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Summary and Analysis of Act I
Act I, scene i:Summary:Othello begins in the city of Venice, at night; Roderigo is having a discussion with Iago, who is bitter at being passed up as Othello's lieutenant. Though Iago had greater practice in battle and in military matters, Cassio, a man of strategy but of little experience, 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 gain; he is playing false, and admits that his nature is not at all what it seems. Iago is aware that the daughter of Brabantio, a Venetian nobleman of some stature, has run off with Othello, the black warrior of the Moors. Desdemona is Brabantio's daughter, and Brabantio, and many others, know nothing of this coupling; Iago decides to enlist Roderigo, who lusts after Desdemona, and awaken Brabantio with screams that his daughter is gone. At first, Brabantio dismisses these cries in the dark; but when he realizes his daughter is not there, he gives the news some credence. Roderigo is the one speaking most to Brabantio, but Iago is there too, hidden, yelling unsavory things about Othello and his intentions toward Desdemona. Brabantio panics, and calls for people to try and find his daughter; Iago leaves, not wanting anyone to find out that he betrayed his own leader, and Brabantio begins to search for his daughter. Analysis:The relationship between Roderigo and Iago is obviously somewhat close, as Roderigo shows in his first statement. Iago "hast had [Roderigo's] purse as if the strings were thine," he tells Iago; the metaphor shows how much trust Roderigo has in Iago, and also how he uses Iago as a confidante (I.i.2-3). Does Iago share the same kind of feeling? As far as Roderigo knows, Iago is his friend; but appearance is one thing and reality another, as Iago soon will tell. Iago tells several truths about himself to Roderigo; he even trusts Roderigo with the knowledge that Iago serves Othello, but only to further himself. How ironic that after Iago's lengthy confession of duplicity, Roderigo still does not suspect him of doublecrossing or manipulation. Iago seems to do a great deal of character analysis and exposition for the audience; here, he divulges his purpose in serving Othello, and the kind of man he is. Appearance vs. reality is a crucial theme in Iago's story; throughout the play, he enacts a series of roles, from advisor to confidante, and appears to be helping people though he is only acting out of his twisted self-interest. "These fellows" that flatter for their own purposes "have some soul," Iago says; there is a double irony in this statement that Iago passes off as a truth (54). People who act one way and are another are duplicitous, and scarcely deserve the credit that Iago is trying to give them. Also, Iago, though he is one of those fellows, seems to have no soul; he never repents, never lets up with his schemes, and never seems to tire of the damaging whatever he is able to. "In following [Othello] I follow but myself," Iago also professes; this is a paradox in terms, but is revealing of Iago's purposes in serving Othello. His language is also revealing of his dark character; he uses the cliché "I will wear my heart upon my sleeve" to convey how his heart is false, and his shows of emotion are also falsified (64). But, he turns this cliché into something more dark and fierce, when he adds the image of the birds tearing at this heart; already, he has foreshadowed the great deceptions that he will engineer, and the sinister qualities that make up his core. The key to Iago's character is in the line "I am not what I am"; Roderigo should take this as a warning, but fails to. Everything which Iago presents himself as is a false show; even here, he pretends to be less evil than he truly is, though this first scene represents the peak of Iago's honesty about himself with another character. Iago is parallel to another character, Richard III, in his self-awareness about his villainous character, and in his also parallel lack of remorse and use of false representations of himself. Already, the racial issues and themes which are at the core of Othello's story and position are beginning to surface. When Roderigo refers to Othello, he calls him "the thick lips"; the synecdoche, singling out one prominent characteristic that highlights Othello's foreignness and black heritage, displays a racial distrust of Othello based on his color. Roderigo and Iago are not the only characters to display racism when referring to Othello; racism is a pervasive theme within the work, spreading misconceptions and lies about Othello by tying him to incorrect stereotypes about his race. Another element that surfaces repeatedly in the play is the use of animal imagery; "an old black ram is tupping your white ewe," Iago yells to Brabantio from the street (88-9). The use of animal imagery is used in many places in the play to convey immorality, almost bestial desire, and illicit passion, as it does in this instance. Iago also compares Othello to a "Barbary horse" coupling with Desdemona, and uses animal imagery to reinforce a lustful picture of Othello, before this scene is through. Iago's statement is doubly potent, since it not only condemns Othello for his alleged lust, but also plays on Brabantio's misgivings about Othello's color, and outsider status. The juxtaposition of black and white, in connection with the animal imagery, is meant to make this image very repellent, and to inflame Brabantio to anger and action. Iago especially mentions the devil many times in the text, the first time here in the first scene. He means to make Othello sound like a devil, with his lust, indiscretion, and strangeness to Venice; the irony is that Iago is so quick to make others out to be evil, when it is he who is the center of blackness and foul deeds in the play. The devil often takes disguises, just as Iago does; he is as close to a devil as there is in this play, though, again embodying the theme of appearance vs. reality, he is the one who looks least guilty. Important to this scene is the fact that it is held in darkness; like the beginning of Hamlet, things are unsteady and eerie, and a certain disorder rules over the proceedings. With Brabantio's call for light, there is a corresponding call for some kind of order; darkness vs. light and order vs. disorder are important juxtapositions within the play, and as themes they highlight the status of situations like this one. This theme will appear again at the end, as the play returns to darkness, and also to chaos; the two seem inextricably linked in the body of the play, and always battle with one another. Act I, scene ii:Summary:Iago has now joined Othello, and has told Othello about Roderigo's betrayal of the news of his marriage to Brabantio's daughter. He tells Othello that Brabantio is upset, and will probably try to tear Desdemona from him. Cassio comes at last, as do Roderigo and Brabantio; Iago threatens Roderigo with violence, again making a false show of his loyalty to Othello. Brabantio is very angry, swearing that Othello must have bewitched his daughter, and that the state will not decide for him in this case. Othello says that the Duke must hear him, and decide in his favor, or else all is far from right in Venice. Analysis:Iago continues his deliberate misrepresentation, swearing to Othello that he could have killed Roderigo for what he did. Iago, however, is a very skilled actor; he is able to successfully present a contrary appearance, and get away with it. Ironically, Iago alludes to Janus, the two-faced god, in his conversation with Othello. Since Iago himself is two-faced, in a duplicitous way, Janus seems to be a fitting figure for Iago to invoke. Iago's duplicity is again exhibited in this scene as his tone swings from friendly to backbiting as soon as Othello steps away, and then he goes back to his original friendliness when Othello returns. Whereas Iago acted supportive of Othello's marriage to Desdemona, when Cassio enters, he uses a rather uncomplimentary metaphor to tell what Othello has done. "He tonight hath boarded a land-carrack," Iago tells Cassio; his diction and choice of metaphor make Othello into some kind of pirate, stealing Desdemona's love, and reduces Desdemona into a mere prize to be taken. But, this tone is carefully calculated; Iago will soon want Cassio to think of Desdemona as an object to be taken, and to believe Othello to be less honorable