esdemona is not afraid to assert her rights as a married woman and insists openly that she is ready for a seual relationship. There are other echanges in the play that suggest ;esdemona%s seuality. Some critics wonder at her participation in the crude talk with Iago in Act II Scene -" and her reference to :odovico in Act I7 Scene , can seem troublesome. 2ut the heroine%s active seuality is necessary to the play5 Iago is able to make a great deal out of the fact that she deceived her father in order to choose her own husband. 2ut it is important to remember that although ;esdemona has disobeyed her father" she epects to submit to her husband%s authority. She states this eplicitly when she says" %6y heart%s subdued * #ven to the utmost pleasure of my lord<% +I.,.4>-)41. Those who accuse ;esdemona of being an assertive nag also ignore the fact that she only assumes the role of domestic harpy in order to bring about a reconciliation between her husband and 9assio" which she believes is in Othello%s best professional interests. $er %nagging% is playful and loving" her aniousness about Othello%s health touching. 2ut ;esdemona is not the faultless paragon 9assio describes so gallantly5 she lies to Othello about the handkerchief +understandably5 he frightens her with his serious talk about its magical properties1. $owever" by this point" we know that Iago%s sinister plots are working" and the heroine becomes increasingly vulnerable and impotent in each scene that follows. When her husband strikes her publicly she reproaches him briefly +%I have not deserved this%" I7.-.43@1 but then accepts ) and defends D his authority over her" as we see from her discussion with #milia at the start of Act I7 Scene ,. She asserts her loving loyalty and (uestions Othello bravely in Act I7 Scene 4 +see I7.4.,@)/01 but is reduced to dumb misery when her husband calls her %that cunning whore of 7enice% +Iv%4.0-1< %nor answer have I none% she says woefully +I7.4.-@>1" remarking ) girlishly ) that she is %a child at chiding% +I7.4.--1. ;esdemona%s unworldly innocence is emphasised again in Act I7 Scene ,< she cannot believe that a woman would choose to commit adultery. Jltimately the virtuous ;esdemona refuses to blame Othello for her unhappiness< she declares it is her %wretched fortune% +I7.4.-401. She has learned that %men are not gods% +III.3.-301 and this is a disappointment to her. 2ut while ;esdemona submits willingly to the man she chose" she dies valiantly" fighting to be allowed to live and asserting her right to defend herself. She has to be literally silenced. $er final words are intriguing and contradictory. There are many ways of reading them. $as ;esdemona taken control of her own fateL Is she trying to protect her husband in death as she sought to defend him in lifeL Or are these the selfless words of a powerless figure" who acts out the role of innocent victimL $owever we interpret her final words" we will certainly feel that the heroine%s apparent self)abnegation in Act 7 Scene 4 contradicts her earlier assertiveness5 ;esdemona has indeed become a sacrifice. Iago Iago is a compelling and sophisticated villain. $e is part vice" part 6achiaveI and like Shakespeare%s =ichard Ill" seems to be inherently evil. Iago revels in his ability to dissemble and destroy. 2ut while Iago to some etent en'oys having an audience +=oderigo1 and outlines his plots clearly" he is also rather mysterious and unfathomable" especially when he refuses to speak at the end of Othello. Some critics have suggested that Iago is a cold)blooded creature. $e has also been accused of possessing a detached %motiveless malignity%5 in fact" we are offered a number of reasons for the ensign%s plots and plans. At times Iago does perhaps seem to be hunting down his motives" but this does not detract from their eistence. We are presented with a villain who is adept at (uick)wined improvisation +like so many Shakespearean villains1. :ike #dmund in &ing ear, Iago fashions his plots out of the material he has at hand. So what motivates IagoL Brofessional 'ealousy is his initial motive for disgracing 9assio5 but he also admits that he is personally envious of the %daily beauty% in the lieutenant%s life +7.-.-01. In addition to this" he says that he believes 9assio has committed adultery with his wife" #milia. Iago%s relationship with =oderigo is driven by callous ac(uisitiveness and when his %purse% +-.,.,/-1 becomes a dangerous inconvenience" he kills him. $is motives for destroying Othello%s happiness are also driven by negative impulses. Iago is eaten up with seual 'ealousy. $e says he hates Othello because he suspects the general has Ctwit my sheets ... done my office% +-.-.,/)81. After this solilo(uy in Act I Scene - it comes as no surprise to hear him say %nothing can" nor shall content my soul" * Till I am evened with him" wife for wife% +--.-.40)81. And because of this gnawing paranoia" Iago determines to use ;esdemona%s goodness to
%enmesh %em all% +II.,.,>81. $e also holds a grudge against Othello for promoting 9assio over him. We might add misogyny and racism to the motives outlined here5 although he never says eplicitly that he hates women or foreigners" his eceedingly low opinion of them" which comes across in many of his speeches" suggests that Iago wants to degrade those he despises. 6any critics have noted that Iago is propelled to revenge by feelings of frustration and loathing5 he wants those +9assio and Othello1 who have" as he sees it" wounded him personally and professionally" to suffer in the way that he suffers. :ike Othello" he is immensely proud" but his pride is laced with sly vindictiveness while the 6oor is generous and open. $e is also self)contained" egotistical and independent. These (ualities help him in his treacherous (uest. Iago is successful because he can play a number of roles convincingly" and is able to adapt his tone and style to suit any occasion. $e en'oys his ability to hoodwink others into believing he is honest. With 9assio he is bluff" coarse and genial. $e also offers the lieutenant plausible practical advice5 he adopts a similar sympathetic approach when he deals with ;esdemona in Act I7 Scene 4. With 6ontano and :odovico he makes a p oint of stressing that he has Othello%s and the 7enetian state%s best interests at heart. There seems to be an absence of ego in all his dealings with these characters" who are socially and professionally superior to h im. 2ut this is deliberate< with his inferiors +=oderigo and #milia1 Iago can afford to be less circumspect and selfless. $is echanges with =oderigo reveal that the villain as a self)serving and materialistic cynic5 although we know that Iago needs to persuade the foolish 7enetian that he has good reason to be dissatisfied" there is not that much difference between the Iago who speaks alone in his solilo(uies and the Iago who gulls =oderigo. 2oth are dismissive" mean)spirited and boastful. $is brus(ue echange with #milia in Act III Scene , and his threats in Act 7 Scene 4 are also similar5 Iago only bothers to speak to his wife pleasantly when he thinks she has something he wants" otherwise his tone is cold and contemptuous. $is dealings with Othello reveal Iago%s real skill. $is relationship with the general is comple and fascinating. Iago certainly sets out to prove to Othello that his %love% is more honourable than the %super)subtle% 7enetian%s +-.,.,>81. Fradually" the ensign assumes the control and power we associate with Othello5 so successfully that the 6oor even begins to speak and think like his petty" reductive inferior. $ow does the %inhuman dog% +7.-.41 destroy the mind" soul and body of the noble" valiant 6oorL The ensign makes his general believe that he is loyal" conscientious and noble minded +these are of course ) ironically ) Othello%s best (ualities1. $e pretends that he would like to cudgel Othello%s detractors in Act I Scene 4" seems most anious about the conse(uences of the brawl in Act II Scene , and then hesitatingly describes his %friend% 9assio%s part in the evening%s events. $is show of reluctance in Act III Scene , is also devastatingly effective. 2y pretending that he doesn%t wish to divulge his thoughts he manoeuvres himself into a position where he is able to poison Othello%s mind thoroughly. Iago has an acute eye for his victims% weaknesses or flaws and eploits them mercilessly< he is puppetmaster. Iago%s role)playing enables him to become stage manager and dramatist" controlling his victims% fates increasingly effortlessly" until he is unmasked by his wife" whose obedience he +ironically1 took for granted. A good eample of his setting up" directing and then decoding events for his victims occurs in Act I7 Scene -" when Iago persuades Othello to eavesdrop on his conversation with 9assio. The 6oor is not only told what to do5 he is also told how to interpret 9assio%s looks and gestures. Kote Iago%s confident use of commands< enca(e yourself And mark the fleers" the gibes" and notable scorns That dwell in every region of his face5 ?or will make him tell the tale anew Where" how" how oft" how long" and when" $e hath and is again to cope your wife. +I7.-./4)8" leis in italics is for emphasis1 These lines reveal another of Iago%s characteristics" his cruel vulgarity. $e is gleeful and determined as he tortures Othello with the details of 9assio%s supposed liaison with his wife5 he eplores ;esdemona%s supposed infidelity as carefully and thoroughly as he describes his motives5 every fictional look" word" gesture and meeting is relayed in detail by Iago during Acts III and I7. $e is a supremely effective storyteller" as we see in his description of the night he pretends to have spent sharing a bed with 9assio in Act III Scene ,. Fradually" Othello becomes Iago%s unwitting audience as well as his puppet. #ven 9assio seems to become infected by Iago%s cynical and misogynistic outlook5 in Act I7 Scene - he speaks of 2ianca cuttingly and coarsely" acting out the role that Iago has cast him in. =oderigo employs a theatrical metaphor when he grumbles about his lack of progress with ;esdemona. $e accuses Iago of deceiving him with these words< %your words and performance are no kin together% +I7.4.-/3)S1. The wonderful and alarming irony of this is that the foolish =oderigo speaks the truth without having any idea that he has done so. As usual Iago talks =oderigo round in a very short time" leading him away with these decisive words< %I will show you such necessity in his R9assio%s death" that you shall think yourself bound to put it on him% +I7.4.43-)3,1. $e is also lo(uacious with =oderigo. 2ut the ensign also makes effective use of brevity" prevarication and insinuation" as we see in his early dealings with Othello. In spite of his g ifts and acute
assessment of others" many critics would argue that the villain has a very limited understanding of those around him. Others have suggested that Iago recognises others% virtues but perceives them as foolish weaknesses. Although it is possible to analyse Iago%s methods and motives" the villain remains somewhat inscrutable. We feel as if we get close to him because he draws us in through his use of asides and solilo(uies" but at the end of the play he somehow eludes us when he refuses to speak. We are tempted to (uestion the validity of Iago%s motives and are perhaps drawn to considering what really makes him tick5 what lies beneath that corrupt and cynical surfaceL We might also (uestion the villain%s self)knowledge and 'udgement. Some critics feel that Iago%s reductive world view indicates that he is a petty character whose cleverness is limited5 the end of the play proves that you cannot hoodwink everyone all of the time< Iago is foolish to believe that he can. 2ut others who are more sure of Iago%s destructive power point to his silence as proof that the %demidevil% +7.4.40/1 has not been van(uished. When he takes refuge in silence Iago asserts his power in another ho rrible way5 Othello wishes to know why he has been %Berpleed in the etreme% +7.4.,331 and yet the %hellish villain% +7.4.,1 refuses to tell him. Our final assessment of Iago must acknowledge his terrible achievements as well as his ultimate failure5 he succeeds in destroying a marriage and two noble characters" as well as his wife and =oderigo. Iago phonetic affinity of GIagoH and GegoH< Iago is certainly egotistical" egoistic" and egocentric. $e recognies no standard beyond himself5 indeed" he hardly seems to grasp the reality of other people at all" save as tools" marks and dupes always means" never ends. has no motivation5 he is a motivational blank tablet" ontologically not merely epistemologically Setting $istorical contet $istory of the word GmoorH 6oors were seen as a threat to #urope because of their presence in Spain. Shakespeare use the playEs full title ) Othello< The 6oor of 7enice 9assio :ike many of the other characters in Othello, 9assio ) another of Iago%s victims ) can be viewed from different perspectives. In Act I Scene - we are offered a belittling portrait of him by the envious ensign5 he is an ineperienced soldier" a mere %arithmetician% +-.-.-/1 who has been promoted beyond his deserving. We are also informed that 9assio is a ?lorentine ) which makes him an outsider like Othello D and %A fellow almost damned in a fair wife% +-.-.4@1. This seems to be a throwaway remark in the first scene5 but 9assio%s appeal to women is important. Iago is able to manipulate 9assio%s image in the same way that he manipulates ;esdemona%s5 he takes advantage of the lieutenant%s courtesy" recognising that this victim%s weakness lies in the fact that he is %handsome" young and hath all those re(uisites in him that folly and green minds look after%5 in short" Iago is able to make 9assio look as if he is %framed to make women false% +-.,.,081. It is possible to feel that his gallantry is a little overworked on occasions" but essentially the lieutenant is open and sincere in his praise of ;esdemona. In stark contrast to the role of lady)killer that Iago casts him in" 9assio comes across as something of an innocent to begin with. In the first scenes in which he appears he is %Food 6ichael%" %a proper man%" +ll.,.- and -.,.,0-1 an attractive character" especially when compared with the cynical ensign. $e denies any knowledge of Othello%s elopement in Act I Scene 4 and clearly does not share Iago%s crude interpretation of events. In Act II Scene , Iago attempts to discuss the consummation of Othello%s marriage with 9assio in rather vulgar terms +see II.,.-,)4>1 but the lieutenant refuses to be drawn into this saucy delineation of ;esdemona%s charms" insisting simply and courteously that she is %a most e(uisite lady% +--.,.-/1. $is frank admission that he has a weak head for drink immediately after this conversation also suggests his open honesty and innocence" as does his swift and elo(uent remorse once he has lost his position. :ike Othello" he is wretched at the thought that his reputation has been sullied. :ater in the play 9assio%s proper appearance seems to conceal some unsavoury (ualities" which are revealed through his interaction with 2ianca. $is treatment of his mistress is rather callous and it is hard not to 'udge him harshly when he tells her to be gone because he does not want to be found %womaned% +III.3.-031. Berhaps 9assio might even be accused of using women in the same way that Iago does5 he initially hopes to persuade #milia to plead with ;esdemona to intervene on his behalf and then allows ;esdemona to take up his cause. We might also feel that his reluctance to face Othello reveals a rather weak character. $e may not %steal a way so guilty)like% +III.,.,/1 as Iago suggests" but is it not rather spineless to leave the assertion of his worth entirely to ;esdemonaL
$owever" it is essential that 9assio hang back for the purposes of the plot a nd we cannot blame the lieutenant entirely for the course of action he follows< Iago has persuaded him that his best hopes lie in winning ;esdemona over first. And a casual liaison with a young courtesan is not enough to detract from his good (ualities. We have to remember the %daily beauty% +P.-.-01 of his life that Iago detests so much. It is after all 9assio who ) ironically ) replaces Othello as governor of 9yprus at the end of the play. We are forced to conclude that his worthiness outweighs his weakness. #milia #milia shares some of her mistress%s (ualities5 she is a loyal wife who seeks to please her husband +she gives Iago ;esdemona%s handkerchief because she knows he covets it1 and feels that it is proper that she obeys and submits to her spouse. 2ut like ;esdemona #milia also defends herself and her se. She replies sharply when Iago derides women in Act Il Scene -< %Pou shall not write my praise% +II.-.--1. In Act III Scene 3 we see that #milia is more realistic about male) female relationships than ;esdemona. ;iscussing marriage and men she says< %Tis not a year or two shows us a man. They are all but stomachs" and we all but food< They eat us hungerly" and when they are full They belch us. +III 3.-@3)81 It is impossible to imagine ;esdemona speaking in this down)to earth" practical and vulgar tone. As ;esdemona becomes less assertive in the second half of the play #milia%s role becomes more important. She becomes her mistress%s energetic defender" voicing the audience%s outrage at the treatment ;esdemona receives. She is sharp)witted" describing Othello%s destructive 'ealousy accurately. She is also wise without knowing it When she says angrily %The 6oor%s abused by some most villainous knave% +I7.4.-3-1. In the final scene #milia becomes the voice of truth a nd finally stops Iago%s evil progress. It is impossible not to agree with some of her harsh 'udgements of Othello and we know that she is absolutely right to betray Iago. $er final lines reconfirm her own and her mistress%s honesty< So come my soul to bliss as I speak trueQ So speaking as I think" alas" I die. +P.4.43/)01 Pet there are aspects of #milia%s characterisation that give us pause. Why does she give the handkerchief to Iago when she does not know why he wants it and when she also knows that her mistress will %run mad% when she discovers it has gone +ll-.,.,4-1L ;oes she also perhaps suspect her husband before she finally speaks outL 9onsider these lines from Act 7 Scene 4< 7illainy" villainy" villainyQ I think upon%t< I think I smell%t< a villainyQ I thought so then< I%ll kill myself for griefQ +7.4.-/8)01 Some critics argue that #milia has suppressed her suspicions" that her desire to %speak true% comes too late +7.4.43/1. Others point to her horrified repeated (uestion %6y husbandL% +7.4.-,/" -3-" -31 as proof that she is guiltless. $er pragmatism about men and women is also perhaps not far enough removed from Iago%s cynicism. We must be cautious about her defence of adultery in Act III Scene 3. She speaks theoretically here" but her casual acceptance of sin is perhaps an indication that #milia is too crude a moraliser to be relied on completely as a 'udge of Othello%s character in the final scene.
2rabantio In spite of the fact that he has clearly been abused" some modern audiences find it difficult to view 2rabantio favourably. A &acobean audience may have felt his wrongs more deeply" recognising ;esdemona%s elopement as an assault on patriarchy5 like &uliet" the treasured daughter denies her father%s right to dispose of her in marriage as he sees fit. 2rabantio sees this as a %gross revolt% +-.-.-,41 and it leads to his death +we are informed that his daughter%s marriage was %mortal% to him" 7.4.4@,1. So why is it perhaps difficult to sympathise with the abused fatherL 2rabantio has not been an unsympathetic parent5 he has allowed his daughter to re'ect suitable matches and holds her in high esteem
+his descriptions of ;esdemona in the senate scene may not fit with the confident young woman we see when she appears" but 2rabantio recognises her virtues1. We also understand that there has been domestic harmony in 2rabantio%s wealthy home until the elopement occurs< Othello has been entertained often and 2rabantio has been a friendly host. The senator is an important man used to commanding5 ironically" these are (ualities he shares with his son)in)law Othello. We are led to believe that he is a valuable member of the council< the ;uke says that he was missed during the discussions about the Turkish invasion. We might feel" however" that 2rabantio is too harsh" even though his pessimism about his daughter%s marriage proves correct5 he re'ects ;esdemona rather brutally when he finds he has been disobeyed and will not accept a black son)in)law. $e is materialistic5 his use of the word %'ewel% +-.,.-01 to describe ;esdemona suggests that h e regards his daughter as a possession. 2rabantio insults Othello when he accuses him of witchcraft" and his warning to the 6oor" %She has deceived her father" and may thee% +-.,.4031 strikes a sour note. We might feel that his 'udgement is ( uestionable5 he has failed to recognise his daughter%s true character and also refuses to acknowledge Othello%s worth +unlike the rest of the 7enetian senators1. $is immovable unkindness to the lovers prevents us from feeling for him wholeheartedly. $is impatient and dismissive tone with =oderigo in Act I Scene - might also count against him5 particularly when viewed in relation to his later comment about this failed suitor. It is impossible to believe that =oderigo deserves ;esdemona. Jltimately we might see 2rabantio as another of Iago%s victims5 his unfavourable view of his son)in)law is perhaps constructed by the ensign. : ike all the other characters in the play 2rabantio finds it difficult to distinguish between appearances and reality and suffers as a result. =oderigo =oderigo is a gull and a simpleton" whose primary role is to enable the audience to gain insight into Iago%s modus operandi. In his echanges with the %poor trash of 7enice% +II.-.,@-1 the ensign%s cynical world view is revealed. As a disappointed suitor =oderigo also represents the %curled darlings% +-.4./1 that ;esdemona h as re'ected" providing us with a point of comparison with Othello" the successful wooer. $owever" even if we partially sympathise with the view that Othello proves to be" as #milia suggests a %most filthy bargain% +7.4.->,1" we can hardly agree with 2rabantio when he says that he wishes he had given his daughter to =oderigo rather than see her married to the eotic outsider. =oderigo is not worthy of ;esdemona. $e eercises etremely poor 'udgement and his actions are generally despicable5 he shares responsibility with Iago for pre'udicing 2rabantio%s view of his daughter%s elopement" eggs 9assio on to a fight which disrupts order in 9yprus and then participates in an attempt on the lieutenant%s life without feeling entirely convinced that his intended victim deserves to die. We also (uestion =oderigo%s continued pursuit of ;esdemona5 he blindly chases an adulterous liaison and thinks that he can buy his inamorata%s favours with 'ewels. =oderigo%s racist descriptions of Othello also go against him. $owever" there are grounds for believing that =oderigo is corrupted and not wholly bad" merely weak5 lacking resolution or volition" he even has to be directed off stage on a number of occasions. $e is suspicious of Iago" but allows himself to be talked round. $e is the ensign%s first victim. It is possible to see =oderigo as another outsider in Othello; Iago keeps him on the fringes of the action in 7enice and 9yprus" ensuring that he remains powerless. =oderigo can also be played as a comic figure< his description of being cudgelled can be amusing. =oderigo%s miserable end seems a cruel fate5 like Othello he realises the truth about his manipulator too late and pays the price. 2ianca :ike ;esdemona" 2ianca is used and abused by the male characters in Othello. She is only seen in relation to men and is always in a vulnerable position5 Iago maligns he r mercilessly in Act 7 Scene 4 to distract attention from himself and 9assio is prepared to dally with but not marry her. 9ritics (uestion whether 2ianca is in fact a prostitute but 9assio%s description of himself as her %customer% +I7.-.-4@1 suggests that she may well be a courtesan. She is not" however" an ignoble or %low% character and we feel some sympathy for her. 2ianca can be compared with both ;esdemona and #milia and shares some of their (ualities. $er relationship with 9assio is less idealistic than the Othello) ;esdemona match" but she is an affectionate and genuine partner. She too is accused falsely of treacherous behaviour +by Iago1. $er unfounded 'ealousy mirrors Othello%s5 but because she has no power she cannot assert her rights as the wronged party. The handkerchief causes 2ianca the same aniety that it causes the hero. It is worth considering the view of women epressed by Iago in relation to all the female characters in Othello! do any of them provide proof that they are weak minded" foolish" petty or inconstantL There is a strong sense that the women in this play are hapless victims5 2ianca" the least powerful figure in the play" is ) ironically ) the only female survivor. Critical lens ;arwinian Berspective
Katural selection ;arwin that states that the more advantageous the trait or characteristic in a species" the more likely that trait is to be carried on to the offspring. This is the theory of adaptability. :iterary ;arwinism D literary criticism Freek Tragedy ;efined by Aristotle in )oetics" Freek Tragedy is" to a certain etent" the basis of all modern ;rama and :iterature Three =e(uirements Should depict the downfall of an essentially Ngood or admirableE person Should provoke pity and sympathy from the audience The downfall is a result of a flaw in the character of the protagonist $amartia< fatal flaw. The one characteristic of a hero that leads to his downfall D The GAchilles $eelH Anagnorisis< according to Aristotle" a moment of clairvoyant insight or understanding in the mind of the tragic hero as he suddenly comprehends the web of fate that he has entangled himself in. $ubris leads the protagonist to break a moral law5 he will attempt vainly to transcend normal limitations or ignore divine warning with calamitous results5 placing one%s self e(ual to the gods. 9atharsis< An emotional event that serves as purification to restore order. At the end of =omeo and &uliet" the two lovers are dead" but the families reconcile their differences. Beripeteia< A sudden reversal of fortune Language and Literary Analysis - Language in
Othello
#liabethan and &acobean dramatists used language to establish and build dramatic atmosphere" to define time" place and character. 2ut in Othello, language is not simply the medium by which the drama is conveyed< in this play language is action. Othello %falls% because he believes a man whose every utterance is deceptive. When the hero is taken in by false words" tragedy is the result. This play shows us the power of words5 we watch as characters construct their own and others% identities through language" and eert power either b y speaking" remaining silent or silencing others. Othello is written in blank verse and prose. 2lank verse consists of unrhymed iambic pentameters" with five stressed syllables and five unstressed syllables to each line. Shakespeare uses this traditional form fleibly" however" varying the pace of his writing to achieve specific effects. $e also creates specific idioms for each of his characters. If we look at the language of Othello and Iago we can see how the dramatist creates not only character" but also the theme of opposition which is central to the p lay. ?rom his opening speeches in Act I" Scenes 4 and , it is clear that Othello%s characteristic idiom is dignified" measured blank verse. This is appropriate" given his status in the play. $is use of blank verse also helps establish his heroism. Othello speaks clearly and purposefully. $is authority also comes across in these lines" and there is a sense of both danger and beauty ) entirely appropriate to the speaker ) in his references to %brightswords% and %dew%. We are immediately aware that the hero is an impressive character and a powerful speaker. This power is reinforced in the net scene when Othello uses words not 'ust to defend his elopement with ;esdemona" but also to enable him to keep her5 if he does not speak convincingly the %bloody book of law% +-.,./1 may deprive him of his wife. ;esdemona acknowledges her husband%s rhetorical power when she enters. We already know that she was seduced by his storytelling5 now we discover that she uses the same dignified and purposeful idiom that he employs. Through their shared speech patterns Shakespeare conveys the harmony and mutual affection of Othello and ;esdemona%s match5 the lovers are as Iago epresses it %well tun%d% +--.-.-0/1 at this point. #ach of Othello%s long speeches in this scene could be compared to a poem5 epressing the nobility and romance we come to associate with the tragic p rotagonist. 6any critics see Othello as Shakespeare%s most %poetic% hero" a fitting 'udgement given the fact that we focus of the protagonist%s eperiences of love in this play. 2ut Othello does not 'ust speak of his love poetically5 he also speaks of his glorious career as a soldier in the same vein" thus establishing himself as a great military man. The orderliness of his verse suggests
