Othello
Page 16
ACT 1 SCENE 2 Lines 1–64: Iago, feigning loyalty to Othello, expresses concern that Brabantio will try to force a divorce, but Othello assures him that he will “out-tongue” Brabantio’s complaints, emphasizing the theme of language. He assures Iago that he genuinely loves “the gentle Desdemona.” They see torches approaching and assume that Brabantio has come. Iago urges Othello to go indoors, but Othello is not afraid, reminding Iago of his “parts,” “title,” and “perfect soul,” introducing another opposition in the play, that of the physical versus the spiritual. It is not Brabantio, however, but Cassio and his officers, who have come to tell Othello that the Duke wishes to see him “haste-post-haste” on military business. Othello leaves briefly to “spend a word” in the house and Iago informs Cassio that Othello is married, again describing the event through coarse sexual innuendo. Brabantio and Rodorigo arrive.
Lines 65–117: Brabantio accuses Othello of being a “foul thief” who has “enchanted” Desdemona. He dehumanizes Othello, referring to him as “a thing,” and tries to arrest him as a “practiser” of illegal magic. Othello explains that the Duke has summoned him, and Brabantio decides that he will go as well, certain that the Duke will sympathize with his complaint against Othello.
ACT 1 SCENE 3 Lines 1–134: The Duke and his senators discuss reports that the Turkish fleet is heading for Cyprus. A sailor brings news that they now appear to be traveling toward Rhodes, although a Senator suggests that “’tis a pageant, / To keep us in false gaze,” emphasizing the theme of deception. A Messenger reports that the Turkish fleet has united with reinforcements and that they are once again heading for Cyprus. Brabantio and Othello arrive, accompanied by Iago, Cassio, and Rodorigo. The Duke assumes that Brabantio is there to discuss the urgent military business, but Brabantio is concerned with his own worries, creating tension between political and personal concerns. He tells the Duke that his daughter has been “stolen” and “corrupted / By spells and medicines.” The Duke promises that whoever is involved in “this foul proceeding” will be punished.Brabantio names Othello. Othello admits that he has “ta’en away” Desdemona and married her, but insists that this is his only offense. He offers to explain, warning that he is “Rude” in his speech, being only a soldier, and can only tell “a round unvarnished tale,” but his claims that he is “little blessed with the soft phrase of peace” are belied by his careful and persuasive arguments. Brabantio maintains that Desdemona was “never bold” and of a “still” spirit, reinforcing the passivity evoked by Othello’s description of her as “gentle Desdemona” in the previous scene and emphasizing the play’s concern with the way identity can be created by others, through repeated use of words and phrases in association with a character. Othello sends for Desdemona so that she may speak for herself.
Lines 135–320: Othello describes how Brabantio used to invite him to his house and how he would tell Brabantio tales of “moving accidents by flood and field” and “hair-breadth scapes i’th’imminent deadly breach.” He tells them that Desdemona loved him “for the dangers” he had undergone and that, in turn, he loved her because “she did pity them.” He claims that his words are the only “witchcraft” that he has used, again emphasizing the power of language. The Duke urges Brabantio to make the best of the situation. Desdemona arrives, and Brabantio asks her, of all the assembled “noble company,” whom she owes the most obedience to. Desdemona answers that she has a “divided duty” between her father and husband, but points out that, like her mother before her, she must put her husband first. While this speech emphasizes that Desdemona is subject to male authority, it also shows that she is confident and articulate. Brabantio unhappily resigns himself and the Duke tries to encourage him, saying that “To mourn a mischief that is past and gone / Is the next way to draw new mischief on,” reminding us of Iago’s desire for revenge.The discussion turns to the military situation and the Duke tells Othello that he must go to Cyprus, suggesting that Desdemona return to Brabantio’s home. In a moving speech, Desdemona requests to be allowed to go with Othello. The Duke agrees and leaves with the senators and Brabantio. Othello assigns Iago to escort Desdemona to Cyprus, believing him to be a man “of honesty and trust,” a comment that shows Othello’s lack of perception and introduces the motif of honesty. Othello and Desdemona leave to prepare for his departure.
