Critical focus on Act 3, most particularly the Temptation Scene

Lecture Othello the Moor of Venice

Iago at end of Act 2, Scene 3

Iago to RoderigoHow poor are they that have not patience! What wound did ever heal but by degrees? Thou know’st we work by wit, and not by witchcraft; And wit depends on dilatory time. p101

Iago in soliloquy at end of Act 2, Scene 3

Two things are to be done. My wife must move for Cassio to her mistress: I’ll set her on. Myself the while to draw the Moor apart, And bring him jump when he may Cassio find Soliciting his wife. Ay, that’s the way. Dull not device by coldness and delay. p101

Dramatic purpose of Act 3 Scene 1

To accomplish some comic relief To effect the transition between Acts 2 and 3 To move the action of the play another step

forward To throw further light on the characters of

Cassio, Iago, and Othello

Re- Dramatic Irony in the play…

There are numerous instances of dramatic irony How to recognize it? In those numerous instances in the play where the speaker is totally blind to the implications

of what s/he is saying… E.g. Cassio’s greeting Iago: “In happy time, Iago” “I never knew / A Florentine more kind and honest” Cassio is thus so impressed that he considers the

character and behaviour of Iago, the Venetian, worthy of his own Florentine countrymen

Some comic relief

Act 3 Scene 1: a scene of tension. Audiences tend to take pleasure and delight in the bawdy, the burlesque, and comically clever wit

Through the entry of a Clown, some comic relief is achieved

The Clown’s ribald, witty puns on ‘wind’, ‘tail’ and ‘tale’, and his allusion to the nasal drawl of

Neopolitan speech has the power to amuse

The Clown plays up his amused audience, and adds a little more merriment with his comically witty remark:

“and the general so likes your music, that he desires you, for love’s sake, to make no more noise with it.”

[3.1.11-12] p109 We can imagine his wit being appreciated with a

highly amused burst of laughter, thus helping to relieve the tension of the previous scene.

Effecting the transition

Cassio has arranged for the musicians to play in the court before Othello’s castle

Having fallen into disfavor with Othello, he hopes through the morning music to soothe the savage beast…

The music itself effects the transition between Act 2 and Act 3, by marking the setting of the time and place of the new action

For a short while the music and the Clown’s puns help put at bay the evil of the previous scene.

Another step forward

In Act 3 Scene 1, we learn from Emilia that Desdemona has been defending the cause of Cassio

“The general and his wife are talking of it, And she speaks for you stoutly.” [3.1.44-45] p111

We learn from Emilia that Othello might be prepared to listen to her and to forgive Cassio (Not that he is)

Emilia: “He might not but refuse you…” 3.1.47 p111

We learn that Emilia is prepared to arrange a private meeting for Cassio with Desdemona where he can speak his heart more freely

We learn that Iago is planning to use this private meeting to further his own scheme:

“And I’ll devise a means to draw the Moor Out of the way, that your converse and business //

May be more free.” [3.1.37-39] p111 We can assume what his real purpose will be.

A brief word about Act 3 Scene 2

A very, very, very short scene, so what? It is nevertheless very dramatically significant

Why?

The audience will notice that it is Iago who now accompanies Othello,

not Cassio

and Irony re Act 3, Scene 2

And it contains a very deep irony…?

While Othello is inspecting fortifications…defenses against attack

Othello’s security in his own home is already being undermined and endangered by Iago’s evil, scheming machinations

Scene 3, The Temptation Scene

Theatre audiences tend to be very impressed by this part of the play?