not 'ust his confidence" but also the fact that we" and the senate are wise to trust in his composure and reason. :inked to this" Othello%s reference to and pride in his %estimation% +-.,.48>1" also help to convey a sense of the hero%s worth5 while also suggesting that the way in which you are perceived by others ) your reputation D is going to be an important theme in this play. When OthelIo begins to see himself and his wife through Iago%s eyes and is corrupted by Iago%s idiom" his stately style begins to break down. At his lowest point" 'ust before h e falls to the ground in an epileptic fit" Othello%s words convey his agitation< :ie with her" lie on herL We say lie on her" when they belie herQ :ie with her" oundsQ" that%s fulsomeQ ) $andkerchiefQ confessionsQ handkerchiefQ ) To confess" and be hanged for his labourQ ?irst" to be hanged" and then to confess< I tremble at it. Kature would not invest herself in such shadowing passion without some instruction. It is not words that shakes me thus. BishQ Koses" ears and lips. Is%t possibleL 9onfessL handkerchiefQ @ devilQ +I7.I.,>)3-1 There are a number of points to be made about this breakdown. ?irstly" Othello%s fractured sense of self is conveyed through the leis and synta. Breviously the hero spoke of himself in the first and third person +their usage conveyed his nobility and status as hero15 now his use of pronouns %we%" %they%" %his%" %-%" %me% suggests insecurity. $is use of (uestions suggests this too. Othello%s identity is threatened because he no longer feels he %knows% his wife5 he cannot trust her looks and words. There is a terrible irony in the fact that Othello declares %It is not words that shake me thus%5 the events of the play and the violence of his outburst here suggest that words are the cause of Othello%s destruction. Kote the use of dis'ointed prose rather than measured verse< reason has given way to passion. Othello has also begun to use oaths +%oundsQ%1 which are associated with Iago" suggesting not only the ensign%s power as a speaker" but also his ability to influence and control the powers of speech of others. =ight at the end of this speech we struggle to make any sense of Othello%s words +"BishQ Koses" ears and lips. Is%t possibleL * 9onfessL handkerchiefL @ devilQ%1. These lines suggest the hero%s degradation and degeneration. ?rom this point on Othello and ;esdemona struggle to understand one another%s use of language. The break)up of their marital harmony is conveyed through the d isruption in the lines and Othello%s measured calm gives way to verbal bullying +see III.3./@)0/1. This pattern mirrors the disrupted lines of Act III Scene , when Iago first started to poison Othello%s mind. ;esdemona later says" %I understand a fury in your words * 2ut not the words% +I7.4.,4),1. 2y this point he misconstrues everything she says< ;#S;#6OKA< Alas" what ignorant sin have I committedL OT$#::O< Was this fair paper" this most goodly book 6ade to write %whore% uponL %C What" committedQ 9ommittedQ @ thou public commonerQ +I7.4.8-)31 #ventually" unable to comprehend his wife%s honesty" failing to see that her words should be taken at face value" Othello smothers and silences ;esdemona. When confronted with the truth he then recovers" returning to the ma'estic idiom of his earlier speeches at the end of Act 7. $is final speech echoes his first speech to the senate" but Othello no longer speaks of himself as a worthy hero only. Kow he compares himself to %the base Indian% and %the circumcised dog% +7.4.,3> and ,>,1" his words and synta recall former glories" but also point towards the %bloody period% of the hero%s death +7.4.,>31. :anguage is the source of Iago%s power too" but his characteristic idiom is very different. It is full of compounds" collo(uialisms and oaths" befitting a bluff soldier. 2ut Iago%s use of language is more complicated than this. We (uickly notice that the villain slips between prose a nd verse" adapting his style to suit his different audiences and purposes. The blunt" persuasive and lucid prose of his echanges with =oderigo conveys Iago%s base nature" but the ensign also makes use of a loftier style too" as in his parody of Othello%s idiom in Act III Scene , +lines 3>)841. This speech is an eample of Iago%s power< he can manipulate his style effortlessly. 6ost worryingly for the audience" Othello begins to use the villain%s base idiom when he decides to revenge himself on ;esdemona" showing his lack of 'udgement and Iago%s increasing authority over him. When he adopts Iago%s style and begins to eavesdrop +Iago might be seen as an eavesdropper when he speaks in asides1 Othello shows that he has become %well tun%d% with the wrong character. Iago%s heavy use of asides also reveals his cunning" destructive power5 he is able to not only direct but also to comment on the action of the play. $is use of solilo(uies reinforces his
power. #liabethan and &acobean dramatists used this artificial theatrical convention to evoke the inwardness of their characters" to show what they think and feel. Solilo(uies are also used to convey information and for particular dramatic effect. In Othello the evil ensign speaks his solilo(uies first +Othello%s solilo(uies occur towards the end of the p lay1" drawing the audience in as he outlines his intentions and ideas. 2ecause we know e actly what his plans are" we might feel that Shakespeare forces us to collude with the villain in some way< Iago is so clever" such an impressive actor. Iago%s solilo(uies and asides are also a source of a great deal of the dramatic irony of Othello, which increases dramatic tension for the audience. ?inally" Iago is also able to manipulate his silences" as in Act III Scene , when he deliberately introduces %stops% +llI.,.-4,1 to infuriate and intrigue Othello. 2y faking a reluctance to talk he gains the opportunity to speak at length. At the end of the play Iago%s defiant and deliberate silence can seem suggestive of continued power +the villain refuses to reveal his motives and admit remorse1 or power thwarted5 he no longer has the ability to sway others with his words and has perhaps been silenced" like his victim ;esdemona. It is both ironic and appropriate that Iago is unmasked by his wife" whose silence he has taken for granted and whose powers of speech he has not taken into account. This discussion of the hero%s and villain%s contrasting idioms might be etended5 each of the characters in Othello has his or her own style. ?or eample" 9assio%s speech is gallant and courtly" #milia%s salty and down)to)earth. The different %voices% and styles in Othello are an important part of the play%s power to hold and move the audience. Another very important part of the linguistic power of the play is Shakespeare%s use of figurative language. :anguage of Othello #liabethan and &acobean dramatists used language to establish and build dramatic atmosphere" to define time" place and character. 2ut in Othello" language is not simply the medium by which the drama is conveyed< in this play language is action. Othello NfallsE because he believes a man whose every utterance is deceptive. When the hero is taken in by false words" tragedy is the result. This play shows us the power of words5 we watch as characters construct their own and othersE identities through language" and eert power either by speaking" remaining silent or silencing others. Othello is written in blank verse and prose. 2lank verse consists of unrhymed iambic pentameters" with five stressed syllables and five unstressed syllables to each line. Shakespeare uses this traditional form fleibly" however" varying the pace of his writing to achieve specific effects. $e also creates specific idioms for each of his characters. If we look at the language of Othello and Iago we can see how the dramatist creates not only character" but also the theme of opposition which is central to the p lay. ?rom his opening speeches in Act I Scenes 4 and , it is clear that OthelloEs characteristic idiom is dignified" measured blank verse. This is appropriate" given his status in the play. $is use of blank verse also helps establish his heroism. Othello speaks clearly and purposefully. $is authority also comes across in these lines" and there is a sense of both danger and beauty D entirely appropriate to the speaker D in his references to Nbright swordsE and NdewE. We are immediately aware that the hero is an impressive character and a powerful speaker. This power is reinforced in the net scene when Othello uses words not 'ust to defend his elopement with ;esdemona" but also to enable him to keep her5 if he does not speak convincingly the %bloody book of law% +I.,./1 may deprive him of his wife. ;esdemona acknowledges her husbandEs rhetorical power when she enters. We already know that she was seduced by his storytelling5 now we discover that she uses the same dignified and purposeful idiom that he employs. Through their shared speech patterns Shakespeare conveys the harmony and mutual affection of Othello and ;esdemonaEs match5 the lovers are as Iago epresses it %well tunEd% +II.-.-0/1 at this point. #ach of OthelloEs long speeches in this scene could be compared to a poem5 epressing the nobility and romance we come to associate with the tragic protagonist. 6any critics see Othello as ShakespeareEs most NpoeticE hero" a fitting 'udgement given the fact that we focus of the protagonistEs eperiences of love in this play. 2ut Othello does not 'ust speak of his love poetically5 he also speaks of his glorious career as a soldier in the same vein" thus establishing himself as a great military man. The orderliness of his verse suggests not 'ust his confidence" but also the fact that we" and the senate are wise to trust in his composure and reason. :inked to this" OthelloEs reference to and pride in his %estimation% +I.,.48>1" also help to convey a sense of the heroEs worth5 while also suggesting that the way in which you are perceived by others D your reputation D is going to be an important theme in this play. When Othello begins to see himself and his wife through IagoEs eyes and is corrupted by IagoEs idiom" his stately style begins to break down. At his lowest point" 'ust before h e falls to the ground in an epileptic fit" OthelloEs words convey his agitation< :ie with her" lie on herL We say lie on her" when they belie herQ :ie with her" oundsQ" thatEs fulsomeQ D $andkerchiefQ confessionsQ handkerchiefQ D To confess" and be hanged for his labourQ ?irst" to be hanged" and then to confess< I tremble at it. Kature would not invest herself in such shadowing passion without some instruction. It is not words that shakes me thus. BishQ Koses" ears and lips. IsEt possibleL 9onfessL handkerchiefQ O devilQ +I7.-.,>D3-1
There are a number of points to be made about this breakdown. ?irstly" OthelloEs fractured sense of self is conveyed through the leis and synta. Breviously the hero spoke of himself in the first and third person +their usage conveyed his nobility and status as hero15 now his use of pronouns NweE" NtheyE" NhisE" NIE" NmeE suggests insecurity. $is use of (uestions suggests this too. OthelloEs identity is threatened because he no longer feels he NknowsE his wife5 he cannot trust her looks and words. There is a terrible irony in the fact that Othello declares %It is not words that shake me thus%5 the events of the play and the violence of his outburst here suggest that words are the cause of OthelloEs destruction. Kote the use of dis'ointed prose rather than measured verse< reason has given way to passion. Othello has also begun to use oaths +%oundsQ%1 which are associated with Iago" suggesting not only the ensignEs power as a speaker" but also his ability to influence and control the powers of speech of others. =ight at the end of this speech we struggle to make any sense of OthelloEs words +%BishQ Koses" ears and lips. IsEt possibleL * 9onfessL handkerchiefL O devilQ%1. These lines suggest the heroEs degradation and degeneration. ?rom this point on Othello and ;esdemona struggle to understand one another Es use of language. The break)up of their marital harmony is conveyed through the d isruption in the lines and OthelloEs measured calm gives way to verbal bullying +see III.3./@D0/1. This pattern mirrors the disrupted lines of Act III Scene , when Iago first started to poison OthelloEs mind. ;esdemona later says" %I understand a fury in your words * 2ut not the words% +I7.4.,4D,1. 2y this point he misconstrues everything she says< ;#S;#6OKA< Alas" what ignorant sin have I committedL OT$#::O< Was this fair paper" this most goodly book 6ade to write NwhoreE uponL ! What" committedQ 9ommittedQ O thou public commonerQ +I7.4.8-D31 #ventually" unable to comprehend his wifeEs honesty" failing to see that her words should be taken at face value" Othello smothers and silences ;esdemona. When confronted with the truth he then recovers" returning to the ma'estic idiom of his earlier speeches at the end of Act 7 . $is final speech echoes his first speech to the senate" but Othello no longer speaks of himself as a worthy hero only. Kow he compares himself to %the base Indian% and %the circumcised dog% +7.4.,3> and ,>,1" his words and synta recall former glories" but also point towards the %bloody period% of the heroEs death +7.4.,>31. A solilo(uy is a dramatic convention that allows a character to speak directly to an audience" indicating their motives" feelings and decisions. In Othello we are given access to the feelings and motivations of both victim and tormentor" which heightens the intensity of the drama. :anguage is the source of IagoEs power too" but his characteristic idiom is very different. It is full of compounds" collo(uialisms and oaths" befitting a bluff soldier. 2ut IagoEs use of language is more complicated than this. We ( uickly notice that the villain slips between prose a nd verse" adapting his style to suit his different audiences and purposes. The blunt" persuasive and lucid prose of his echanges with =oderigo conveys IagoEs base nature" but the ensign also makes use of a loftier style too" as in his parody of OthelloEs idiom in Act III Scene , +lines 3>D841. This speech is an eample of IagoEs power< he can manipulate his style effortlessly. 6ost worryingly for the audience" Othello begins to use the villainEs base idiom when he decides to revenge himself on ;esdemona" showing his lack of 'udgement and IagoEs increasing authority over him. When he adopts IagoEs style and begins to eavesdrop +Iago might be seen as an eavesdropper when he speaks in asides1 Othello shows that he has become %well tunEd% with the wrong character. IagoEs heavy use of asides also reveals his cunning" destructive power5 he is able to not only direct but also to comment on the action of the play. $is use of solilo(uies reinforces his power. #liabethan and &acobean dramatists used this artificial theatrical convention to evoke the inwardness of their characters" to show what they think and feel. Solilo(uies are also used to convey information and for particular dramatic effect. In Othello the evil ensign speaks his solilo(uies first +OthelloEs solilo(uies occur towards the end of the play1" drawing the audience in as he outlines his intentions and ideas. 2ecause we know eactly what his plans are" we might feel that Shakespeare forces us to collude with the villain in some way< Iago is so clever" such an impressive actor. IagoEs solilo(uies and asides are also a source of a great deal of the dramatic irony of Othello" which increases dramatic tension for the audience. ?inally" Iago is also able to manipulate his silences" as in Act III Scene , when he deliberately introduces %stops% +III.,.-4,1 to infuriate and intrigue Othello. 2y faking a reluctance to talk he gains the opportunity to speak at length. At the end of the play IagoEs defiant and deliberate silence can seem suggestive of continued power +the villain refuses to reveal his motives and admit remorse1 or power thwarted5 he no longer has the ability to sway others with his words and has perhaps been silenced" like his victim ;esdemona. It is both ironic and appropriate that Iago is unmasked by his wife" whose silence he has taken for granted and whose powers of speech he has not taken into account. This discussion of the heroEs and villainEs contrasting idioms might be etended5 each of the characters in Othello has his or her own style. ?or eample" 9assioEs speech is gallant and courtly" #miliaEs salty and down)to)earth. The different NvoicesE and styles in Othello are an important part of the playEs power to hold and move the audience. Another very important part of the linguistic power of the play is ShakespeareEs use of figurative language" specifically the imagery employed throughout" and should be considered as integral in any consideration of the language employed in the play. https<**www.yorknotes.com*alevel*othello)advanced*study*critical)approaches*@4@-@@@@_language)and)structure
Buns $eroic 9ouplet 6eter Iambic Bentameter Aside Solilo(uy 6onologue ;omestic Tragedy 9aesura 2lank 7erse Brose +vs 7erse1 9omic =elief 6otif Imagery The purpose of Shakespeare%s use of imagery in Othello is to establish the dramatic atmosphere of the play. It also informs our understanding of characters and events. ?igurative language and linguistic patterns can help to reinforce the themes and ideas that the dramatist wishes to eplore. Boisoning There are a number of images of poisoning" which we come to associate with Iago and his methods of manipulation. In Act I Scene - the ensign says that he wants to %poison his R2rabantio%s delight% +I.-./1 so that he can make trouble for Othello. In the following act we learn that Iago%s 'ealousy of the 6oor is so strong that it %;oth like a poisonous mineral gnaw my inwards% +II. -.40>15 so the ensign resolves to %pour this pestilence into his ear% +II.,.,>-1 and destroy Othello%s %sweet sleep% +II.,.,,>1. These references to poison are appropriate to Iago" whose actions are swift" insidious and deadly. Iago relishes the pain he causes" as we can see from his description of his methods in Act III Scene ,< ;angerous conceits are in their natures poisons Which at the first are scarce found to distaste 2ut with a little act upon the blood 2urn like the mines of sulphur. +III.,.,40),41 In the same scene Othello describes how he feels tortured by 'ealousy" using images that recall Iago%s words" %If there be cords or knives" * Boison" or fire" or suffocating streams" * I%ll not endure it. Would I were satisfiedQ% +III.,.,0-),1. The most chilling reference to poison comes in Act I7 Scene - when Othello decides to murder ;esdemona< OT$#::O< Fet me some poison" Iago" this night. I%ll not epostulate with her" lest her body and beauty unprovide my mind again. This night" Iago. IAFO< ;o it not with poison" strangle her in her bed ) even the bed that she hath contaminated. +I7.-.4@-)>1 $is mind poisoned with foul thoughts" the hero now seeks to kill his wife in the bed that he thinks she has contaminated" poisoned with her lust. It is particularly ghastly that the real poisoner +Iago1 suggests the method of killing ;esdemona. $ell and the ;evil Iago is also associated with images of hell and the devil. $e forges the link himself at the end of his solilo(uy in Act I Scene ,. Outlining his evil intentions he says" %$ell and night * 6ust bring this monstrous birth to the world%s light% +-.,.3@4) ,1. :ater there is the oymoron" %;ivinity of hellQ% followed by these lines< When devils will their blackest sins put on They do suggest at first with heavenly shows As I do now +II.,.,3>)/1 There is delight in these lines" a revelling in evil and deception. Iago also describes Othello as %a devil% +-.-. 0@1" but in this contet this seems to be a racial slur rather than a comment on Othello%s character5 elsewhere the ensign comments on the 6oor%s natural goodness" which makes his work easier. Iago%s hellish designs succeed in making Othello see ;esdemona as devilish. $e makes a %sacred vow% +III.,.331 to wreak vengeance on her %by yond marble
heaven% +III.,.3,1" convincing himself that she is damned and must be stopped in her life of sin. In Act I7 Scene 4 Othello attempts to wring an admission of gu ilt from ;esdemona< 9ome" swear it" damn thyself" :est" being like one of heaven" the devils themselves Should fear to seie thee +I7.4.,)/1 In this image we see the enormity of ;esdemona%s crime from Othello%s point of view. As he leaves in disgust" having failed to secure the confession he sought" Othello turns to #milia and accuses her too5 she %keeps the gates of hell% for his wife +I7.4.031. #milia turns these words on Othello in the final scene when she discovers ;esdemona%s murder5 %thou art a devil% she rages" %the blacker devil% +7.4.-,- and -401. 2ut it is of course Iago who is revealed as the true devil in this scene" where he is rightfully described as a %demi)devil% and %hellish villain% +7.4.40/ and ,1. Animals and Insects There are numerous references to animals and insects which chart Othello%s downfall. In Iago%s mouth this imagery is reductive and negative. Several images suggest how much the villain despises his victims. In Act I Scene - he sets out with =oderigo to %Blague him R2rabantio with flies% +I.-.8@1. When he describes Othello%s match with ;esdemona he uses crude animal imagery" %an old black ram * Is tupping your white ewe% he informs the senator +I.-./8)/15 his daughter has been %covered% with %a 2arbary horse% +I.-.--@15 the couple are %making the beast with two backs% +I.-.-->1. Othello is an ob'ect of scorn too. Iago is confident that the general will %tenderly be led by th%nose * As asses are% +I.,.3@@)-1" and made %egregiously an ass% +II.-.,@81. $e is sure that 9assio can be humiliated too5 %With as little a web as this will I ensnare as great a fly as 9assio% +II.-.-/)01 he gloats. Othello is infected by this imagery and begins to speak in the same terms. 2ut the animal imagery in Othello%s speeches reveals the hero%s misery" rather than sneering triumph. In Act III Scene , he says< I had rather be a toad And live upon this vapour of a dungeon Than keep a corner in a thing I love ?or others% uses. +III,.483)81 This image is repeated in Act I7 Scene 4 when Othello describes his sorrow at %losing% the innocent ;esdemona he loved so much< 2ut there where I have garnered up my heart" Where either I must live or bear no life" The fountain from which my current runs Or else dries up ) to be discarded thenceQ Or keep it as a cistern for foul toads To knot and gender inQ +I7.4.>/),1 The hero is mortified by corruption. Iago keeps Othello on the rack with images of bestial lust5 when the 6oor demands proof of his suspicions he replies sharply< What shall I sayL where%s satisfactionL It is impossible you should see this Were they as prime as goats" as hot as monkeys" As salt as wolves in pride5 +III.,.3@3)81 We know that Othello has lost all power of reason and can no longer fight off the terrible images of lust his imagination has been polluted with when he himself yelps %Foats and monkeysQ% in Act I7 Scene - +I7.-.4,1. $e has become the %horned man%" the %monster" and a beast% he described earlier in the same scene +I7.-.41. It is horribly ironic that ;esdemona" who" we are informed could %sing the savageness out of a bear% +I7.-.-/1 cannot convince her husband that his suspicions are false.
Can be linked to racism as white people tend to refer to black people as animals in a negative way. Proving that they are other and inferior.
•
The use of animal imagery is used in many places in the play to convey immorality and illicit passion, as it does in this instance. In Othello , the use of animal imagery is used multiple times by Iago to describe the relationships between humans, especially that of Desdemona and Othello . nimal imagery is most often associated with evil and wrongdoing. !oth Iago and "thello use it the most, showcasing their scheming and mad personalities. Conversely, never once throughout the play d oes Desdemona use animal imagery, further proving her innocence and virtuousness. The use of animal imagery is used throughout the play to further intensify and deepen the underlying meanings within the speech. It can also be used to highlight "thello#s $savagery% as he is after all a moor in a white society. In conclusion, by comparing people to beasts&animals, their true evilness or goodness is shown through' and this is why animal imagery is effective and adds a certain gruesome atmosphere to the play. The Sea and 6ilitary $eroism In stark contrast to the imagery associated with Iago" the imagery commonly associated with the noble Othello of the first half of the play is suggestive of power and bravery. Images of the sea and military heroism abound. Othello describes his illustrious career with dignity in Act I Scene , +see lines /4 )0@ and -40)31. ;esdemona echoes him when she says< 6y downright violence and scorn of fortunes 6ay trumpet to the world. 6y heart%s subdued #ven to the very (uality of my lord< +I.,.4>@)41 2y using the terminology of war to describe her love we see that the heroine is %well tun%d% +II.-.-0/1 with her husband5 it is fitting then that he describes her as his %fair warrior% +II.-.-801. :ater" when Othello feels his marital harmony has been destroyed we sense how deeply he feels ;esdemona%s supposed betrayal as he eggs himself on to revenge< :ike to the Bontic sea Whose icy current and compulsive course Ke%er feels retiring ebb but keeps due on To the Bropontic and the $ellespont< #ven so my bloody thoughts with violent pace Shall ne%er look back" ne%er ebb to humble love +III.,.3>)-1 The imagery here suggests the violence to come" violence that has always been implicit in the sea and military imagery associated with Othello. As he prepares to take his own life Othello again refers to his military career" but also recognises that he has reached %my 'ourney%s end" here is my butt * And very sea)mark of my utmost sail% +7.4.4>)1. This final image of the sea is appropriately poignant. 2y reverting to the noble imagery associated with h im earlier in the play the hero is able to raise himself again in our esteem.
Black and White =eferences to black and white are important. There are also images of light and darkness and heaven and hell. 9learly these images are all related to the central parado in the play5 Othello" who is %far more fair than black% +-.,.40-1 is the virtuous" noble man" while his white ensign proves to be a devilish creature with a truly black soul. When Iago blackens ;esdemona%s character" Othello feels his honour is threatened5 he epresses his dismay by referring to his o wn blackness in a negative way. Jp to this point Othello has been proud of his race and secure in his love +%she had eyes" and chose me% he says at II-.,.-04" suggesting that his colour was irrelevant1. Kow we sense that the %black% +in the sense of angry" violent1 Othello will supersede the %fair% Othello< I%ll have some proof. $er name" that was as fresh As ;ian%s visage" is now begrimed and black As mine own face +III.,.,/0)0-1
We might feel that these lines describe Othello%s regret at the corruption of his imagination by Iago5 he no longer has a %fresh% name" instead his mind ) as well as his name ) is %begrimed%" 'ust as ;esdemona%s name has b een besmirched. :ater in the same scene Othello calls for assistance with his revenge" %Arise" black vengeance" from thy hollow cell% +III.,.3>@1. $ere he seems to link himself to hell and darkness" even though he also feels that he is serving heaven by making %a sacrifice% +7.4.>1 of ;esdemona. The confusion suggested by these images is appropriate5 the hero is pulled in two directions for much of the play" wanting to believe that h is %fair warrior% +II.-.-801 is honest" while also believing that she is damned. ;esdemona is associated with images of light" divinity and perfection throughout the play. The final metaphor Othello uses to speak of her suggests her purity and preciousness5 she is %a pearl% +7.4.,3>1 he threw away like a %base Indian% +7.4.,3>1. When he stood over her preparing to kill her Othello still could not (uite believe that she was false5 the metaphor %But out the light" and then put out the light% +7.4.81 epresses this idea elo(uently. As discussed above" Iago is most often linked to darkness and devils. The drama of the play occurs as Othello moves away from the light of ;esdemona%s love towards the darkness of Iago and his world 7Iew" becoming a black villain in the process. Kote how many of the key scenes or events occur at night. It might also be argued that we associate Othello the 6oor with darkness from the very beginning of the play5 his first entrance occurs at night" and his final act" the murder of ;esdemona" also occurs at night. $as the 6oor in some sense fulfilled his tragic destiny when he snuffs out the light on ;esdemona +whose name suggests doom1 and himselfL otif!Sym"olism $andkerchief ?or eample" the handkerchief symbolies Othello and ;esdemona%s marriage and love for one another at the beginning of the play is lost during the play. The loss of the handkerchief stands in for the disintegration of their marriage that occurs due to the evil scheme Iago set into motion to destroy Othello. The handkerchief" the most crucial symbol and ob'ect in the play. The handkerchief" to ;esdemona" symbolies Othello%s love" since it was his first gift to her. Othello thinks that the handkerchief" (uite literally" is ;esdemona%s love When she has lost it" that must clearly mean that she does not love him any longer. The handkerchief also becomes a symbol of ;esdemona%s alleged betrayal 9andle The ;evil Iago especially mentions the devil many times in the tet The first time here in the first scene to make Othello sound like a devil with< lust indiscretion strangeness The irony is that Iago is so (uick to make others out to be evil The devil often takes disguises" 'ust as Iago does embodying the theme of appearance vs. reality $e is the one who looks least guilty. 9assio is so grieved that his reputation has been hurt that he sees fit to find a villain in all that has happened Ironically" 9assio misses the identity of the real devil in this situation" Iago. C;evilC becomes a key word in this play" as people try to seek out what is poisoning everyone Food vs. evil is a ma'or theme in the play There is a great deal of gray area< Iago is the villain #veryone else has some blemish of their natures Ko one entirely deserving of the label CgoodC.