than he is. Othello's pride first becomes visible here; he is exceptionally proud of his achievements and his public stature, and pride is an overarching theme of Othello's story. He is also proud of Desdemona's affection for him, which leads him to overstate the bond between them; he would not give her up "for the seas' worth," he says, certainly a noble sentiment (l. 28). Othello is very confident in his worth, and in the respect he commands; if the leaders of the city decide to deny a worthy man like him his marriage to Desdemona, then he believes "bondslaves and pagans shall our statesmen be." This statement of paradox betrays Othello's faith in the state and in the Duke's regard for him; hopefully, neither will fail him. Again, the issue of race comes to the fore, as Brabantio confronts Othello about his marriage to Desdemona. Desdemona never would have "run from her guardage to the sooty bosom of a thing such as thou," Brabantio says (l. 71-2). Brabantio assumes that Desdemona must have been "enchanted" to marry Othello merely because Othello is black; Brabantio ignores all of Othello's good qualities, and gives into his racist feelings. Magic is another recurrent theme, and here is linked to stereotypes of African peoples as knowing the black arts of magic, of being pagans, and of being lusty; the theme of magic does not always play into the theme of race within the play, though here there is an interesting relation of the two due to racial stereotyping. At the time Shakespeare was writing, there were in fact free blacks in England, with some art of the period depicting black peoples. However, racism was even more pronounced in Shakespeare's England than it is in Othello; a character like Othello could not have risen to such ranks in England at the time, which means that 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, who represents anti-Semitic views of the Jewish people; stereotypes are linked to Othello by other characters, but he manages to evade them through his nobility and individuality. Act I, scene iii:Summary:Military conflict is challenging the Venetian stronghold of Cyprus; there are reports that Turkish ships are heading toward the island, which means some defense will be necessary. Brabantio and Othello enter the assembled Venetian leaders, who are discussing this military matter, and Brabantio announces his grievance against Othello for marrying his daughter. Othello addresses the company, admitting that he did marry Desdemona, but wooed her with stories, and did her no wrongs. Desdemona comes to speak, and she confirms Othello's words; Brabantio's grievance is denied, and Desdemona will indeed stay with Othello. However, Othello is called away to Cyprus, to help with the conflict there; he begs that Desdemona be able to go with him, since they have been married for so little time. Othello and Desdemona win their appeal, and Desdemona is to stay with Iago, until she can come to Cyprus and meet Othello there. Roderigo is upset that Desdemona and Othello's union was allowed to stand, since he lusts after Desdemona. But Iago assures him that the match will not last long, and at any time, Desdemona could come rushing to him. Iago wants to break up the couple, using Roderigo as his pawn, out of malice and his wicked ability to do so. Analysis:Brabantio again accuses Othello of bewitching his daughter, and airs his racism-based views. He is not against the match because of any incompatibility of the couple; he thinks that nature has made some mistake, because of the mixed race of the couple. His metaphor of his grief as a flood, that "engluts and swallows other sorrows, and is still itself," means that he feels very strongly on this issue. His strong objection foreshadows a confrontation between him and his daughter; and, if Desdemona does choose to stay with Othello, it seems likely that she will risk her father's love. Othello's appointment to Cyprus marks the true beginning of his tragedy; for, when he is away from Venice, which is a place of familiarity, order, and law, he will be much more vulnerable to Iago's vicious attacks on his love and jealousy. This battle between order and chaos is a theme running throughout the play, and as Othello sinks deeper into distrust of Desdemona and is more consumed by his jealousy, chaos increases and threatens to devour him. The Duke's words of advice to the couple also mark the beginning of their tragic story; the Duke's words foretell trouble between the couple if they do not let grievances go, which ends up being a reason for Othello's fall. Also, the change of the verse into couplets signals the importance of the advice being offered. The words of the Duke, and Brabantio's words that follow, are set off from the rest of the text and emphasized by this technique; the reader is notified, through the couplet rhyme, which hasn't appeared before in the text, that these are words that must be marked. Although Othello pretends to be poorly spoken, the only magic that he possesses is in his power of language. His language shows his pride in his achievements, and also allows him to make himself into a kind of hero. Othello portrays himself as a tested, honorable warrior, and indeed is such. However, this view of himself will prove troublesome when he is hard pressed to recognize his jealousy and his lust; his 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 jealousy, and set into motion the less palatable aspects of Othello's personality, which he himself cannot recognize. Othello's speech before the assembly shows what he believes Desdemona's love to be; he thinks that Desdemona's affection is a form of hero-worship, and she loves him for the stories he tells, and the things he has done. He believes it is his allusions to strange peoples and places, like the "Anthropophagi," that fascinate her, and this youthful fascination forms the semi-solid core of her affections. Indeed, his powers of language successfully win the Duke over, and soften Brabantio's disapproval. Light and dark are again juxtaposed in the Duke's declaration to Brabantio, that "if virtue no delighted beauty lack/ your son-in-law is far more fair than black." Black is associated with sin, evil, and darkness; these negative things are also associated to black people, merely because of the color of their skin. The Duke's statement is ironic, since Othello is black, but truthful, because his soul is good and light. Light/white/fairness all convey innocence, goodness, etc.; any symbol that is white has these qualities. The juxtaposition of black and white, light and dark shows up again and again in the play, as the colors become symbolic within the story. "Our bodies are our gardens," Iago tells Roderigo; his speech recalls Hamlet's first soliloquy, though with a more kind appraisal of human nature. Iago is a very good judge of human nature, and easily able to manipulate people in ways that will benefit him most; but, this cleverness also means that he is a source of wisdom in the play, no matter how wickedly he chooses to use this knowledge. Iago's metaphor is particularly applicable to many in this play, himself excluded; characters like Othello, Roderigo, and Cassio do have vices that they allow to grow in themselves, but they also have aspects of themselves which balance these vices out. Iago's knowledge of this allows him to do away with this balance and set chaos into motion, which leads to tragedy. Here, Iago's purpose becomes plain; he sees that Othello and Desdemona's marriage is less than solid, and seeks to use his powers to break this marriage apart. Iago is again "honest" about his intent, but only to a person whose involvement will help him greatly. The words "honest" and "honesty" appear repeatedly in the play, and are usually used by Iago, or in reference to him; ironically, Iago is the only person in the play whom Othello trusts to judge who is and is not honest, and the only one whose integrity is not questioned until it is too late. Honesty becomes an important question, and theme, in the story; characters repeatedly ask themselves who is honest, who can be trusted, and Iago indeed plays on their honesty to make them believe falsely. The word "honest" is often used in an ironic context, or indicates that someone or something cannot be trusted, if they are given this title. Under Iago's influence, honesty becomes a difficult liability, and speeds the downfall of many good characters.
