Act III, scene i: Before the castle.SummaryThe third act begins with a bit of comic relief; a clown is mincing words with a few musicians, then has a little wordplay with, who bids the clown to go and see if will speak with him. Enters, and Cassio tells him that he means to speak to Desdemona, so that she may clear things up with. Comes out, and bids Cassio to come in and speak with Desdemona about his tarnished reputation.AnalysisOthello is unlike other Shakespearean dramas in that there is a 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 unfolds.

Also, there are no subplots running through Othello, as in most Shakespearean plays. Both of these differences make Othello one of Shakespeare's most focused, intense tragedies.The minor comic relief that is present is reminiscent of Feste's wit in. As in Twelfth Night, a man entreats 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.

May 29, 2015  Othello Act III-V Study Guide. What lines indicate that Emilia believes her husband is a good man? “My husband is so upset about Cassio’s problem you’d think it was his own.” Why does Cassio urge Desdemona to act quickly? Because if she takes too long, Othello might forget Cassio’s love and loyalty.

The fool-figure receives money, then goes to do his bidding; this is a common set-up for comic relief. However, the clown in Othello 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' people 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,'honest' has become tainted by its over-association with Iago; it has no simple meaning and is a watchword for shady dealings. Act III, scene ii: A room in the castle.SummaryOthello 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: The garden of the castle.SummaryDesdemona 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 reinstate Cassio.

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 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 takes it and gives it to Iago, who decides to use the handkerchief as the key prop in his bitter play.

Othello re-enters, and tells Iago that he now doubts his wife; Othello demands 'ocular proof' of Desdemona's dishonesty, so Iago makes up stories 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 precipitates her death (III.iii.24-26).

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. Desdemona is undone by her own goodness, and her need to step into affairs on a public level, which upsets Othello.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 (III.iii.34-38).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, to the detriment of them both; 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 (III.iii.50).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 empty statements to be a real attempt to hide the truth about what is going on, rather than lies crafted to stoke Othello's jealousy. 'he echoes me, as if there was some monster in his thought, too hideous to be shown' (III.iii.106-107).

Iago's words are the shadow of Othello's inner turmoil, and there is indeed a monster in his thoughts. This simile highlights the skill with which Iago operates. He does not need to plant emotions, he merely preys on the weaknesses that already exist in each man, allowing his victims to jump to their own worst conclusion.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' (III.iii.138-140). In the context in which it is spoken, Othello takes this 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. Othello takes the statement to mean that Iago is protecting Cassio's good name, but Iago says no more than his statements suggest; all the connections are done by Othello's grasping mind.Jealousy, a major theme, is soon addressed specifically by Iago. 'It is the green-eyed monster,' Iago famously tells him; the 'green-eyed monster' becomes a symbol representing Othello's dark feelings, a specter lurking in his mind and beginning to steer his behavior (III.iii.166). 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, which weakens his sense of self. Othello comments on the color of his skin, turning it into a symbol for how poorly spoken and unattractive he is; he is plagued by self-doubt. Of course, 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; because he begins to believe that Desdemona cannot love him, he starts to believe her guilty of infidelity. How Othello sees himself directly influences how he views Desdemona's love.Othello's dialogue includes the pervasive black/white imagery 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'(III.iii.386-388). Although the allegations against Desdemona are personally hurtful to him, Othello focuses more on the public ramifications, rather than the private. Iago's 'proofs' also rely on the animal imagery which has run throughout the play; he makes Desdemona and Cassio seem like lustful lovers, describing them as 'prime as goats, as hot as monkeys' (III.iii.403). 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, so has she forsaken his love. The handkerchief becomes Othello's 'ocular proof' of her dishonesty (III.iii.360). 'Proof' is a key word in this scene; Othello demands that Iago prove Desdemona unfaithful through tangible, visual 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 evidence at all. Othello trusts Iago's words to convey proof, and is thwarted by Iago's dishonesty.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; he tells Othello, 'if imputation and strong circumstances which lead directly to the door of truth will give you satisfaction, you might have't' (III.iii.406-408). Naturally, Othello, already in doubt of his wife's honor, falls into this rhetorical trap; Iago is now free to condemn Desdemona through suspicion.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 utterances 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 power of language, and the beginning of his dominance, is illustrated 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.