Structure
There is a narrow focus in Othello. There are two principal locations" 7enice and 9yprus" but gradually our attention becomes fied on a single bedroom" creating a feeling of claustrophobia that is uni(ue in Shakespeare%s tragedies. The outer world becomes Insignificant as the hero becomes monomaniacal" obsessed with a single concern. The use of 7enice as a location is significant. At the end of the siteenth century" dramatists began to use Italy as a suitable location for revenge tragedies5 the Italians were thought to be worldly and 7enice in particular was associated with everything that was culturally sophisticated5 it was a location that suggested power" order and wealth to the audience. At the beginning of the play Othello appears to have succeeded in 7enice on its terms5 he has gained both power and wealth. 2ut he is also an outsider< different. The play eplores what happens to the hero when he is made to feel this difference. It is appropriate that the 6achiavellian trickster Iago should originate and appear in an Italian setting before being transported to 9yprus. Shakespeare%s use of a war with the Turks and the uneasy atmosphere of the garrison town in 9yprus ) a %halfway house% between civilisation and
the heathen world ) is also dramatically significant. The war isolates the heroine from everything and everyone she knows5 similarly" Othello feels his difference and isolation in 9yprus when he is %Berpleed in the etreme% +7.4.,331. $ere" in this unfamiliar setting" with the threat of danger lurking" passions are unleashed and order is destroyed. The storm helps to establish and reflect the fear and violence that the characters will feel in 9yprus" while also being a symbol of Othello and ;esdemona%s love. The sense of claustrophobia is heightened by the fact that there is no subplot in Othello. The action of the play focuses very closely on Iago%s role and Othello%s reactions to his %reports% +7.4.-/,1. #ven the characters who seem to have other %lives% are closely linked to the married couple in some way5 =oderigo%s foolish hopes and 9assio%s relationship with 2ianca provide us with points of comparison with the Othello);esdemona match. Our sense of claustrophobia is also heightened because we are aware that we are observing a group of characters who eist in a tightly knit social network" where each person has a clearly defined position and role and a view of each other member of the group. Iago threatens the order and harmony of the network because he is able to manipulate the views of the most powerful group member. The single plot intensifies dramatic tension< we are never given a moment%s respite to look away from Iago%s progress as he pushes Othello towards tragedy. The structure of the play relies on reversal and repetition. In the first three acts Iago comes to dominate5 in Act I he is clearly the underdog" overlooked and perhaps irrelevant ecept as an escort for the general%s wife. In the second act he forms his plans and sets up his evenge" so that in Act III he is able to %triumph% over Othello. 9onversely" Othello is at his most secure in Acts I and ll" when he defends and then consummates his marriage. In Act III he struggles to resist the 'ealousy that threatens to overpower his reason" succumbing to it in Act I7. In Act 7 Othello sinks further still when he smothers his wife ) he becomes what Iago is< a destructive revenger. At the end of the play the tragic protagonist is partially redeemed when he recognises the truth and chooses to destroy himself" while Iago%s downfall is assured when he is revealed as a scoundrel. There are other repetitions in the play that are important. Othello finds himself on trial in Act I and is then placed in a position where he must 'udge his lieutenant and his wife in subse(uent acts. =oderigo is gulled in each conversation he has with Iago" on each occasion getting closer to danger" until he finds himself participating in a plot against 9assio" which proves fatal to him. ;esdemona%s repeated attempts at pleading for 9assio are increasingly dangerous to the heroine5 as he smothers her Othello believes she is weeping for the lieutenant. =epeated words and phrases are important too. 2rabantio%s bitter words about ;esdemona%s deception in Act I Scene , come back to haunt Othello in Act III Scene , +see line 4@01" while the repetition of %honest% in relation to Iago is a source of heavy and alarming irony. All the main characters +with the eception of his wife" interestingly1 call Iago %honest% and the ensign makes etensive use of the word himself when gulling his victims5 it is as if Shakespeare is showing the ensign%s insidious power to %enmesh %em all% +Il.,.,>81 through his ability to get his victims to think of and describe him in the same way. ?inally" we should also consider the prop that ignites the tragedy< the handkerchief. This trifle becomes loaded with dramatic significance5 the whole plot revolves around this ob'ect and like the word %honest%" it passes from one character to another. It becomes a symbol of ;esdemona%s chastity and worthiness as a wife" which are a bused" as the handkerchief itself is %abused% when #milia passes it on to her husband. 2ut it is also a symbol of deception and lack of knowledge5 ;esdemona is puled as to how she lost it" Othello believes she gave it away" #milia does not know why her husband covets it" 9assio does not know how it came to be in his chamber" 2ianca falsely assumes he received it from another sweetheart. Only Iago knows the whole truth about the handkerchief" which is appropriate given the dramatic structure of the play5 for four acts he is the only character who fully understands what is happening" because he has set events in motion. ?inally" the construction of scenes is also etremely effective in Othello. :ong scenes of painful echanges or confrontation are punctuated by short scenes or moments of violence ) verbal and physical. Brose refers to ordinary speech with no regular pattern of accentual rhythm. :ines of tet do not all have the same number of syllables nor is there any discernible pattern of stresses. If you are unsure if a passage is in prose or in blank verse" look for the following #isual clue< a long passage in prose is typically printed in your tet like an ordinary paragraph with right and left 'ustification. The lines of print etend from left to right margin with no Chard returnC in the middle of a sentence. Standard rules of capitalization are followed< only proper nouns +names and place names1" the pronoun CIC and the first letter of a new sentence are capitalied. Significance$ Shakespeare used prose to tell us something about his characters by interrupting the rhythmic patterns of the play. 6any of ShakespeareEs low)class characters speak in prose to distinguish them from the higher)class" verse) speaking characters
S%A&'S('A)' *S'S ()OS' TO C)'AT' A )A+,' O A'CTS$ To make dialogue more realistic 6any short" functional lines like GAnd I" my lord"H and GI pray you leave meH are written in prose to give the play a sense of realism. In some longer speeches" Shakespeare allowed the audience to identify more closely with his characters by using the everyday language of the time. To suggest a character.s mental insta"ility W%/ IS S%A&'S('A)'.S *S' O ()OS' I(O)TA+T0 In ShakespeareEs day" it was conventional to write in verse" which was seen as a sign of literary ecellence. 2y writing some of his most serious and poignant speeches in prose" Shakespeare was fighting against this convention. It is interesting that some plays like 6uch Ado About Kothing are written almost entirely in prose D an eceptionally brave move for an #liabethan playwright.
=hyming verse in Shakespeare%s plays is usually in rhymed couplets" i.e. two successive lines of verse of which the final words rhyme with another. The rhyme pattern of verse in rhyming couplets is conventionally represented aa bb cc etc." with the letters a" b" and c referring to the rhyming sound of the final word in a line. +A single rhymed couplet may also appear at the end of a speech or scene in blank verse" in which case it is called a capping couplet.1 When the two lines of a rhyming couplet are in iambic pentameter " they are called heroic couplets. Significance< is often used for ritualistic or choral effects and for highly lyrical or sententious passages that give advice or point to a moral 2lank verse -. efers to unrhymed iambic pentameter . 2lank verse resembles prose in that the final words of the lines do not rhyme in any regular pattern +although an occasionalrhyming couplet may be found1. Jnlike prose" there is a recogniable meter < most lines are in iambic pentameter " i.e. they consist of ten syllables alternating unstressed and stressed syllables +there may be some irregularities" such an occasional troche mied in with the iambs or an etra unstressed syllable at the end of a line1 Significance$ is employed in a wide range of situations because it comes close to the natural speaking rhythms of #nglish but raises it above the ordinary without sounding artificial +unlike the CsingsongC effect produced by dialogue in rhyme1. 2lank verse" as opposed to prose" is used mainly for passionate" lofty or momentous occasions and for introspection5 it may suggest a refinement of character. As noted above" a speech or scene in blank verse may end with a single rhyming couplet known as a capping couplet. It is used to lend a final punch" a concluding flourish or a note of clima to the end of a speech or scene. OthelloEs deterioration of language Othello%s use of imagery and story become less and less fre(uent" and how he begins to rely upon Iago for speech and eplanation. Othello is reduced by Iago and his own 'ealousy to single lines of speech" monosyllabic utterings of COQC and the like. And 'ust as language is the power with which Othello was able to woo ;esdemona" his loss of it is a resignation of this power which attracted her to him. Othello suspects his wife%s language" and 9assio%s a s well5 he is distracted from suspicion of Iago Othello begins to lose his power over himself" and over others" when he loses his beautiful language This resignation marks a huge shift in the balance of power between Othello and Iago Iago becomes more dominant in the relationship" and begins to steer Othello. his abandonment of language also marks a descent into chaos.
The only magic that Othello possesses is in his power of language. $is language shows his pride in his achievements Othello portrays himself as a tested" honorable warrior" and indeed is such. This view of himself will prove troublesome when he is hard pressed to recognie his 'ealousy and his lust $is inability to reconcile himself with these two aspects of his personality means that his comeuppance is almost certain. Othello%s lack of self)knowledge means that he will be unable to stop himself once Iago begins to ignite his 'ealousy
CO" the world hath not a sweeter creature"C Othello declares of ;esdemona he still decides that she shall not live for what she has supposedly done.
There is great irony in this scene" as Othello declares that ;esdemona is of a soft and kind nature" yet condemns her for being lustful and immoral. Kote Othello%s reticent tone" even when he is condemning ;esdemona to death 9haos and 'ealousy have triumphed over reason" still there is a part of him that knows ;esdemona is good Setting in the play 7enice< 7enice provides a natural environment for the figure of the 6oor to be both revered and despised. According to 7enetian law" the 7enetian =epublic%s army general was re(uired to be a foreigner. Since Shakespeare%s 7enetians reflect the mores of #nglish society" it follows that 7enetian society would admire Othello for his valor and leadership but still recoil at the notion of his marrying into its families ?irst of all" 7enice was +and still is1 a predominantly white city. 7enice is a hub of prostitution" particularly for women. Iago plays on this reputation when goading Othello into believing that the venetian ;esdemona could b e unfaithful. 9yprus< 9yprus" on the other hand" is known to be an island of love" one of the places held dear by 7enus" the goddess of love. In this setting" the couple does seem to eperience a change for the better in their relationship. Trust is developing and love is deepening. Things eventually go awry because Othello believes the lies" but in the beginning things are better. Of course Othello is sent to 9yprus to fight" so we should not be surprised that the fighting invades his own home. It is ironic that all of this fighting and death happens in a place known most for its connection to love.
Irony There are various types of irony in Othello, which relies heavily on dramatic irony for its effects. There are also eamples of situational and verbal irony which help us the understand the action. Iago is the primary source of dramatic irony5 he informs us of his intentions" but h is victims do not know that they are being manipulated. This puts us in the uncomfortable position of knowing more than the characters" increasing the tension< will Iago succeed in his diabolical designs or will he be discoveredL It can be argued that the irony that surrounds Iago and his role forces us to re'ect the villain. We may marvel at his ingenuity and skill but we cannot approve of him. We become increasingly worried by the verbal irony of repeated references to him as %honest%" 'ust as we are repulsed by the grim and self)conscious irony of some of his utterances. There is considerable irony in the use of the word %love% in this play too. Kote how fre(uently it is on Iago%s lips when he is gulling his victims5 this is rather horrible when we consider that Othello and ;esdemona%s true love is being destroyed by the false and empty love Iago professes. We might also feel that in some ways the 'oke is on Iago. $e thinks that he is a cunning villain" who can arrogantly conceal his true self and remain detached and aloof while all around him %lose their cool%" but is he not driven by passionL $is downfall is ironic5 #milia destroys his reputation as an honest man5 this is rather appropriate given the fact that the success of Iago%s revenge against Othello was reliant on the successful destruction of ;esdemona%s reputation. There are other eamples of irony that deserve consideration. Othello and ;esdemona%s situations are ironic. The former falls at the very moment that he feels he has reached the apogee of his success by marrying the %divine ;esdemona% +--.-.8,15 when his conception of himself is most secure" he is undermined. $e finds that his heroic past counts for nothing< he is forced into the role of %circumcised dog% +P.4.,>,1 by the %inhuman dog% +P.-.41 Iago. And having been resolutely sure of ;esdemona the hero finds himself wondering why he has married" convinced that he has united h imself with %the cunning whore of 7enice% +I7.4.0-1. ?or her own part" ;esdemona epects to consummate her marriage in 9yprus" but her marriage bed is transformed into her deathbed. Othello%s conviction that his wife has weak morals is also heartbreakingly ironic5 when he doubts ;esdemona" the hero reveals his own weakness. Ironically" other characters reveal their weaknesses when they feel they are on the brink of or have achieved success. Iago is brought down 'ust as he has achieved his aims5 9assio gains promotion only to be disgraced for drunken brawling5 =oderigo hopes to kill 9assio and supplant him in ;esdemona%s affections" but is instead murdered by the man who urged him onto the vile deed" a man whose friendship he believed in. This kind of ironic ignorance is repeated in other relationships in Othello. Kone of the characters truly recognises the real honesty or depravity of those they interact with. As always" the dramatic irony in the play lies in the action or speech of the characters who speak or act that way because they wrongly understand the reality or situation. Othello" who has so gullibly believed Iago the villain" misunderstands the way his loving wife ;esdemona takes his love and her love for granted and talks about 9assio so honestly. ;esdemona is too innocent" and she talks in an irritating manner about 9assio%s case when the husband is so disturbed5 it is so ironical that she tries to please her angry husband with something that adds fuel to the fire of his anger. 9assio is always mistaken in his understanding of the situation5 his actions and speech are all ironical as when he re(uests Iago to help him" when in fact Iago is planning to ruin him. ) See more at< http<**www.bachelorandmaster.com*globaldrama*dramatic) irony)in)othello.htmlU.WVy;mlOFO=s
Act Summary and Analysis Act One1 Scene One Summary
=oderigo is unhappy with Iago for failing to promote his marriage to ;esdemona. Iago and =oderigo inform 2rabantio that his daughter" ;esdemona" has secretly married the general Othello.
The opening scene takes place in a street in 7enice at night. Iago and =oderigo enter" deep in conversation. =oderigo is displeased with Iago5 we discover that he feels he has been cheated because a young 7enetian aristocrat" ;esdemona" has married Othello the 6oor without her father%s knowledge. =oderigo has paid Iago to promote a marriage between himself and ;esdemona. $e feels Iago has not worked hard enough on his behalf and is indignant that his money has been wasted. Iago attempts to restore =oderigo%s faith in him by describing how much he hates Othello. We learn that Iago has been passed over for promotion. Instead" Othello" a general" has made 6ichael 9assio his lieutenant +second in command1. Iago holds 9assio in contempt and is bitter about his own fortunes +he is Othello%s %ancient%" his ensign" line ,41. $e says that he only feigns loyalty to Othello5 he is determined to revenge himself on the 6oor for ignoring his eperience and competence in favour of a man who" he says" has little practical eperience of soldiering. Iago urges =oderigo to rouse 2rabantio +;esdemona%s father1 from his bed and inform him of the marriage. 2rabantio appears at his window" annoyed at being disturbed. $e recognises =oderigo and castigates him for lurking outside his house5 he has already told =oderigo that he is not an acceptable match for ;esdemona and imagines that he has come wooing again. At first 2rabantio does not believe the tale that =oderigo and Iago tell" but he is gradually persuaded to accept that his daughter has eloped when =oderigo politely asks him to see whether ;esdemona is asleep in her room. Iago takes the opportunity to leave. $e tells =oderigo that he must return to Othello" who can be found at the Sagittary. The unhappy 2rabantio reappears. $aving accepted =oderigo and Iago%s version of events" he now wants to locate his daughter and the 6oor. =oderigo leads the way. Act One1 Scene One Analysis The play opens with two characters engaged in a dispute5 from the very start of Othello the scene is set for conflict. A mood of confusion and intrigue is established too. The audience does not know what the characters are talking about to begin with because the sub'ect of so much of their conversation +Othello1 is never referred to by name. $owever" we (uickly understand that Iago and =oderigo dislike the 6oor. =oderigo refers to him as %the thicklips% +line >1" while Iago paints an unflattering portrait of the general" who is described as proud" pompous and boastful. Iago%s contempt for 9assio indicates that he feels Othello%s 'udgement is faulty too. We swiftly realise that Iago is a bitter and disappointed man. Should we trust what he says of othersL Iago stresses that he only follows Othello to %serve my turn upon him% +line 3-1 and is %not what I am% +line 31. In short" Iago openly admits that he is a self)serving deceiver. $is willingness to take money from =oderigo to promote a match with ;esdemona also looks mercenary" especially when we learn that 2rabantio has a dim view of =oderigo. Iago is a cynical malcontent. $e despises men who wear their hearts on their sleeves and other %honest knaves% +line 3/1 who fail to look after their own interests. $e admires men who can eploit their masters and line their own pockets by pretending to be honest and trustworthy. $is energetic speeches are full of egotistical disgust and indignation. When he suggests rousing 2rabantio we learn that Iago also delights in making trouble. =oderigo speaks to the senator politely" but it is Iago%s crude descriptions of Othello %tupping your white ewe% +line //1 which strike home. The animal imagery Iago employs when speaking of ;esdemona%s seual union with Othelio is in keeping with his earlier sneering reference to 9assio being %damned in a fair wife% +line 4@1 and his role as matchmaker for =oderigo. Shakespeare perhaps suggests that Iago is crude and unable to understand love" or loving relationships. This idea is developed later in the play. Iago also seems to be able to choose his words and line of reasoning to suit his audience" so that he has eactly the effect he wishes to have. $e talks =oderigo out of his indignation very easily" leading him by the nose throughout this scene5 he is e(ually successful in alarming 2rabantio" colouring the old man%s view of Othello. Act I Scene - establishes Iago as a powerful and manipulative figure" who instigates and stage manages chaos. $e also proves that he is adept at getting himself out of trouble" or avoiding it altogether< Iago knows when to make himself scarce. This opening scene is laced with dramatic irony" all of which centres on Iago. =oderigo fails to see that a man who admits he is a selfish fraud might also be gulling him" and 2rabantio is unaware of the aptness of his line" %Thou art a villain% +line --1. 2ut there is en'oyment to be had in watching the villain at work. $e has revealed himself very early and we watch fascinated as he manipulates others. We are also intrigued by the scurrilous descriptions of Othello" because we have also been told that the 6oor is an etremely effective soldier" relied on by the 7enetian senate as the best man they have +lines -3>)>-1. It seems that Othello is going to be concerned with differing or contradictory points of view.
Other key ideas are introduced in the opening scene. Othello%s %otherness% is established through references to him as %the 6oor% +line ,01 and %the thicklips%. ;eception is clearly going to be a significant issue5 =oderigo initially believes Iago has deceived him" Othello and ;esdemona have deceived others by marrying secretly and we know that Iago intends to deceive the 6oor in subse(uent scenes. Trust is an important issue for all the characters on stage and 'ealousy already plays a part in events. Iago is 'ealous of 9assio" and we can presume that =oderigo feels 'ealous of Othello for %beating% him to ;esdemona. ?inally" the different eamples of conflict that open and close Act I Scene - are accompanied by references to a greater conflict< the invasion of 9yprus. Act One1 Scene T2o Summary
Othello is called to the 7enetian council on urgent military business. 2rabantio accuses Othello of bewitching his daughter.
The second scene opens half way through another conversation involving Iago. Again there is a sense of conflict. Iago appears to be recounting the events of the previous scene to Othello" emphasising the insulting way that Othello has been spoken of and 2rabantio%s negative reaction to his daughter%s marriage. Iago +hypocritically1 insists that he wished to revenge the insults to the general" but Othello is not perturbed. When Iago warns him that 2rabantio is a popular figure who may use his influence to have the marriage overturned and Othello pursued by the law" he dismisses these concerns. Othello is confident that his services to the state" his reputation and his royal breeding will speak for him. $e also emphasises the strength of his love for ;esdemona. When Iago hears someone approaching he advises the general to go inside. Othello replies that he %must be found% +line ,@1< he has nothing to be ashamed of. 9assio enters with a message from the ;uke" who urgently re(uires Othello%s presence at a meeting of the 7enetian council. Several messengers have been sent to find Othello" suggesting his importance to the state. Othello goes into the house to speak to someone. Iago informs 9assio of Othello%s marriage and then" when Othello returns" the soldiers set out for the council meeting. They have not gone very far when they are accosted by 2rabantio and his followers" who are armed with swords. Othello commands the men to put away their weapons and responds with dignity to 2rabantio%s accusations of evil enchantment. The senator urges his followers to seie the %thief% +line >81 who has stolen his daughter. Othello warns them against laying hands on him and offers to answer 2rabantio%s accusations. 2rabantio says that he would like to see him imprisoned but is then informed that Othello has been summoned on state business. 2rabantio decides to go to the council meeting too" so that his fellow senators and the ;uke can be informed of Othello%s treacherous behaviour. $e insists that his own domestic troubles are %not an idle cause% +line 0>1. Act One1 Scene T2o ?urther conflict unfolds in this second scene. Our suspicions about Iago are confirmed by his first lines" and by his oath at line ,,. $is pretended loyalty and indignation are designed to evoke trust and favourable opinion" as is his false self) deprecation. Iago%s aniety about Othello%s welfare is hypocritical. $owever" all his remarks up to line -8 are entirely plausible. Iago focuses on issues that will trouble Othello. In contrast to all the characters we have seen so far" Othello speaks with a measured calm in his first speeches. $is (uiet confidence and obvious sincerity about his love for ;esdemona are immediately attractive. We realise that Othello is not the pompous creature described in the previous scene and that" in spite of his clandestine marriage" he prefers to be open about his actions +lines ,@)41. Othello is also brave" dignified and authoritative" as shown by his handling of 2rabantio and his followers. We may accuse him of pride when he speaks of his services to the state and insists that his %parts ... title" and ... perfect soul% +line ,-1 will %manifest me rightly% +line ,41" but we understand that his reputation has been attacked. 2y the time that 2rabantio launches his verbal assault on Othello at line 4 we will probably feel enough sympathy for the general to sense that 2rabantio%s accusations are not entirely 'ustified. ?inally" this scene shows that Othello and Iago are polar opposites5 one seeks to diffuse conflict while the other revels in it. Act One1 Scene Three Summary
The senate discuss the war with the Turks. Othello answers 2rabantio%s accusations and is sent to 9yprus on a military campaign. Iago starts to plan his revenge against Othello.
We move to the council chamber" where the ;uke a nd the 7enetian senators discuss conflicting reports about the movements of the Turkish fleet. After receiving further information from the commander in 9yprus +6ontano1 it seems clear that the Turks intend to attack that island. When Othello and 2rabantio enter" the ;uke immediately tells Othello to prepare to go to war. $e welcomes 2rabantio and tells him that his presence was sorely missed at the meeting. 2rabantio is more concerned with his private troubles and repeats his accusations against Othello. The meeting to discuss military
operations and strategy now becomes a trial of Othello. The ;uke asks Othello to respond to the charges against him and we hear conflicting reports of his %whole course of love% +line 041. 2rabantio insists again that his daughter must have been bewitched" while Othello maintains that he won her love fairly. $e asks that ;esdemona be brought to the council chamber to confirm the truth of his words. While attendants fetch her" Othello continues to offer his version of their courtship" which the ;uke finally accepts" urging 2rabantio to reconcile himself to the marriage. 2rabantio refuses to believe that his daughter could be %half the wooer% +line -81. ;esdemona%s polite but firm insistence that she now owes her love and duty to her husband confirms Othello%s version of their courtship. 2rabantio is bitterly disappointed and finds it impossible to accept Othello as a son)in)law. The ;uke tries to persuade him to make the best of things and not cause further mischief" but 2rabantio remains angry. $e brushes off the ;uke%s conciliatory words and compares his loss of ;esdemona with the possible loss of 9yprus to the Turks. The ;uke takes this opportunity to return to military business and tells Othello to prepare to depart for 9yprus. ;esdemona asks to be allowed to accompany her husband. Othello insists that her presence will not distract him from military affairs and places his wife in Iago%s charge. &ust before he leaves with the senators" the ;uke makes a final attempt at consoling 2rabantio" but the old man turns sourly to Othello and warns him against trusting ;esdemona5 she has deceived her father and may one day deceive him. Othello replies that he trusts his wife%s %faith% un(uestioningly +line 40>1. The act closes as it began" with Iago and =oderigo in conversation. =oderigo is despondent and says that he will drown himself since he can no longer hope to win ;esdemona. Iago is impatient with this sort of foolish" defeatist talk and tries to persuade =oderigo that ;esdemona will soon look elsewhere for love when she is sated with Othello%s body. $e argues that the romance had a violent commencement and therefore cannot last. =oderigo is cheered by this idea and falls in with Iago%s plan5 he will gather his resources together and accompany Iago to the 9yprus wars. Alone on stage Iago reveals his true motives. $e is toying with =oderigo %for my sport and profit% +line ,/>1 and suspects Othello of cuckolding him< he wants revenge. $e is determined to oust 9assio and take his place and muses about the best way to achieve his aims. $e decides that he can easily abuse Othello%s honest and trusting nature a nd will try to persuade him that 9assio is too familiar with ;esdemona. As the scene closes" Iago is very satisfied with his half formed plots5 he looks forward to putting his ideas into action.
Act One1 Scene Three Analysis 9onflict and conflicting views and opinions dominate Act I Scene , as they have dominated the other two scenes in Act -. The ;uke attempts to steer a wise course in matters of love and war" but 2rabantio%s sour eit and Iago%s final solilo(uy suggest that Othello%s marriage will not proceed as smoothly as the couple epect it to. At this stage" in spite of the opprobrium of 2rabantio and the fact that Othello is forced to eplain and 'ustify his actions" the two lovers seem utterly secure in each other%s affection. Othello is confident that his wife will back him up early in the scene" and she later refuses to be parted from him. ?rom Othello%s description of the courtship it appears that ;esdemona was indeed %half the wooer% +line -81 so it does not come as a surprise to hear her say she %did love the 6oor to live with him% +line 4301. 2oth ;esdemona and Othello speak plainly and movingly about their affection for one another in this scene. What are the origins of their loveL Othello says that ;esdemona %loved me for the dangers I had passed * And I loved her that she did pity them% +lines -/)01. ;esdemona was seduced by Othello%s story)telling powers" while the 6oor was enchanted by the 7enetian%s sympathetic response to his history. There is no (uestion of their ardent sincerity" but we might wonder whether each perhaps fell in love with an image or idea of the other. We may also choose to (uestion how realistic Othello is about love. $e professes that he has had little eperience in matters of the heart. $e is elo(uent when describing his eperiences as a soldier" but needed prompting to woo ;esdemona and seems to epect to be able to continue his military duties without any distractions. $e is firm and confident about this< love and war can be combined. OthelIo%s military prowess is established early in the scene by the urgent discussions between the senators" while ;esdemona%s domestic (ualities are emphasised by 2rabantio and Othello%s descriptions of he r. Kow Othello has to negotiate the domestic sphere too. Are we to make anything of the fact that Othello is a mature man" coming late to love" while 2rabantio suggests that his daughter is not much more than a girlL Will this be another cause of conflict in the playL We may feel that Othello%s speech at line 4- is a little naive. $ere Othello seems to be denying the seual element of his relationship with ;esdemona" insisting that his identity as soldier comes before anything else. Iago%s contemptuous descriptions of Othello in this scene are troublesome but perhaps almost plausible" given the general%s words and actions. We may admire Othello%s %free and open nature% +line ,0/1" but we may also be concerned that the general is indeed trusting enough to be led by the nose +after all" ;esdemona ensnared him with her %world of sighs%" line -@1. $is decision to place his wife in Iago%s care is alarming" although it indicates his high opinion of his ensign. We receive two ominous hints about the future progress of Othello%s marriage when the senators leave5 2rabantio warns Othello against trusting ;esdemona" while the first senator tells Othello to %use ;esdemona well% +line 4041. These lines are eamples of dramatic irony" hints to the audience about the way the plot will develop.
The theme of deception is continued in this scene. :ike Iago" the Turks have been successful in concealing their intentions. 2rabantio%s assessment of his daughter%s character has proved to be false and his own affection for Othello has been revealed as superficial. Iago%s solilo(uy suggests that the manipulation of =oderigo and Othello in the first act is a prelude to more serious deception5 the web Iago is weaving will ensnare ;esdemona and 9assio too. It is entirely appropriate that Iago refers to hell and night in his last two lines. $e is devilish. Kote his ability to improvise swiftly5 at the start of his solilo(uy he has not decided how he is going to proceed with his revenge. A few lines later he has the outline of a workable and subtle plan. Act T2o1 Scene One Summary
The Turkish fleet is destroyed by the storm. Othello" ;esdemona and Iago arrive safely in 9yprus. Iago involves =oderigo in his plan to discredit 9assio.