Summary and Analysis of Act II
Act II, scene i:Summary:A terrible storm has struck Cyprus, just as the Turks were about to approach. This might mean that the Turkish attack will not happen; but it also bodes badly for Othello's ship. A messenger enters, and confirms that the Turkish fleet was broken apart by the storm, and that Cassio has arrived, though Othello is still at sea. They spot a ship coming forth; but Iago, Desdemona, and Emilia are on it, not Othello. Cassio greets them all, especially praising Desdemona; somehow, Iago and Desdemona enter into an argument about what women are, and Iago shows how little praise he believes women deserve. Othello arrives at last, and is very glad to see his wife arrived, much earlier than expected; he and Desdemona make public signs of their love, and then depart. Iago speaks to Roderigo, convincing him that Desdemona will stray from Othello, as she has already done with Cassio. He convinces Roderigo to attack Cassio that night, as he plans to visit mischief on both Othello and Cassio. Analysis:Storms are always of greater significance in Shakespeare; here, the storm is a symbol of unrest, and of discord to come. The storm marks the end of the peaceful part of the play, and is an act of fate; though it is doubtful that the storm will be as significant in the plot as the storm at the beginning of The Tempest, it is a signal that Iago's mischief is about to begin. Shakespeare's characters that comment on the storm are mariners, alluding to Ursa Minor and stars used for navigation; this is a testament to Shakespeare's incredible ability to form credible language for a great diversity and range of characters. Just as every character has their own manner of speech and expression, Cassio has a very polished, courtly way of speaking, especially of ladies. He describes Desdemona as one who "excels the quirks of blazoning pens"; he calls her "divine Desdemona," but at the same time, wishes Othello much joy of her. As Iago finds out later, he has no love for her, though much respect; so it is with much irony that Cassio is charged as being Desdemona's lover, when he is perhaps the only male figure in the play who has no feelings of passion for her. It is Cassio's courtly manner that makes him Othello's lieutenant; for Othello sees Cassio as a model Venetian, all poise and polish, which is something Othello wants to be, but thinks he is not. Othello's insecurities mean that Cassio is promoted over Iago, but also lead Othello to hold Cassio at a distance. Though Iago is married, he does not have as favorable an impression of women as Cassio does. Women are "wildcats in your kitchens, saints in your injuries, devils being offended"; he even declares that they "rise to play, and go to bed to work" (109-13). Iago's perception of women as deceptive, dominating, and lusty colors the way he portrays both Emilia and Desdemona; both are good women, Desdemona exceedingly so, yet he is able to convince other men that they are anything but what they are. "My invention comes from my pate as birdlime does from frieze," Iago says, though his analogy misrepresents his quick wit and subtle intelligence. Iago misrepresents himself throughout the play as honest, faithful, good-hearted, and here, as both foolish and jocular. Misrepresentation is a theme which misleads many characters, and allows Iago, and Othello to some extent, to appear as other than what they are. But even as he minces words with Desdemona, he is observing her and Cassio, and plotting how to make a fictional affair between them look convincing. "With as little a web as this I will ensnare as great a fly as Cassio," he says; indeed, the simile speaks truly of his intent, and of his true powers of "invention". "I'll set down the pegs that make this music," he says of Desdemona and Othello's harmonious union, another metaphor betraying his villainy. Misrepresentation is a theme that surfaces often through Iago's villainy; already, he makes Desdemona seem like a fickle, lusty woman, which he will soon try to convince Othello of as well. Iago's speech also plays on Othello's insecurities perfectly; he speaks of Othello's age, race, and manners as reasons why Desdemona will grow tired of him, which are also reaons why Othello fears he might lose her. Iago is also a master of temptation, another theme in the story; he is able to figure out exactly what people want, and then drive them to it. Use of language, a major theme in the story, is also a point on which Iago is notable. He is able to persuade Roderigo of Cassio and Desdemona's attachment, by painting an innocent gesture as a sign of familiarity; yet, all the power that is in his words is in their interpretation, for Iago is also able to say everything and nothing at once, depending on the inclination of the hearer. Though Iago seems grieved by Cassio's promotion over him, this does not seem to be his main, or only, motive. Iago mentions the promotion to Roderigo, to convince him that he hates Othello; but Iago also cites his suspicions that Emilia and Othello have had an affair as another reason for his enmity. But, at the same time, Iago is not a man to be consumed with sexual jealousy; though rumors about his wife may hurt his pride, they seem but an excuse for the misery he is about to cause. Iago's motives could be all of these reasons and more, or they could be none; indeed, Shakespeare leaves the root of Iago's malignancy unexplained, while showing the fruits of his evil in full. Act II, scene ii:Summary:Othello's herald enters, to proclaim that the Turks are not going to attack, all should be joyful, and Othello is celebrating the happiness of his recent marriage. Act II, scene iii:Summary:Iago and Cassio are on the watch together; Iago gets Cassio to drink a bit, knowing that he cannot hold his liquor at all. Iago also tries to get Cassio's feelings about Desdemona, and make her seem tempting to him; but his intentions are innocent and friendly, so this approach fails. Cassio leaves for a bit, and Iago says that he intends to get Cassio drunk, that will hopefully cause a quarrel between Cassio and Roderigo, who has been stirred up against Cassio. Iago wants to see Cassio discredited through this, so that he might take Cassio's place. Montano and others come, and Iago entertains them with small talk and song; soon, Cassio is drunk, and Roderigo has approached. Cassio fights offstage with Roderigo, and comes forth, chasing him; Montano tries to hinder Cassio, but Cassio just ends up injuring him. All the noise wakes Othello, who comes down to figure out what has happened. Montano tells what he knows of it all, and Iago fills in the restmaking sure to fictionalize his part in it all too. Cassio is stripped of his rank, and all leave Cassio and Iago alone. Cassio laments that he has lost his reputation, which is very dear to him. Iago tries to convince him that a reputation means little; and, if he talks to Desdemona, maybe he can get her to vouch for him with Othello. This will help Iago get the impression across that Desdemona and Cassio are together, which will make Othello very angry if it works. Iago then gives a soliloquy about knowing that Desdemona will speak for Cassio, and that he will be able to turn that against them both. Analysis:"Honest" emerges as a key word in this scene; it is a term laden with irony, and a constant reminder of the dramatic irony inherent in Iago's dealings. None of the characters in the play have any idea of Iago's plans and evil intentions; Othello and Cassio are especially innocent of this knowledge. Yet, the audience knows exactly what Iago is up to, and is able to see his deceptions for what they are; Iago's words interest the audience because of how much dramatic irony they are laden with, and curiosity to find out whether Cassio and Othello will come to know as much as the audience does about Iago's deviance. The word "honest" draws attention to how Iago's machinations are hidden from the characters onstage, and shows how he promotes an incorrect impression of himself in order to gain power over people. When Othello addresses his wife before a crowd of other people in this scene, his words are all of a financial nature. The words "purchase" and "profit" make it seem like Othello is trying to make his diction suitable for the crowd listening to him, and his tone is also less personal and more declarative. Othello's self-consciousness is apparent in these words to Desdemona, and self-consciousness is a theme that has much to do with how Othello regards himself, and his marriage. It seems in situations like this one that Othello is more interested in keeping up appearances than in showing love for his wife; indeed, he does love her, but he seems unable to allow his love to inhabit a private, personal sphere, apart from his public life and image. Iago begins his attempt to corrupt Cassio in this act, starting out by trying to get him to admit to impure thoughts about Desdemona. He speaks of Desdemona as being "sport for Jove," and "full of game"; his depiction of Desdemona rings false, as does his attempt to insinuate lust into Cassio's mind. Iago's tone is highly suggestive, with regards to trying to get Cassio to believe these suggestions