Act III, scene iv: Before the castle.SummaryDesdemona asks the clown where Cassio is, and the clown goes off to fetch him. Desdemona is looking everywhere for the handkerchief, as she knows that her losing it will upset Othello greatly. 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 strangely, 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.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 with her for allegedly suspecting that the handkerchief is a gift of another woman. But, Bianca is not disturbed, and leaves with the handkerchief.AnalysisOthello's words in this scene often have a double meaning, unassuming on the surface, 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 signs 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 (III.iv.36-38). 'Here's a young and sweating devil here, who constantly rebels,' Othello says. 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 (III.iv.43). 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 elaborates upon the handkerchief's importance for Desdemona.

She realizes finally how symbolic and important it is to Othello; she becomes upset, wishing that she had not been given such a meaningful thing. 'There's magic in the web of it,' Othello says; his language is full of mystical, dark images, like the dye coming from virgins' hearts, that are beautiful, but yet upsetting (III.iv.69). Othello actually believes in the magic of the object, to his and Desdemona's detriment. Although Othello claimed ignorance and disregard for magic when accused him of witchcraft, here he takes the opposite position; the handkerchief, though it embodies no actual magic, has an almost supernatural 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 (III.iv.79). 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 (III.iv.140-142). She is very perceptive, and Emilia even more so, for she knows that though Desdemona has given Othello no cause to act toward her as he does; 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. How To Cite in MLA Format J. Joseph Ward May 31, 2014; Christine McKeever ed.

'Othello Act III Summary and Analysis'. GradeSaver, 29 September 2014 Web.

Co pyright 2019 by Michael J. CummingsType of Work WilliamShakespeare's stage play Othello, Moor of Venice (orsimply Othello)is a tragedy in which a good man falls to ruin anddeath after an evil man inflames him withjealousy.Composition and First Performance Shakespearewrote Othellobetween 1602 and 1604. The first performanceprobably took place on November 1, 1604, beforeKing James I at the royal residence in London.First Printing Othello wasfirst printed in 1622 in aedition.

The publisher was Thomas Walkley. A yearlater, it was printed in the, the first authorized collection ofShakespeare's plays. The First Folio version omitsoaths and curses that appeared in the quartoedition in compliance with a law passed byParliament that forbade blasphemous language instage dramas.Sources Theprobable main source for Othello was an Italian shortstory, 'The Moorish Captain' ('Un Capitano Moro').This story appeared in Gli Ecatommiti, (also called Gli Hecatommithi),publishedin Venice in 1565 or 1566 and written by GiovanniBattista Giraldi (1504-1573), also known asCinthio. The translation of Gli Ecatommitiis One HundredTales. Shakespeare's play is only looselybased on Giraldi's prose story. No Englishtranslation of the Giraldi story was available inShakespeare's time.

Therefore, Shakespeare eitherread it in the original Italian or had someonetranslate it for him.Settings Othello takesplace in Venice (in northern Italy) and Cyprus (anisland in the eastern Mediterranean about fortymiles south of present-day Turkey). The time is aperiod between 1489 and 1571. It is interesting tonote that Venice is a setting in two majorShakespeare plays dealing in part with racialprejudice, Othelloand TheMerchant of Venice.As one of the world’s leading sea powers, Venicewas a center of commercialism and materialism and,therefore, of corruption and conflict arising fromavarice, social status, and fierce competition.Cyprus—a strategically located island whichyielded rich harvests of olives, grapes andvarious grains—was much prized throughout itshistory. Assyrians, Greeks, Egyptians, Romans, andByzantines all fought over and occupied it.England’s King Richard I, the Lion-Hearted,conquered Cyprus in 1191 but later ceded it to theFrench.

Venice seized the island in 1489 and in1571 the Ottoman Turks brought Cyprus under theircontrol.Tone The toneof the play is vengeful and bitter. Iago, theantagonist, sets the tone when he plots revengeagainst Othello, the protagonist, after the latterpromotes another man to the position that Iagowanted. Othello's negative attitude maintains thetone after he accepts as true the false storyspread by Iago that his wife has been unfaithfulto him. Bitter, vengeful, and madly jealous, hevows to kill his wife. Characters Othello: BlackMoor who is the greatest army general in Venice.He is intelligent, courageous, and honorable. Hismarriage to beautiful Desdemona, the daughter of aprominent Venetian senator, provokes racial slursagainst him. But he carries on with nobility anddignity as he commands an army bound for Cyprus ona fleet of ships.