Lines 321–390: Rodorigo melodramatically claims that his life is “torment” now that he has lost Desdemona. Iago argues that it “cannot be long that Desdemona should continue her love to the Moor” and claims that Othello will soon tire of Desdemona because “These Moors are changeable in their wills,” reinforcing the popular opinion of Othello’s otherness (although it is uncertain whether Iago believes this, or is merely using the idea to his own ends). Constantly urging Rodorigo to “put money in thy purse,” he claims that he can destroy the “frail vow” between “an erring barbarian and supersubtle Venetian” and promises that Rodorigo will soon “enjoy” Desdemona. His references to money and sex show Iago’s preoccupation with the physical rather than spiritual aspects of human existence. He suggests that Rodorigo “cuckold” Othello. They arrange to meet the next day.
Lines 391–412: Alone, Iago reveals his contempt for Rodorigo, commenting: “Thus do I ever make my fool my purse.” He reiterates his hatred for Othello and reveals another possible motive: he believes that Othello has slept with his wife, Emilia, although he is not sure. He is willing to act on “mere suspicion,” however, suggesting that Iago’s desire to destroy Othello is based on something more complex and inherent than simple revenge. Iago outlines his plan to convince Othello that Cassio is having an affair with Desdemona and comments that Othello’s “free and open nature” makes him gullible.
ACT 2 SCENE 1 Lines 1–187: In Cyprus, Montano and two gentlemen discuss the storm at sea, a metaphor for the turmoil that Iago is about to create. News arrives that the storm has destroyed the Turkish fleet and that Cassio has arrived, but that his ship was parted from Othello’s. Cassio arrives and starts to report when cries of “a sail!” are heard. He sends to find out if Othello has arrived and begins to tell Montano of Othello’s marriage, clearly showing his admiration for Desdemona,“a maid / that paragons description.” Iago enters with Desdemona, Rodorigo, and Emilia, and Cassio immediately kneels before Desdemona, chivalrously greeting her as “The riches of the ship.” Desdemona thanks him briefly, but is more concerned for the safety of her husband. As he describes how they were parted, another ship is sighted and Cassio sends once more for news. As they wait, everyone talks lightheartedly. Iago shows his quick wit but, even though the tone is light, his negative, perhaps aggressive, attitude toward women is revealed, particularly his own wife, whom he does not hesitate to criticize in public. Desdemona makes it clear that she is joining in out of politeness and demonstrates her own wit, but her chief concern is Othello. Cassio draws her apart and they talk, observed by Iago. He is pleased at the attention that Cassio pays to Desdemona: although Cassio is only being courteous, Iago reveals that “with as little a web as this” he will “ensnare as great a fly as Cassio.” The use of aside emphasizes the secrecy and deception of his character, and the change in language is also interesting as he shifts into prose. He is interrupted by the trumpet announcing Othello’s arrival.
Lines 188–290: Othello and Desdemona are reunited. Othello ironically sends “good Iago” (who is plotting aside how he will destroy their happiness) to oversee the disembarking of his ship. Alone with Rodorigo, Iago tells him directly that Desdemona is in love with Cassio. Again shifting into prose and using coarse sexual imagery, Iago argues that Desdemona is already tiring of “the Moor” and is looking for a younger “second choice” in Cassio. Rodorigo is skeptical at first, but Iago easily convinces him and reveals a plan to destroy Cassio. He tells Rodorigo to find Cassio when he is on watch that night and to “find some occasion to anger” him. He claims that Cassio is “rash” and will “strike at” Rodorigo, which will give Iago the weapon he needs aga
inst him.
Lines 291–317: Iago’s soliloquy reiterates his hatred for Othello and his suspicions that Othello has slept with Emilia. He declares that he will be revenged,“wife for wife.” He also suspects Cassio of sleeping with Emilia, suggesting a jealous and irrational side to his character. He intends to disturb Othello’s “peace and quiet / Even to madness.”
ACT 2 SCENE 2
The Herald announces a feast in celebration of Othello’s marriage.