For the awesome power of its drama, and its highly impacting, gripping dramatic effect

Crucial third stage of Iago’s malice / evil

Dramatic purpose of Act 3 Scene 3the central scene; The Temptation Scene…

To begin on a lighter note a horrifying scene To introduce the importance of a strategic exit To show Othello & Desdemona as husband and wife To show how Iago casts his mesmerizing spell over

Othello, and to bring his plot to a head To introduce a strategic entrance To draw attention to the significance of a seemingly

trivial object to a jealous mind To create suspense in the mind of the audience To introduce a moment of suspense for Iago

Overview of this pivotal scene

The scene deals with psychological action; rather than physical action

It is a scene of great dramatic interest and gripping psychological intensity [Effects]

We watch Iago fostering suspicion by using veiled, undefined insinuations

and purposefully avoiding explicit accusations against Desdemona

We see the effect of his skilful Machiavellian style of manipulation of words and ideas on Othello

Timing of movement

There is little physical movement except the strategic entrances and exits of characters;

Important to observe the timing of these; Here we see terrible events occurring; but

they all happen in the minds of Othello and Iago The scene generates and grows in intensity,

full of inner action Portrays fully the psychological changes brought

about in the mind of the noble Moor by the devilish Iago

We as audience are made to hear this lengthy Iago-Othello conversation in full

So that we as audience can appreciate the full irony

of the interpretation that Iago will place on it later

Dominant Role in this dialogue?

Iago;His ingenuity, inventiveness, cunning, luck, and hypocrisy are evident throughoutAn analysis of the various crucial stages in Iago’s assault on Othello’s peace of mind, and on the reputations of Desdemona and CassioReveals the depth of Iago’s evil genius

Theme of Transformation / Change / Metamorphosis

At the beginning of this scene, Othello is still a happily married man

By the end? Change? He has decided to murder his wife, and also Cassio Iago alone who contrives this extraordinary

transformation of Othello’s mind and heart Remember:

Every word, and every pause in this scene is of dramatic significance

Beginning on a lighter note

It is a scene with a horrifying mixture of wit and witchcraft (note these themes!!!) packed tight with the sinister work of the poisoning of Othello’s mind

Note the imagery of? Imagery of disease and corruption But it begins with deceptive lightness as we

hear Desdemona reassuring Cassio: “I give thee warrant of thy place” 3.3.20

Foreshadowing

Desdemona is in a cheerful mood in contrast with the sad Othello

Her reassurance comes across as sincere: “Therefore be merry, Cassio,

For thy solicitor shall rather die Than give thy cause away” 3.3.26-28 Unknown to herself, what she says ironically is

foreshadowing her own disaster

Note also implications of Desdemona’s assessment of Iago’s character: “O that’s an honest fellow. Do not doubt, Cassio” [3.3.4] p113 [Note the dramatic irony]

Her faith in Iago, and the part she plays in Cassio’s suit lead to the loss of her husband’s love and her own death

The ‘strategic’ exit (of Cassio)

We see Desdemona behaving as Iago predicted. Her generosity of spirit is evident in her reply to

Cassio as he requests for reinstatement It is the ever alert Iago who notices Cassio’s abrupt

exit And he immediately sees in the hasty departure a

golden opportunity to implement his scheme for REVENGE

He shrewdly improvises to have it fit into his evil plot

Tone of voice; How are we meant to hear Iago ‘s words to Othello?

Iago thus mutters “Ha! I like not that” p115 He assumes reluctance; Why? To elaborate on what exactly it is he does not

like… He therefore with pretended casualness tries to

turn to another conversational topic Iago affects a show of surprise:

“Cassio, my lord?” 3.3.37 p115

*Remember in drama— the importance of also reading and noting…the unspoken text; the unsaid

Iago answers evasively Othello’s question Pretends to deny that there was anything wrong in Cassio’s

sneaking away “so guilty-like” 3.3.36 *This allows time for suspicion to take root in Othello’s mind But the upshot is, Iago has made his point Iago has created in the mind of Othello, if not suspicion, at least

an unhealthy curiosity He has sown the first seeds of disquiet; It is important to trace and note how this dramatic effect is

created through close attention to the Machiavellian nature of the language choices.