After arriving, Othello becomesthe governor of Cyprus while continuing as thegeneral of the Venetian forces. His dedication toduty is eclipsed only by his dedication toDesdemona, who follows him to Cyprus. Sopassionately does he love her that he cannotendure the thought of another man even looking ather. And therein lies his Achilles' heel,jealousy. Othello is the protagonist, or maincharacter.Iago:Military officer with the rank of ensign or—as theVenetian soldiers often refer to him—ancient. Heschemes against Othello because the Moor promoteda younger man, Michael Cassio, to theposition of lieutenant, or second-in-command, eventhough Iago has more combatexperience than Cassio. Iago is evil through andthrough, taking great pleasure in executing hissecret campaign to bring down the great Othelloand Cassio.

Iago is the antagonist, or opponent ofthe main character.Desdemona:Daughter of Brabantio, wife of Othello, and victimof Iago's machinations and Othello's jealousy. Sheis the noblest and most unselfish character in theplay.Michael Cassio:Othello's lieutenant, or second-in-command. Hispromotion to that rank enrages Iago, who wantedthe position for himself. Cassio is a hinge onwhich the play turns.

On the one hand, it is hispromotion that arouses Iago's jealousy and causeshim to seek revenge against both Othello andCassio. On the other, it is his alleged (butnonexistent) love affair with Desdemona thatarouses Othello's jealousy.Duke of Venice:Ruler who finds in favor of Othello whenDesdemona's father attacks Othello's character,saying the black Moor is unworthy of his daughter.Brabantio:Venetian senator and father of Desdemona. He is abigot whose racism Iago exposes when the latterinflames him with a prejudicial rant againstOthello. Plot Summary Othello, ablack Moor, is a general in the service of Venice.Because he has conquered the Turks, the Venetiansesteem him highly as a military leader.

Iago,Othello’s ensign, aspires to rise in the ranks.But when Othello promotes the Florentine MichaelCassio to the position of personal lieutenant, orsecond-in-command, Iago smolders with deadly angerfor being passed over. Immediately he begins acampaign to poison Venice against Othello. On aVenetian street, Iago tells the gullible Roderigo,a gentleman of the city, that Cassio is untestedin battle and that his soldierly abilities consistof “mere prattle, without practise” (1.1.28). Inother words, Cassio is all talk, no action. Iagosays that he himself, on the other hand, hasproved his military prowess in battles at Rhodes,Cyprus, and elsewhere against Christian andheathen alike. Apparently, he says, Othellopromotes his men on the merits of their politicaland personal connections, not on their militaryskills.

The goal of Iago’s plot against the highlyrespected Moor is not only to gain revenge; it isalso to do what he most enjoys: evil.After Othello elopes with Desdemona, daughter ofSenator Brabantio, Iago realizes he has theperfect opening to get back at Othello. He enlistsRoderigo, a former suitor of Desdemona, to awakenDesdemona’s father late at night.

Then Iago, usingcrude racist metaphors, inflames Brabantio againstOthello. For shame, put on your gown;Yourheart is burst, you have lost half your soul;Evennow, now, very now, an old black ram OthelloIstupping havingsex with your white ewe Desdemona.Arise, arise;Awakethe snorting citizens with the bell,Or elsethe devil will make a grandsire of you:Arise, Isay. (1.1.92-98)Outraged, Brabantio complains to the Duke ofVenice, claiming Othello used spells and charms towin Desdemona's favor. How else could a vile blackman have won her favor?When a news report reveals that the Turks are arepreparing to invade Cyprus, the Venetian Senatedecides to send Othello to Cyprus to defend it andbecome the new governor.

During the senatemeeting, the duke listens to Brabantio's chargesagainst Othello. But after hearing Othello speakof his love for Desdemona, the duke finds in favorof Othello, and Brabantio relinquishes hisdaughter to the Moor. She decides to follow him toCypress. Unaware that Iago was behind Brabantio'searlier protests against the elopement, Othelloorders Iago to accompany his wife. Roderigo goesalong at the urging of Iago, who tells Roderigothat Desdemona will eventually tire of Othello.However, Iago also tells Roderigo they must firstact to discredit Cassio to prevent Desdemona fromtaking up with him.Meanwhile, a raging storm devastates the Turkishfleet, upending its attack, although the shipsfrom Venice arrive safely at Cyprus.

