othello analysis - litchart

Othello

AUTHOR BIOFull Name: William Shakespeare

Date of Birth: 1564

Place of Birth: Stratford upon Avon, England

Date of Death: 1616

Brief Life Story: Shakespeare's father was a glove-maker, and Shakespearereceived no more than a grammar school education. He married AnneHathaway in 1582, but left his family behind around 1590 and moved toLondon, where he became an actor and playwright. He was an immediatesuccess: Shakespeare soon became the most popular playwright of the day aswell as a part-owner of the Globe Theater. His theater troupe was adopted byKing James as the King's Men in 1603. Shakespeare retired as a rich andprominent man to Stratford-upon-Avon in 1613, and died three years later.

KEY FACTSFull Title: The Tragedy of Othello, the Moor of Venice

Genre: Tragedy

Setting: Venice and Cyprus

Climax: The murder of Desdemona, by Othello

Protagonist: Othello

Antagonist: Iago

HISTORICAL AND LITERARY CONTEXTWhen Written: c. 1603

Where Written: England

When Published: 1622

Literary Period: The Renaissance

Related Literary Works: Shakespeare's primary source for Othello was Uncapitano moro ("A Moorish Captain"), one of one hundred short stories in thecollection Gli Hecatommithi, published by the Italian, Cinthio. Cinthio's storyprovides the backbone for Shakespeare's plot, although Shakespeareintroduces some minor new characters (such as Brabantio and Roderigo) andother alterations—for instance, in Cinthio's version, Iago's motive for revengeagainst Othello is that he formerly loved and was rejected by Desdemona.There are also similarities between Othello, "A Moorish Captain," and a storyby the name of "The Three Apples" narrated by Scheherezade in the Thousandand One Nights.

Related Historical Events: From the eleventh to the fifteenth century,Catholics battled to re-conquer Spain from the Islamic Arabs and Berbers, orMoors, who had successfully occupied it since the 900s. The struggle inspiredintense prejudice and suspicion that lasted well after the Moors wereoverthrown. Philip III of Spain expelled 300,000 "Moriscos" from the Iberian(Spanish) peninsula not long after Shakespeare finished Othello, in 1609. InEngland during Shakespeare's time, views regarding "Moors" were slightlymore complex because of strong anti-Catholic sentiment in England andEnglish fears of invasion by the Spanish. In fact, England maintainedindependent trade relationships with "Moorish" Northern Africa, despiteSpanish and Portuguese protest. The English slave trade also brought blacksto Europe, from mid-sixteenth century onward. Queen Elizabeth herselffounded The Barbary Company, formally institutionalizing this trade; inaddition, she received a delegation of Moroccan diplomats in 1600. However,the English still felt a strong suspicion of Islam: Elizabeth issued a degreeexpelling Moors from Africa and Spanish "Moriscos" from the boundary ofEngland in 1599 and 1601.

EXTRA CREDITMoor or less? In Elizabethan England, the term "Moor" could be used to referto a wide range of non-European persons, including black Africans, NorthAfricans, Arabs, and even Indians. References to Othello's origins throughoutthe play are contradictory and ambiguous Iago calls Othello a "Barbary horse"(1.1.110); Barbary was an area in Africa between Egypt and the AtlanticOcean. Roderigo, however, calls him "thick-lips" (1.1.65-6), suggesting that hemay come from further south on the African continent. Brabantio calls him"sooty" (1.2.70); Othello, along with numerous other characters, refers tohimself as "black." It is impossible to know now exactly what Shakespeare orhis audience would have thought a "Moor" is.

In Venice, Roderigo complains to Iago that, despite the money he's given Iagoto help him woo Desdemona, she's eloped with the Moorish general Othello.Iago responds that he too hates Othello, for whom he works as a standard-bearer: Othello chose Cassio, rather than Iago, to be his lieutenant. The twomen go to the home of Desdemona's father, the senator Brabantio, and rousehim with graphic descriptions of his daughter having sex with the Moor.Brabantio, enraged, interrupts Othello as he receives an urgent message fromthe Duke of Venice, and accompanies Othello see the Duke. In front of theDuke, Brabantio accuses Othello of having used magic to seduce Desdemona.Othello responds that it was stories of his exciting life history and militarybravery that won Desdemona. When summoned, Desdemona supportsOthello's story. Brabantio grudgingly blesses the newlyweds. The Duke thensends Othello to lead a fleet of Venetians to defend Cyprus from a Turkishattack. Desdemona accompanies him. Iago reassures Roderigo that he will stillwin Desdemona in the end, then privately admits that he's just using Roderigofor money while he plots his own revenge.

When the Venetians arrive in Cyprus, the governor Montano reports that astorm at sea has drowned the Turkish fleet, eliminating the military threat.Iago quickly hatches a plan to make Othello believe that Desdemona has beenunfaithful to him with either Cassio or Roderigo. That night, while Othello andDesdemona go to bed to consummate their marriage, Iago succeeds in gettingCassio drunk. He then goads Roderigo into provoking Cassio, starting a brawl.Disgusted, Othello demotes Cassio.