that Iago is making; but the irony is that, once again, someone is blind to Iago's attempted machinations. Iago and Cassio are juxtaposed in this scene, to bring out Cassio's flawed honor and courtliness, and Iago's manipulativeness and deceptiveness. Cassio stands in especially sharp contrast to Iago when Iago speaks lustfully of Desdemona; Cassio is full of honor when it comes to women, and the ideals of a courtier as well. "He's a soldier fit to stand by Caesar," Iago says, the allusion to Caesar betraying the fact that he knows Cassio's true quality. However, Iago strikes gold when he figures out Cassio's weakness for drink; it is this flaw that makes Cassio finally seem human, and tarnishes his golden, polished image. "He'll be as full of quarrel and offense as my young mistress' dog," Iago notes; his metaphor shows that he knows how liquor can separate even the best man from himself, and do great damage to his reputation. "His vice tis to his virtue an equinox, one as long as th' other," Iago states; Iago's metaphor again reinforces his perceptiveness, and the light/dark imagery in the metaphor continue a motif present throughout the play. Iago, much more than anyone else in the play, is always aware of what his status and his chances are; he is more than sharp enough to know when his plans are going to work, and when he needs to change his approach. "If consequence do but approve my dream/ my boat sails freely, both with wind and stream"; Iago's metaphoric language usually confirms his perceptiveness, and his reasonable confidence. Perceptiveness is yet another theme in the play; it helps Iago to do all of his dirty deeds, yet condemns Othello and Cassio when they cannot muster up enough of it to see that Iago is up to no good. Note Iago's homage to "sweet England" in his song of this act; though this play does not take place in England, and features no English characters, Shakespeare throws this in to amuse his audience. He does the same in plays like Hamlet, in which a little nod to England is thrown in for comic effect, and as an audience pleaser. Iago knows that Othello ignores flaws in people like Cassio, which is part of his motivation in getting Cassio drunk, and involved in an argument. Iago wants Othello to know that Cassio is not the perfect soldier Othello believes him to be, while still convincing Othello that Iago himself is "honest" and worthy of trust. Othello is trusting and unaware, whereas Iago is super-perceptive, yet another contrast between the two men. When Othello breaks up the quarrel, he asks, "are we turned Turks"? The allusion to the Turks conveys a sense of disorder and that an enemy is present, although Othello misses the point with this comparison. Othello thinks that enemies are forthcoming, and declare themselves openly, like the Turks do; he expects everyone to have the same honor in declaring sides and engaging in battle. However, this isn't war that Othello is in, and that is his mistake in judgment; things are not as clear-cut in personal battles and politics, as evidenced by Iago's duplicity. Othello considers all the men who are there in Cyprus to be friends, since they are allied on the same side in battle; this is another example of Othello's confusion between the wordly and the personal spheres, a theme which plays in much of his story. Iago is again able to successfully misrepresent himself; this time, he pretends that he is there merely to settle the quarrel, when he is the engineer behind the whole affair. Iago is again able to manufacture an appearance that trumps realityyet another example of the appearance vs. reality theme at work. Though his account of the quarrel and how he came to it is doctored and deceptive, yet he is able to get away with it. Again, no one thinks to question the very man who is responsible for what has gone wrong among the Venetians, which is a heavy irony indeed. After Cassio's flaws have been shown to Othello, Cassio mourns the demise of his "reputation" above all else. Reputation is a theme in the book that obviously holds some resonance for Cassio; but Iago also knows the importance of reputation, which is why he makes sure that people see him as "honest" before anything. "Reputation is a most idle and false imposition," Iago says; but this statement is meant as false consolation to Cassio, and is filled with great irony. Reputation is always of concern when individuals are involved, and is no less important in Cyprus than it is in Venice. Cassio is so grieved that his reputation has been hurt that he sees fit to find a villain in all that has happened; "invisible spirit of winelet us call thee devil," he swears. Ironically, Cassio misses the identity of the real devil in this situation, Iago. "Devil" becomes a key word in this play, as people try to seek out what is poisoning everyone and everything on the island, though they are not able to trace it to the source until the very end of the play. Good vs. evil is a major theme in the play, though there is a great deal of gray area; though Iago is the villain, everyone else has some blemish of their natures which makes them easily corruptible, and not entirely deserving of the label "good". The rest of Iago's plan at last falls into place after his discussion with Cassio. "I will turn her virtue into pitch," he says of Desdemona, hearkening back to the light/ dark imagery earlier in the act. He will "out of her own goodness make the net that shall enmesh them all"; it is ironic that Iago will turn virtue into destruction, but he knows much of the people he is dealing with, and is manipulative and perceptive enough to pull it off. Once again, Iago closes the act with a speech addressed to the audience; although Othello is the title character, and his dilemma is central to the play, Iago is even more central to the events of the play, and the reactions of the characters.
Summary and Analysis of Act III
Act III, scene i:Summary:The third act begins with a little bit of comic relief; a clown is mincing words with a few musicians, then has a little wordplay with Cassio, who bids the clown to go and see if Desdemona will speak with him. Iago enters, and Cassio tells him that he means to speak to Desdemona, so that she may clear things up with Othello. Emilia comes out, and bids Cassio to come in and speak with Desdemona about his tarnished reputation. Analysis:Othello is unlike other Shakespearean dramas for two reasons; first, the scarcity of comic relief, which only appears briefly at the beginning of this short scene. Even Hamlet had Polonius and the gravedigger to lighten up certain scenes, but in Othello, there is no relief from the tragedy that is playing out. Also, there are no subplots running through Othello as there are in most Shakespearean plays as a whole. Both of these differences make Othello one of Shakespeare's most focused, intense tragedies. The little bit of comic relief that is present here is reminiscent of Feste's wit in Twelfth Night. As in Twelfth Night, there is a man entreating a servant to fetch someone hither; but since the servant is a clown, there is a bit of frustration and word-play before anything is done. The fool-figure receives money, then goes to do his bidding; the situations are parallel, and it is a very usual set-up for comic relief. However, the clown from this play does not reappear; he has less personality than Feste, if only because he gets just a brief appearance. Cassio seems to be one of the only "honest" ones in the play; he discloses his plans, his thoughts, and his concerns to Iago, omitting little or nothing. It is therefore ironic that he refers to Iago as "honest", since Iago is the complete opposite of everything Cassio is. By this point, the keyword "honest" has become very tainted by its over-association with Iago; it has no simple meaning anywhere in the play, and is definitely something to look out for. Act III, scene ii:Summary:Othello gives Iago some letters that need to be delivered back to Venice, which Iago is in turn supposed to give to a ship's pilot who is sailing back to Venice. Act III, scene iii:Summary:Desdemona decides that she wants to advocate for Cassio. She tells Emilia so, and that she believes Cassio is a good person, and has been wronged in this case; she pledges to do everything she can to persuade her husband to take Cassio back. Cassio speaks with her briefly, but leaves just as Othello enters because he does not wish for a confrontation. Iago seizes on this opportunity to play on Othello's insecurities, and make Cassio's exit seem guilty and incriminating. Othello then speaks to Desdemona, and Desdemona expresses her concern for Cassio; she is persistent in his suit, which Othello is not too pleased about. Othello says he will humor her, and the subject is dropped for a while. Iago then plays on Othello's insecurities about Desdemona, and gets Othello to believe, through insinuation, that there is something going on between Desdemona and Cassio. Othello seizes on this, and then Iago works at building up his suspicions. Soon, Othello begins to doubt his wife, as Iago lets his insinuations gain the force of an accusation against her. Othello begins to voice his insecurities when it comes to Desdemona, and