A celebrationfollows. On the evening of the first night in Cyprus,Iago—implementing his plan to discreditCassio—gets Cassio drunk, then has Roderigo startan argument with him. Montano, the outgoinggovernor of Cyprus, intervenes, and Cassio woundshim.After Othello arrives at thescene of the commotion, he asks: “Honest Iago,that look'st dead with grieving / Speak, who beganthis?” (2.3.135-136). Playing the innocent, Iagoreplies: “I had rather have this tongue cut frommy mouth / Than it should do offense to MichaelCassio” (2.3.181-182). Having duly establishedhimself as an unbiased onlooker, Iago then says,'Yet, I persuade myself, to speak the truth.”(3.1.183). After Iago recounts for Othello whathappened during the fray, implicating Cassio,Othello tells Cassio that he will never more serveas the Moor’s second-in-command. Lovely Desdemonaappears and inquires about the disturbance.Othello tells her all is well, and they go off tobed.

Montano is led away for treatment of hisinjury. Cassio, now alone with Iago, says heregrets his behavior. Iago tells him he can yetregain favor with Othello by havingDesdemona intercede on his behalf.When Cassio presents his case to Desdemona, sheagrees to speak with her husband on Cassio’sbehalf.

When she does so in an innocent attempt tobe helpful, she arouses Othello’s jealousy. Afterall, Cassio is far younger than Othello—andterribly handsome. Is it not reasonable to believethat Desdemona has something going with Cassio?By and by, Iago’s wife, Emilia, has found ahandkerchief dropped by Desdemona. Othello hadgiven it to his wife as a gift.

When Emilia showsit to Iago, he sees an opportunity to advance hisscheme and snatches it away, saying he has use forit. Iago then plants the handkerchief in Cassio’sroom and tells Othello that Cassio has come intopossession of it. When Othello asks his wife forthe handkerchief and she cannot produce it, hetells her that it was a valued heirloom given tohis mother by an Egyptian woman. He says hismother, in turn, gave the handkerchief to him asshe lay dying, requesting that he give it to hisfuture wife.“To lose ’t or give ’t away were such perdition /As nothing else could match” (3.4.69-70), Othellosays. When he further presses Desdemona to producethe handkerchief and she cannot, he becomesconvinced that she gave it to Cassio and has beenhaving an affair with him.

Othello then tells Iagohe plans to poison Desdemona, but Iago advises himto “strangle her in her bed, even the bed she hathcontaminated (4.1.182). As for Cassio, Iago says,“Let me be his undertaker” (4.1.184).Letters from the Duke of Venice arrive withLodovico, recalling Othello to Venice and namingCassio the new governor of Cyprus.

Kind-heartedDesdemona praises Cassio. Jealous Othello strikesand berates her.

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To further his plan, Iago againuses the hapless Roderigo, persuading him to killCassio for him. On a dark street Roderigo thrustsat Cassio but fails to kill him.

Cassio in turnwounds Roderigo. Iago, darting by unseen, woundsCassio in the leg.Othello arrives to observe from a distance.Believing Iago has been good to his word, that hehas killed Cassio, the Moor goes back to thecastle for the awful task of executing his wife.As others are drawn to the scene of the fraybetween Roderigo and Cassio, Iago steps forwardwith a lantern as if he is just discovering themelee. At an opportune moment he steals aside andfinishes off Roderigo with a dagger thrust. Cassiois taken away for treatment.Othello, still in love with his wife, kisses herawake, asks her to prepare her soul for death,and—after an exchange of accusations anddenials—smothers her with a pillow or chokes her.As Desdemona lies dying, Emilia arrives to reportthe death of Roderigo. Desdemona cries out, “Aguiltless death I die” (5.2.149), then breathesher last. Othello reveals that he killed his wifebecause she was having an affair with Cassio.Iago, he says, can verify her infidelity. Emilia,shocked, says Desdemona was always “heavenly true”(5.2.165) to Othello.