The scene moves to 9yprus" where the island%s governor" 6ontano and two gentlemen aniously await Othello%s arrival. 2ecause of a storm they cannot see clearly what is happening. This confusion mirrors the confusion of the first act. 6ontano%s concern also indicates his respect for Othello and reinforces our esteem for the 6oor5 he is looked upon as 9yprus%s saviour. The storm is also a device by which Shakespeare can dispose of the Turkish threat" which is no longer necessary to the plot. The focus of Othello is to be the general%s marriage and Iago%s attempts to undermine it. A gentleman announces that the Turkish fleet has been destroyed by the tempest and also informs 6ontano that 9assio%s ship has arrived safely. When he enters it is clear that 9assio is also concerned about Othello%s safety" but he reassures 6ontano that the 6oor%s ship is strong and its captain a reliable and eperienced sailor. Kews of the sighting of another ship is brought in. 9assio sends a gentleman to find out who is landing and informs 6ontano of Othello%s recent marriage" praising ;esdemona%s virtues. We learn that it is Iago%s ship which has landed. The ensign e nters" escorting his wife #milia and ;esdemona. 9assio greets them graciously. ;esdemona immediately asks after her h usband and is disturbed to hear that his ship has not yet come in. Another ship is sighted and while we wait to find out whose it is" ;esdemona attempts to distract herself in conversation with the others. She discusses women and their characters with Iago" whose opinion of the fair se is far from flattering. The ensign says ) in a light)hearted tone ) that women are talkative" indiscreet" lascivious and deceitful. ;esdemona takes him to task for his ungenerous comments" while 9assio ecuses Iago%s soldierly bluntness. It appears that 9assio touches ;esdemona%s hand at this point ) a gesture of courtesy D because Iago informs us in an aside that he will use 9assio%s innocent gallantry against him. Othello%s trumpet is heard and the 6oor himself finally arrives. $e and ;esdemona greet each other warmly and Othello epresses his great satisfaction at seeing his wife again5 he says he could die happily at this moment. The couple%s 'oy is undermined by another aside from Iago" who remarks sourly that their mutual happiness will not last because he will set the couple at odds. The general then leaves for the castle" accompanied by all the other characters" ecept Iago and =oderigo. Iago now enlists =oderigo%s help in his plan to discredit 9assio. $e convinces =oderigo that ;esdemona is in love with 9assio" and that =oderigo%s only chance of gaining her affections is to disgrace the lieutenant. =oderigo is reluctant to believe that ;esdemona is as wanton as Iago suggests" but allows himself to be persuaded that it is natural that she should tire of Othello so (uickly. $e agrees to find an occasion to provoke 9assio into losing his temper later that evening. Iago is left alone on stage and offers us further insight into his motives. $is hatred of Othello is combined with contempt for a %constant" loving" noble nature% +line 4/,1. $e reiterates his desire to be revenged on the 6oor and his suspicions of having been cuckolded. Iago even suggests that 9assio has cuckolded him. Act T2o1 Scene One Analysis The principal characters are now isolated in 9yprus" removed from the orderly social and political scene of 7enice. In this new and unfamiliar setting Iago is able to prey on all those around him. The storm reflects the passions that will be unleashed in this new setting. We might also see the storm as being related to Othello and his emotions in particular5 he is associated with sea imagery throughout the play. Jntil Othello lands safely the mood of a ll the characters on stage is uneasy. 2ut while the 6oor%s appearance calms their fears" it is impossible for the audience to rela because of Iago%s asides" solilo(uy and dialogue with =oderigo. Iago%s cynicism undermines and taints the innocence" relief and 'oy of the other characters. Ironically" the ensign is even able to speak in an openly cynical and misogynistic way in this scene and take others in5 he plays the role of bluff soldier in his echange with ;esdemona. This is a mark of his power5 when he is most %honest%" Iago is disbelieved or thought to be entertaining. We might also view his crude delineation of the female character as a sign of Iago%s narrow and twisted nature. Jnlike Othello" who takes de light in his wife%s presence" Iago can only see women as false" mean spirited and inferior creatures. $is misogynistic opinions are developed further in his solilo(uy" when he speaks disparagingly of ;esdemona. The differences between Othello and Iago%s characters become even more glaring if we compare Othello%s words and actions with Iago%s. Othello%s speeches are generous" relaed" 'oyful< Iago is full of hate
and contempt. $e speaks of lust" preferment and profit. $is D some would say surprising ) admission of %love% +line 4/01 for ;esdemona is intriguing. As if recognising that the word %love% does not suit him" Iago immediately redefines his feeling as %lust%" %pa rtly led to diet my revenge% +line 4041. Bersonal and professional 'ealousy dominate Iago%s solilo(uy. $e wants Othello to suffer the same torment that rages inside him. At the moment the male protagonists could not be more different in situation or impulse" although we might feel that this scene confirms that both men are prey to very powerful emotions< love and hate. Would you agree with critics who suggest that there is an undertone of competitive racism in Iago%s solilo(uy" that he cannot accept that ;esdemona" a wealthy aristocratic white woman" has chosen a black manL It is important to note that Othello greets ;esdemona before moving on to speak to 6ontano and the other soldiers garrisoned at 9yprus5 love is put before war" signalling the domestic focus of the tragedy. Othello also suggests that ;esdemona is his source of happiness now5 he seems almost overwhelmed by this feeling at lines -/8)0- and -0,)8. Shakespeare is emphasising the all encompassing nature of his love in order to prepare us for his titanic 'ealousy later in the play. This scene also provides Iago with the first piece of false proof he can use to poison Othello%s mind< 9assio%s gallantry. The lieutenant has not yet emerged as a fully drawn character" although we see from his behaviour in this scene that he possesses the social graces re(uired to fit the role of lover Iago has cast him in. Act T2o1 Scene T2o Summary
Beace is restored in 9yprus. There is to be a night of revels to celebrate Othello%s marriage.
In this short scene a herald confirms the destruction of the Turkish fleet and prepares us for the celebration and consummation of Othello and ;esdemona%s marriage. Act T2o1 Scene T2o Analysis The herald%s 'oyful proclamation marks a return to civil order. $owever" the audience is aware that the peace will shortly be disrupted by Iago" who will take advantage of Othello%s generosity. Again" there is an eplicit linking of private emotions and public life" as in Act I Scene ,. Act T2o1 Scene Three Summary
On the night of the wedding celebrations" 9assio is dismissed from his post for fighting when drunk on duty. 9assio bemoans his loss of status.
We move to the castle" where Othello instructs 9assio to ensure that the festivities remain under control. 9assio confidently tells him that Iago is in charge5 both general and lieutenant believe that %honest% +line 1 Iago is both reliable and capable. ;esdemona and Othello leave to consummate their marriage" bidding 9assio goodnight. When Iago enters 9assio immediately wishes to set out to the watch" but the ensign persuades him that there is still time to en'oy the revels. The two men discuss ;esdemona. Iago urges the lieutenant to drink some more wine. Out of courtesy 9assio reluctantly agrees5 he says he has a poor head for drink and has already taken enough. While 9assio steps out to call in some of the 9yprus gallants" Iago reveals that he intends to make 9assio drunk so that it will be easy to provoke him into (uarrelling. $e intends that 9assio ) and others will disturb the peace. 9assio returns with 6ontano and the high spirited carousing continues. 9assio lapses into drunkenness. After a while he decides to attend to his duties" maintaining stoutly that he is sober as he leaves. Iago makes a point of telling 6ontano that 9assio is a habitual drunk" unsettling the governor" who says that Othello should be informed of his lieutenant%s weakness. =oderigo makes a brief appearance but is soon hurried off the stage by Iago" who urges him to follow and antagonise 9assio. A few moments later these two return5 =oderigo is driven in by an angry 9assio" who strikes his adversary. 6ontano tries to part them" but is drawn into a fight with 9assio himself. Qago tells =oderigo to cause further chaos and panic by running about the town crying %6utinyQ% An alarm bell rings and Othello arrives. Iago immediately assumes the role of mediator and pacifier. $e initially pretends that he does not know how the altercation began. 9assio is too ashamed to speak and 6ontano" wounded and breathless" refers the general to Iago for an account of the brawl. So it is left to the ancient to provide the increasingly angry Othello with a description of the night%s events. With pretended reluctance he recounts details of 9assio%s assault o n 6ontano. The lieutenant is immediately dismissed from his post. At this point ;esdemona enters. Othello protectively sweeps her away" commenting that it is part of a soldier%s life to have his rest disturbed by strife. 2efore he leaves he makes sure that 6ontano%s wounds are attended to and puts Iago in charge of restoring calm in the town.
Iago and 9assio are left on stage. 9assio is utterly wretched about the loss of his reputation" and disgusted with his own behaviour. Iago offers him advice. $e suggests seeking ;esdemona%s assistance. If she will plead for him" 9assio is sure to be restored to Othello%s favour. :ike =oderigo before him" 9assio is persuaded that %honest% Iago has his best interests at heart and leaves" satisfied that the ancient%s proposal is sound. Iago turns triumphantly to the audience5 who can accuse him of villainy when he offers such helpful" wise adviceL $e now informs us that he will convince Othello that ;esdemona pleads for 9assio because she is in love with him. =oderigo returns" a rather pathetic figure. $e has been beaten soundly. Worse" he has nothing to show for his financial outlay and is as far from securing ;esdemona%s affections as he was in 7enice. $e intends to return home. This does not suit Iago" who still needs =oderigo. The ensign persuades him to stay5 he should not be so impatient" he should think less of his bruises and more of his achievements5 after all" he has this evening %cashiered% his rival +line ,>1. Iago sends =oderigo back to his billet and muses on" alone. $is net move will be to enlist his innocent wife%s help5 #milia must promote 9assio%s cause with ;esdemona while he poisons Othello%s mind. Act T2o1 Scene Three Analysis In this scene Iago%s ideas becomes reality. $e continues to manipulate the hapless =oderigo effortlessly5 at the end of the scene he is confident enough to usher his stooge off with an impatient and contemptuous %Kay" get thee gone% +line ,881. Iago acknowledges that speed is vital if his plan is to work" although he is willing to spend time smoothing the way5 he draws 9assio out and then reassures him that he must not give up hope +this is eactly the tactic he has used with =oderigo1. In the first two acts we see the methods that Iago will use on Othello work to devastating effect on lesser men. The ensign is sharpening his weapons. $ere we see him eploit the limitations or weaknesses of 9assio and =oderigo. Soon he will prey on a much nobler victim. At all times Iago acts as if he has someone else%s interests at heart. $e also presents himself in the best possible light5 for eample" in the aftermath of the brawl he pretends to be reluctant to accuse 9assio. Kot only does this make him look like a loyal friend +he needs 9assio to trust him1" but it is also the most effective way of convincing Othello that his lieutenant has behaved disgracefully. Othello" who prefers openness and honesty" is forced to demand the truth" which angers him. $owever" he appreciates Iago%s false %protection% of 9assio. We see Iago%s true malignity in his solilo(uy at line ,,-" when he states very clearly that he intends to use ;esdemona%s goodness to %enmesh them all% +line ,>81. $e now seeks the destruction of an innocent" with whom he has no (uarrel. We also see Iago%s delight in his own cunning in this speech5 he revels in the fact that he has the power to turn ;esdemona%s %virtue into pitch% +line ,>>1. As in previous scenes" Iago shows nothing but contempt for honesty and innocence and looks forward to defiling them. #ven his wife is to be used in his plan. Iago%s only loyalty is to himself. $is appeal to the audience at lines ,,-)3 shows him revelling in his own acting abilities. $is imagery is crude and materialistic5 he will convince Othello that his wife pleads for 9assio %for her body%s lust% +line ,>415 she will %undo her credit with the 6oor% +line ,>31. With Othello and 9assio Iago is generally more polite and circumspect. Bart of Iago%s success lies in the fact that he tells his victims what they want to hear" or uses the arguments that are most likely to win them over to his way of thinking. $e can talk =oderigo and 9assio round because they want to be comforted and provided with solutions to their difficulties. Another eample of Iago%s duplicity comes in his use of the word %think%" which anticipates his manipulation of Othello%s thoughts. $e toys with 9assio when he says" %I think you think I love you% +line ,@1. The audience will be alarmed by this double dealing. In this scene Othello%s control is undermined" although the general is as yet unaware that he is being manipulated. Iago disrupts both his wedding night and the peace of the town with great efficiency. Othello speaks with his customary authority" but we know that his power to rule himself and others has been threatened. The importance 9assio places on his reputation reflects Othello%s pride in his own h onour" which is also to be destroyed by Iago. Act Three1 Scene One Summary
9assio hires some musicians to serenade the bride and groom. #milia agrees to take 9assio to speak with ;esdemona.
The following morning 9assio hires musicians to perform some music to celebrate Othello and ;esdemona%s marriage. It appears that the music does not please Othello because he sends a clown to pay them to leave. 9assio then entreats the clown to tell ;esdemona%s lady)in)waiting" #milia" that he would like to speak with her. As the clown leaves" Iago makes his entrance. 9assio is pleased to see him and grateful when Iago says he will ensure that his wife attends him p resently. Iago also says he will help 9assio by diverting Othello%s attention so that 9assio can speak to ;esdemona alone. When #milia arrives we learn that Othello and ;esdemona have already been discussing 9assio%s case and that ;esdemona has defended 9assio. #milia agrees to take 9assio to speak with ;esdemona.
Act Three1 Scene One Analysis This brief scene furthers the plot. We have an impression that time is moving swiftly and that the action of the play is continuous. #milia%s sincerity and her obvious closeness to ;esdemona a re appealing" but we know that she is unwittingly helping her husband and not 9assio when she agrees to take the latter to speak with her mistress. The scene is laced with heavy and ominous irony5 9assio%s words at lines 3@)- are chilling for the audience" who know that the opposite of what he says about Iago is true. Kote that it is Iago%s suggestion that 9assio speak alone with ;esdemona5 the lieutenant had intended to plead through #milia. We know that there is little chance of his reinstatement< 9assio%s optimism makes him a slightly pathetic figure. Observe how Iago contrives ) as usual) to arrive on the scene at an opportune moment. Act Three1 Scene T2o Summary
Othello sets out to inspect %the works%.
In this brief scene Othello is busy with official business5 he intends to inspect the fortifications in the town" with his loyal deputy Iago at his side. Act Three1 Scene T2o Analysis This scene is as ironic as the previous one5 while the innocent Othello is absorbed in military matters" his personal affairs are being steadily undermined +we assume that 9assio will take this opportunity to speak to ;esdemona" thus falling into the trap that Iago has laid for him1. Othello is probably also acting in accordance with Iago%s plan to %draw the 6oor * Out of the way% +III.-.,8)/1 when he agrees to tour %the works% +line ,1. The first two scenes of Act III prepare us for the ensign%s assault on his commander in Act III Scene ," which is the central scene of Othello. Act Three1 Scene Three Summary
;esdemona pleads with Othello to reinstate 9assio. Iago convinces Othello that his wife is in love with 9assio.
In 9ontrast to the previous two scenes" this scene is lengthy. $ere we watch as Othello%s mind is poisoned. The tight focus is not only psychologically convincing5 it also aids the impression that time is moving swiftly +favouring Iago1. ;esdemona and #milia offer 9assio their assurances that Othello will soon restore him to favour. ;esdemona insists that she will talk her husbandE out of patience% +line 4,1 until he agrees to reinstate 9assio. Othello enters with Iago. Jneasy and ashamed" 9assio declines to stay when ;esdemona offers to plead for him there and then. Iago immediately sets to work" observing briefly that he does not like the manner of 9assio%s leave)taking. ;esdemona enters. She speaks her mind without any hesitation" urging her husband to call 9assio back and reinstate him. Othello is reluctant to discuss this sub'ect" but ;esdemona is undaunted" demanding +playfully but in a determined way1 to know when 9assio will be returned to favour. Othello asks to be left %a little to myself% +line />1" but agrees that he is willing to see 9assio %when he will% +III.,.8>1. ;esdemona has to be satisfied with this and obediently takes her leave with #milia. Othello says he will 'oin her shortly. Iago continues to disparage 9assio" suggesting in a roundabout way that he suspects him of false behaviour with ;esdemona. Iago hints that the conversation Othello interrupted at the start of the scene was not as innocent as it may have appeared. 2y pretending to b e reluctant to articulate his suspicions" Iago encourages Othello to (uestion what he has observed. $e urges his master not to be 'ealous" without telling him directly why he should be 'ealous. Othello insists that he is not given to 'ealousy" but his mind has clearly been moving in the very direction Iago intended because he then speaks of his wife%s attributes and talents. Othello brings up the sub'ect of rivalry himself when he says %she had eyes and chose me% +line -//1. We begin to sense that the 6oor is deceiving himself when he says %there is no more but this< * Away at once with love or 'ealousyQ% +lines -041. Iago knows he has ensnared his victim. $e now chooses to drive home the advantage he has gained" offering Othello specific advice5 watch ;esdemona with 9assio" remember that 7enetian women are de ceitful. The ensign reminds Othello that his wife has already de ceived her father. This is a profitable line of argument for Iago" who sees immediately that the 6oor is troubled by what he has heard. Iago twists the knife" pointing out that ;esdemona refused a number of natural matrimonial choices before marrying Othello and is now perhaps only %recoiling to her better 'udgement% +line 4,>1 by feeling attracted to 9assio. We know that Othello has played right into Iago%s hands when he asks him to set #milia spying on ;esdemona. $is plaintive and rather helpless (uestion when he is briefly left alone on stage ) %Why did I marryL% +line 43-1 D shows Othello%s perturbation and misery. $e is now plagued by doubt.
Iago is merciless. $e returns swiftly to offer further wicked advice< hold 9assio at arm%s length for a while and observe how ;esdemona reacts to this. Alone at last" Othello considers what he has heard. $e doubts himself momentarily +he is black" old" rude of speech1 and seems bewildered by how to proceed. $e cannot (uite bring himself to believe that his wife is false" although much of his solilo(uy is taken up with the idea of establishing proof that ;esdemona has deceived him. $is wife appears and reminds h im that %the generous islanders% +line 4801 await him at dinner. When Othello responds briefly and faintly" ;esdemona recognises at once that something is amiss. She offers to bind her husband%s aching head with a handkerchief" but Othello will not be comforted and suggests that they go in together. In her aniety ;esdemona does not realise that she has dropped her handkerchief" which is picked up by #milia" who comes in after the couple have left. #milia informs us that the %napkin% +line 4/01 was ;esdemona%s first gift from her husband and that Iago has been pestering her to steal it for some time. Iago chooses an opportune moment to reappear. $e is delighted when #milia gives him the handkerchief but refuses to tell her how he will use it. When #milia leaves we learn more about Iago%s nefarious intentions. The handkerchief will be left at 9assio%s lodgings to serve as proof of his secret liaison with ;esdemona. Othello returns" absorbed with thoughts of his wife%s treachery. $e now seems absolutely convinced that ;esdemona is guilty of deceiving him and is tormented by the lack of evidence. At the same time Othello also seems to regret his suspicions5 he says that he was happy when he was ignorant of %her stolen hours of lust% +line ,,1. $e says that his peace of mind is destroyed forever. Othello wants %ocular proof% +line ,>/1 of his wife%s adultery. As he talks he becomes increasingly agitated" swinging between doubt and conviction5 at one moment he seems angry with Iago for telling him of his suspicions5 then he is sure that his wife%s lasciviousness has ruined his reputation. $e is" as Iago observes" %eaten up with passion% +line ,/01. Iago feeds Othello%s 'ealousy by pointing out that it will be difficult to obtain evidence +employing some coarse descriptions of ;esdemona and 9assio%s lust1 and then by offering a tantalising description of an occasion on which he shared 9assio%s bed5 the lieutenant apparently called out to ;esdemona in his sleep and attempted to kiss and fondle his bed mate +Iago1" mistaking him for the ob'ect of his desire. This %dream% +line 341 disturbs Othello greatly5 his thoughts turn immediately to violent revenge. Iago then moves on to his piece de resistance< the handkerchief. $e tells the general that he has seen 9assio wiping his beard with it. neeling" Othello vows never to look back again5 he is utterly consumed by %bloody thoughts% +line 3 >>1. Iago kneels with him and pledges his allegiance to %wronged Othello%s service% +line 38@1. $is %loyalty% is welcomed by the desperate 6oor" who asks him to kill 9assio. Iago then receives the promotion he has been hankering after5 he is made lieutenant when he agrees to murder his %friend% 9assio +line 38-1. The scene ends on a sinister note5 Othello leaves" intending to %furnish me with some swift means of death * ?or the fair devil% +lines 38>)1 while Iago repeats his false protestation of unswerving loyalty. Act Three1 Scene Three Analysis The progress of Act , Scene , is painful to behold. #verything proceeds eactly as Iago wishes. The audience knows from the outset that ;esdemona will doom herself with every utterance. We recognise the horrible irony of he r remark that she would rather die than abandon her commitment to plead for 9assio and then wince as she carries out her promise. 9assio%s innocent uneasiness goes against him" as ;esdemona%s forthright approach goes against her5 all because of Iago%s deceptively short and simple opening line" %$a" I like not that% +line ,31. Their honesty is no match for his duplicity. In the first part of the scene we watch as the ensign and ;esdemona try to persuade Othello to adopt their own particular view of 9assio. Their methods of persuasion could not be more different. ;esdemona speaks urgently and energetically" praising 9assio and repeating her demand to know eactly when he will be reinstated. She is open and confident. It is possible to interpret her insistence as nagging" and ;esdemona is perhaps foolish to keep on with her defence of 9assio when it is clear that Othello does not wish to d iscuss the matter. We might also accuse ;esdemona of meddling in affairs that don%t concern her +earlier in the play Othello made it plain that military and domestic life were not to be confused1. 2ut why should ;esdemona not speak her mindL She has every reason to feel confident of her husband%s devotion. We also recognise that her motives for speaking are generous and honest. ;esdemona thinks that she is acting in her husband%s best interests5 9assio was a %go between% when Othello and she were courting and he has been a reliable and loyal lieutenant and friend. And she also knows he is genuinely penitent. Iago%s methods are altogether more subtle. $is pretended reluctance to speak +which worked so well in Act II Scene ,1 enables him to gain ground swiftly. Jnlike ;esdemona" Iago needs prompting to reveal his thoughts and says very little at the start of the scene. $owever" the words he chooses are devastatingly effective +see lines ,3"," ,/)3@1. $e is also wise and lucky. To a certain etent" as we have seen above" ;esdemona %digs her own grave% by nagging her husband about 9assio" whose eit at the start of the scene could easily be misconstrued. When Iago speaks again after ;esdemona%s eit he asks a leading (uestion and hints at his own bad thoughts. Kote the way in which Iago loads the words %think% and %honest%5 ;esdemona%s repeated pleas to know eactly when 9assio will be reinstated irritated Othello5 a few minutes later the repetition of these two words has the same effect. The audience will be alert to the fact that these two words are the %key% to Othello. Iago%s power resides in these words< he poisons thought by posing as an honest man.
The horrible irony of the scene continues. Othello did not want his wife to share her honest thoughts with him and asked her +albeit politely1 to leave him alone5 now he is impatient for Iago to reveal his +false and evil1 thoughts. Iago is not only reluctant to give voice to his thoughts" he also says that he hopes his suspicions are un'ustified +lines -38)>81. It is interesting to note" however" that Othello makes Iago%s task easier5 the 6oor introduces the sub'ect of his wife himself when he is warned in general terms about 'ealousy. Iago may indeed be suggesting topics for consideration" but his victim (uickly catches up with him and 'umps to his own false conclusions. $aving set the scene with generalities" Iago can then chip away with specifics5 the cruel reminder that ;esdemona behaved deceitfully when she married Othello" the painful reminder that Othello is an outsider +he does not appreciate the subtlety and worldliness of 7enetian women1" the alarming reminder that it was surprising for ;esdemona to choose Othello when there were other more %natural% choices she could have made. ?rom time to time Iago also reminds Othello that he loves and honours his %free and noble nature% +line 4@,1 and speaks only because he feels it is in his master%s best interests. $e continues the pretence that he is 9assio%s trusted friend" which makes his reluctance to speak more plausible still. This scene suggests the power of silence" foreshadowing Iago%s defiance at the end of the play. When he knows his poison has taken hold Iago is confident enough to make precise suggestions as to the course of action Othello should follow" leaving his victim alone in misery for a moment before returning to deal him further blows. After the echanges between Othello and ;esdemona and #milia and Iago" the ensign is then able ) because of his wife%s unwitting assistance ) to provide Othello with the evidence he desires so strongly. This is further proof of Iago%s (uick)witted opportunism. In this final part of the scene Iago adopts similar methods" initially reluctant to speak in specifics +Iago talks in generalities about honesty and the difficulty of obtaining proof1 he then tells the false story of 9assio%s lustful dream and asks a leading (uestion about the handkerchief. Then" when Othello%s thoughts turn to revenge" Iago knows it is time to revert to the role of loving and loyal assistant and friend. There is of course a horrible irony in the fact that by seeking to kill 9assio Othello is actually carrying out Iago%s revenge for him. 2y the end of this scene Iago has achieved what he said he wanted in the first act< he is lieutenant. $ow do we 'udge the noble 6oor in Act III Scene ,L #ssentially he is acted upon here" under pressure from the moment he enters. $e is able to command his wife" although he seems uneasy during his conversation with her at the start of the scene. There is resignation in his line %I will deny thee nothing% +line 81. We might feel that Othello is already on the brink of catastrophe" even before Iago%s poison takes hold. As his wife leaves Othello utters these words< #cellent wretchQ perdition catch my soul 2ut I do love theeQ and when I love thee not 9haos is come again. +III.,.0@)41 These lines suggest that Othello will be utterly lost if his love is destroyed. Kote the two negative abstract nouns that hint at the trouble to come< %perdition% and %9haos%. The audience will be aware of the dramatic irony of these lines. So why" if he feels so strongly attached to ;esdemona" does Othello give in to feelings of doubt and 'ealousy so very swiftlyL Some commentators see these lines above as proof that the 6oor is already in the grip of emotions that he cannot handle. Others point out that in spite of his other positive (ualities and calm authority as a soldier" Othello is susceptible to 'ealousy. $e is suggestible and insecure. This is not to underplay Iago%s power in this scene. Othello has no reason to suspect his ensign of double dealing and as we have seen above" Iago has an enormous and subtle range of weapons in his armoury. Othello%s brief inter'ections at lines ->8 +NoundsQ%1 and -8, +%@ miseryQ%1 suggest that the general cannot deal with the suggestions he is presented with. Kote too that Othello is forced to ask a (uestion and then respond to Iago%s suggestions at lines 4@/ and 4--. $e is being prompted to think the worst. In this middle part of the scene Othello%s utterances are short and uneasy" while Iago speaks at length" a gain suggesting the 6oor%s powerlessness in the face of vile insinuations. Othello%s decisiveness" which has stood him in good stead as a soldier" goes against him in this scene. $e makes up his mind too (uickly. Once he has made his mind up he refuses to look back" as he indicates himself at line 3-. :eft alone briefly he wonders wretchedly" NWhy did I marryL% suggesting that he has already decided that his wife is false. A few lines later he speaks of the% curse of marriage% +line 4841 ) his ;esdemona is gone forever" even though Othello continues to resist Iago%s version of her until he is told the story of 9assio%s dream. When he returns at line ,,4 there is a change in Othello. $e speaks violently to Iago" %7illain" be sure thou prove my love a whore% +line ,41. Although Othello says he knows not what to believe +%I think my wife be honest" and think she is not%" line ,/81" the violence of h is speech and the images he con'ures up indicate that Iago is winning. The opposition in the lines ,/8)0@ comes almost at the middle of the play" perhaps suggesting that the general now has one of two opposing roads to take. Othello speaks of %Boison" or fire" or suffocating streams% +line ,041" says his name is %begrimed% +line ,0@1 and then begins to curse" %;eath and damnationQ OQ% +line ,001. At this point his speech begins to break down" signifying the disruption in his mind. Kote too that he has started to use oaths ) an eample of the %Iagoisation% of his speech that becomes more apparent as the play unfolds. This pattern continues later in the scene as Othello%s words become more dis'ointed" his thoughts more wild and bloody +see lines 330)>, and 3>)>1. Othello%s most arresting line is the ferocious" %I%ll tear her all to pieces% +line 3,31.