himself as well. Desdemona enters, and they have a brief conversation; Othello admits that he is troubled, though he will not state the cause. Desdemona drops the handkerchief that Othello gave her on their honeymoon; Emilia knew that her husband had wanted it for something, so she doesn't feel too guilty about taking it. Emilia gives it to Iago, who decides to use the handkerchief for his own devices. Othello re-enters, and tells Iago that he now doubts his wife; Othello demands "ocular proof" of Desdemona's dishonesty, so Iago sets about making stories up about Cassio talking in his sleep, and says that Cassio has the handkerchief that Othello gave to Desdemona. Iago knows how important this handkerchief is to Othello; it was his first gift to Desdemona, and was given to him by his mother. Othello is incensed to hear that Desdemona would give away something so valuable, and is persuaded by Iago's insinuations and claims to believe that Desdemona is guilty. Othello then swears to have Cassio dead, and to be revenged upon Desdemona for the non-existent affair. Analysis:"His bed shall seem a school, his board a shrift," Desdemona says of Othello; these paradoxes highlight Desdemona's determination to set things right. Ironically, it is this determination to "intermingle everything [Othello] does with Cassio's suit" that fuels Othello's jealousy, which is the cause of her death. Had Desdemona not felt such a sense of justice or been good enough to advocate for a case in which she was not involved, she might have survived. Though it is very ironic, and a paradox, Desdemona is undone by her own goodness, and her need to step into affairs on a public level, which Othello is uncomfortable with. In this scene, Iago begins his machinations to make it seem like Cassio and Desdemona are having an affair. However, Iago refrains from saying very much; "I cannot think it that he would steal away so guilty-like" is the most incriminating thing he says about Cassio. He makes Othello start to think uneasy thoughts by saying "I like not that" about Cassio's exit; Othello immediately seizes the bait, his jealousy playing off of Iago's calculated insinuations. Desdemona's choice of words to describe Cassio is unfortunate; she calls him a "suitor," not meaning it in a romantic sense, although Othello could certainly take it that way. Desdemona binds her reputation to Cassio's in an unfortunate way; she says that if Cassio is wrong, "I have no judgment in an honest face". Of course Desdemona means well, but she gambles too much on another person's honor. Iago begins to echo Othello, which makes Othello even more uneasy. He asks questions that are fundamentally related to the issues at hand, such as whether Desdemona and Cassio have known each other for a while. In Othello's state, he believes Iago's statements of nothing to be a real attempt to hide the truth about what is going on; he does not realize that Iago's statements are all feigned to make Othello jealous. "Thou echoest me, as if there was some monster in thy thought, too hideous to be shown"; Othello creates this simile based merely on Iago's echoing and unrelated questions, showing how Othello begins to feed off the insinuations of Iago's words. Iago says that he believes Cassio is "honest"; yet again, this word sets Othello off, and Iago's fake uncertainty in his tone makes Othello think that Cassio lies. Iago then asks "who has that breast so pure that some uncleanly apprehensions keep leets and law days." In the context in which it is spoken, Othello takes it to mean that Cassio is flawed, which is true; but notice how Iago says no names, and doesn't explicitly apply the statement to any one person. Iago's fakery reaches a peak when he speaks of how "good nameis the immediate jewel" that people possess. Othello takes the statement to mean that Iago is protecting Cassio's good name by not telling Othello all; but Iago is not strictly saying more than his statements suggest, and all the connections are done by Othello's grasping mind. Jealousy, a major theme, especially with regards to Othello, is soon addressed specifically by Iago. "It is the green-eyed monster," Iago tells him, in that now-famous statement; the "green-eyed monster" becomes a symbol representing Othello's dark feelings, a specter lurking in his mind and beginning to steer his behavior. Iago's speech is also deeply ironic, since it points out Othello's flaws, and the root of his tragedy; Othello has no idea of the significance of these statements, and so neglects to take them to heart. Othello then begins to say that he believes his wife is virtuous, which means that Iago finally addresses her directly, and further misleads Othello. Othello is deeply insecure about his personal qualities and his marriage, as insecurity becomes a theme that weakens his resolve not to doubt Desdemona. Othello uses his black skin as a symbol for how poorly spoken and unattractive he thinks he is. All of his claims are very much beside the point; his words are actually more complex and beautiful than those spoken by any other character in the play. Othello doubts that Desdemona could love him, because of his misconception of himself as being uncouth, poorly spoken, and old; and because he begins to believe that Desdemona cannot love him, he starts to believe her guilty of infidelity. The leap is great, but it is all a product of Othello's own insecurities and his incorrect conception of himself, another theme of the play. How Othello sees himself directly influences how he views Desdemona's love, though there should be a disconnection between these two things. Othello begins to use the black/ white imagery found throughout the play, to express his grief and rage at Desdemona's alleged treachery. "My name, that was as fresh as Dian's visage, is now begrimed and black as mine own face," Othello says. Although the allegations against Desdemona are personally hurtful to him, Othello focuses more on the public ramifications, rather than the private; there is great irony in this concern, since this rumored betrayal is a private one, and also since Othello's name is highly regarded, because nothing has really happened. Iago's "proofs" also rely on the animal imagery which has run throughout the play; he makes Desdemona and Cassio seem like lustful lovers, by describing them as "prime as goats, as hot as monkeys" (400). This comparison is calculated, since Iago knows that thinking of Desdemona as lusting after another man disturbs Othello greatly. The handkerchief, the most crucial symbol and object in the play, first appears here. The handkerchief, to Desdemona, symbolizes Othello's love, since it was his first gift to her. Othello thinks that the handkerchief, quite literally, is Desdemona's love; and when she has lost it, that must clearly mean that she does not love him any longer. The handkerchief also becomes a symbol of Desdemona's alleged betrayal; Othello takes it as the "ocular proof" of her dishonesty, which is a grave mistake. "Proof" is a key word in this scene; Othello demands that Iago prove Desdemona unfaithful by actually seeing evidence of her guilt. But Iago, ever clever and persuasive, manages to work around this completely; he plays off of Othello's jealousy, telling him stories that damn Cassio and mention the handkerchief, which make Othello angry and distract him from the fact that he has seen no proofs at all. Othello trusts Iago's words to convey proof, and is thwarted by Iago's dishonesty; yet, Othello only realizes later that he has been tricked and has seen no proof, when it is too late for him to take his actions back. Iago subverts Othello's wish for "ocular proof" by making it seem painful and impossible to achieve; they would have to catch Desdemona and Cassio actually being unfaithful, which Othello cannot bear to imagine. So, instead, Iago offers up other "proof," thus clearing him of the impossible charge of "ocular proof"; "if imputation and strong circumstances which lead directly to the door of truth will give you satisfaction, you might have t," he tells Othello (403-5). Naturally, Othello, already in doubt of his wife's honor, falls into this rhetorical trap; Iago is now free to condemn Desdemona through suspicion, with only the smallest bit of "ocular" evidence. This act represents the beginning of Othello's giving up language; until this point in the play, Othello has spoken with beautiful images, convincing rhetoric, and used his language to express the eloquence and beauty in his soul. From this point forward, notice how Othello's use of imagery and story become less and less frequent, and how he begins to rely upon Iago for speech and explanation. Othello is reduced by Iago and his own jealousy to single lines of speech, monosyllabic utterings of "O!" and the like. And just as language is the power with which Othello was able to woo Desdemona, his loss of it is a resignation of this power which attracted her to him. Othello suspects his wife's language, and Cassio's as well; he is distracted from suspicion of Iago, even though it is Iago's language which has taken away Othello's ability to speak because of overwhelming grief and jealousy. Othello begins to lose his power over