If Iago reported otherwise,she says, he is a liar.Emilia calls for help. Montano, Iago, and othersrespond. Emilia immediately impugns Iago: “Youtold a lie, an odious damned lie; / Upon my soul,a lie, a wicked lie” (5.2.215-216). Othello, stillconvinced of Desdemona’s guilt, brings up thematter of the handkerchief, saying Desdemonagave it to Cassio, as Iago can attest. Emilia thendiscloses that she found the handkerchief and thather husband snatched it from her. At long last,Iago’s whole sordid plot unravels.Othello now knows everything.

Enraged, Othelloattacks Iago. But Iago manages to escape afterstabbing his wife. Montano and others pursue him.Emilia dies and Montano returns. With him areLodovico, Cassio (carried on a chair), and Iago(held prisoner).

Othello strikes at Iago with asword and wounds him. When Cassio declares that henever wronged Othello, the Moor says he believeshim and asks his pardon. Lodovico presents lettersfound in Roderigo’s pocket that disclose furtherdetails of Iago’s nefarious plot.Despondent with self-recrimination, Othello stabshimself, falls on the bed, and dies.

Iago is heldfor punishment. “The time, the place, the torture”(5.2.427), Lodovico says, are up to the newgovernor of Cyprus, Cassio. Conflicts Theconflicts in the play center mainly on (1) Iago vsOthello, (2) Othello vs racism and ageism, (3)Othello vs Desdemona after Iago poisons him withsuspicion that she has been unfaithful, (4) Iagovs Cassio, and (5) Othello vs Othello—his emotionswar with him and overcome his common sense andbetter judgment.Climax andConclusion The climaxof a play or another literary work, such as ashort story or a novel, can be defined as (1) theturning point at which the conflict begins toresolve itself for better or worse, or as (2) thefinal and most exciting event in a series ofevents.

The climax of Othello, according to thefirst definition, occurs in the third scene of Act3, when Othello becomes convinced that Desdemonahas been unfaithful and resolves to retaliateagainst her. According to the second definition,the climax occurs when Othello kills Desdemona anddiscovers the horrible mistake he has made. The events that follow the murder of Desdemonaconstitute the denouement, or conclusion.Themes JealousyJealousy has the power to destroy. Itdestroys both Iago (jealous that Michael Cassiohad received an appointment over him) and Othello(jealous that his wife may have slept withCassio).GullibilityOthello is an honest and noble leader andapparently an outstanding military tactician.Unfortunately, however, he is gullible—at least inhis dealings with Iago. Pretending to be a loyalofficer, Iago undermines Othello's relationshipwith his wife. He correctly recognizes Othello asan easy mark, observing.

The Moor is of a free and opennature,Thatthinks men honest that but seem to be so,And willas tenderly be led by the noseAs assesare. (Othello, 3.1.360-363)So Iago drops hints and suggestions that MichaelCassio has been seeing Desdemona romantically andeven plants evidence to support his story.Othello, too willing to believe his nefariousunderling, falls victim to his lies and ends upkilling his innocent wife.RacialPrejudiceRacial prejudice is a crucial issue in theplay.

It isolates Othello, making him feel like adefective and an outcast. Consequently, he wonderswhether he is worthy of Desdemona—and whether shehas turned her attentions toward a handsome whiteman, Cassio, as Iago maintains. Brabantio and Iagoare the most bigoted characters. Brabantio ishorrified that his daughter has eloped with a Moorwho will give him dark-skinned children; Iagocannot brook the fact that he must take ordersfrom a black.DeceptiveAppearancesAll things are not what they seem.

At thebeginning, Othello appears strong andself-disciplined; the Venetians respect him forhis good judgment. Iago, meanwhile, describeshimself to others—including Othello—as impeccablyloyal and trustworthy. Later, Othello'semotions—particularly his jealousy—overpower himand blind his reason. Iago, we learn early on, isanything but loyal and trustworthy. Wearing theguise of an angel, he lies to and deceiveseveryone—Othello, Desdemona, Roderigo, Cassio,even his own wife.

Iago is among the most evilcharacters in Shakespeare.CourageousLoveDesdemona marries Othello knowing wellthat his color, his cultural background, and hisadvanced age will arouse controversy. But shenever wavers in her love for him, even when herown father—a prominent Venetian—speaks out againstthe Moor; she never allows the bigotry of othersto affect her.Bad ThingsHappen to Good PeopleDesdemonais pure and innocent, the ideal wife. Othello isnoble, loving, and accomplished, the idealhusband.

