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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.
ClassicNote on Othello
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