himself, and over others, when he loses his beautiful language; and this resignation marks a huge shift in the balance of power between Othello and Iago, as Iago becomes more dominant in the relationship, and begins to steer Othello. Iago's assumption of Othello's image-filled powers of language, and the beginning of his dominance, is shown by the story he tells of Cassio talking in his sleep. He describes in detail Cassio's actions, making them all too vivid for Othello to dismiss; indeed, they are so vivid that Othello forgets that they are merely words, and seizes them as true evidence against Desdemona. Othello's language, from this point on, is bent by anger; he has his last bit of eloquence in this act, and then in Act IV, cedes his powers and his language to Iago, as Iago drives the events toward their conclusion. In the battle between order and chaos, chaos seems to be winning out. Othello abandons his reason in judging Iago's "proofs," and his abandonment of language also marks a descent into chaos. Although it is a chaos controlled by Iago, still, order and reason are on the losing side; raging emotions and speculations begin to rule Othello's fate, as he comes closer and closer to his tragic end. Act III, scene iv:Summary:Desdemona asks the clown where Cassio is; the clown goes off to fetch him. Desdemona is looking everywhere for the handkerchief, very sorry to have lost it; she knows that her losing it will upset Othello greatly, although she claims he is not so jealous that he will think ill of the loss. Othello enters, and asks for Desdemona's handkerchief; she admits that she does not have it, and then Othello tells her of its significance and alleged magical powers. Desdemona does not like Othello's tone; he seems obsessed with this object, and Desdemona is so frightened by him that she wishes she had nothing to do with it. She interrupts Othello's inquiry by bringing up Cassio's attempt to get back into Othello's favor; Othello becomes angry, and storms out. Desdemona and Emilia both note that Othello is much changed; he is unkind and seems jealous, and they are suspicious of the change in him. Cassio then enters, with Iago; he laments that his suit is not successful, and that Othello does not seem likely to take him back. Desdemona is sorry for this, since she knows that Cassio is a man of worth; she tells Cassio and Iago that Othello has been acting strange, and is upset, and Iago goes to look for him, feigning concern. Emilia thinks that Othello's change has something to do with Desdemona, or Othello's jealous nature; they still cannot fathom what has happened, and exit, leaving Cassio. Bianca comes in, and Cassio asks her to copy the handkerchief that he found in his room; it is Desdemona's handkerchief, though Cassio has no idea. He claims he does not love her, and gets angry at her for allegedly suspecting that the handkerchief is a gift of another woman. But, Bianca is not disturbed, and leaves with the handkerchief. Analysis:Othello's words in this scene often have a double meaning, seeming normal, but also accusing Desdemona of unfaithfulness. When he is describing Desdemona's hand, he says it is "moist" and "hot"; this is an allusion to a belief of the time, that when someone's hand felt "moist" and "hot," it was a sign of a lustful nature. He says she is of a "liberal heart"; this could mean a generous heart, but could also be indicating Desdemona's supposed licentiousness. "Here's a young and sweating devil here, who constantly rebels," Othello says; the metaphor speaks badly of Desdemona, and betrays his distrust of her. Yet, in the next breath, he says, "tis a good hand"; the juxtaposition of the two statements shows that Othello is trying hard not to betray his disappointment in Desdemona, but his difficulty also at keeping this in. He is deeply disturbed, and seems to be questioning and examining her to prove that she really is the harlot he believes her to be; however, he is so bent upon proving her guilty, that he does not consider that these tests mean nothing, or perhaps even exonerate her. Here, Othello finally elaborates upon the handkerchief's importance for Desdemona. She realizes finally how symbolic and important it is to Othello; she becomes upset, and finally wishes that she had not been given such a meaningful thing. "There's magic in the web of it," Othello says; he language is full of mystical, dark images, like the dye coming from virgins' hearts, that are beautiful, but yet upsetting. Othello reveals that he believes the handkerchief to literally symbolize Desdemona's affection; the irony is that although the handkerchief is lost, Desdemona still loves him. The theme of appearance vs. reality appears again; for although Desdemona appears to be merely covering up her sins, which further angers him, in reality she is completely pure and blameless. Also, the theme of magic is reintroduced with the handkerchief, a "magic" object. But here, Othello actually believes in the magic of the object, to his and Desdemona's detriment. Although Othello claimed ignorance and disregard for magic when Brabantio accused him of witchcraft, here he takes the opposite position; the handkerchief, though it embodies no actual magic, has a magic- like hold over Othello. He believes fervently in the handkerchief, and seems to be enchanted by the token. "Why do you speak so startlingly and rash?" Desdemona asks Othello. His tone is accusatory, tinged with bitterness, at times very biting. Othello's behavior, and Desdemona's sudden distrust of it, foreshadows Othello's violent rage at the end of the play. Desdemona, especially, knows that something is gravely wrong, though she can do nothing to help Othello, and assuage his anger. "Some unhatched practice, made demonstrable here in Cyprus to him, hath puddled his clear spirit," Desdemona says. She is very perceptive; and Emilia is even more so, for she knows that though Desdemona has given Othello no cause to act toward her as he does, that if he is jealous-natured, he needs little cause, and will not be convinced otherwise. Cassio's behavior toward Bianca is in sharp contrast to the courtly politeness he shows Desdemona and Emilia. This is because of Bianca's station as a courtesan; such women were not accorded the same respect as ladies, although Bianca proves to be as perceptive as Emilia and Desdemona, and even more realistic about matters of love. The change in Cassio's tone and behavior around Bianca betray a cultural bias of the time toward women of certain stations; indeed, his behavior would not have been thought mean at the time, because of Bianca's lowly status.
Summary and Analysis of Act IV
Act IV, scene i:Summary:Othello is trying, even after swearing that Desdemona was unfaithful, not to condemn her too harshly. He is talking with Iago about the handkerchief still, and its significance in being found; but, soon, Iago whips Othello into an even greater fury through mere insinuation, and Othello takes the bait. Othello falls into a trance of rage, and Iago decides to hammer home his false ideas about his wife. Iago calls Cassio in, while Othello hides; Iago speaks to Cassio of Bianca, but Othello, in his disturbed state, believes that Cassio is talking of Desdemona, which is the last "proof" he needs before declaring his wife guilty. Bianca comes in, and gives the handkerchief back to Cassio, since she swears she will have nothing to do with it. Othello is incensed by Cassio, still believing that he was speaking of Desdemona, rather than Bianca. Now, Othello is resolved to kill Desdemona himself, and charges Iago with murdering Cassio. Ludovico, a noble Venetian whom Desdemona knows, has recently landed; Desdemona and Othello welcome him there. But, when Desdemona mentions Cassio, Othello becomes very angry and slaps her in front of everyone; she rushes off, very upset. Ludovico especially is shocked at this change in Othello, and has no idea how such a noble man could act so cruelly. Analysis:Iago continues his insinuations when speaking to Othello; he provides more "proofs" that are anything but ocular, though Othello has calmed, and seems more troubled and less angry. In the last act Othello was trying to act as Desdemona's defender, and Iago was the accuser; ironically, they seem to have switched places here, and Iago seems to be defending Desdemona, all while producing more "evidence" to condemn her. The handkerchief, however, is as important a symbol as ever; "it comes o'er my memory as a raven doth over an infected house," Othello says. The metaphor highlights how crucial this object is to him, as Othello burdens that single object with more and more significance. Othello, again, is prime to suggestion; notice how Iago merely says "lie," and Othello takes that word to mean "lie with her," further condemning both Cassio and his wife. It is a paradox that Iago is supposed to be the persuader, though Othello seems, in instances such as this one, to be persuading himself, of things Iago has not even said. Note the contrast between Othello's language as he falls into a trance, and Othello's language in any previous part of the play, including Act III. He speaks in single, disconnected words"handkerchiefconfessionhandkerchief," or "Noses, ears, and lips"that completely belie his ability to speak coherently and elegantly, as Othello has shown, especially in Act I with Brabantio. The lack of connection in his language parallels his descent into emotional and logical chaos; as he becomes more upset, without a true cause, he falls farther and farther from himself, and the order which typically rules him. Again, the theme of order vs. chaos comes into play. 