But he murders Desdemona, then killshimself. In the real world, bad things happen togood people. Chance, character flaws, and thepresence of evil—in this case, Iago—often militateagainst happy endings. I will wear my heart upon mysleeveFor dawsto peck at.

(1.1.67-68)(Iagocomments on what he would do if he were likemen who make no attempt to hide theirfeelings. Iago, of course, prides himself onhis ability to hide his feelings in order togive false impressions. In presenting thisimage, Iago uses his heart to represent hisfeelings and daws —types of crows —torepresent those who would mock or criticizehis feelings.)Among frequently quoted passages containingconcrete imagery are the following. Therobb’d that smiles steals something from thethief. (1.3.230)(Afterthe Duke of Venice exonerates Othello beforethe council of Venice, he advises Brabantio to accept the verdict in goodhumor rather than to protest it with pettygrumbling. The line presents the image of arobbery victim whose smile nettles the thief.)Virtue!a fig! (1.3.331)(Iago belittles virtue —an abstraction —bycomparing it to a fig.)The foodthat to him now is as luscious as locusts, shallbe to him shortly as bitter as coloquintida.(1.3.333)Iago compares current events tofood and the taste ofthe food to the delicious taste of locusts.

Hepredicts that the sweetness of Othello’s lifewill soon turn bitter. Coloquintida is analternate name for colocynth, a vine thatbears a tart fruit resembling a lemon.)How poorare they that have not patience!Whatwound did ever heal but by degrees?(2.3.274-275)(Comparing emotional anguish to aninjury to the body, Iago scolds Roderigo forcomplaining when his plans go awry.)O!beware, my lord, of jealousy;It isthe green-ey’d monster which doth mockThe meatit feeds on. (3.3.191-193)(Iago tells Othello thatjealousy is a monster with green eyes thatmocks the meat it consumes.). Othelloabounds in irony, in particular situational anddramatic. Here are the definitions of thesefigures of speech. (1) Situationalirony: Situation, result, or ending thatis the opposite of what is expected.

Example: Thepeople of Millvale were stunned to learn that themurderer was the detective investigating the case.(2) Dramaticirony: Moment or continuing situationwhen an audience (or reader) knows what acharacter does not know. Example: In Acts 1-4 of Othello,audiences and readers know that Iago is a trulyevil person while Othello and other charactersbelieve that Iago is an honest, upstanding man.Situational Irony in Othello:Example 1. You’ll have your daughter covered witha Barbary horse; you’ll have your nephews neighto you; you’llhave coursers for cousins and gennetsfor germans.

(1.1.119)I willa round unvarnish’d tale deliverOf mywhole course of love; what drugs, what charms,Whatconjuration, and what mighty magic. (1.3.104-106)I spake of mostdisastrous chances,Of movingaccidents by flood and field,Ofhair-breadth ’scapes i’ the imminent deadlybreach,Of beingtaken by the insolent foe. (1.3.152-155)Mystory being done,She gave mefor my pains a world of sighs:She swore,in faith, ’twasstrange, ’twaspassing strange;’twaspitiful, ’twaswondrous pitiful.

Even now, now, very now, an oldblack ramIstupping your white ewe. Arise, arise!(1.1.94-95)(Comparisonof Othello to a black ram and Desdemona to awhite ewe)Myservices which I have done the signioryShallout-tongue his complaints. (1.2.22-23)(Othellocompares the services he has performed for thestate to a voice speaking up for him.)Methinks the wind hath spoke aloud at land;Afuller blast ne’er shook our battlements;If ithath ruffian’d so upon the sea,Whatribs of oak, when mountains melt on them,Canhold the mortise? (2.1.7-11)(Comparisonof the wind to a human speaking aloud and to aruffian; comparison of gigantic waves tomountains). Racism in Othello Among thevilest characters in all of Shakespeare is Iago.Audiences attending Othello begin learning theextent of his villainy in the opening scene of theplay, when Iago uses racism as a spark to inflameDesdemona’s father, Senator Brabantio, againstOthello. Here is the scene:After Iago and Roderigo raise a clamor outsideBrabantio’s house late one evening, the senatorawakens and comes to a window. Iago then usesvulgar animal imagery to slur Othello, tellingBrabantio that the black Moor has seized hisgreatest treasure, his daughter, and at that verymoment is defiling her.