Lecture on

Act 3 Scene 3

Part 2

*Othello & Desdemona: a dramatic moment in their husband / wife relationship

Just before Iago begins proper to set the full force of his evil plot in motion

We are presented with Desdemona as an ordinary yet loving wife pleading to her husband on behalf of Cassio

She feels she has a right to plead for this reconciliation, as Othello’s equal and partner

To which Othello declares twice: “I will deny thee nothing.” 3.3.76 p119 and again in line 84

Her serious pursuit reinforces his rising suspicion Note Othello’s off-hand replies; Suggesting what? Doubts about her sincerity Desdemona has won her point but it is won because

of the love between them, But — Into this gentle victory, a note of tragic irony is

registered with a dramatic foreshadowing in Othello’s last lines:

Foreshadowing “Chaos”

“Excellent wretch! Perdition catch my soul, But I do love thee, and when I love thee not,Chaos is come again.” [3.3.90-93] p119 For Desdemona, up to this point the scene is one of

unclouded happiness And notice her language: the short, tripping phrases

which gives a quicker, lighter rhythm e.g. lines 19-28 In contrast to the rhythm of lines spoken by Othello When later Othello turns against his wife, we will see

‘chaos’ does indeed have a bloody reign.

Iago’s alertness and mesmerizing evil spell

We see here Iago’s diabolic cunning as he setsabout gaining possession of Othello’s soulLet us look more closely at his evil skillfulness: Iago has been alert all the time during

Othello’s conversation with Desdemona He affects surprise at learning Cassio knew

of Othello’s love when he wooed Desdemona

Importance again of tone of voice p119

Othello: ‘What dost thou say, Iago?’ Iago : “Did Michael Cassio, / When you wooed

my lady, / Know of your love?” Othello: “He did, from first to last.

Why dost thou ask?” Iago pretends his question was merely an

afterthought with ‘But for a satisfaction of my thought; / No further harm’ p119

Iago’s questioning (tone?) and half-expressed thoughts

Iago’s questioning intoned “Indeed?” L-101 creates the internal dramatic effect of?

Arousing Othello’s curiosity further… Iago evasively parrots Othello’s words:

“Honest, my lord?” “Think, my lord?”Internal dramatic effect? Iago intensifies doubt in Othello’s mind with his

deliberately half-expressed thoughts

Importance of facial gestures

Iago excites Othello’s curiosity by contracting and pursing his brow together

Othello notices Iago’s expression: ‘And didst contract and purse thy brow together’ L-113

Provokes Othello by refusing to let him know what “horrible conceit” 115 he has concealed

It is evident Iago’s words (his hesitations) have frightened Othello [effect]:

“Therefore these stops of thine affright me more” L-120 p121

Up to this point how might one best in summary characterize Iago’s language?

Iago has been working on the mind of Othello; ‘abuse his ear’

by veiled suggestions and stirring up his mind using vague general insinuations

Iago continues in this vein…but dares to also give more explicit statement of his menace

Iago now becomes more specific;Introduces directly the name of Michael CassioIago slyly suggests there is no basis for belief in Cassio’s honesty except that “Men should be that they seem” L-126 p123

Planting Suspicion

Plants suspicion in the mind of Othello who then demands that he speak his thoughts no matter how horrible; Othello thus says:

“…and give thy worst of thoughts” L-132 p123 [Effect] Othello is so eager now to know more But Iago’s hesitant replies, those “stops”

are intended to give what impression? [Effect] That the truth is more shockingly foul and

filthy than would be appropriate to say straight out

And getting more daringly direct;Iago does not forget details…

Iago warns Othello against “the green-eyed monster” Iago: “…for now I shall have reason / To show the

love and duty… / With franker spirit” 192-194 p127 “Look to your wife; observe her well with Cassio” 196 And note his well timed pointed remarks about the

natural tendency of Venetian women to deceive their husbands and commit adultery: ‘In Venice…’ 201-4

And here too he timely revives Desdemona’s deception of her father: “She did deceive her father”

Iago: ‘Beware the green-eyed monster’ speech p125

O beware my lord of jealousy; It is the green-eyed monster which doth mock The meat it feeds on. That cuckold lives in bliss Who certain of his fate loves not his wronger, But O, what damned minutes tells he o’er Who dotes, yet doubts, suspects, yet fondly loves.