We know there is no way back for him now5 as he says himself" he is a resolute character and once he has decided on revenge his words are purposeful and ruthless +see lines 3>)>" 384)" 38/)/-1. 2y this point in the scene Othello has regained some of his hold on himself" signified by the fact that he says more and initiates the plot to kill 9assio. 2ut we know that he is fatally mistaken and can only fear the conse(uences of his resolution. It is also dis(uieting to note how Iago and Othello finish each other%s lines at the end of the scene5 further proof that the master is drawing horribly close to the evil servant and moving further away from his innocent wife. We might even argue that Iago has begun to replace ;esdemona in Othello%s affections" and that Iago%s devotion must now be what Othello relies on instead of marital harmony. This is suggested by the serious oath taking at the end of the scene" when Othello says %I greet thy love% +line 3841 and Iago responds %I am your own forever% +line 3/41. Act Three1 Scene our Summary
Othello is angry with ;esdemona because he believes she has lost the handkerchief.
;esdemona asks the clown to inform 9assio that she has pleaded for him and hopes %all will be well% +line -81. She then epresses her uneasiness about losing the handkerchief. There follows an awkward echange with Othello" who finds it difficult to speak naturally and courteously to his wife. ;esdemona returns to the sub'ect of 9assio" but Othello ignores her remarks and asks her for the handkerchief. ;esdemona replies that she does not have it with her. Othello stresses its importance" telling her that it has magical properties. $e asks if it has been lost. ;esdemona denies this and attempts to return once more to the sub'ect of 9assio. Angered" Othello leaves. #milia comments on his 'ealousy" while ;esdemona again epresses her unhappiness at losing the handkerchief. Iago and 9assio arrive together. ;esdemona tells 9assio that he must be patient5 Othello is out of humour. Iago en(uires whether the general is angry a nd leaves" ostensibly with the intention of d iscovering the cause of Othello%s anger. ;esdemona tries to convince herself that it must be state matters that have disturbed her husband. She decides to look for Othello herself. She tells 9assio to wait behind. When she leaves 9assio%s mistress 2ianca enters. She is annoyed with her lover because he has not visited her recently. 9assio gives 2ianca ;esdemona%s handkerchief" denying that it is a gift from %a newer friend% +line -8>1. $e castigates 2ianca for her 'ealousy and says he found the handkerchief in his chamber. $e then asks 2ianca to leave" not wanting to be seen %womaned% +line - /01 if Othello returns. $e agrees to visit 2ianca soon. Act Three1 Scene our Analysis This unhappy scene focuses on ;esdemona. She is not only her husband%s and Iago%s victim5 here she is also at the mercy of the clown" whose riddling shows how words can be misconstrued" mirroring the events of the previous scene. #milia%s function in this scene is to comment on what she sees and hears. She introduces the sub'ect of Othello%s 'ealousy" enabling us to appreciate 'ust how much innocent faith ;esdemona has in her husband. We (uickly learn that we can rely on her 'udgement5 #milia rightly guesses that it is 'ealous thoughts which perturb Othello. #milia is also wise in her definition of 'ealousy5 %It is a monster * 2egot upon itself" born on itself% +lines --)41. In succeeding scenes and acts we will see the aptness of these words. Shakespeare fills the scene with eamples of alarming dramatic irony1 for eample ;esdemona%s words at lines 4>)0 and ,@)-. In spite of the fact that she lies to her husband about the loss of the handkerchief" we are likely to feel much sympathy for ;esdemona. She does not appreciate the danger she is in" signified by her words at line ,@ and is alarmed +rightly so" since his tone is hectoring1 by her husband%s description of the handkerchief and his repeated re(uests to see it. We can understand her falsehood5 surely she is simply seeking not to anger Othello furtherL We will also feel sympathy for ;esdemona as we listen to her ecuse her husband%s %unkindness% in her speech at line -3-. $aving sympathised with Othello in the previous scene" we are likely to feel little more critical of him here. We know that his suspicions are deeply painful to him" but his echange with ;esdemona does not show the 6oor in a favourable light. The handkerchief is now loaded with ominous significance5 it seems to symbolise ;esdemona%s honour. The mythic (ualities that Othello endows it with represent the 6oor himself5 its loss represents the %break% between the 6oor and his wife. ;esdemona is lost to Othello because he has now adopted his ensign%s view of the world. The %magic in the web% +line 8-1 of the handkerchief represents the %magic% of the 6oor%s union with the 7enetian lady which has been destroyed by Iago. Iago%s triumph is driven home by his repetition of the word %angry% +lines -,," -,>" -,/15 he has the power to control the general%s moods now. The echange between 9assio and 2ianca shows us another eample of a man speaking ungraciously to his lover. We also see another eample of amorous 'ealousy. :ike ;esdemona" 2ianca has to be satisfied with the treatment she receives from her lover5 she is powerless to change or direct him. Act our1 Scene One Summary
Overlooking a conversation" Othello sees ;esdemona%s handkerchief in 2ianca%s hand and believes that his wife has been unfaithful. Othello vows to murder ;esdemona. 7enetian visitors bring news that Othello has been recalled from 9yprus.
Iago continues to torture Othello with (uestions and crude images. $e also torments him with allusions to the handkerchief. Iago again manipulates language epertly" forcing Othello to (uestion him about his suspicions. When Iago suggests that he does not know for certain whether 9assio has lain NWith her" on her" what you will% +line ,31 Othello becomes frenied" falling down in a fit. While he is convulsed on the floor Iago gloats over him. 9assio enters and Iago immediately assumes the role of concerned and faithful servant. $e sends 9assio away but tells him he needs to speak to him %on great occasion% +line >01. When he comes round Othello agonises about being cuckolded. Iago tells Othello to withdraw so that he can overlook a conversation with 9assio" who" he says" has agreed to meet ;esdemona secretly again. Othello falls in with this plan" which will" he hopes" provide him with the p roof he longs for. When Othello withdraws Iago informs us that he will (uestion 9assio about 2ianca5 Othello will believe that 9assio is speaking about ;esdemona. 9assio returns and replies in a light)hearted way when Iago asks him about his intentions towards his mistress. 2ianca comes in" still incensed about the handkerchief. She clings to her belief that it is %some min%s token% +line ->41. Othello seies on this sighting of the handkerchief as proof that ;esdemona has been unfaithful. When 9assio leaves to reason with 2ianca" Othello emerges from his hiding place in a black mood. $e is still torn between thoughts of h is wife%s sweetness and a desire to believe in her guilt. Iago ensures that vengefulness dominates. Othello decides to poison ;esdemona that very night5 Iago suggests that strangling her in the bed she has %contaminated% +line 4@>1 is more appropriate. The %'ustice% +line 4@1 of this plan pleases Othello. Iago says that he will d eal with the murder of 9assio himself and report back by midnight. At this point ;esdemona appears with :odovico and other attendants. Othello has been recalled from 9yprus and 9assio is to be governor in his place. ;esdemona welcomes this news. Othello presumes that she is glad because her lover has received promotion at his epense and strikes ;esdemona" who leaves the stage. :odovico is deeply shocked by what he has witnessed5 he cannot believe that this is the %noble 6oor ... Whom passion could not shakeL% +lines 4>0 and 4-1 After the general has left D almost incomprehensible in his rage ) Iago tells :odovico" with assumed reluctance" that Othello has been guilty of worse actions that striking his wife" ensuring that the 7enetian visitors will view Othello darkly and believe that they have been deceived in him. Act our1 Scene One Analysis This opening scene of the fourth act is shocking and disturbing for a number of reasons. It is distressing to witness Othello spiralling downwards" signified by two eamples of physical violence< his fit and the striking of ;esdemona. The striking of ;esdemona is particularly shocking" the more so because we know ) and she says herself ) that she does not deserve this humiliating +public1 degradation. It is also chilling to watch Iago%s icy en'oyment of his power as he watches the suffering 6oor. $is cool suggestion that ;esdemona should be strangled is more horrifying still +as is Othello%s concurrence with this plan1. Why does Iago want ;esdemona deadL This was not part of his original plan. It seems he has recognised that it is vital that she and 9assio die" before Othello decides to (uestion them. In Act III Scene , Othello threatened Iago with death +%woe upon thy lifeQ%" III.,.,01 if he could not prove his wife a whore. $e encourages Othello to strangle ;esdemona because her death will help him to preserve his own life. Iago commands Othello%s imagination" con'uring up distressing images of infidelity early in the scene. $e plays devil%s advocate when he suggests that ;esdemona%s honour ) like the handkerchief ) is hers to give away as she chooses. We can see the devastating effect he has on Othello in the 6oor%s speech at line ,>. $ere Othello speaks dis'ointedly and distractedly ) he is barely in control of his senses. $is convulsion is the physical epression of his inner torment. It is horribly ironic that Iago calls his poisonous influence %medicine% at line 3>. It also seems cruel that Iago should tell Othello to %bear your fortune like a man% +line -1" while simultaneously torturing him with thoughts of the %millions% who make other men cuckolds every night. Iago knows that Othello%s pride will render this idea unendurable. It is disconcerting to see the formerly noble 6oor conceal himself so that he can eavesdrop. $is vow to be %most cunning in my patience% +line 0-1 is both pitiful and alarming5 Othello also intends to be %most bloody% in the same line +we see how he is moving closer to the atrocity of the final act1. We might also view his striking of ;esdemona as a prelude to the physical violence that is to occur later in the play. 9assio does not appear in a favourable light in his echange with Iago. $e seems rather heartless as he 'okes about 2ianca%s fondness for him. 2ut this echange serves Shakespeare%s ) and Iago%s purposes admirably" as we see from Othello%s first line when he emerges from his concealment< %$ow shall I murder him" IagoL% he asks +line -81. It is in keeping with the events of this scene that the 6oor should again ask Iago how to proceed5 earlier we saw how he was reduced to asking (uestions rather than commanding. 2ut we
also sense Othello%s helpless pain. 9onsider his eclamation at line -0< %@ IagoQ% and the way in which the general is torn between thoughts of his wife%s sweetness and her treachery5 even now when he is under Iago%s spell" we know how difficult it is for Othello to submit to the ensign%s view +see lines -8>)0,1. 2ut he gives in" as his violent and shocking words at line -08 suggest< %I will chop her into messesQ 9uckold meQ% Kote the miture of egotism and savagery here. It is significant that this line and Othello%s savage striking of ;esdemona occur when :odovico arrives in 9yprus. :odovico represents the 7enetian state and shows the civilised world%s disturbed reaction to Othello%s barbaric treatment of his wife. We see that Iago%s influence has driven a wedge between husband and wife" and also between the general and his employers5 Othello%s star has fallen and he is becoming increasingly isolated by Iago a nd his 'ealousy. Act our1 Scene T2o Summary
Othello confronts ;esdemona" trying to get her to confess her guilt. ;istraught and confused" ;esdemona appeals to Iago for help.
Othello (uestions #milia about his wife and 9assio. $e is seeking to find further %evidence% to add to the %proof% of the handkerchief. #milia insists that ;esdemona is honest and chaste and warns Othello against 'ealousy. Othello asks #milia to fetch his wife. She leaves the couple together. Othello now tries to elicit an admission of guilt from ;esdemona" who courageously asserts her virtue. Overwrought" Othello weeps5 ;esdemona presumes that he is mourning her father" who has died. Othello then describes his mental suffering" employing an image of himself caught in everlasting shame. $e also says that %The fountain% +line @1 of his life has been polluted" becoming %a cistern" for foul toads * To knot and gender in% +lines @)-1. Turning to his wife" Othello wonders how she can look so %lovely fair% while being a %weed% +line 1. ;esdemona is bewildered by her husband%s words5 she asks what %ignorant sin% she has committed +line 01. At this point #milia returns. 2elieving that she is a %simple bawd% +line -01 who has assisted ;esdemona in her wantonness" Othello offers #milia money and then leaves in disgust. #milia tries to comfort her mistress" who is miserable and bewildered. ;esdemona asks #milia to call Iago to her and also asks her to make her bed up with her wedding sheets. #milia describes to her husband how Othello has %bewhored% his wife +line --31 and ;esdemona finally weeps. Iago assumes the role of gentle comforter while #milia +ironically1 waes indignant5 she believes that ;esdemona has been slandered by some %busy and insinuating rogue% who has made Othello believe falsehoods +line -,@1. ;esdemona asks Iago how she can win Othello back again. Iago tells her not to worry and to dry her tears. When ;esdemona is summoned to supper by trumpets =oderigo appears5 he has decided to return home" believing that Iago has deceived him with false hopes. Pet again Iago manages to talk him round" on this occasion persuading him to participate in the plot to murder 9assio. $e says that his death is necessary so that Othello will be kept on in 9yprus as governor +Iago lies to =oderigo and tells him Othello is being sent to 6auritania1. Act our1 Scene T2o Analysis This is another powerful and painful scene of misunderstandings. #milia%s remarks about trust in lines -4)-0 do not touch Othello because he now misconstrues everything he hears and misreads what he sees +as in the previous scene1. The tension within him and the struggle he is having in reconciling the warring emotions of love and 'ealousy" is dramatised through his use of contrasting images5 the %fountain% +line @1 which becomes a %cistern% +line 41" he now looks %grim as hell% +line >1 when faced with the %rose)lipped cherubin% +line 31 ;esdemona" who smells sweet but is now to him a %weed%. All of these images suggest how much under Iago%s influence Othello is. $is repetition of the words %whore% and %strumpet% throughout the scene indicates how far he is removed from the noble general of the first two acts" even if he still speaks poetically and with his customary measured tone at times +see lines 3/)>1. 2ut his speech is infected by the imagery discussed above" even when he is elo(uent and commanding. The insults he offers ;esdemona and #milia as he leaves make it hard to view Othello with much sympathy at this moment< his wife seems so helpless. And yet sympathise we must. $is wife%s presence is painful to the 6oor. When ;esdemona defends herself he tries ) rather weakly to send her away. Whichever way she turns" ;esdemona can find no relief5 her husband%s tone is by turns angry" pained and cold. As he leaves he speaks to her contemptuously" %I cry you mercy then" * I took you for that cunning whore of 7enice * That married with Othello% +lines 0@)41. Kote the way in which Othello dramatises himself using the third person here5 it is as if he has to distance himself from what he is saying to 'ustify his words and actions. We will see this tendency again later in Act 7. ;esdemona%s innocent misery and lack of comprehension are indicated by the fact that she can barely bring herself to utter the word %whore%. Kote ;esdemona%s deep humility and generosity in this scene5 she does not say that Othello was wrong to chide her +although she has bravely defended herself1" 'ust that he could have done it %with gentle means% +line --31. ;esdemona also says earnestly that she still loves Othello dearly" and will continue to do so however unkindly he treats her. There is a good deal of pathos in her lines with Iago and #milia" which contrast dramatically with #milia%s righteous" energetic and down to earth anger and Iago%s pretended concern.
;ramatic irony plays its part here too. It is particularly ironic that ;esdemona should seek help from the man who has effectively destroyed her" and ironic that #milia should be so close to the truth when she describes the %notorious knave% +line -341 who has abused Othello" little knowing that her own husband is the very man. The lively prose e change with =oderigo comes as something of a relief after the pain and harshness of the first two scenes of Act I7. It is difficult to feel much sympathy for =oderigo because he is so easily gulled and we will be dismayed to see how easily he is drawn into the plot against 9assio. 2ut we must marvel at Iago" who has found someone to do the dirty work of killing for him ) with very little effort. Kote Iago%s clinical" cold precision when describing %the removing of 9assio% +line 4401. 2ut he (uickly resorts to the brutal" confident tone he usually adopts when discussing ideas with =oderigo5 when his companion fails to understand him he says plainly that they must sort out the %knocking out his brains% +line 4,41. Act our1 Scene Three Summary
;esdemona is sent to prepare for bed. Jnable to dismiss a melancholy song from her mind" she discusses female inconstancy with #milia.
In contrast to the way in which her husband has spoken to her" :odovico politely wishes ;esdemona goodnight and leaves to take an evening walk with Othello. Othello speaks graciously enough to :odovico but then commands his wife to go to bed and dismisses #milia so that ;esdemona is alone in her chamber. #milia attempts to comfort her mistress" saying she thinks that Othello %looks gentler than he did% +line 01. 2ut she is puled and possibly alarmed when she is told she is to be dismissed" saying stoutly that she wished ;esdemona had never met Othello. ;esdemona says that she still loves her husband" that even his bad moods %have grace and favour% in them +line -01. Ominously" she then tells #milia that she would like to be shrouded in her wedding sheets if she should die. ;esdemona narrates the sad story of one of her mother%s maids called 2arbary" whose lover went mad and forsook her. ;esdemona says that she cannot get the song 2arbary sang as she died out of her mind. #milia helps her mistress prepare for bed and the two women briefly discuss :odovico. ;esdemona sings 2arbary%s willow song" before returning to the topic of men. ;esdemona cannot believe that women can ever be unfaithful to their husbands5 more realistically" #milia retorts that there are many who would betray their husbands. She then offers a realistic ) if rather pessimistic description of marriage. ;esdemona ends the scene hoping that she will not behave badly when she is set a bad eample" she will instead try to find a virtuous path to tread. Act our1 Scene Three Analysis This is a melancholy and (uiet scene which lacks some of the emotional %fireworks% of the rest of Act I7. There is a terrible poignancy in almost every line that ;esdemona utters and her %willow% song mirrors her own sadness and points to her death. :ike her husband" ;esdemona also seems isolated" even though #milia seeks to comfort her. The isolation comes because ;esdemona insists on maintaining her good opinion of and love for her husband" while all around her d oubt him. #milia%s dislike of Othello is very plain at line -. ;esdemona is also isolated in her idealistic" passive virtue" which is emphasised in this scene" preparing us for her submission in Act 7. She seems most unworldly here" especially compared with the pragmatic #milia. 2ut this is appropriate5 Shakespeare is emphasising ;esdemona%s innocence and the lost romance of her marriage5 it is to her credit that ;esdemona tries to keep this vision alive. Or is itL In this scene ;esdemona is full of foreboding and seems to predict her own demise5 she mentions winding sheets" her eyes itch" she is drawn to 2arbary%s melancholy song of death. Berhaps we are meant to believe that the heroine thinks that she can best please her husband by obeying his commands silently. $er obedience is further proof of her powerful love. 2ut it is laced with delusion5 she is perhaps foolish when she says even Othello%s stubbornness pleases her. The willow song reinforces the melancholy atmosphere and prepares us for the tragic outcome5 in the song the woman refuses to blame her lover and approves h is scorn. Kote that Othello and ;esdemona have been driven to tears in Act I7. And both wept ) unwittingly ) because of Iago%s malignant influence. Othello has been in mourning for his marriage and his own and his wife%s innocence. ;esdemona has wept because she too has been unable to comprehend what is happening to her. The mind of the former has been destroyed5 the body of the latter is shortly to be tortured" its life snuffed out. Act i#e1 Scene One Summary
:ater that night 9assio is wounded by =oderigo" who is stabbed and killed by Iago.
As in the first scene of the play we are in a street at night" watching Iago issuing instructions to =oderigo. Iago informs us that he has two reasons for wanting 9assio murdered5 firstly because he %has a daily beauty in his life * That makes me ugly% +lines -0)4@1 and secondly because Othello may %unfold% him to 9assio +line 4-1. When =oderigo conceals himself Iago tells us that it would be convenient for him if 9assio and =oderigo could manage to kill each other. When 9assio enters =oderigo lunges at him and receives a wound himself. Iago steps in and stabs 9assio in the leg. As he cries out for help" Othello appears. $e mistakenly believes that Iago has murdered 9assio and determines to move o n to his own act of vengeance. 9assio%s cries also draw :odovico and Fratiano" who are nervous that they will be ambushed. Iago enters with a light and immediately attends on 9assio" calling the others over to help him. While they are p reoccupied with 9assio" Iago takes his opportunity to stab =oderigo" who has a lso been calling for assistance. $e then reassumes his role as valiant helper" binding 9assio%s wound with his own shirt. 2ianca has heard the fracas and is dismayed when she sees that 9assio has been hurt. As (uick)witted as ever" Iago swiftly implicates her in the %(uarrel% between 9assio and =oderigo" whose b ody is discovered. The dead and wounded men are borne off. When #milia arrives Iago informs her that 9assio%s wounds are the %fruit% of his %whoring% +line --1 and continues to malign 2ianca" who is taken away" in spite of the lack of evidence to suggest that she has done anything more villainous than dine with 9assio at her house. #milia is dispatched to inform Othello and ;esdemona of what has happened. Iago closes the scene with a tense aside5 the dramatic and swift moving events of this night will either make or mar his fortunes forever. Act i#e1 Scene One Analysis In spite of his assurance and the ease with which he organises his cast of characters in this scene" Iago%s final aside indicates the danger of his position. The urgency of these lines is in keeping with the swift and violent action of this scene5 the brutality here also prepares us for the events of Act 7 Scene 4 . Kote the egotism of his words5 Iago is wholly caught up with his own situation" while the audience is probably more concerned with ;esdemona%s fate. It might also be argued that Iago%s closing lines can be delivered in an eultant tone< even at this critical moment the villain relishes his own evil. With =oderigo out of the way" one potentially threatening voice has been silenced< but 9assio is still alive. Will he threaten Iago%s security in the final sceneL It is worth considering the ensign%s new motive for killing 9assio5 it seems that he cannot bear human virtue in any form. We have yet another eample of Iago%s evil opportunism in his bullying of 2ianca" who becomes another convenient victim. In spite of his concern" we may feel that Iago still appears to be invincible5 he has again gulled every character on stage. Othello%s brief appearance links him firmly with the atmosphere of da rk treachery that prevails here5 his ominous words remind us that there is worse to come. Ironically" it is another misunderstanding that Spurs Othello on to his own act of violence< he believes Iago has killed 9assio. It is particularly horrible that Othello now seems to act in direct response to the eample he believes has been set by the devilish ensign. We are directed back to thoughts of ;esdemona%s plight right at the end of the scene when #milia is sent to the citadel. The urgency with which she probably leaves the stage propels us into the final scene. Act i#e Scene T2o Summary
Othello smothers ;esdemona in her bed. Iago%s plots are uncovered. =ealising his folly" Othello kills himself" leaving Iago to be punished by 9assio" who remains in 9yprus as governor.
Othello enters ;esdemona%s bed chamber carrying a lantern. In a long speech he outlines his thoughts5 he intends to kill his wife" but not to shed her blood. $e sees himself as a 'ust revenger" who is preventing ;esdemona from betraying more men. At the same time he is struck by the e normity of the violent act he is about to commit5 even now he regrets his intentions< he knows that he will not be able to bring ;esdemona back to life after he has killed her. Othello kisses his sleeping wife" whose physical beauty still has a powerful effect on him" swaying him momentarily from his purpose. Pet again he is drawn to kiss her and weep5 but he insists his tears must be cruel tears. ;esdemona wakes up. Othello speaks to her calmly" asking her if she has prayed. $e does not want to murder her %unprepared spirit% +line ,-1. ;esdemona is scared by her husband%s words and looks and begs to know what disturbs Othello. Othello returns to the topic of the handkerchief" which ;esdemona denies giving to 9assia. She weeps when she learns that 9assio is +as Othello believes1 dead" realising finally that she is %undone% +line 8>1. Othello believes she is weeping because she mourns 9assio and becomes angry. $e stifles ;esdemona. 6eanwhile #milia is knocking on the door. Othello ignores her calls until he believes his wife is no longer breathing. When he discovers that 9assio has not been killed Othello is perturbed. ;esdemona revives and calls out" reasserting her innocence. #milia%s attention turns immediately to her mistress and she demands to know who has killed her. ;esdemona%s reply is characteristically generous5 she assumes responsibility for her
own death and asks to be commended to her h usband. Othello briefly pretends that he did not kill his wife" but then admits his guilt. #milia turns on him. Othello relates the story of his wife%s unfaithfulness +as he believes it1 and tells #milia that it was her husband Iago who told him ;esdemona was false. Shocked" #milia continues to insult Othello. She then shouts for help and 6ontana" Fratiano and Iago rush in. #milia confronts Iago and he admits that he told Othello ;esdemona was false" but then warns her to hold her tongue. 2ut #milia will not be silenced. She co ntinues to lament her mistress%s death loudly and eplains how the handkerchief came to be in Iago%s possession. Othello finally understands the truth and tries to strike Iago" who escapes" after stabbing his wife. Othello is disarmed" guards are sent after Iago" and #milia asks to be placed on the bed so that she be near her mistress. #milia dies" reiterating ;esdemona%s innocence. Overcome by despair" Othello now begins to think of his own death. $e feels both helpless +%Who can control his fateL%" line 4,1 and determined to be punished +%Whip me" ye devils%" line 48>1. $e cannot bear the pain of losing ;esdemona. Iago is escorted back on to the stage by guards. :odovico and 6ontano accompany him and 9assio is carried on in a chair. The characters who remain are now gathered to witness Othello%s wounding of %honest% Iago and the general%s own death. Othello hopes to kill Iago when he strikes him" but then says he is glad that his foe has survived5 death represents happiness to him. When he is asked why he has behaved so villainously" Iago takes refuge in silence. $owever" his plots against 9assio are discovered +letters found in the dead =oderigo%s pocket reveal all.1 The disgraced lieutenant confirms that he found the handkerchief in his chamber" and that Iago has admitted that he placed it there. Othello now feels the full weight of his crime and calls out in agony %@ fool" fool" foolQ% +line ,-01. :odovico promises that Iago will be tortured and then informs Othello he will be held prisoner too" until the 7enetian senate has decided his fate. 2ut Othello will not be humiliated in this way. $e reminds his listeners of the services he has done the state and asks to be remembered as one %that loved not wisely" but too well5 * Of one not easily 'ealous" but" being wrought" * Berpleed in the etreme% +lines ,3@) 41. 9ondemning himself for his actions he then kills himself with his sword" falling on the bed as he dies. :odovico curses Iago" who is left to 9assio%s mercy as governor of 9yprus. Othello%s fortune is passed on to Fratiano. :odovico says he will return to inform the 7enetian senate of the terrible events that have occurred. Act i#e1 Scene T2o Analysis The stillness of the opening of this final scene contrasts dramatically with the events and mood of the previous scene5 and the long section in which Othello stands over and then smothers ;esdemona seems to suggest that time is finally moving more slowly +and as a result" agonisingly1. Othello%s opening speech reveals a number of things. ?irstly" that the tragic hero sees himself as an agent of 'ustice" whose purpose is to prevent ;esdemona from committing further sins. :ater in the scene he tells us that he views her death as a sacrifice" not a murder +as if he were a priest engaged in a religious ritual) note the sense of detachment and righteousness1. 2ut perhaps he protests too much. The repetition of %it is the cause% +line -1" combined with the fact that Othello still cannot bring himself to name the cause" indicates that even now the tragic protagonist finds it impossible to tear himself away from his wife by killing her. We might also feel that the litany of %it is the cause% should be read as self) 'ustification. Othello%s desire to avoid spilling ;esdemona%s blood is significant. Some critics suggest that this means he seeks to avoid the marks of murder and thus attempts to avoid blame and guilt. Others might see a desire to leave ;esdemona as she is ) Othello speaks about her white skin" which is as %smooth" as monumental alabaster% +line >1. It is as if he really wants her to live" or at least" not to look as if she is dead. $owever" the reference to alabaster calls to mind a tomb< in Othello%s mind his wife is dead already. The compleity of these lines and images is continued through the other imagery that Othello uses in his opening speech. $e speaks of a rose withering on a tree" and then says %2e thus when thou art dead and I will kill thee * And love thee after% +lines -/)-015 note the force of the middle phrase here +%and I will kill thee%1< the modal verb suggests determination. 2ut there are pain and reluctance here too. Othello has to use symbols< ;esdemona is a rose" he is acting for &ustice. 2y symbolising his wife he again avoids confronting his deed head on" as he did when he refused to name the %cause% +reason1 for his 'ealousy a nd the murder. The opposition in Othello is summed up by his lines about weeping and sorrow" which is %heavenly% +line 4-1" the opposite of what sorrow should be. Othello believes he is acting out of love. All the images in these lines portray the sorrow he feels and the enormity of his deed. It is important to remember that Othello is immeasurably calm at this point. $e does not speak passionately or rashly5 he measures his words and seems in control of his faculties" although the imagery of opposition suggests that he is still torn mentally5 he is both in control and confused. Othello%s terrible control is shown when ;esdemona wakes up. Agonisingly" he is made to say that he will kill ;esdemona several times before he actually smothers her. $er pleading is deeply d istressing. At the moment that he kills her Othello is still obsessed by the handkerchief" and uses Iago%s coarse language" suggesting that we are not perhaps to view him as the sole perpetrator of this crime. Othello seems to revert to mercy almost as soon as he has smothered his wife5 he does not want her to linger in pain. This adds to the pathos of ;esdemona%s demise" which is heightened when she murmurs to #milia that Othello is not to blame for her death. There is a low point for the hero when he tries to think of a way of concealing the murder at line 03" and again when he tells #milia that he did not kill ;esdemona. Berhaps Shakespeare is
trying to show Othello%s confusion5 his speech a t line 0@ is a little dis'ointed" with short phrases and (uestions. It is completed by a yelp of pain" %6y wife" my wife" what wifeL I have no wife5 * @" insupportableQ @ heavy hourQ% +lines 0)81. Admittedly Othello does not confess his own guilt or epress remorse here" but he clearly understands what he has lost. That he sees ;esdemona%s death as a monumental loss can be confirmed by the fact that he thinks there should now be %a huge eclipse * Of sun and moon" and that th%affrighted globe * Should yawn at alteration% +lines 08)01. $e feels that nature should reflect the chaos he finds himself mired in. #milia becomes the voice of the audience in this scene5 we must have an outlet for our feelings of outrage. The repetition of %my husband% +lines -,/" -34" -3>1 is highly charged5 #milia is as reluctant as ;esdemona to believe her husband is not what he seems. $er outpourings serve two functions5 she mourns ;esdemona and offers a tribute to her mistress%s virtues" while also reconfirming the strength of the love she felt for Othello. #milia is the guardian of ;esdemona%s honour" a role Othello should have assumed. #milia%s castigation of Othello reminds us how far the noble 6oor has fallen and the cruelty of her words might perhaps represent some kind of poetic 'ustice. Othello recognises the 'ustice of #milia%s description when he reiterates her words" %@ fool" fool" )foolQ% Othello redeems himself further when he asks plaintively" %why should honour outlive honestyL% +line 43,1. 2ut does Othello remain somewhat deluded and self)dramatising" as some critics have suggestedL $e still insists that he is honourable< has his pride been his downfallL In his final speech the 6oor presents himself as both hero and villain. $e reminds :odovico and the others +with characteristic self)effacement1 that he has been of service to the 7enetian state" and seems to want to insist o n his identity as heroic soldier" not disastrous husband. 2ut we must remember that Othello also recognises that he deserves to be tortured and to die. Othello is preoccupied with himself but at the same time he focuses sharply on ;esdemona" killing himself %to die upon a kiss% +line ,>81. 9onsider how accurate Othello%s final assessment of himself is< did he give in to 'ealousy too easilyL Was he perpleed in the etremeL ;id he love unwiselyL Iago says less in this scene than in any other scene in the play5 and in some ways his silence is as powerful as his speech. $as he been defeatedL We might feel that he is not diminished by the revelation of his crimes< is Iago gloating when he says to Othello" %I bleed" sir" but not killed% +line 4/>1. $is last line can certainly seem defiant. 6any critics feel that the ensign remains an enigma. $owever" his devilment is clearly recognised by all the characters on stage. lago%s final acts are brutal and unnatural. There is a troubling irony in the fact that his last crime mirrors Othello%s< he too kills his honest wife to preserve his honour. The closeness of lago and Othello also seems to be suggested by the references to unchristian behaviour. Iago is a %cursed slave% +line 4/01" a %demi)devil% +line 40/15 Othello is responsible for a %monstrous% +line -/1 murder and then destroys himself in an act of heathenish self)slaughter. $owever" our final responses to Othello and Iago will be very different5 we will feel the great tragedy of the 6oor%s death and relieved and glad that his tormentor will be tortured.