Sir, you’re robb’d;for shame, put on your gown;Yourheart is burst, you have lost half your soul;Evennow, now, very now, an old black ramIstupping your white ewe. Arise, arise!Awakethe snorting citizens with the bell,Or elsethe devil will make a grandsire of you.(1.1.92-97)When Brabantio reacts with incredulity, Iagoreplies with a metaphor that this time comparesOthello to a horse:’Zounds! Sir, you are one of those that will notserve God if the devil bid you. Because we come todo you service and you think we are ruffians,you’ll have your daughter covered with a Barbaryhorse; you’ll have your nephews neigh to you;you’ll have coursers for cousins and gennets forgermans. (1.1.119)Roderigo, whom Iago uses as a cat’s-paw, supportsIago’s story. Iago then says, “I am one, sir, thatcomes to tell you, your daughter and the Moor arenow making the beast with two backs” (1.1.121).Roderigo adds that Desdemona is indeed in the“gross clasps of a lascivious Moor” (1.1.131).Brabantio, now believing the story to be true,tells Roderigo to summon help.

Afterward, on astreet in another location, Iago meets withOthello to inflame him against Brabantio. Thelatter had denounced Othello, Iago says, with“scurvy and provoking terms” (1.2.10) afterhearing of his and Desdemona’s elopement. Iagoalso says that. He will divorce you,Or putupon you what restraint and grievanceThelaw—with all his might to enforce it on—Willgive him cable.

(1.2.17-20)By and by, Brabantio and others appear. Thesenator, after denouncing Othello for takingDesdemona to his “sooty bosom” (1.2.87), accusesthe Moor of having used “foul charms” (1.2.90) and“drugs or minerals” to weaken Desdemona’s will.The matter becomes an issue in the Venetiancouncil chamber, where the Duke and other senatorsare preparing for war against the Turks. AfterOthello speaks eloquently of his love forDesdemona and she speaks on his behalf, the Dukeexonerates Othello. But in doing so, the Dukeobliquely denigrates Othello because of hisrace—apparently unintentionally, in a Freudianslip—telling Brabantio, “Your son-in-law is morefair than black” (1.3.311), implying that fairnessis superior to blackness. Brabantio reluctantlyaccepts the ruling.Having lost a battle, Iago continues to plot towin the war, still using racism as one of hisweapons. Consider that in referring to Othello, hesometimes inserts the word black to remindlisteners that the Moor is different, a man apart,a man to be isolated.

For example, after referringto Othello in Act 1 as a black ram, he tellsMichael Cassio in the second scene of Act 2,“Come, lieutenant, I have a stoup of wine, andhere without are a brace of Cyprus gallants thatwould fain have a measure to the health of blackOthello” (25).Character Contrasts Englishessayist and literary critic William Hazlitt(1778-1830) wrote of the stark character contrastsin Othello. The picturesque contrasts ofcharacter in this play are almost as remarkableas the depth of the passion. The Moor Othello,the gentle Desdemona, the villain Iago, thegood-natured Cassio, the fool Roderigo, presenta range and variety of character as striking andpalpable as that produced by the opposition ofcostume in a picture. Their distinguishingqualities stand out to the mind's eye, so thateven when we are not thinking of their actionsor sentiments, the idea of their persons isstill as present to us as ever.

These charactersand the images they stamp upon the mind are thefarthest asunder possible, the distance betweenthem is immense: yet the compass of knowledgeand invention which the poet has strewn inembodying these extreme creations of his geniusis only greater than the truth and felicity withwhich he has identified each character withitself, or blended their different qualitiestogether in the same story. What a contrast thecharacter of Othello forms to that of Iago: atthe same time, the force of conception withwhich these two figures are opposed to eachother is rendered still more intense by thecomplete consistency with which the traits ofeach character are brought out in a state of thehighest finishing. The making one black and theother white, the one unprincipled, the otherunfortunate in the extreme, would have answeredthe common purposes of effect, and satisfied theambition of an ordinary painter of character.Shakespear Shakespeare has laboured the finer shades ofdifference in both with as much care and skillas if he had had to depend on the executionalone for the success of his design. On theother hand, Desdemona and Aemilia are not meantto be opposed with any thing like strongcontrast to each other. Both are, to outwardappearance, characters of common life, not moredistinguished than women usually are, bydifference of rank and situation.