Dramatic effect? The poison is working

From a rapturous declaration of faith in Desdemona, we now see Othello suspecting and

Interpreting his wife’s behaviour in unfaithful terms Iago puts on a mask of loyal concern and apologizes

for imparting these suspicions Deceit He is watching the effect of his words on Othello And is confident the desired effect will show itself “I see this hath a little dashed your spirits.” L-214

Othello now entirely in Iago’s power

Othello, a noble character, now almost literally possessed by a demonic agent of Evil;

Iago elaborates on Desdemona’s refusing many proposed matches, and in time

bound to regret her choice of husband when she regains her own true nature

Iago is now in full control of Othello, and we see the depths into which he has sunk

Othello wants to know more and is now even prepared to spy on his wife

“If more thou dost perceive, let me know more. / Set on thy wife to observe.”

Othello then asks Iago to be left alone At which point he gives free rein to the feelings

of grief that have been building up inside him Othello asks “Why did I marry?” L-241 p129 Tone of voice? It is a cry of painful awareness

Othello has fallen for and into Iago’s trap

In this groan we have reached the climax of the scene

The highest point in the tension / conflict And the decisive turning point in the play The monstrous image of Desdemona’s infidelity and

adultery is conjured up in Othello’s mind By the power of language, by innuendo, Iago has

sired the “green eyed monster” and the stirring of Othello’s imagination will nurture it.

Othello p131 Critical Significance?

Haply, for I am black And have not those soft parts of conversation That chamberers have; or, for I am declined Into the vale of years – yet that’s not much – She’s gone. I am abused, and my relief Must be to loathe her. O curse of marriage! That we call these delicate creatures ours, And not their appetites. I had rather be a toad, / And live upon the vapour of a dungeon, …

Proof: Auricular p141

Iago: I lay with Cassio lately… In sleep I heard him say, ‘Sweet Desdemona, Let us be wary, let us hide our loves’; And then, sir, would he gripe and wring my hand, Cry ‘O, sweet creature,’ then kiss me hard, As if he plucked up kisses by the roots, That grew upon my lips; then laid his leg Over my thigh, and sighed and kissed, and then Cried, ‘Cursed fate that gave thee to the Moor!

Othello: I’ll tear her all to pieces.

Ocular proof: Iago to Othello p143

Nay, but be wise; yet we see nothing, done. She may be honest yet. Tell me but this, Have you not sometimes seen a handkerchief, Spotted with strawberries, in your wife’s hand?

I know that: but such a handkerchief – I am sure it was your wife’s – did I today See Cassio wipe his beard with.

Dramatic Effects?So what picture of Othello does the audience now see on stage???

We see a picture that contrasts with that of the great military leader of men, and the saviour of Cyprus

It is a pathetic picture of a man who now sees himself as what?

As being different (an outsider), black, older Without the gift of making love, or love-talk Stands before us as a partly broken man, at least mentally;

broken spirited Greatly perturbed at the horrible thought of life with an

unfaithful wife

Imagery, and the debasement of Othello

Imagery of Appearance and Reality Imagery of Disease and Corruption Imagery of Nature; Imagery of Clothing Supernatural Imagery; Animal or Bestial ImageryNoteworthy: Othello uses animal imageryfor the first time when the notion that he isjealous is suggested by Iago:“Exchange me for a goat / When I shall turn thebusiness of my soul…” L-179-180 p125 As his jealousy increases, he uses animal imagery to

correspond tohis descent from the human to the less than human state.

Othello & Iago at close of Scene 3What a change! What a transformation!

Othello:“Damn her, lewd minx! O, damn her, damn her!Come go with me apart. I will withdrawTo furnish me with some swift means of deathFor the fair devil. Now art thou my lieutenant.”

Iago: “I am your own for ever”