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 "breaks out into savage madness" in this fit; indeed, the primal seems to be taking over the more civilized aspects of Othello. Othello refers to himself as a "horned man," ashamed of this descent; yet it has settled upon him, and he will struggle in vain to regain his dignity. Iago continues to become the master of Othello's perception; Iago tells Othello to observe Cassio closely and "mark the fleers, the gibes, the notable scorns" that he shows toward Othello. Othello, observing with this in mind, sees everything Cassio says as an affront to him and Desdemona, though Cassio's tone is not mocking, and he is speaking of another woman as well. Othello's imaginative powers now turn against him; whereas, before he used his imagination to conjure up potent stories and vivid language, here he uses it to imagine Desdemona's infidelity, and Cassio's treachery, neither of which are true. But, unfortunately for Othello, Bianca coming by and giving Desdemona's handkerchief back to Cassio seems to confirm all of his suspicions. Though things are not as they seem in this instance, still, Othello's mistaken beliefs are only supported by this confrontation. "O, the world hath not a sweeter creature," Othello declares of Desdemona; yet, against his reason and better nature, he decides that she shall not live for what she has supposedly done. There is great irony in this scene, as Othello declares that Desdemona is of a soft and kind nature, yet condemns her for being lustful and immoral. Note Othello's reticent tone, even when he is condemning Desdemona to death; although chaos and jealousy have triumphed over reason, still there is a part of him that knows Desdemona is good, and does not want to condemn her. When Othello strikes Desdemona, he shows the severity of his change. Just her mention of Cassio sends him into an unreasonable rage; every little thing he regards with suspicion, even if he has no cause. Although one of his greatest fears regarding Desdemona's alleged infidelity was that it would blacken his name and reputation, the irony is that Othello is doing that himself; in striking Othello and being unreasonably cruel, he besmirches his own good name. Savagery is taking over his civility, as he continues to become the cruel, jealous, passion-spurred "savage" that Brabantio accused him of being. He is beginning to become a stereotype by his own doing, as he falls farther and farther from himself. Act IV, scene ii:Summary:Othello questions Emilia about Desdemona's guilt, or the chance she has had an affair with Cassio. Emilia admits to having seen nothing, though Othello does not believe her. Emilia swears that she has seen and heard all that has gone on between Cassio and Desdemona, and that Desdemona is pure and true. Othello believes that Emilia is in on all this too; he accuses Desdemona, and her insistence that she is innocent only infuriates him further. Othello leaves, and Desdemona and Emilia try to figure out what has happened to Othello, and what they can do; Desdemona feels especially helpless, and Emilia is very angry. Emilia thinks that someone has manipulated Othello into accusing Desdemona, and has poisoned his mind; however, Iago is there to dispel this opinion, so that Emilia does not inquire further into her theory. Upon leaving the women, Iago comes across Roderigo; he is not pleased with how Iago has handled things, and knows that although Iago is promising him Desdemona's favor, he has done nothing to indicate that he has worked to achieve this. Iago quiets him by making him believe that if he kills Cassio, then he will win Desdemona; Roderigo decides to go along with it, but Iago is coming dangerously close to being revealed. Analysis:Othello still swears, after speaking with Emilia, that Desdemona is "a subtle whore"; the irony is that Othello takes Desdemona's piety and goodness as proof of the corruption lying beneath the surface, when these traits are as straightforward as possible. His words still condemn Desdemona, and Emilia too; Emilia is a "bawd," and the mistress of the whorehouse of which Desdemona is a part. Othello believes that Desdemona's denial is a sign of her deep-seated betrayal; but it is really a function of her honesty, and she has committed no wrongs. Othello then launches into a scathing condemnation of Desdemona; his tone is bitter and angry, although Desdemona cannot figure what he is talking about. "I took you for that cunning whore of Venice that married Othello," Othello tells Desdemona. This statement shows Othello at his most unfair and vindictive, but it also shows his distrust of Venice, and its very subtle, highly mannered people. Venice is a place of hidden deceits and carefully crafted appearances, somewhere that Othello has never truly been comfortable; and now, Othello is taking his grievances as an outsider out on Desdemona. Othello is finally condemning his outsider status, even though it was a source of his pride and a defining theme of his rise to power. Desdemona's order to Emilia to put her wedding sheets on her bed seems peculiar; but it is a reminder to Othello of her purity, and of their union. Some critics argue that there is no time in the play for Desdemona and Othello to have consummated their marriage; if so, the wedding sheets are as white as Desdemona, both pure and untouched still. Emilia, ever perceptive, knows that someone has done this to Othello; she believes that "some cogging, cozening slave, to get some office, have not devised this slander," which is, of course, the truth (131). It is ironic that Emilia thinks of this, and condemns the man who must be manipulating Othello, since the one who has devised this whole thing is her own husband, Iago. Iago, of course, is there to hush this suspicion, but still, Emilia and Desdemona know that something is awry, but do not know what to do about it. Roderigo, at last, is the one to accuse Iago of treachery; he has discovered the truth, that Iago's "words and performances are no kin together." Iago does his best to deny this, and convinces Roderigo to kill Cassio in order to win Desdemona; still, Roderigo's accusation means that either Iago will be revealed by Roderigo if Roderigo is not satisfied, or that Roderigo will have to die so that Iago's plans will go through. Since Othello is a tragedy, however, this confrontation foreshadows Roderigo's death by one of Iago's devices. Act IV, scene iii:Summary:Othello tells Desdemona to go to bed, and dismiss Emilia; Emilia regrets Desdemona's marriage, although Desdemona cannot say that she does not love Othello. Desdemona knows that she will die soon; she sings a song of sadness and resignation, and decides to give herself to her fate. Desdemona asks Emilia whether she would commit adultery to win her husband the world. Emilia, the more practical one, thinks that it is not too big a price for a small act; Desdemona is too good, and too devout, to say that she would do so. Analysis:Desdemona knows of her impending death, but she is too good and too devout to do anything about it. The "Willow Song" and her tale of her mother's maid also foreshadow Desdemona's death; yet her resignation is still strange. She has resigned herself to her fate, and is not trying to fight it; she seems like a totally different woman than the one who stood up to her father and the Venetian nobles in defense of Othello. Desdemona, although she is good, is suddenly depicted as being meek; this sudden shift in her character is strange, and the source is unknown. Desdemona is almost too good to live; indeed, had she admitted some fault or some sin to Othello, it would have shattered his view that she was merely pretending to be good, in order to hide her treachery. Her character is parallel to that of Ophelia; both are good, virtuous, obedient, but both are subjected to tragic fates because of their own innocence. Desdemona's fate is unfair and unearned, yet she is the martyr of the play, the tragic female heroine who ends up being sacrificed to satisfy the fates. Emilia pronounces what seems like a theme of the play, up until this point; "let husbands know, their wives have sense like themthey see, and smell, and have their palates both for sweet and sour, just as their husbands have" (96-99). Indeed, this is one of the reasons why Othello is so angry at Desdemona; the thought that she could have desire in her, just as he does, bewilders him and angers him too. That she could have opinions and ideas independent of his own, especially about Cassio and his rightful place, also upset him. Othello is good at heart, but he cannot reconcile himself with the idea that Desdemona might be as human and as independent as he is, although the sudden shift of characterization in this scene belies this somewhat.