The differenceof their thoughts and sentiments is however laidas open, their minds are separated from eachother by signs as plain and as little to bemistaken as the complexions of their husbands. ( Characters ofShakespeare's Plays. H.Reynell, 1817)Othello as a Hero HellenGardner observes. Othello is like a hero of theancient world in that he is not a man like us,but a man recognized as extraordinary. He seemsborn to do great deeds and live in legend. Hehas the obvious heroic qualities of courage andstrength, and no actor can attempt the role whois not physically impressive. He has the heroiccapacity for passion.

But the thing which mostsets him apart is his solitariness. He is astranger, a man of alien race, without ties ofnature or natural duties. His value is not inwhat the world thinks of him, although the worldrates him highly, and does not derive in any wayfrom his station.

It is inherent. He is, in asense, a self-made man, the product of a certainkind of life which he has chosen to lead.' (Gardner, Helen. Quoted in Bender, David,publisher.

Readings on the Tragedies ofWilliam Shakespeare. San Diego:Greenhaven, 1996 (page 140).Iago's SoliloquiesShakespeare uses the soliloquy, a passage spokenby a character when he or she is alone on thestage, to inform audiences and readers about wherethe play is going. The character who recites the'what comes next' soliloquies is—for the mostpart—the villain, Iago. In these soliloquies, hereveals what he is thinking and what he isplanning, as in the following passage. I will in Cassio’s lodging losethis napkin,And lethim find it; trifles light asairAre tothe jealous confirmations strongAsproofs of holy writ biblical proofs; this maydo something.TheMoor already changes with my poison poisonoustalk:Dangerous conceits imaginings; assumptions;suspicions are in their naturespoisons,Whichat the first are scarce found todistaste,Butwith a little act upon the blood,Burnlike the mines of sulphur. (3.3.364-371)Planted EvidenceCharacters in literary works often use plantedevidence to make innocent characters seem guilty.Knives, guns, caches of jewels, umbrellas, andcigarette lighters have all been used to suggestthat an innocent character is guilty.

Thenineteenth-century Irish playwright Oscar Wilde(1854-1900) sometimes resorted to such ploys tocomplicate his plots. One of his plays, Lady Windermere'sFan, relies heavily on seeminglyincriminating evidence—a fan and a handwrittenletter—to implicate an innocent woman. In Othello, theplanted evidence is Desdemona'shandkerchief. Believing that Desdemona gaveit to Michael Cassio as a gift, Othello declaresher guilty of infidelity and murders her.Murder Methods In thisplay, Othello apparently strangles Desdemona orsmothers her with a pillow. (The stage directionssay he stiflesDesdemona.) Murder by pillow or strangulation wasonly one of a remarkable variety of killing toolsand methods Shakespeare used to send hischaracters to the beyond.

In,Cleopatra commits suicide via the bite of an asp.In,the title character's henchmen drown Clarence in abarrel of wine. In,hired assassins inflict twenty trenched gashes uponBanquo's head. In,characters slit throats and impose starvation. In, Claudius murdershis brother, old King Hamlet, by pouring poisoninto his ear. In,a monk poisons the monarch in the conventional,oral way. The latter murder method has been afavorite of assassins—and writers—since ancienttimes.DidShakespeare Visit Italy?Shakespeare's works suggest that he might havevisited Italy.

Consider that more than a dozen ofhis plays—including The Merchant of Venice, Romeo andJuliet, All's Well That Ends Well, Othello,Coriolanus, Julius Caesar, The Two Gentlemen ofVerona, The Taming of the Shrew, Much AdoAbout Nothing, and The Winter's Tale allhave some or all of their scenes set in Italy.Consider, too, that plays not set in Italy areoften populated with people having Italian orancient Roman names. For example, although The Comedy of Errorstakes place in Ephesus, Turkey, the names ofseveral characters end with the Italian -o or -a:— Angelo, Dromio,Adriana, Luciana. Many characters in Timon of Athensbear names ending with -us, a commonplace in ancientRome. Timon'scharacters include Lucullus, Flavius, Flaminius, Lucius,Sempronius, Servillius, Titus, Hortensius.In Hamlet's Denmark, we find characters named Marcellus, Bernardo,and Francisco.Of course, it is quite possible that Shakespearevisited Italy only in his imagination.