ACT 2 SCENE 3 Lines 1–152: Othello places Cassio in charge of “the guard” and leads Desdemona away to bed, observing that they have yet to consummate their marriage (a fact that undermines Iago’s repeated representations of their relationship as purely sexual). Iago suggests that they drink Othello’s health. Cassio is reluctant, explaining that he has “unhappy brains for drinking,” but Iago skillfully persuades him and sends Cassio to call in the gallants with the wine. Iago reveals his intention to ply Cassio with alcohol, making him “full of quarrel and offence.” He observes that Rodorigo and three other watchers are already very drunk, having been “flustered with flowing cups” by himself. Cassio returns, having been given a drink by Montano. Iago encourages him to have more, feigning cheery drunkenness on his own part. Cassio’s increasingly confused speech shows his growing inebriation, as do his repeated, comic denials that he is drunk. He leaves, and Iago observes to Montano that Cassio is a great soldier, but his “vice” of drinking is worrying. Rodorigo arrives, and Iago sends him after Cassio. There is a cry within and Rodorigo rushes back, pursued by an angry Cassio. Montano tries to stop Cassio and tells him that he is drunk. Cassio and Montano begin to fight, and Iago, still in control, sends Rodorigo to “cry a mutiny,” before beginning to call out for help.
Lines 153–252: Othello arrives and stops the fight, assisted by Iago who is now playing the role of his loyal follower. Othello asks “Honest Iago” who began the fight, but Iago claims he does not know. Cassio “cannot speak” and Montano claims that he was acting in self-defense. Frustrated, Othello claims that his “blood” begins to “rule” his reason, showing that he can be moved to anger. He demands to know from Iago “who began it.” Feigning reluctance and appearing to defend Cassio, Iago blames him. Othello ironically praises Iago’s “honesty and love” in defending Cassio and strips Cassio of his officership. Desdemona interrupts them, and Othello’s soldierly tone is contrasted with his loving reassurances to his “sweeting” as he leads her back indoors.
Lines 253–375: Iago feigns concern for Cassio, who is devastated at the loss of his “reputation.” Ironically reinforcing the distance between appearance and reality, Iago tells Cassio that “Reputation is an idle and most false imposition.” He suggests that Cassio appeal to Desdemona to intercede with Othello. Cassio agrees and leaves. Alone, Iago dwells on the subtlety of his plan, pleased that no one could actually say that he “play[s] the villain,” as the advice he has given Cassio is good. He adds, however, that “When devils will the blackest sins put on, / They do suggest at first with heavenly shows,” reinforcing the black/white and good/evil motifs, as well as the theme of deception. He intends to tell Othello that Desdemona is only pleading for Cassio because she desires him. Rodorigo returns, complaining that he still does not have Desdemona. Iago reassures him and sends him away. Iago decides to get Emilia to persuade Desdemona to plead for Cassio while he sets up Othello to find Cassio “Soliciting” Desdemona.
ACT 3 SCENE 1
Cassio instructs some musicians to play beneath Othello’s window. In comic contrast to the events of the previous scene, the Clown engages in a series of bawdy quibbles before Iago interrupts them. Cassio tells him that he has sent to ask Emilia if she can arrange “some access” to “virtuous Desdemona.” Iago offers to draw Othello out of the way so Cassio may speak more freely, and Cassio observes how “kind and honest” Iago is. Emilia brings the news that Desdemona has already spoken to Othello about Cassio. Cassio still wishes to speak to Desdemona, however, and Emilia agrees to help him.
ACT 3 SCENE 2
Othello instructs Iago to meet him later.
ACT 3 SCENE 3 Lines 1–99: Desdemona reassures Cassio that she will speak to Othello. Emilia ironically comments that her husband is as grieved by the situation “As if the cause were his,” establishing her naïveté. Desdemona vows to “intermingle” everything Othello does with “Cassio’s suit” and Cassio leaves. As Othello and Iago approach, Iago suggests that Cassio looked “guilty-like” as he left. Desdemona greets them and says that she has been talking with “a suitor,” an unfortunately ambiguous word choice. She urges Othello to call Cassio back, but his replies to her entreaties are brief and distracted, suggesting that Iago has already begun to affect his perception. The women leave.