Act Scene i =oderigo is having a discussion with Iago" who is bitter at being passed up as OthelloEs lieutenant. Though Iago had greater practice in battle and in military matters" 9assio" a man of strategy but of little eperience" was named lieutenant by Othello. Iago says that he only serves Othello to further himself" and makes shows of his allegiance only for his own gain5 he is playing false" and admits that his nature is not at all what it seems. Iago decides to enlist =oderigo" who lusts after ;esdemona" and awaken 2rabantio with screams that his daughter is gone. =oderigo is the one speaking most to 2rabantio" but Iago is there too" hidden" yelling unsavory things about Othello and his intentions toward ;esdemona. Iago puts =oderigo forward despite it be ing his idea in the first place to epose Othello and ;esdemonaEs marriage. Iago leaves" not wanting anyone to find out that he betrayed his own leader" and 2rabantio begins to search for his daughter. Scene ii Iago 'oins Othello and tells him about =oderigoEs betrayal of the news of his marriage to 2rabantioEs daughter. Iago threatens =oderigo with violence" again making a false show of his loyalty to Othello. 2rabantio is very angry" swearing that Othello must have bewitched his daughter. Othello says that the ;uke must hear him" and decide in his favor" or else all is far from right in 7enice. Scene iii 6ilitary conflict ) Turkish ships are heading toward the 7enetian stronghold island" 9yprus. 2rabantio announces his grievance against Othello for marrying his daughter. Othello addresses the company" admitting that he did marry ;esdemona" but wooed her with stories" and did her no wrongs. ;esdemona comes to speak" and she confirms OthelloEs words5 Othello is called away to 9yprus" to help with the conflict there5 he begs that ;esdemona be able to go with him. They win their appeal. =oderigo is upset that ;esdemona and OthelloEs union was allowed to stand" since he lusts after ;esdemona. 2ut Iago assures him that the match will not last long. Act I 3uestions What do 2e disco#er a"out the character and intentions of )oderigo in Act 41 scene i0 The first thing we encounter about =odrigo in scene i of Act -is that he is disapproving and devastated when he hears of ;esdemonaEs marriage with Othello. Throughout his conversations with Iago" =odrigo can clearly be seen as an adherent and is prompted by Iago to awaken ;esdemonaEs father" 2rabantio" in order to sabotage the wedding or rather the relationship of Othello and ;esdemona. =odrigo shares the same hatred for Othello as Iago does" but both have their distinct reasons. =odrigo is bitter as he will never get to marry ;esdemona whom he is in love with" which conse(uently eplains his aversion for Othello who has managed to court her. As mentioned previously" =odrigo is a follower and can be easily manipulated. This can be inferred from lines - and 4< GThat thou" Iago" who hast had my purse*As if the strings were thine" shouldst know of this.H +:ines -)4" Act -" scene I"1 It is revealed that he is foolishly allowing Iago to spend his money whenever he wishes" even after Iago declares that he is two)faced" only behaving in ways that would a c(uire his personal gain. What has happened to ;esdemona and how does her father reactL ;esdemona has run off to elope with Othello in the late hours of the night. $owever" her father believes that she has been kidnapped by Othello and is held under the binds of black magic. Initially" he is in denial about the whole matter" but as the accusations become a reality" he feels betrayed and broken. 2rabantio sends his men on a (uest to find her and Othello and eventually ends up at the ;ukeEs head(uarters to rant. 6ost of his frustrations are blamed on Gthe 6oorH as he refuses to believe ;esdemona had any say in this and was instead possessed by some evil magic spell. 2rabantio repeats" G;amned as thou art" thou hast enchanted herQH +:ine ," Act -" scene 41 to no avail. $is reaction begins to change as ;esdemona arrives and rests her case. 2rabantio loses his energy and is overwhelmed with grief as the realiation that his daughter has abandoned him for a moor eats at him. After ;esdemona pledges her love and loyalty to Othello" 2rabantio says< GFod b uEy" I have done. *I had rather to adopt a child than get it.H +:ines -/0*-0-" Act -" scene ,1. It is clear that he is heartbroken but he has also had enough" 2rabantio practically disowns his only child and is forced to grant his blessing to their marriage. What impressions of the oor do you ha#e after reading scene i0 %o2 do these impressions change as the act progresses0 ;espite the absence of Othello in scene i" we can make plenty of 'udgments on him based off of Iago and =odrigoEs dialogue. The first impression I received is that Othello is a man of calculated thought and is very sure of what he wants5
this can be seen when we hear that he cho se to ignore the advice of three venetian noblemen and selected 9assio instead of Iago. $owever" most of the scene centers around the hatred pointed towards Othello. ?rom this" we receive the information that he is of high rank" making him susceptible to many enemies. Iago and =odrigo spit derogatory terms his way" however" this reflects more on them rather than Othello himself. As the scene progresses" 2rabantio makes it seem that Othello is a thief who has kidnapped his daughter" which again does not show him in a good light. ;ue to these depictions" we are unclear to what kind of character Othello is. What man possesses a high rank but is also capable of thieveryL We receive a much clearer impression of the 6oorEs character as the Act goes on. $e is introduced to us in scene 4 and seems etremely well spoken. Othello is very proud and confident as he does not fear 2rabantio for his services to the 7enetian government will count for more than his complaints. Additionally" the fact that the ;uke himself sides with Othello during the altercation with 2rabantio informs the readers of OthelloEs high caliber and the respect he has earned from fighting in battles. Overall" Othello meets the epectations one would have of a nobleman. Why does Iago persuade =odrigo from committing suicideL What are his real motivesL Iago removes any thoughts of suicide from =odrigoEs mind all for personal gain. $e seems to be helping him at first as he devises a plan for the both of them. $e ensures =odrigo that if he sells all his lands and has money ready" eventually ;esdemona will grow tired of the 6oor and marry him instead. Iago says that =odrigoEs money is needed to provide for her when they marry but his true motives are revealed during his solilo(uy. Iago says" GThus do I ever make my fool my purse.H +:ine ,/-" Act -" scene ,1 As he says this" we (uestion his loyalty to =odrigo and whether he truly cared if he committed suicide. It is clear that Iago is using =odrigo for his money" however it is not clear yet what he intends to do with this profit. It is apparent that Iago is putting little to no effort in tricking =odrigo as he has clearly told him" GI am not what I amH +:ine >" Act -" scene -1 and =odrigo is still foolish enough to believe him. $ow does IagoEs speech change depending on whom he is speaking toL ?or eample" why is his speech different when he is aloneL Iago switches from personality to personality depending on who he is surrounded by" so naturally his speech would change as well. When he is with Othello" Iago is increasingly polite and disgustingly pure. Iago claims< GThough in the trade of war I have slain men*Pet do I hold it very stuff oEth Nconscience* To do no contrived murder.H +:ines -)," Act -" scene 41. All of a sudden the menacing Iago disagrees with murder and is not cruel enough to do his 'ob. Iago pretends to be frustrated with 2rabantioEs insults targeted towards Othello. $e even goes so far to call Othello his GsirH. $owever" when he is left alone" Iago reveals his true intentions and his darkest thoughts. $im being two)faced" being alone is the only time he is allowed to truly become himself. IagoEs speech becomes a lot grimmer" especially at the end of his solilo(uy in Act - scene ,. Iago personifies his plan as an evil birth by saying" GIt is engendered. $ell and night must bring this monstrous birth to the worldEs light.H +:ines 3@-)3@4" Act -" scene ,1 When he is accompanied by other characters" his speech reflects his different personas" but when he is isolated" his true sinister self comes to life. $ow does OthelloEs first appearance help create an impression of his characterL What physical strategies might an actor portraying Othello add to this roleL As I mentioned previously" Othello euded absolute confidence and pride upon his arrival in the play. $e knew that he would not be punished because of the stature he has worked hard to build. $is appearance in Act - signifies his noble and proud character as well as introduces us to his etreme love for ;esdemona. When it comes to theatre" an actor playing Othello would need to carry himself with dignity" shown through physical movements such as long determined strides and an impressive posture. Small actions like these help portray aspects of his character as they showcase poise and self) assurance. What is the political background of the play and how is it portrayed in this sceneL Othello is set against the backdrop of the wars between 7enice and Turkey that raged in the latter part of the siteenth century. 9yprus" which is the main setting for most of the action in the play" was a 7enetian outpost attacked by the Turks in ->8@ and con(uered the following year. ShakespeareEs information on the 7enetian)Turkish conflict possibly stems from The *istory of the Turks by =ichard nolles" which was published in #ngland in the autumn of -@,. The political background is introduced to us clearly as the conversation between the ;uke and the Senators in Act - scene , inform the readers about the beginning of the war. $ow would you describe ;esdemonaEs character at this stage of the playL Although we have not been eposed to ;esdemonaEs character a lot during Act -" it is safe to say that she is a very respectful and loyal person. When she first arrives" she acknowledges the sacrifices her father has made for her and is considerate when she pledges her loyalty to Othello rather than her father. It seems that ;esdemonaEs demeanor is perfect for a man of such high prestige such as Othello. To further enhance her image of care and sensitivity" ;esdemona refuses to stay at her fatherEs home while Othello would travel to 9yprus out of respect for her father and his feelings. She says< GKor would I there reside*To put my father in impatient thoughts*2y being in his eye.H +:ines 434)433" Act -" scene ,1. ;uring this stage of the play" and perhaps the entirety of it" ;esdemona is a chaste and loyal wife who fell deep in love with war hero and does no wrong. What elements of 7enetian society are demonstrated in this actL Shakespeare interestingly portrays 7enice as incredibly advanced for its time. This can be seen through its democratic 'ustice system in Act -. #veryone who has approached the ;uke has a voice regardless of their race or se. On top of
that" the fact that Othello has obtained a high rank within the army suggests that the color of his skin provided no restrictions. $e is treated with the utmost of respect from his peers as well as the ;uke" who happens to be the highest authority in 7enice. $owever" the treatment of Othello is not all perfect. In Act One" Shakespeare uses three 7enetians to emphasie how different and GeoticH OthelloEs character is in comparison to them. Shakespeare chooses these characters to stress OthelloEs differences" as they are infested with resentment" 'ealousy and bitterness" therefore their descriptions of Othello are often deceiving and crude. The playwright does this in order to form an image of Othello" claiming that he is the embodiment of the black stereotype held by people at this time" identifying him as GdifferentH to everyone else. $ow do Iago and Othello work as NfoilsE for each otherL Traditionally" a foil is a minor character who" through comparison and contrast" serves to highlight the virtuosity of the protagonist. $owever" Iago cannot for one second be described as a minor character5 he has more lines than the Othello himself. Iago is &anus" a foil unto himself" one who opens and closes scenes and the play itself. Othello is the gullible hero deceived by the 6achiavellian Iago. 2ecause of this polar opposition between the two characters" the play is able to be driven forward. IagoEs who schemes and loathes can be seen as a significantly strong foil to Othello" who is virtuous and brave. The two characters work well and bounce off of each other in terms of emphasiing their differences. Iago is a completely different creature" with a sole destructive purpose5 conse(uently" this paints Othello in a much better light. B$ otifs and Themes ind e5amples of the follo2ing themes or motifs and record a 6uotation that demonstrates them7 Be sure to record the line num"er7 6agic" heathenism and 9hristianity 2rabantio is convinced that Othello has kidnapped ;esdemona and used black magic in order to enchant her and make her his property< G;amned as thou art" thou hast enchanted herQ ?or IEll refer me to all things of sense" If she in chains of magic were not bound"H +:ines )/" Act -" scene 41 GTo find out practices of cunning hell Why this should be. I therefore vouch again That with some mitures powerful oEer the blood Or with some dram" con'ured to this effect" $e wrought upon her.H +:ines-@>)-@0" Act -" scene ,1 :ove and animal lust Animal lust is used as a way of conveying the racism of the 7enetian people towards Othello< G#ven now" now very now" an old black ram Is tupping your white ewe.H +:ines 0-)04" Act -" scene -1 GPouEll have your daughter covered with a 2arbary horse. PouEll have your nephews neigh to you.H +:ines ->)-8" Act -" scene -1 9iviliation and order 9iviliation and order are shown through the ;ukeEs meetings with his senators as well as his willingness to give everyone a voice despite their race or se. This is associated with the advancement of 7enice and will soon start to change as the play progresses onto 9yprus< GTheir purposes toward 9yprus. Signor 6ontano" Pour trusty and most valiant servitor" With his free duty recommends you thus" And prays you to believe him.H +:ines 3@)3," Act -" scene ,1 GWhat" in your own part" can you say to thisLH +:ine 88" Act -" scene ,1
C$ Writing Task Write a speech from the perspecti#e of )odrigo e5plaining his perspecti#e on Othello and 8esdemona.s marriage7 And to think that ;esdemona chose anotherEs heartQ And not any heart" a black oneQ I donEt believe it. Berhaps 2rabantio was correct" Othello must be enchanting her because it can not be possible for her to choose him over me. Oh poor ;esdemonaQ She has no clueQ Kow that I think of it" her speech at the ;ukeEs head(uarters seemed awfully rehearsed and robotic. That vile 6oor most likely forced her to speak those unbelievable words against her will. I donEt even want to imagine what he could be doing to her right about now. ItEs almost enough to make me want to drown myself! KoQ Ko more talk of that. &ust like Iago said" she canEt go on loving him forever" some spells eventually have to fade away. The 6oor should have stuck to the only thing he knows best" and thatEs to fight and fight some more. $e has no right to go sneaking into peopleEs lives and kidnap their b eautiful and chaste daughters5 ruining lives and happiness is what heEs doing. Ko one is worthier of ;esdemonaEs love than IQ $ow could she stand to look upon someone like him" sure he is a worthy general but that isnEt and shouldnEt be enough for a woman like her. I fear for the pain of her future" what of her childrenL An abomination they would beQ Shunned by society. It shouldnEt have gotten this far" I shouldEve been with her first" tried harder to marry her before something dreadful like this happened. Pet" I must be rational" this was not my fault. I asked and asked and asked for ;esdemonaEs hand in marriage and I all I got was re'ection. Othello spews two or three war anecdotes and all of a sudden that guarantees him a wifeL The ;uke made a deadly mistake in letting this continue on5 if he couldnEt see the atrocity and absurdity of this relationship" then I am certain that hundreds of others will. A pair like that will never last" I swear itQ And if I observe any crack in their relationship" I will pounce and stomp on it like a dog until it widens and widens" until it cannot become any larger. ?or now" there isnEt much I can do but sit and wait" sell my land and sit and wait. If only I was as brave as Iago" that man is a true leader" and if it were him to have loved and lost he wouldnEt be sitting here useless like I am. Iago would challenge Othello" maybe not with swords" but rather his words. It is late and my incompetence is taking over me. These thoughts do me no good and drain my energy" tomorrow morning I will utilie IagoEs wisdom and figure out my net step. I have the money to take care of her and love her" or at least I will after I sell my land in the name of love. As for the 6oor" heEll get whatEs coming for him" sooner or later. Act II Analyzing Iago and Othello.s Language IagoEs solilo(uy begins with him trying to 'ustify his actions" claiming that he is indeed helping 9assio. IagoEs also admits that although he hates the 6oor" he does believe that Othello is a good natured and loving man. This beginning informs the readers that although Iago is evil in nature" his hatred for Othello does not cloud the truth. Iago finds a common thread in the Cpoisonous mineralC of 'ealousy that still swirls around the rumor that Othello has slept with #milia. Iago could get his revenge by manipulating ;esdemona< CKow I do love her too . . . 2ut partly led to diet my revenge" ?or that I do suspect the lusty 6oor $ath leaped into my seat" the thought whereof ;oth like a poisonous mineral gnaw my inwardsC +lines 484)48/" Act 4" scene -1. Iago uses the word CloveC here in a very cynical way" making it a combination of lust and power seeking. Initially" Iago sees his manipulation of ;esdemona as a tool for revenge< CTill I am evened with him" wife for wifeC +line 4/@" Act 4" scene -1 Then Iago realies that the unsubstantiated 'ealousy that torments him is the very weapon he can use against Othello" who will be even more liable. Iago will lead Othello" via 'ealousy" to madness< C6ake the 6oor thank me" love me" and reward me" * ?or making him egregiously an ass!* #ven to madnessC +lines 4/0)40," Act 4" scene -1. Iago uses the rule of three in order to drive in the knife and prove that he will" no matter what" get his revenge. In a broader sense" IagoEs
solilo(uies tend to showcase a level of elo(uence rarely present in his public utterances" speaking in fluent blank verse" marked by occasional" homely imagery. On the other hand" Othello begins to lose his patience during the beginning of his speech. $e epresses his anger at having no one confess to what has occurred to start the brawl. Othello is aware of the power that he holds" and threatens the person who caused the commotion" telling them that if GThough he had twinned with me" both at a birth" Shall lose me.H +line" Act 4" scene ,1. Othello refuses to leave the guilty scot)free and therefore his speech comes off as fuming and irate. eeping this in mind" it is safe to say that Othello is more emotional in his speech than Iago. 2ecause Othello has no hidden agenda" he speaks his mind and his true e motions" however" even when Iago is alone" he is mainly calm and collected" always ready to eecute the net step in his plan. Iago is realistic" even admitting to his enemiesE good (ualities" making him rational and lucid. One of the main differences in Iago and OthelloEs speech and use of language is their opposite intentions. Othello is angered as he does not want to alarm the residents of the island5 he understands that the war has only 'ust ended and that people are on edge. Othello uses words such as GfearH and GpeopleEs heartsH. $e is worried about the people as he is the responsible general. 9onversely" Iago is angered by the fact that Othello has GsleptH with his wife and that he has not been promoted. While Othello nurtures" IagoEs desires destruction. Iago uses words such as GsinH" GrevengeH" G'ealousyH" and Gabuse.H Although both of their speeches are negative" IagoEs solilo(uy has a darker and deeper hatred due to the diction utilied in the passage. I believe that Iago is the more skilled orator in comparison to Othello. Iago is known for his planned thought. $e knows what he wants and chooses his words with precision and care. IagoEs surety is reflected in his speech as he lays out his plans very coherently. OthelloEs confusion on the other hand" is shown in his speech. Although he is the general in charge of protecting 9yprus" he is oblivious to the brawl and in turn IagoEs scheming. IagoEs ability to manipulate language among his conversations with multiple characters proves that he is the more skilled and eperienced orator. ?inally" although Othello in the beginning of the play was noted for the beauty of his speech" about which he makes falsely)modest 'okes" claiming to be GrudeH in his speech" Othello becomes more and more crude and unknowing as the play progresses. Iago never loses his constructed" malicious" and witty speech throughout the play. $is confidence is constant which only further proves that in comparison to the confused and doubtful Othello" he is the better orator. Act I9$ 3uestions A$ 3uestions %o2 does Othello.s language and his physical representation demonstrate his increasing an5iety0 Throughout this entire Act" one aspect that is etremely prominent is OthelloEs change in language. While speaking to any of the characters" his speech becomes fragmented and unrefined. Kot only does his speech become choppy" his used of words is limited" only communicating in inaudible grunts. ?or instance" when speaking to Iago on his ;esdemonaEs GcheatingH he says< GWas this fair paper" this most goodly book" 6ade to write GwhoreH uponL What committedL 9ommittedL O thou public commonerQ I should make very forges of my cheeks That would to cinders burn up modesty ;id I but speak thy deeds. What committedL $eaven stops the nose at it and the moon winks" The bawdy wind that kisses all it meets Is hushed within the hollow mine o f earth And will not hear Et. What committedQ Impudent strumpetQH +Act 3" scene -" lines 8@)801. OthelloEs crude insults are not of his nature and his sentences are barely coherent. The repetition of the word NcommittedE presents his flustered feelings and aniety when d iscussing his wife. OthelloEs language also displays his confusion. $e is torn about what to believe5 $is love and hatred for his wife is getting the best of him" and this is shown when he says< GAy" let her rot and perish and be damned tonight" for she shall not live. Ko" my heart is turned to stone. I strike it and it hurts my hand. Oh" the world hath not a sweeter creature" she might lie by an emperorEs side and command him tasks.H +Act 3" scene -" lines -8/)-/41.
Othello claims that he would not mind if ;esdemona dies and rots tonight" however" he then goes on to describe her as a sweet creature that could control am emperor. Othello is clearly conflicted" one moment he loves her and the net he wishes the worst upon her. The 'utaposition along with the choppy repetitive sentences really do a lot to demonstrate his aniety. =eading his lines" the audience can almost envision his frantic movements while yearning for*hating ;esdemona. Who is Lodo#ico0 What purpose does his character ser#e and ho2 does his presence affect the other characters0 :odovico arrives from 7enice to deliver a letter from the council informing Othello that he is re(uired to return and that 9assio will take his place in 9yprus. Although :odovico is a relatively minor character" his character is strong and noble. :odovico is a witness to OthelloEs abuse of ;esdemona" even defending her by saying G6ake her amends5 she weeps.H +Act 3" scene -" line 4331. $is chivalrous behavior takes us back to how Othello was in the past. :odovico comes from 7enice" a place of order" therefore he presents order and civiliation. $e tries to bring peace to the crainess and frenies of 9yprus" including ;esdemona and OthelloEs relationship" but unfortunately Othello has gone to the edge of no return.
8o you think 8esdemona acts in an appropriate 2ay in response to Othello in scene ii0 Why or Why not0 I believe that ;esdemona carried herself as best as she could during her confrontation with Othello. $owever" her reaction to his behavior once he leaves the room is one of weakness and pity. As Othello continues to accuse his wife of being a whore" ;esdemona stands her ground and claims that she is anything but a whore. She says G2e not to be a strumpet" I am none.H +Act 3" scene 4" line />1. Fiven her confusion as to what she has done" I believe that ;esdemona was strong in this moment" despite all the cruel insults Othello was throwing at her. Once Othello leaves" ;esdemona blames herself for the way she is being treated. A complete weak and inappropriate way of handling the situation. ;esdemona states that OthelloEs behavior towards her is GmeetH and that she is deserving of it. This is a clear contradiction as she is not aware of the crime she has committed. $er argument with Othello has sucked out all of her strength" and she would rather blame herself than eert any energy in trying to find out what eactly she has done. $er lack of willingness to find the truth and so easily succumb to the sadness displays her as a weak woman5 and in that sense" I do not believe that her response to Othello in this scene was appropriate. Who is the maid Bar"ary and 2hat happened to her0 In Act 3 scene ," ;esdemona tells the tale of her motherEs maid" a maid called 2arbary. 2arbary was deeply in love until her lover turned out to be wild and decided to leave her. 2arbary knew an old song called GWillowH that reminded her of her own plight" and she died singing it. GWillowH is essentially a mournful folk ballad in which a lady laments her lost love. ;esdemona cannot stop thinking of the song" perhaps as it is (uite relevant to her situation with Othello5 ;esdemona says GThat song tonight* Will not go from my mind5 I have much to do* 2ut to go hang my head all at one side* And sing it like poor 2arbary.H +Act 3" scene ," lines 4/),-1. The songEs purpose in the play is to forewarn the audience of the tragedy to come. The Willow song gives ;esdemona a way to openly epress her sorrow. It highlights her innocence a nd the cruel acts of her husband.