Summary and Analysis of Act V
Act V, scene i:Summary:Iago has Roderigo poised and ready to pounce on Cassio, and kill him; if either of them is killed, it is to Iago's benefit, although he would like to have both of them disposed of, so that his devices might not be discovered. Roderigo and Cassio fight, and both are injured; Othello hears the scuffle, is pleased, and then leaves to finish off Desdemona. Iago enters, pretending that he knows nothing of the scuffle; Gratiano and Ludovico also stumble upon the scene, having no idea what has happened. Roderigo is still alive, so Iago feigns a quarrel, and finishes him off. Bianca comes by, and sees Cassio wounded; Iago makes some remark to implicate her; Cassio is carried away, and Roderigo is already dead. Emilia also comes in, and pins more blame on Bianca; she has done nothing, but Iago has some quick work to do if he is to exonerate himself in this mess. Analysis:Here, again, Iago addresses the audience directly about his intentions, and his actions; Iago is only truly honest with the audience, and hides something from each of the players. This creates an undercurrent of dramatic irony throughout the play, since the audience knows all of his plans, and individual characters know nothing, like Othello, or only a small portion of it, like Roderigo. Iago's tendency to disclose himself to the audience gives him a connection to the audience that Othello does not have; although Othello is the title character of the play, Iago has more lines and more interaction with the audience as well. It is Othello's tragedy that is the focus of the play, but Iago succeeds in stealing the show; he is one of those peculiar villains, like Richard III, who is more compelling, complex, and sometimes more interesting than any of the protagonists in the play. Here, Iago again proves himself a consummate actor. This scene again brings up the theme of appearance vs. reality; for though Iago claims to know nothing of this battle, and be merely discovering it, he is the mastermind of the entire situation. Iago is many selves in this act; he is friend and advisor to Roderigo, then betrayer and murderer of Roderigo, consoler of Cassio, and the lead officer in this crisis. He uses misrepresentation to fill each of these roles as best he can, and not let the others know of his true plans and character. Act V, scene ii:Summary:Othello enters Desdemona's room while she is asleep; and though she is beautiful, and appears innocent, he still is determined to kill her. He justifies this with images, metaphors, and ideas of her rebirth after death, and though his rage is softened, he is still much mistaken about her. Desdemona awakens, and he tells her to repent of any sins before she dies; she believes there is nothing she can do to stop him from killing her, and continues to assert her innocence. Othello tells her that he found her handkerchief with Cassio, though Desdemona insists it must not be true; she pleads with Othello not to kill her right then, but he begins to smother her. Emilia knocks, curious about what is going on; Othello lets her in, but tries to conceal Desdemona, who he thinks is already dead. Emilia brings the news of Roderigo's death, and Cassio's wounding. Emilia soon finds out that Desdemona is nearly dead, by Othello's hand; Desdemona speaks her last words, and then Emilia pounces on Othello for committing this horrible crime. Othello is not convinced of his folly until Iago confesses his part, and Cassio speaks of the use of the handkerchief; then, Othello is overcome with grief. Iago stabs Emilia for telling all about his plots, and then Emilia dies; the Venetian nobles reveal that Brabantio, Desdemona's father, is dead, and so cannot be grieved by this tragedy now. Othello stabs Iago when he is brought back in; Othello then tells all present to remember him how he is, and kills himself. Cassio becomes temporary leader of the troops at Cyprus, and Lodovico and Gratiano are supposed to carry the news of the tragedy back to Venice. Iago is taken into custody, and his crimes will be judged back in Venice. Analysis:Othello's farewell to Desdemona is a return to his former eloquence, though it is also a farewell to his own peace and his life. Though he believes Desdemona's soul to be black, he can only focus on her whiteness; he pledges not to mar "that whiter skin of hers than snow," although he is determined to take her life. The metaphor highlights Desdemona's innocence, as does comparing her to a "light" to be put out. There is irony in Othello's references to Desdemona here; he describes her with words that suggest her brightness and innocence, yet he is determined to condemn and kill her. She is also "the rose" to Othello, another beautiful, innocent image to relate her with. Othello's allusion to Prometheus explains his wish to put out Desdemona's light in order to restore her former innocence; even when the act of murder is drawing near, Othello seems intent upon dwelling in beautiful images and poetic metaphors to hide the ugliness and wrongness of his deed. And where before Othello felt only hatred and anger, now he is forced to feel his love, along with his mistaken determination to see Desdemona die. Here, Desdemona learns too late of the trap that was set for her with the handkerchief; this symbol of her love has come back to condemn her, just as all her protestations of her love and devotion for Othello do not soften his resolve to kill her. Othello refers to the belief of the time, that to die with all one's sins repented of meant that the soul was saved for heaven; that he asks Desdemona if she has prayed, and urges her to do so if she hasn't, shows a strange kind of mercy built into Othello's determination to have her killed. But Othello takes Desdemona's cries for mercy, and her remorse at Cassio's misfortune, as proof of her indiscretion; although his rage is tempered, he is still set on having her dead. Othello's reaction after smothering Desdemona shows an even greater rift between his resolve and his emotion. He does not want to admit that Desdemona is dead; he speaks to her, ponders her stillness, and seems very hysterical. He is also grieved by this action; "methinks it should be now a huge eclipse of sun and moon," he says, referring back to the light/dark imagery of the play to communicate how unsettled and unhinged he feels. Desdemona's last words are especially cryptic; when asked who killed her, she remarks, "nobody, I myselfcommend me to my kind lord." This could be seen as a kind of condemnation of Othello for killing her; but, taking into account her resigned behavior before her death, she might be trying to absolve her husband of blame with her last breath, or trying to express her love for the one who has killed her. If this is so, it certainly does not sit well with her line, "falsely, falsely murdered," which seems to refer both to Desdemona's death, as to Emilia's mention of the death of Roderigo and wounding of Cassio. Othello's reaction upon Desdemona's death is a mixture of shock, hysterics, and anger; still, he is very conflicted at this act he has committed. The greatest irony of the play is that it is only after killing Desdemona that Othello learns the truth about her; he finds out that she was blameless, and that Iago was manipulating him into believing otherwise. Still, even after the murder is exposed, Othello cannot let go of the idea that Desdemona really did cheat on him; but his fixation on the handkerchief is ended when Emilia reveals how the token was used to make him believe in the affair. Emilia's fate is parallel to Desdemona's; although she was more realistic than Desdemona, she too was betrayed by her husband, had a good sense of perception, but yet died through other's wrongs. Desdemona might be a more central figure in the play, but Emilia is the conscience; she makes Othelo finally feel remorse for his act, and undoes some of the damage that Iago's allegations wreaked, which not even Desdemona was able to allay. Emilia knows, almost as well as her husband, how human nature works; she knows of husbands' jealousies, of how men believe women are less human, of how people are naturally prone to folly. She is the sole voice of reason in the play, the only besides Desdemona who is uncorrupted by Iago's manipulations. At last, Othello's grief comes to its fruition, as his reason and speech are finally fully restored. "Roast me in sulfur! Wash me in steep-down gulfs of molten fire!" Othello laments, the images of pain and torment reflecting the feelings which are coming over him. He juxtaposes heaven and hell to explain his despair, and the virtue he knows again that Desdemona did possess. But though Othello has some sense again, he still wounds Iago; this act seems to be done as a distraction of his pain, and makes Othello's character seem even more deeply flawed. Othello insists that he is an "honorable murderer"; but Iago was surely killed out of anger, and Desdemona out of jealousy and offended pride. Othello is driven to kill out of his own shortcomings; and although his beautiful language and his remorse at the end of this scene make him seem noble again, yet Othello still denies the flaws in himself that have led him to this end. Iago was definitely the catalyst for Desdemona's death and Othello's jealous rages; but the seeds of jealousy and suspicion were already inherent in Othello, though not yet grown. It certainly makes the resolution of the play more neat to believe that Othello is returned to his nobility; but, since he still denies the deep wrong he has committed, and his own part in this dirty act, he cannot be fully redeemed or forgiven. Of course, all threads are wrapped up in this last scene of the play; letters are produced that expose Iago's part in these unfortunate events, even though these letters have not been mentioned or shown earlier in the play. Cassio seems to have been kept alive merely to testify about his part in this whole debacle; and Lodovico and Gratiano are conveniently there as witnesses of the Venetian state, with Montano representing the law and order of Cyprus. Although the plot is brought to its conclusion in this last scene, there are still questions and issues to consider, especially in Othello's last speech. Othello has always been concerned with his reputation and public image; this was one of his reasons for killing Desdemona. His last speech reveals that he is still fixated on this cause; "speak of me as I am," he tells them, yet there is great irony in this statement, since he goes on to misrepresent himself and his motives. He says that he is "not easily jealous," although it is apparent from Iago's first insinuations that he is very jealous and possessive of his wife. He also says he is one who "drops tears as fast as the Arabian trees their med'cinable gum"; however, Othello found it difficult to be sorry for killing his wife, until he found out that his motives were wrong. This last speech is filled with heroic language; he reduces his foul, treacherous murder to "[throwing] a pearl away richer than all his tribe," which is a beautiful metaphor, but hardly does justice to the brutality and cruelty of Othello's behavior. Othello tries to die with honor and some reputation intact; but his speech shows that his preoccupation with his image is still keeping him from the truth, as is his penchant for storytelling. Still, Othello is uniquely human, like Hamlet; his flaws and follies make him a compelling tragic figure, and his more noble aspects also make him sympathetic. Although Iago steals most of the spotlight during the play, in the end, the tragedy is Othello's; it is his pain, folly, and misfortune which reverberate, and make this drama so compelling and so telling of human nature.
ClassicNote on Othello
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