Lines 100–309: Iago continues to work on Othello, creating jealousy and doubt while appearing supportive and loyal. His techniques are clever and subtle: he never makes any direct statements and is always ambiguous, seeming to praise and deny where he is doing otherwise, and always answering Othello’s questions with ones of his own. He ironically warns Othello against “the green-eyed monster” of jealousy, but tells him to watch Desdemona when she is with Cassio. He reminds Othello that Desdemona is capable of deception: she deceived Brabantio to marry him. He begs Othello not to think any more about it, but suggests that if Desdemona pleads on Cassio’s behalf “With any strong or vehement importunity, / Much will be seen in that.” Othello, filled with pain and anger, gives his first soliloquy of the play (the audience has more access to the inner thoughts of the “villain” of the play than its eponymous “hero”). Even in so short a time, Iago has succeeded in making Othello doubt Desdemona’s fidelity. As Desdemona approaches, however, we see that he still loves her, and that he finds it hard to believe that she is false.
Lines 310–528: Desdemona perceives that Othello is “not well.” She offers him her handkerchief, but he pushes it away and she drops it. As they leave, Emilia picks up the handkerchief, observing that it was Othello’s first gift to Desdemona. She reveals that Iago has repeatedly asked her to steal it, although she does not know why. Iago enters and Emilia gives him the handkerchief, but he will not tell her why he wants it and sends her away. Alone, he reveals his intention to leave it in Cassio’s lodging. As he contemplates how he has already changed “the Moor” with his “poison,” Othello returns, muttering agitatedly. Iago feigns concern as Othello contemplates Desdemona’s supposed betrayal. He angrily demands that Iago prove that Desdemona is “a whore.” Iago feigns hurt, ironically observing that to be “direct and honest is not safe.” He asks Othello what proof he wants, using increasingly coarse sexual imagery to torture and anger him. Iago claims to have shared a room with Cassio recently and overheard him plotting with Desdemona in his sleep. Othello declares that he will “tear” Desdemona “all to pieces.” Iago tells Othello that he has seen Cassio “wipe his beard” with Desdemona’s handkerchief. The calm reason we associate with Othello seems to leave him as he calls for “blood, blood, blood!” and swears revenge. He kneels before Iago, emphasizing the shift in power between them. Iago swears allegiance to “wronged Othello” and agrees to kill Cassio.
ACT 3 SCENE 4 Lines 1–104: Desdemona and Emilia search for Cassio’s lodgings, accompanied by the Clown, whose bantering creates a contrast with the violent emotions of the previous scene. Desdemona sends him to find Cassio. Emilia denies all knowledge of the lost handkerchief when Desdemona questions her, complicating her characterization with a potential shift from naïveté to deceit. Desdemona is worried that Othello will be put to “ill thinking” by the loss, but reassures herself that he is not a jealous man. Othello arrives and, in an aside that marks his withdrawal from their relationship, comments on how hard it is to “dissemble” as he tries to act normally. Desdemona, unaware, continues to petition for Cassio. Othello asks for her handkerchief and tells her its history: it was given to Othello’s mother by an Egyptian “charmer” who told her that “while she kept it” it w
ould “subdue” Othello’s father “Entirely to her love.” If she lost it, however, Othello’s father “should hold her loathèd.” Othello warns Desdemona that to lose the handkerchief would mean “perdition” and, noting her distress, demands to see it. Desdemona denies that it is lost and returns to the subject of Cassio. Othello leaves abruptly.
Lines 105–177: Iago urges Cassio to “importune” Desdemona. He does, but a bewildered Desdemona tells him that she has incurred Othello’s “displeasure” and that “My lord is not my lord,” emphasizing the apparent change in Othello’s identity. Iago goes to find Othello. Desdemona convinces herself that Othello is troubled by state business, reasoning that she has never given him “cause” to be jealous. She tells Cassio to wait while she finds Othello.