%o2 to 8esdemona and 'milia.s opinions on cheatings differ0 What does this suggest a"out their personalities0 ;esdemona and #milia have had very different eperiences in their marriages" which leads to their differing opinions on infidelity. Iago%s unsavory behavior as well as complete mockery of #milia is seen in the tet5 this could hint towards how awful #milia%s marriage must be" thus leading her to believe that when a woman is unfaithful" it is the mans fault. #milia claims that women are the same as men and when men treat women in a disrespectful manner" by hitting or restraining them" they will stray away. #milia says GAnd have we not affections" ;esires for sport" and frailty" as men haveLH +Act 3" scene ," lines 08" 0/1. On top of that" when asked by ;esdemona whether she would cheat on her husband for the whole world" her answer is almost immediate< CWhy" would not youLH +Act 3" scene , " line -1. This evidence suggests that #miliaEs personality is (uite logical and somewhat selfish. She would betray her partner in order to gain the world. #milia is a progressive character for her time" which is part of her strong appeal. ;esdemona on the other hand" had a far more different type of a husband +before Act 31. Othello was not a person who would ever say anything to make ;esdemona feel sad or hurt. ;esdemona" although hurt by Othello%s words and a little beating" still remembers her husband as the Othello she knew from before. She proves to have a more romantic" if not naXve outlook on love. ;esdemona is shocked and appalled by women who decide to cheat on their men and claims that she would never even think of it. ;uring their conversation on cheating" ;esdemona says G2eshrew me" if I would do such a wrong for the whole world.H +Act 3" scene ," lines 8>" 81. This is not a surprise as ;esdemona has been presented to us over and over again as a chaste and loyal woman.
The contrast between the two characters creates an interesting insight on two perspectives. #milia is shown as more of a feminist" progressive for her time" while ;esdemona believes that it is every woman%s duty to remain loyal and loving towards their husbands" no matter what.
B$ 3uotation Analysis ind : 6uotations from this act that you "elie#e are significant and 2rite a "rief paragraph in 2hich you comment upon their significance7 ;Tis meet I should "e used so1 #ery meet7 %o2 ha#e I "een "eha#ed1 that he might stick the smallest opinion on my least misuse; This (uotation not only enhances the somber and melancholic tone of Act 3" but it also displays what kind of woman ;esdemona truly is. ;esdemona says that she deserves the unspeakable treatment given to her by her husband Othello. She refuses to blame him for absolutely anything" showcasing her lack of strength and her refusal to stand up for herself and for what is right. This is where I believe ;esdemona begins to become irritating and intolerable. Too consumed by her love" she puts Othello and everyone before herself when she is clearly the most innocent. ;esdemona gives up easily and accepts OthelloEs behavior rather than fighting on and trying to get to the root of the issue and the source of her husbandEs displeasure. <*nkindness may do much1 And his unkindness may defeat my life1 But ne#er taint my lo#e= I find that this (uotation is foreshadowing the upcoming events" which is why it%s so significant. ;esdemona is essentially saying that if Othello%s unkindness continues" it 'ust may kill her" but despite that she will never stop loving him. We find out that this is eactly what happens" for when ;esdemona is murdered by Othello" she never blames him. She says whilst dying that she has killed herself< GKobody5 I myself. ?arewellH +Act >" scene 4" line -4>1. Therefore" ;esdemona has stuck to her work and continued on loving Othello till the end. ;esdemona is one of the few characters in the play who does not change and is true to her morals and ideals +whether they be right or wrong1. else let them kno27 The ills 2e do1 their ills instruct us so7= This (uotation essentially summaries #miliaEs entire view on women during that time period and how women should be treated. #milia claims that infidelity committed by women is the menEs fault" and men should be warned that if women go astray" it is only because they do not treat them well. These two lines are written as a heroic couplet" further emphasiing their importance as Shakespeare is essentially discussing feminism at a time where it was not most popular. As this (uotation is written in a heroic couplet" it is a strong indication on what type of character #milia is and what she stands for. $er views on women contrast immensely with her husbandEs view on women" but despite this difference" their (uick wit and gruesome talk makes them seem like a good match for one another. C$ otifs A otif is a recurring element in literature that holds significance7 (lease find one motif that is present in Act I9 and comment upon ho2 it used7 Try to 2rite roughly ?@ 2ords7 A motif that not only occurs in Act 3" but throughout the entire play" is animal imagery. The use of animals is wide and varied. Othello says GA horned manEs a monster and a beastH +Act 3" scene -" line 31. The animal imagery here highlights the stigma of men who are cheated on" claiming that they are no longer real men but in fact 'ust beasts. It is rather embarrassing and demeaning5 the man or woman who has been cheated on is no longer included within humans" they are thought more of as animals than anything. Additionally" during Othello and ;esdemonaEs confrontation" Othello says GThe fountain from the which my current runs" or else dries up5 to be discarded thence" or keep it as a cistern for foul toads to knot and gender in.H +Act 3" scene 4" lines >/)-1. Othello describes how ;esdemona has destroyed the fountain from which his children flow from into a vile place where toads copulate. The imagery here allows a light to shine on the relationships between different characters. Animal imagery is most often associated with evil and wrongdoing. 2oth Iago and Othello use it the most" showcasing their scheming and mad personalities. 9onversely" never once throughout the play does ;esdemona use animal imagery" further proving her innocence and virtuousness. The use of animal imagery is used throughout the play to further intensify and deepen the underlying meanings within the speech. It can also be used to highlight OthelloEs GsavageryH as he is after all a moor in a white society. In conclusion" by comparing people to beasts*animals" their true evilness or goodness is shown through5 and this is why animal imagery is effective and adds a certain gruesome atmosphere to the play.
Important 3uotes and Analysis GI am not what I amH D Iago -.-.> ?aYade" sly" determined" no respect" Iago hates Othello and 9assio ?oreshadows actions Oymoron D Ghonest knavesH contradictory Othello starts with a heated conversation between Iago and 2rabantio" so it does n ot immediately introduce Othello. As a result" our initial opinion is represented through the conversation. Gan old black ram is tupping your white eweH Othello key 6uotes Act I $eaven is my 'udge" not I for love and duty" 2ut seeming so" for my peculiar end< ?or when my outward action doth demonstrate The native act and figure of my heart In compliment etern" %tis not long after 2ut I will wear my heart upon my sleeve ?or daws to peck at< I am not what I am. Iago1 scene i ▪
#ven now" now" very now" an old black ram Is tupping your white ewe. Iago1 scene i ▪
Pour daughter and the 6oor are now making the beast with two backs. Iago1 scene i ▪
eep up your bright swords" for the dew will rust them. Othello1 scene ii ▪
6y story being done"She gave me for my pains a world of sighs< She swore" in faith" %twas strange" %twas passing strange5 %Twas pitiful" %twas wondrous pitiful. Othello1 scene iii ▪
She lov%d me for the dangers I had pass%d" And I lov%d her that she did pity them. Othello1 scene iii ▪
The robb%d that smiles" steals something from the thief5 $e robs himself that spends a bootless grief. 8uke of 9enice1 scene iii ▪
:ook to her" 6oor" if thou hast eyes to see< She has deceived her father" and may thee. Bra"antio" scene iii ▪
Thus do I ever make my fool my purse. Iago1 scene iii ▪
I hate the 6oor5 And it is thought abroad" that %twit my sheets $e has done my office< I know not if %t be true5 2ut I" for mere suspicion in that kind" will do as if for surety. Iago1 scene iii ▪
The 6oor is of a free and open nature" That thinks men honest that but seem to be so" And will as tenderly be led by the nose As asses are. Iago1 scene iii ▪
Act II
If after every tempest come such calms" 6ay the winds blow till they have waken%d deathQ Othello1 scene i ▪
navery%s plain face is never seen till us%d. Iago1 scene i ▪
=eputation is an idle and most false imposition5 oft got without merit and lost without deserving. Iago1 scene iii ▪
And what%s he then that says I play the villainL When this advice is free I give and honest" Brobal to thinking and indeed the course To win the 6oor againL ?or %tis most easy The inclining ;esdemona to subdue In any honest suit< she%s framed as fruitful As the free elements. And then for her To win the 6oor were%t to renounce his baptism" All seals and symbols of redeemed sin" $is soul is so enfetter%d to her love" That she may make" unmake" do what she list" #ven as her appetite shall play the god With his weak function. $ow am I then a villain To counsel 9assio to this parallel course" ;irectly to his g oodL +i(inity of hell$ When devils will the blackest sins put on" They do suggest at first with heavenly shows" As I do now< for whiles this honest fool Blies ;esdemona to repair his fortunes And she for him pleads strongly to the 6oor" I%ll pour this pestilence into his ear" That she repeals him for her body%s lust5 And by how much she strives to do him good" She shall undo her credit with the 6oor. So will I turn her virtue into pitch" And out of her own goodness make the net That shall enmesh them all. Iago1 scene iii ▪
Act III #cellent wretchQ Berdition catch my soul" 2ut I do love theeQ and when I love thee not" 9haos is come again. Othello1 scene iii ▪
6en should be what they seem5 Or those that be not" would they might seem noneQ Iago1 scene iii ▪
Food name in man and woman" dear my lord" Is the immediate 'ewel of their souls< Who steals my purse steals trash5 %tis something" nothing5 ETwas mine" %tis his" and has been slave to thousands5 2ut he that filches from me my good name" =obs me of that which not enriches him" And makes me poor indeed. Iago1 scene iii ▪
OQ beware" my lord" of 'ealousy5It is the green)ey%d monster which doth mockThe meat it feeds on. Iago1 scene iii ▪
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Think%st thou I%d make a life of 'ealousy" To follow still the changes of the moon With fresh suspicionsL Ko5 to be once in doubt" Is once to be resolved.
Othello1 scene Othello1 scene iii She did deceive her father" father" marrying you5 And when she seem%d to shake and fear your your looks She lov%d them most. Iago1 scene Iago1 scene iii ▪
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Othello$ I Othello$ I do not think but ;esdemona%s honest. Iago$ :ong Iago$ :ong live she so" and long live you to think soQ Othello$ And" Othello$ And" yet" how nature erring from itself" Iago$ Ay" Iago$ Ay" there%s the point.
If she be false" OQ then heaven mocks itself. Othello1 scene Othello1 scene iii ▪
OQ now" for ever ?arewell the tran(uil mind5 farewell contentQ Othello1 scene Othello1 scene iii ▪
7illain" be sure thou prove my love a whore" 2e sure of it5 give me the ocular proof5 Or" Or" by the worth of mine eternal soul" Thou hadst been better have been born a dog Than answer my wak%d wrath. Othello1 scene Othello1 scene iii ▪
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%Tis not a year or two shows us a man< They are all but stomachs" and we all but food5 They eat us hungerly" and when they are full" They belch us. 'milia1 scene 'milia1 scene iv ▪
Act I9 Who would not make her husband a cuckold to make him a monarchL 'milia1 scene 'milia1 scene iii ▪
$eaven me such uses send" Kot to pick bad from bad" but by bad mend. 8esdemona1 scene 8esdemona1 scene iii Act 9 But out the light" and then put out the light. Othello1 scene Othello1 scene ii ▪
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R*e kisses her O O balmy breath" that dost almost persuade &ustice to break her sword. One more" one moreQ 2e thus when thou art dead" and I will kill thee" And love thee after. One more" and that%s the lastQ So sweet was ne%er so fatal. I must weep" 2ut they are cruel tears. This sorrow%s heavenly5 It strikes where it doth love. She wakes. Othello1 scene Othello1 scene ii ▪
What noise is thisL Kot dead not yet (uite deadL I that am cruel am yet mercifuI would not have the linger in thy pain So" so. Othello1 scene Othello1 scene ii ▪
I hold my peace" sirL no5 Ko" I will speak as liberal as the north5 :et heaven and men and devils" let them all" All" all" cry shame against me" me" yet I%ll speak. 'milia1 scene 'milia1 scene ii ▪
;emand me nothing< what you know" know" you know< ?rom this time forth I never will speak word. Iago1 scene Iago1 scene ii ▪
I pray you" in your letters" When you shall these unlucky deeds relate" Speak of me as I am5 nothing etenuate" Kor set down aught in malice< then" must you speak Of one that lov%d not wisely but too well5 Of one not easily 'ealous" but" being wrought" Berple%d in the etreme5 of one whose hand" :ike the base Indian" threw a pearl away =icher than all his tribe5 of one whose subdu%d eyes Albeit unused to to the melting mood" mood" ;rop tears as fast as the Arabian trees Their med%cinable gum. Set you down this5 And say besides" that in Aleppo once" Where a malignant and a turban%d Turk 2eat a 7enetian and traduc%d the state" I took by the throat the circumcised dog" And smote him thus. Othello1 scene Othello1 scene ii ▪
I kissed thee ere I killed thee" no way but this" illing myself" to die upon a kiss. Othello1 scene Othello1 scene ii ▪
I(O)TA+T (ASSA,'S Act 41 Scene 4 Iago says that promotion now stems from favoritism and academic prowess rather than seniority and concludes that he has no reason to love Gthe 6oorH. =oderigo says he wouldnEt follow a master in such circumstances. Iago states that he is ambitious and puts on an act of obedience to serve his own e nds while concealing his real feelings. =oderigo reflects reflects bitterly on the 6oorEs good fortune. Iago incites =oderigo to wake up the owner and destroy his peace. IAFO O" sir" content you5 I follow him to serve my turn upon him< We cannot all be masters" nor all masters 9annot be truly follow%d. Pou shall mark 6any a duteous and knee)crooking knave" That" doting on his own obse(uious bondage" Wears out his time" much like h is master%s ass"
?or nought but provender" provender" and when when he%s old" cashier%d< cashier%d< Whip me such honest knaves. Others there are Who" trimm%d in forms and visages of duty" eep yet their hearts attending on themselves" And" throwing but shows of service service on their lords" ;o well thrive by them and when they have lined their coats ;o themselves homage< these fellows have some soul5 And such a one do I profess myself. ?or" ?or" sir" sir" It is as sure as you are =oderigo" Were I the 6oor" I would not be Iago< In following him" I follow but myself5 $eaven is my 'udge" not I for love and duty" 2ut seeming so" for my peculiar end< ?or when my outward action doth demonstrate The native act and figure of my heart In compliment etern" %tis not long after 2ut I will wear my heart upon my sleeve ?or daws to peck at< I am not what I am. =O;#=IFO What a full fortune does the thicklips owe If he can carry%t thusQ IAFO =ouse him< make after him" poison his delight" Broclaim him in the streets5 incense her kinsmen" And" though he in a fertile climate climate dwell" Blague him with flies< though that his 'oy be 'oy" Pet throw such changes of veation on%t" As it may lose lose some colour. colour. =O;#=IFO $ere is her father%s house5 I%ll call aloud. IAFO ;o" with like timorous accent and d ire yell As when" by night night and negligence" the the fire Is spied in populous cities.
Act -" Scene Scene 4
!rabantio accuses "thello of s(stealing his daughter. )e believes Desdemona could not have gone with "thello willingly *after re+ecting eligible enetiansenetians- if she hadn#t been bewitched. )e calls on his men to arrest "thello. OT$#::O eep up your bright swords" for the dew will rust %em. Food signior" you shall more command with years Than with your weapons. 2=A2AKTIO O thou foul thief" where hast thou stow%d my daughterL
;amn%d as thou art" thou hast enchanted her5 ?or I%ll refer me to all things of sense" If she in chains of magic were not bound" Whether a maid so tender" fair and happy" So opposite to marriage that she shunned The wealthy curled darlings of our nation" Would ever have" to incur a general mock" =un from her guardage to the sooty bosom Of such a thing as thou" to fear" not to delight. &udge me the world" if %tis not gross in sense That thou hast practised on her with foul charms" Abused her delicate youth with drugs or minerals That weaken motion< I%ll have%t disputed on5 %Tis probable and palpable to thinking. I therefore apprehend and do attach thee ?or an abuser of the world" a practiser Of arts inhibited and out o f warrant. :ay hold upon him< if he do resist" Subdue him at his peril. OT$#::O $old your hands" 2oth you of my inclining" and the rest< Were it my cue to fight" I should have known it Without a prompter. Where will you that I go To answer this your chargeL 2=A2AKTIO To prison" till fit time Of law and course of direct session 9all thee to answer. OT$#::O What if I do obeyL $ow may the duke be therewith satisfied" Whose messengers are here about my side" Jpon some present business of the state To bring me to himL ?I=ST O??I9#= %Tis true" most worthy signior5 The duke%s in council and your noble self" I am sure" is sent for.
Act -" Scene Scene , 2rabantio eplains how he is overwhelmed that his daughter has been stolen from him by witchcraft. The ;uke promises whoever has corrupted his daughter will pay whatever penalty 2rabantio chooses. 2rabantio accuses Othello" and he
eplains his side of the case and how ;esdemona fell in love with him. $ eplains that he has led a rough military life and cannot eplain himself in sophisticated language. 2=A2AKTIO 6y daughterQ O" my daughterQ ;J# O? 7#KI9# ;eadL 2=A2AKTIO Ay" to me5 She is abused" stol%n from me" and corrupted 2y spells and medicines bought of mountebanks5 ?or nature so preposterously to err" 2eing not deficient" blind" or lame of sense" Sans witchcraft could not. ;J# O? 7#KI9# Whoe%er he be that in this foul proceeding $ath thus beguiled your daughter o f herself And you of her" the bloody book of law Pou shall yourself read in the bitter letter After your own sense" yea" though our proper son Stood in your action. 2=A2AKTIO $umbly I thank your grace. $ere is the man" this 6oor" whom now" it seems" Pour special mandate for the state)affairs $ath hither brought. ;J# O? 7#KI9# We are very sorry for%t. ;J# O? 7#KI9# RTo OT$#::O What" in your own part" can you say to thisL 2=A2AKTIO Kothing" but this is so. OT$#::O 6ost potent" grave" and reverend signiors" 6y very noble and approved good masters" That I have ta%en away this old man%s daughter" It is most true5 true" I have married her< The very head and front of my offending $ath this etent" no more. =ude am I in my speech" And little bless%d with the soft phrase of peace< ?or since these arms of mine had seven years% pith" Till now some nine moons wasted" they have used Their dearest action in the tented field" And little of this great world can I speak" 6ore than pertains to feats of broil and battle" And therefore little shall I grace my cause In speaking for myself. Pet" by your gracious patience" I will a round unvarnish%d tale deliver Of my whole course of love5 what drugs" what charms" What con'uration and what mighty magic" ?or such proceeding I a m charged withal" I won his daughter.
Act -" Scene , The ;uke commends OthelloEs virtue to 2rabantio who replies by warning Othello about ;esdemonaEs deceitfulness. Othello asserts his faith in her. Othello leaves with ;esdemona" saying they only h ave an hour together. Iago is left with
=oderigo" who is in despair because ;esdemona is clearly interested only in Othello. $e is threatening suicide. Iago mocks him for thinking in this way over a woman. ?irst Senator Adieu" brave 6oor" use ;esdemona well. 2=A2AKTIO :ook to her" 6oor" if thou hast eyes to see< She has deceived her father" and may thee. -eunt ;J# O? 7#KI9#" Senators" Officers" etc." OT$#::O 6y life upon her faithQ $onest Iago" 6y ;esdemona must I leave to thee< I prithee" let thy wife attend on her< And bring them after in the best advantage. 9ome" ;esdemona< I have but an hour Of love" of worldly matters and direction" To spend with thee< we must obey the time. -eunt OT$#::O and ;#S;#6OKA =O;#=IFO Iago")) IAFO What say%st thou" noble heartL =O;#=IFO What will I do" thinkest thouL IAFO Why" go to bed" and sleep. =O;#=IFO I will incontinently drown myself. IAFO If thou dost" I shall never love thee after. Why" thou silly gentlemanQ =O;#=IFO It is silliness to live when to live is torment5 and then have we a prescription to die when death is our physician. IAFO O villainousQ I have looked upon the world for four times seven years5 and since I could distinguish betwit a benefit and an in'ury" I never found man that knew how to love himself. #re I would say" I would drown myself for the love of a guinea) hen" I would change my humanity with a baboon. =O;#=IFO What should I doL I confess it is my shame to be so fond5 but it is not in my virtue to amend it. IAFO 7irtueQ a figQ %tis in ourselves that we are thus or thus. Our bodies are our gardens" to the which our wills are gardeners< so that if we will plant nettles" or sow lettuce" set hyssop and weed up thyme" supply it with one gender of herbs" or distract it with many" either to have it sterile with idleness" or manured with industry" why" the power and corrigible authority of this lies in our wills. If the balance of our lives had not one scale of reason to poise another of sensuality" the blood and baseness of our natures would conduct us to most preposterous conclusions5 but we have reason to cool our raging motions" our carnal stings" our unbitted lusts D whereof I take this you call NloveE to be a sect or scion. Act -" Scene , IAFO< It is merely a lust of the blood and a permission of the will. 9ome" be a manQ ;rown thyselfL ;rown cats and blind puppies. I have professed me thy friend" and I confess me knit to they deserving with cables of perdurable toughness. I could never
better stead thee than now. But money in thy purse. ?ollow thou the wars5 defeat thy favor with an usurped beard. I say" put money in thy purse. It cannot be that ;esdemona should long continue her love to the 6oor D put money in they purse D nor he his to her. It was a violent commencement in her" and thou shalt see an a nswerable se(uestration D put money in thy purse. These 6oors are changeable in their wills. ?ill thy purse with money. The food that to him now is as luscious as locusts shall be to him shortly as bitter as colo(uintida. She must change for youth. When she is sated with his body she will find the error of her choice. Therefore" put money in thy purse. If thou wilt needs damn thyself" do it a more delicate way than drowning. 6ake all the money thou canst. If sancti) money and a frail vow betwit an erring barbarian and a supersubtle 7enetian be not too hard for my wits and all the tribe of hell" thou shalt en'oy her. Therefore make money. A po of drowning thyselfQ It is clean out of the way. Seek thou rather to be hanged in compassing thy 'oy than to be drowned and go without her.
ZAct -" Scene , Iago has persuaded =oderigo to abandon the idea of killing himself. =oderigo puts his trust in Iago and undertakes to sell all his land. $e leaves" and Iago reveals to the audience that he always uses fools as a source of funds. $e repeats his hatred for Nthe 6oorE. =O;#=IFO Wilt thou be fast to my hopes" if I depend on the issueL IAFO Thou art sure of me<))go" make money<))I have told thee often" and I re)tell thee again and again" I hate the 6oor< my cause is hearted5 thine hath no less reason. :et us be con'unctive in our revenge against him< if thou canst cuckold him" thou dost thyself a pleasure" me a sport. There are many events in the womb of time which will be delivered. TraverseQ go" provide thy money. We will have more of this to)morrow. Adieu. =O;#=IFO Where shall we meet i% the morningL IAFO At my lodging. =O;#=IFO I%ll be with thee betimes. IAFO Fo to5 farewell. ;o you hear" =oderigoL =O;#=IFO What say youL IAFO Ko more of drowning" do you hearL =O;#=IFO I am changed< I%ll go sell all my land. -it IAFO Thus do I ever make my fool my purse< ?or I mine own gain%d knowledge should profane" If I would time epend with such a snipe. 2ut for my sport and profit. I hate the 6oor< And it is thought abroad" that %twit my sheets $e has done my office< I know not if%t be true5 2ut I" for mere suspicion in that kind" Will do as if for surety. $e holds me well5 The better shall my purpose work on him. 9assio%s a proper man< let me see now< To get his place and to plume up my will In double knavery))$ow" howL :et%s see<)) After some time" to abuse Othello%s ear That he is too familiar with his wife. $e hath a person and a smooth dispose To be suspected" framed to make women false. The 6oor is of a free and open nature" That thinks men honest that but seem to be so" And will as tenderly be led by the nose As asses are. I have%t. It is engender%d. $ell and night 6ust bring this monstrous birth to the world%s light.
Act 4" Scene Iago comments to the audience on 9assioEs courtly behavior to ;esdemona and threatens to use it against him. Iago concludes his commentary on 9assioEs attention to ;esdemona with a crude comparison. Othello arrives and fears this may be the happiest moment they will have" but ;esdemona prays that their love will increase. ;#S;#6OKA O most lame and impotent conclusionQ ;o not learn of him" #milia" though he be thy husband. $ow say you" 9assioL is he not a most profane and liberal counsellorL 9ASSIO $e speaks home" madam< Pou may relish him more in the soldier than in the scholar. IAFO Aside/ $e takes her by the palm< ay" well said" whisper< with as little a web as this will I ensnare as great a fly as 9assio. Ay" smile upon her" do5 I will give thee in thine own courtship. Pou say true5 %tis so" indeed< if such tricks as these strip you out of your lieutenantry" it had been better you had not kissed your three fingers so oft" which now again you are most apt to play the sir in. 7ery good5 well kissedQ an ecellent courtesyQ %tis so" indeed. Pet again your fingers to your lipsL would they were clyster)pipes for your sakeQ +Trumpet within0 The 6oorQ I know his trumpet. 9ASSIO %Tis truly so. ;#S;#6OKA :et%s meet him and receive him. 9ASSIO :o" where he comesQ nter OT$#::O and Attendants OT$#::O O my fair warriorQ ;#S;#6OKA 6y dear OthelloQ OT$#::O It gives me wonder great as my content To see you here before me. O my soul%s 'oyQ If after every tempest come such calms" 6ay the winds blow till they have waken%d deathQ And let the labouring bark climb hills of seas Olympus)high and duck again as low As hell%s from heavenQ If it were now to die" %Twere now to be most happy5 for" I fear" 6y soul hath her content so absolute That not another comfort like to this Succeeds in unknown fate. ;#S;#6OKA The heavens forbid 2ut that our loves and comforts should increase" #ven as our days do growQ OT$#::O Amen to that" sweet powersQ I cannot speak enough of this content5 It stops me here5 it is too much of 'oy< And this" and this" the greatest discords be That e%er our hearts shall make.
Act 4" Scene :ay thy finger thus" and let thy soul be instructed. 6ark me with what violence she first loved the 6oor but for bragging and telling her fantastical lies. And will she love him still for pratingL :et not thy discreet heart think it. $er eye must be fed. And what delight shall she have to look on the devilL When the blood is made dull with the act of sport" there should be" again to inflame it and to give satiety a fresh appetite" loveliness in favor" sympathy in years" manners" and beauties" all which the 6oor is defective in. Kow" for want of these re(uired conveniences" her delicate tenderness will find it) self abused" begin to heave the gorge" disrelish and abhor the 6oor. 7ery nature will instruct her in it and compel her to some second choice. Kow" sir" this granted D as it is a most pregnant and unforced position D who stands so eminent in the degree of this fortune as 9assio doesL A knave very voluble" no further conscionable than in putting on the mere form of civil and humane seeming for the better compassing of his salt and most hidden loose affection. Why" non" why" noneQ A slipper and subtle knave" a finder)out of occasions" that has an eye can stamp and counterfeit advantages" though true advantage never present itself5 a d evilish knaveQ 2esides" the knave is handsome" young" and hath all those re(uisites in him that folly and green minds look after. A pestilent complete knave" and the woman hath found him already.
Act 4" Scene , Othello enters and threatens death to anyone who continues fighting. 6ontano is wounded and asks Iago what happened. 9assio declines to speak. IAFO I do not know< friends all but now" even now" In (uarter" and in terms like bride and g room ;evesting them for bed5 and then" but now)) As if some planet had unwitted men)) Swords out" and tilting one at other%s breast" In opposition bloody. I cannot speak Any beginning to this peevish odds5 And would in action glorious I had lost Those legs that brought me to a part of itQ OT$#::O $ow comes it" 6ichael" you are thus forgotL 9ASSIO I pray you" pardon me5 I cannot speak. OT$#::O Worthy 6ontano" you were wont be civil5 The gravity and stillness of your youth The world hath noted" and your name is great In mouths of wisest censure< what%s the matter" That you unlace your reputation thus And spend your rich opinion for the name Of a night)brawlerL give me answer to it. 6OKTAKO Worthy Othello" I am hurt to danger< Pour officer" Iago" can inform you")) While I spare speech" which something now offends me")) Of all that I do know< nor know I aught 2y me that%s said or done amiss this night5 Jnless self)charity be sometimes a vice" And to defend ourselves it be a sin When violence assails us. OT$#::O Kow" by heaven" 6y blood begins my safer guides to rule5 And passion" having my best 'udgment collied" Assays to lead the way< if I once stir" Or do but lift this arm" the best of you Shall sink in my rebuke. Five me to know $ow this foul rout began" who set it on5 And he that is approved in this offence" Though he had twinn%d with me" both at a birth" Shall lose me. WhatQ in a town of war" Pet wild" the people%s hearts brimful of fear" To manage private and domestic (uarrel" In night" and on the court and guard of safetyQ %Tis monstrous. Iago" who began%tL
Act 4" Scene , Iago asks 9assio why he seems clear)headed now" and 9assio eplains that drunkennes has been replaced by anger D he despises himself. Iago says 9assio must fi the situation and suggests that because ;esdemona is so influential and generous" 9assio should appeal to her. 9assio agrees and leaves. Iago challenges the audience to say that he is a villain when his advice to 9assio is sound< ;esdemona is kind enough to plead for 9assio. Othello will use this to his advantage by telling ;esdemona lusts after 9assio. =oderigo enters after" defeated. IAFO Pou or any man living may be drunkQ at a time" man. I%ll tell you what you shall do. Our general%s wife is now the general< may say so in this respect" for that he hath devoted and given up himself to the contemplation" mark" and denotement of her parts and graces< confess yourself freely to her5 importune her help to put you in your place again< she is of so free" so kind" so apt" so blessed a disposition" she holds it a vice in her goodness not to do more than she is re(uested< this broken 'oint between you and her husband entreat her to splinter5 and" my fortunes against any lay worth naming" this crack of your love shall grow stronger than it was before. 9ASSIO Pou advise me well. IAFO I protest" in the sincerity of love and honest kindness. 9ASSIO I think it freely5 and betimes in the morning I will beseech the virtuous ;esdemona to undertake for me< I am desperate of my fortunes if they check me here. IAFO Pou are in the right. Food night" lieutenant5 I must to the watch. 9ASSIO< Food night" honest Iago. -it IAFO And what%s he then that says I play the villainL When this advice is free I give and honest" Brobal to thinking and indeed the course To win the 6oor againL ?or %tis most easy The inclining ;esdemona to subdue In any honest suit< she%s framed as fruitful As the free elements. And then for her To win the 6oor))were%t to renounce his baptism" All seals and symbols of redeemed sin" $is soul is so enfetter%d to her love" That she may make" unmake" do what she list" #ven as her appetite shall play the god With his weak function. $ow am I then a villain To counsel 9assio to this parallel course" ;irectly to his goodL ;ivinity of hellQ When devils will the blackest sins put on" They do suggest at first with heavenly shows" As I do now< for whiles this honest fool Blies ;esdemona to repair his fortunes And she for him pleads strongly to the 6oor" I%ll pour this pestilence into his ear" That she repeals him for her body%s lust5 And by how much she strives to do him good" She shall undo her credit with the 6oor. So will I turn her virtue into pitch" And out of her own goodness make the net That shall enmesh them all.
Re1enter =O;#=IFO $ow now" =oderigoQ =O;#=IFO I do follow here in the chase" not like a hound that hunts" but one that fills up the cry. 6y money is almost spent5 I have been to)night eceedingly well cudgelled5 and I think the issue will be" I shall have so much eperience for my pains" and so" with no money at all and a little more wit" return again to 7enice. IAFO $ow poor are they that have not patienceQ What wound did ever heal but by degreesL Thou know%st we work by wit" and not by witchcraft5 And wit depends on dilatory time. ;oes%t not go wellL 9assio hath beaten thee. And thou" by that small hurt" hast cashier%d 9assio< Though other things grow fair against the sun" Pet fruits that blossom first will first be ripe. 9ontent thyself awhile. 2y thE6ass" Ntis morningQ Bleasure and action make the hours seem short. =etire thee5 go where thou art billeted. Away" I sayQ Thou shalt know more hereafter. Kay" get thee gone. Roderigo e-its. Two things are to be done. 6y wife must move for 9assio to her mistress. IEll set her on. 6yself the while to draw the 6oor apart And bring him 'ump when he may 9assio find Soliticing his wife. Ay" thatEs the way. ;ull not device by coldness and delay. *e e-its.
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Act ," Scene , Iago continues to ask (uestions about 9assio" without revealing his thoughts or motives" until Othello snaps and insists he must be hiding some monstrous thought because his (uestions about 9assio and ;esdemona. Iago confirms his loyalty to Othello. IAFO Think" my lordQ OT$#::O Think" my lordQ 2y heaven" he echoes me" As if there were some monster in his thought Too hideous to be shown. Thou dost mean something< I heard thee say even now" thou likedst not that" When 9assio left my wife< what didst not likeL And when I told thee he was of my counsel In my whole course of wooing" thou criedst %IndeedQ% And didst contract and purse thy brow together" As if thou then hadst shut up in thy brain Some horrible conceit< if thou dost love me" Show me thy thought. IAFO 6y lord" you know I love you.
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OT$#::O I think thou dost5 And" for I know thou%rt full of love and honesty" And weigh%st thy words before thou givest them breath" Therefore these stops of thine fright me the more< ?or such things in a false disloyal knave Are tricks of custom" but in a man that%s 'ust They are close delations" working from the heart That passion cannot rule. IAFO ?or 6ichael 9assio" I dare be sworn I think that he is honest. OT$#::O I think so too. IAFO 6en should be what they seem5 Or those that be not" would they might seem noneQ
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OT$#::O 9ertain" men should be what they seem. IAFO Why" then" I think 9assio%s an honest man. OT$#::O Kay" yet there%s more in this< I prithee" speak to me as to thy thinkings"
As thou dost ruminate" and give thy worst of thoughts The worst of words. IAFO Food my lord" pardon me< Though I am bound to every act of duty" I am not bound to that all slaves are free to. Jtter my thoughtsL Why" say they are vile and false5
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+9ontinued*!1 As where%s that palace whereinto foul things Sometimes intrude notL who has a breast so pure" 2ut some uncleanly apprehensions eep leets and law)days and in session sit With meditations lawfulL OT$#::O Thou dost conspire against thy friend" Iago" If thou but think%st him wrong%d and makest his ear A stranger to thy thoughts.
FJI;IKF VJ#STIOKS #plore the significance of this scene in contributing to our understanding of the nature of Othello and Iago%s relationship at this point in the play. 9onsider the use of techni(ues su ch as irony" imagery and tone.
Act ," Scene , Iago says that men should be what they seem. Iago warns him against 'elousy. Othello is distraught. $e cannot understand why Iago has mentioned 'elousy. $e says that is he were ever 'elous" he would deal with it immediately. $e needs evidence. IAFO Food name in man and woman" dear my lord" Is the immediate 'ewel of their souls< Who steals my purse steals trash5 %tis something" nothing5 %Twas mine" %tis his" and has been slave to thousands< 2ut he that filches from me my good name =obs me of that which not enriches him And makes me poor indeed. OT$#::O 2y heaven" I%ll know thy thoughts. IAFO Pou cannot" if my heart were in your hand5 Kor shall not" whilst %tis in my custody. OT$#::O $aQ IAFO O" beware" my lord" of 'ealousy5 It is the green)eyed monster which doth mock The meat it feeds on5 that cuckold lives in bliss Who" certain of his fate" loves not his wronger5 2ut" O" what damned minutes tells he o%er Who dotes" yet doubts" suspects" yet strongly lovesQ OT$#::O O miseryQ IAFO Boor and content is rich and rich enough" 2ut riches fineless is as poor as winter To him that ever fears he shall be poor. Food heaven" the souls of all my tribe defend ?rom 'ealousyQ OT$#::O Why" why is thisL Think%st thou I%d make a lie of 'ealousy" To follow still the changes of the moon With fresh suspicionsL Ko5 to be once in doubt Is once to be resolved< echange me for a goat" When I shall turn the business of my soul To such esufflicate and blown surmises" 6atching thy inference. %Tis not to make me 'ealous To say my wife is fair" feeds well" loves company" Is free of speech" sings" plays and dances well5 Where virtue is" these are more virtuous< Kor from mine own weak merits will I draw The smallest fear or doubt of her revolt5 ?or she had eyes" and chose me. Ko" Iago5 I%ll see before I doubt5 when I doubt" prove5 And on the proof" there is no more but this")) Away at once with love or 'ealousyQ
FJI;IKF VJ#STIOKS #plain the importance of this scene as a turning point in our understanding of the character of Othello. $ow is the change in his character revealed through languageL
Act ," Scene , OT$#::O. ?arewell" farewell< If more thou dost perceive" let me know more5 Set on thy wife to observe< leave me" Iago. IAFO. RFoing. 6y lord" I take my leave. OT$#::O. Why did I marryL))This honest creature doubtless Sees and knows more" much more" than he unfolds. IAFO. R=eturning. 6y lord" I would I might entreat your honour To scan this thing no further5 leave it to time< Though it be fit that 9assio have his place")) ?or sure he fills it up with great ability")) Pet" if you please to hold him off awhile" Pou shall by that perceive him and his means< Kote if your lady strain his entertainment With any strong or vehement importunity5 6uch will be seen in that. In the meantime" :et me be thought too busy in my fears")) As worthy cause I have to fear I am")) And hold her free" I do beseech your honour. OT$#::O. ?ear not my government. IAFO. I once more take my leave. R#it. OT$#::O. This fellow%s of eceeding honesty" And knows all (ualities" with a learned spirit" Of human dealings. If I do prove her haggard" Though that her 'esses were my dear heartstrings" I%d whistle her off" and let her down the wind To prey at fortune. $aply" for I am black" And have not those soft parts of conversation That chamberers have5 or for I am declin%d Into the vale of years"))yet that%s not much")) She%s gone5 I am abus%d" and my relief 6ust be to loathe her. O curse of marriage" That we can call these delicate creatures ours" And not their appetitesQ I had rather be a toad" And live upon the vapor of a dungeon" Than keep a corner in the thing I love ?or others% uses. Pet" %tis the plague of great ones< Brerogativ%d are they less than the base5 %Tis destiny unshunnable" like death< #ven then this forked plague is fated to us When we do (uicken. ;esdemona comes< If she be false" O" then heaven mocks itselfQ)) I%ll not believe%t. R=e)enter ;esdemona and #milia. ;#S;#6OKA. $ow now" my dear OthelloQ
Pour dinner" and the generous islanders 2y you invited" do attend your presence.
Act ," Scene 3
"thello asks Desdemona for the handkerchief he gave her and when she says she does not have it, he sees that as a fault. )e says it has magic properties which will bring destruction if it is lost and describes the handkerchiefs mystical ualities.
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OT$#::O That is a fault. That handkerchief ;id an #gyptian to my mother give5 She was a charmer" and could almost read The thoughts of people< she told her" while she kept it" %Twould make her amiable and subdue my father #ntirely to her love" but if she lost it Or made gift of it" my father%s eye Should hold her loathed and his spirits should hunt After new fancies< she" dying" gave it me5 And bid me" when my fate would have me wive" To give it her. I did so< and take heed on%t5 6ake it a darling like your precious eye5 To lose%t or give%t away were such perdition As nothing else could match. ;#S;#6OKA Is%t possibleL
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OT$#::O %Tis true< there%s magic in the web of it< A sibyl" that had number%d in the world The sun to course two hundred compasses" In her prophetic fury sew%d the work5 The worms were hallow%d that did breed the silk5 And it was dyed in mummy which the skilful 9onserved of maidens% hearts. ;#S;#6OKA IndeedQ is%t trueL
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OT$#::O 6ost veritable5 therefore look to%t well. ;#S;#6OKA Then would to Fod that I had never seen%tQ OT$#::O $aQ whereforeL ;#S;#6OKA Why do you speak so startingly and rashL OT$#::O Is%t lostL is%t goneL speak" is it out o% the wayL
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;#S;#6OKA $eaven bless usQ OT$#::O Say youL ;#S;#6OKA It is not lost5 but what an if it wereL OT$#::O $owQ ;#S;#6OKA I say" it is not lost.
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OT$#::O ?etch%t" let me see%t. ;#S;#6OKA Why" so I can" sir" but I will not now. This is a trick to put me from my suit< Bray you" let 9assio be received again. OT$#::O ?etch me the handkerchief< my mind misgives.
FJI;IKF VJ#STIOKS ;iscuss what is revealed about Othello and ;esdemona%s states of mind at this stage in the drama. ;iscuss the contribution of imagery and other literary devices to the shaping of our response to the characters and themes of the play.
Act 3" Scene IA,O Food sir" be a man5 Think every bearded fellow that%s but yoked 6ay draw with you< there%s millions now alive That nightly lie in those unproper beds Which they dare swear peculiar< your case is better. O" %tis the spite of hell" the fiend%s arch)mock" To lip a wanton in a secure couch" And to suppose her chasteQ Ko" let me know5 And knowing what I am" I know what she shall be. OT%'LLO O" thou art wise5 %tis certain. IA,O Stand you awhile apart5 9onfine yourself but in a p atient list. Whilst you were here o%erwhelmed with your grief)) A passion most unsuiting such a man)) 9assio came hither< I shifted him away" And laid good %scuse upon your ecstasy" 2ade him anon return and here speak with me5 The which he promised. ;o but encave yourself" And mark the fleers" the gibes" and notable scorns" That dwell in every region of his face5 ?or I will make him tell the tale anew" Where" how" how oft" how long ago" and when $e hath" and is again to cope your wife<
I say" but mark his gesture. 6arry" patience5 Or I shall say you are all in all in spleen" And nothing of a man. OT%'LLO ;ost thou hear" IagoL I will be found most cunning in my patience5 2ut))dost thou hearL))most bloody.
Act 3" Scene 4 ;#S;#6OKA Alas the heavy dayQ Why do you weepL Am I the motive of these tears" my lordL If haply you my father do suspect An instrument of this your calling back" > :ay not your blame on me< If you have lost him" Why" I have lost him too.
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OT$#::O $ad it pleased heaven To try me with affliction5 had they rain%d All kinds of sores and shames on my bare head. Steep%d me in poverty to the very lips" Fiven to captivity me and my utmost hopes" I should have found in some place of my soul A drop of patience< but" alas" to make me A fied figure for the time of scorn To point his slow unmoving finger atQ Pet could I bear that too5 well" very well< 2ut there" where I have garner%d up my heart" Where either I must live" or bear no life5 The fountain from the which my current runs" Or else dries up5 to be discarded thenceQ Or keep it as a cistern for foul toads To knot and gender inQ Turn thy compleion there" Batience" thou young and rose)lipp%d cherubin")) Ay" there" look grim as hellQ ;#S;#6OKA I hope my noble lord esteems me honest. OT$#::O O" ay5 as summer flies are in the shambles" That (uicken even with blowing. O thou weed" Who art so lovely fair and smell%st so sweet That the sense aches at thee" would thou hadst ne%er been bornQ ;#S;#6OKA Alas" what ignorant sin have I committedL
,> OT$#::O Was this fair paper" this most goodly book" 6ade to write %whore% uponL What committedQ 9ommittedQ O thou public commonerQ I should make very forges of my cheeks" That would to cinders burn up modesty" FJI;IKF VJ#STIOKS ;iscuss what is revealed about Othello and ;esdemona%s states of mind at this stage in the drama. What is significant about Shakespeare%s use of imageryL
Act 3 Scene , 'ILIA Why the wrong is but a wrong i% the world< and having the world for your labour" tis a wrong in your own world" and you might (uickly make it right. 8'S8'O+A I do not think there is any such woman. 'ILIA Pes" a doen5 and as many to the vantage as would store the world they played for. 2ut I do think it is their husbands% faults If wives do fall< say that they slack their duties" And pour our treasures into foreign laps" Or else break out in peevish 'ealousies" Throwing restraint upon us5 or say they strike us" Or scant our former having in despite5 Why" we have galls" and though we have some grace" Pet have we some revenge. :et husbands know Their wives have sense like them< they see and smell And have their palates both for sweet and sour" As husbands have. What is it that they do When they change us for othersL Is it sportL I think it is< and doth affection breed itL I think it doth< is%t frailty that thus errsL It is so too< and have not we affections" ;esires for sport" and frailty" as men haveL Then let them use us well< else let them know" The ills we do" their ills instruct us so. 8'S8'O+A Food night" good night< heaven me such uses send" Kot to pick bad from bad" but by bad mendQ -eunt
Act >" Scene 4 OT$#::O It is the cause" it is the cause" my soul")) :et me not name it to you" you chaste starsQ)) It is the cause. Pet I%ll not shed her blood5 Kor scar that whiter skin of hers than snow" > And smooth as monumental alabaster. Pet she must die" else she%ll betray more men. But out the light" and then put out the light< If I (uench thee" thou flaming minister" I can again thy former light restore" -@ Should I repent me< but once put out thy light" Thou cunning%st pattern of ecelling nature" I know not where is that Bromethean heat That can thy light relume. When I have pluck%d the rose" I cannot give it vital growth again. It must needs wither< I%ll smell it on the tree. ->
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&issing her Ah balmy breath" that dost almost persuade &ustice to break her swordQ One more" one more. 2e thus when thou art dead" and I will kill thee" And love thee after. One more" and this the last< So sweet was ne%er so fatal. I must weep" 2ut they are cruel tears< this sorrow%s heavenly5 It strikes where it doth love. She wakes. ;#S;#6OKA Who%s thereL OthelloL OT$#::O Ay. ;esdemona.
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;#S;#6OKA Will you come to bed" my lordL OT$#::O $ave you pray%d to)night" ;esdemonaL ;#S;#6OKA Ay" my lord. OT$#::O If you bethink yourself of any crime Jnreconciled as yet to heaven and grace"
Solicit for it straight.
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;#S;#6OKA Alas" my lord" what do you mean by thatL OT$#::O Well" do it" and be brief5 I will walk by< OT$#::O Ay" I do. ;#S;#6OKA Then heaven $ave mercy on meQ OT$#::O Amen" with all my heartQ
FJI;IKF VJ#STIOKS ;iscuss what this etract reveals about Othello%s motivation in killing ;esdemona. What does Shakespeare%s use of language contribute to the tone" tension and dramatic impact of the sceneL Act >" Scene 4 ,)ATIA+O What is the matterL OT%'LLO 2ehold" I have a weapon5 A better never did itself sustain Jpon a soldier%s thigh< I have seen the day" That" with this little arm and this good sword" I have made my way through more impediments Than twenty times your stop< but" O vain boastQ Who can control his fateL %tis not so now. 2e not afraid" though you do see me weapon%d5 $ere is my 'ourney%s end" here is my butt" And very sea)mark of my utmost sail. ;o you go back dismay%dL %tis a lost fear5 6an but a rush against Othello%s breast" And he retires. Where should Othello goL Kow" how dost thou look nowL O ill)starr%d wenchQ Bale as thy smockQ when we shall meet at compt" This look of thine will hurl my soul from heaven" And fiends will snatch at it. 9old" cold" my girlQ #ven like thy chastity. O cursed slaveQ Whip me" ye devils" ?rom the possession of this heavenly sightQ 2low me about in windsQ roast me in sulphurQ Wash me in steep)down gulfs of li(uid fireQ O ;esdemonaQ ;esdemonaQ deadQ OhQ OhQ OhQ nter O+O%2O. #O3TA3O, 2A44O carried in a chair, and Officers with A5O, prisoner
LO8O9ICO Where is this rash and most unfortunate manL OT%'LLO That%s he that was Othello< here I am. LO8O9ICO Where is that viperL bring the villain forth. OT%'LLO I look down towards his feet5 but that%s a fable. If that thou best a devil" I cannot kill thee. 6ounds A5O LO8O9ICO Wrench his sword from him. IA,O I bleed" sir5 but not kill%d. OT%'LLO I am not sorry neither< I%ld have thee live5 ?or" in my sense" %tis happiness to die. LO8O9ICO O thou Othello" thou wert once so good" ?all%n in the practise of a damned slave" What shall be said to theeL OT%'LLO Why" any thing< An honourable murderer" if you will5 ?or nought I did in hate" but all in honour. LO8O9ICO This wretch hath part confess%d his villany< ;id you and he consent in 9assio%s deathL OT%'LLO Ay. CASSIO ;ear general" I never gave you cause. OT%'LLO I do believe it" and I ask your pardon. Will you" I pray" demand that demi)devil Why he hath thus ensnared my soul and bodyL IA,O ;emand me nothing< what you know" you know< ?rom this time forth I never will speak word. Act >" Scene 4
Act >" Scene 4 OT$#::O Soft you5 a word or two before you go. I have done the state some service" and they know%t. Ko more of that. I pray you" in your letters" When you shall these unlucky deeds relate" Speak of me as I am5 nothing etenuate" > Kor set down aught in malice< then must you speak Of one that loved not wisely but too well5 Of one not easily 'ealous" but being wrought Berple%d in the etreme5 of one whose hand" :ike the base Indian" threw a pearl away -@ =icher than all his tribe5 of one whose subdued eyes" Albeit unused to the melting mood" ;rop tears as fast as the Arabian trees Their medicinal gum. Set you down this5 And say besides" that in Aleppo once" Where a malignant and a turban%d Turk -> 2eat a 7enetian and traduced the state" I took by the throat the circumcised dog" And smote him" thus. 4tabs himself :O;O7I9O O bloody periodQ 4@ F=ATIAKO 4> All that%s spoke is marr%d. OT$#::O I kiss%d thee ere I kill%d thee< no way but this5 illing myself" to die upon a kiss. "alls on the bed, and dies 9ASSIO This did I fear" but thought he had no weapon5 ?or he was great of heart. :O;O7I9O To A5O/ O Spartan dog"
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6ore fell than anguish" hunger" or the seaQ :ook on the tragic loading of this bed5 This is thy work< the ob'ect poisons sight5 :et it be hid. Fratiano" keep the house" And seie upon the fortunes of the 6oor" ,> ?or they succeed on you. To you" lord governor" =emains the censure of this hellish villain5
FJI;IKF VJ#STIOKS What does this etract contribute to our understanding of the characters of Othello and Iago and their respective roles in the dramaL $ow does the language and imagery in particular shape our response to the characters and themesL
9lose Analysis 9lose reading of IagoEs solilo(uy" -., This solilo(uy brings Act One of Othello to a rousing and ominous close. The whole first Act we have been made aware of IagoEs feelings of animosity towards Gthe 6oorH +Shakespeare l.,/1 but it is here where we finally see" unmasked" his utter disgust for Othello" and IagoEs need to gain revenge. ShakespeareEs language D its sounds" images and diction D works to impress on the audience various elements of IagoEs state of mind" not least his feelings of hatred and an insight into the mind of evil. Shakespeare works particularly with at least two kinds of sound in this piece. ?irst" he chooses words which sound particularly harsh and spiteful in order to epress his hatred towards Othello. Take" for eample" the utterance GI hate the 6oorH +,/1. $atred is epressed in the blunt simplicity of the utterance D four frank monosyllables. And it is there" obviously" in the strong word Ghate"H whose GaH can be elongated +GhaaaaaateH1" even to outrageous proportions as in Sir Ian 6cellernEs portrayal +Othello1. Shakespeare epresses IagoEs general nastiness through sounds" too5 for eample" see +or listen to1 the alliterative spikiness of GsnipeH and Gsport"H as well as GprofaneH and GprofitH +Shakespeare ll. ,),/1. Sound" specifically the phrasing of the passage" also gives the audience a sense of the movement of IagoEs argument. Initially" Iago is angry" but hesitant< Why do I feel this wayL What shall I doL Such hesitancy is epressed through the many caesurae in the first section of the speech" such as G9assioEs a proper man5 let me see now5H +,831 and of course G$owL $owL :etEs see H +,81. All these stops make us feel Iago thinking through the problem" stopping and starting along the way. 2y the end of the speech" through rhyme and +finally1 a fluid" non)broken line" Iago has his plan worked out< G$ell and night * 6ust bring this monstrous birth to the worldEs lightH +,/>)1. As an argument)laden passage" ShakespeareEs words do not contain many images" but those that are here are powerful in their epression of ideas. =oderigo" for eample" is referred to as Ga snipeH +,81" which as #dward Bechter eplains in the accompanying footnote" is a Glong)billed bird" used as a type of worthlessness.H =oderigo is a little bird" a nothing" and perhaps the long bill connotes a kind of getting involved in business in which he is out of his depth. Another small image is that of #miliaEs possible affair D which allegedly occurred GEtwit my sheetsH D a striking sense that IagoEs frustrations are seually motivated. Berhaps the most striking image" however" is that of Othello as donkey" who Gwill as
tenderly be led by the nose * As asses are.H In this image" the audience clearly sees how much Iago despises Othello" characteriing him as slow" stupid" and easily manipulated. The diction of this passage principally shows an evil" intelligent mind at work. Kot only do the caesura mark hesitancy and at mind at work" but they also indicate the compleity of that mind. Iago works through things in a start)stop way" perhaps" but he still does so logically. Kotice" therefore" his use of logical markers among his words< G?or"H 2ut"H GAnd"H GPet"H Gfor"H GAfter"H and so on. $e takes us with him through his argument. nowledge and evidence also seem to be on IagoEs mind5 notice" at the start of the speech" Gmine own gained knowledgeH +,1 and later GI know not ifEt be trueH +,8@1. nowledge is important to Iago" of course5 he needs it in the play to be able to manipulate people" principally Othello" =odrigo and 9assio. 2ut as a manipulator" Iago is clearly not a hero)figure" and his diction generally reflects this. While his ideas might be devilishly clever" his words are not particularly difficult or laden with imagery" like his nemesis" Othello.
Act >" scene 4. +:ast scene1 9ontet< 2efore he kills himself" Othello invokes his prior services to the state" asking :odovico and the other 7enetians to listen to him for a moment. At this point" he is resolved to die" and his concern is with how he will be remembered. +=eputation is an important thing to a man despite the modern audiences interpretation that Othello is egoistic.1 Freek Tragedy)Tragic hero finally reaches a realiation of his own fatal flaw< the 'ealousy that has caused him to kill ;esdemona. OT$#::O Soft you5 a word or two before you go. I have done the state some service" and they know%t.