Meanwhile, Iago convinces Desdemona to try to get Othello to reinstateCassio. Iago then uses Desdemona's requests that he be merciful to Cassio tomake Othello suspect that Desdemona is cheating on him with Cassio.Othello, takes the bait, repeatedly praising Iago for his honesty. Later, whenDesdemona accidentally drops a handkerchief that Othello had given to her asa love-token, Emilia gives it to Iago, who had long asked her to steal it for him.Iago then plants it in Cassio's room.

Othello, upset, demands that Iago show him proof of Desdemona's infidelity.Iago responds that he has heard Cassio fantasize lewdly about Desdemona inhis sleep and that he has seen Cassio wipe his mouth with Desdemona'shandkerchief. Othello promotes Iago to the status of lieutenant and ordershim to kill Cassio within three days. Othello then goes to Desdemona's room,and asks her for the handkerchief. Desdemona, who had been searching forthe handkerchief, admits she can't find it. Othello storms off. Meanwhile,Cassio's mistress, the prostitute Bianca, comes to his quarters. Cassio asksher to make a copy of a handkerchief he's recently found in his room, becausehe admires it.

Iago continues to spur Othello's jealousy. When he reports that Cassio hasadmitted to sleeping with Desdemona, Othello falls into an epileptic fit. Iagourges Othello to hide while he questions Cassio about Desdemona. In fact, heasks Cassio about Bianca, causing Cassio to laugh. Watching from afar, Othellogrows increasingly furious. Then, Bianca shows up, and throws Desdemona'shandkerchief at Cassio, accusing him of having it from another whore. After

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Cassio and Bianca leave, Iago easily persuades Othello to kill Desdemona. Iagopromises to take care of Cassio himself. He then convinces Roderigo that ifCassio were to die, Othello would have to remain in Cyprus, leavingDesdemona in Venice for Roderigo. Iago instructs Roderigo to wait outsideBianca's house that night and kill Cassio when he leaves.

That night, Iago sets Roderigo up to kill Cassio as planned. When Cassio exitsBianca's house, Roderigo attacks him; both are wounded. OverhearingRoderigo's cries for help, Othello believes that Cassio is dead and is impressedby Iago's loyalty. Meanwhile, Iago goes to Bianca's; finding Cassio wounded, hestabs Roderigo, killing him (and thus assuring that his secret will not berevealed). Iago then calls the others, including Bianca, whom he arrests,accusing her of having conspired with Roderigo. While this is going on, Othelloarrives at Desdemona's chamber. Enchanted by her beauty, he nonethelessresists her pleas to spare her life, and he smothers her with a pillow. Emiliaarrives to tell Othello that Roderigo is dead and Cassio alive, when she hearsDesdemona's dying cries.

When Emilia demands why Othello has killed Desdemona, Othello explainshow Iago proved to him that Desdemona slept with Cassio. As Montana, Iago,and Gratiano, a relative of Brabantio's all arrive, Emilia accuses Iago of lyingand explains that she stole this from Desdemona at her husband's behest.Othello attacks Iago. In the uproar, Iago stabs and kills Emilia, then flees.Montano and Gratiano disarm Othello, then chase down Iago. When he isdragged back in their custody, Othello wounds him before being disarmedagain. Letters found on Roderigo's corpse reveal the full extent of Iago's plots;he himself refuses to explain himself. Othello draws a hidden dagger and, aftera speech, kills himself.

OthelloOthello – A Christian Moor who has earned a high reputation as a general inthe Venetian army and has recently married Desdemona, daughter of theVenetian senator Brabantio. Othello is characterized by his plainspoken,honest (perhaps even naïve) nature, which, together with his status as anoutsider, leaves him vulnerable to the plots of his standard-bearer, , to makehim suspect his loyal wife, , of infidelity.

IagoIago – Othello's disloyal standard-bearer and the villain of the play. Angry athaving been passed over by Othello for promotion to the rank of lieutenant,and also because he seems to enjoy creating mayhem for its own sake, Iagodevelops an intricate conspiracy to ruin Othello. He is married to Emilia.

DesdemonaDesdemona – The Daughter of the Venetian senator Brabantio. Having beencharmed by Othello's tales of exotic lands and military exploits, Desdemonaelopes with him before the play begins (although they do not consummatetheir marriage until they have received sanction from the Duke and,reluctantly, her father). Desdemona is a model wife, if perhaps too trusting ofIago. She follows Othello to Cyprus and shows constant loyalty to him, even tothe moment of death, when he kills her on false suspicions that she has beenunfaithful.

Michael CassioMichael Cassio – A young, charming, and handsome soldier, whom Othellopromotes to the rank of lieutenant, over the more experienced Iago. Cassio isloyal to Othello and friendly with Desdemona, though he's unkind to theprostitute Bianca, who seems to love him. While intelligent, he is not cunning,and Iago easily ensnares the unwitting Cassio in a plot to convince Othellothat Desdemona has cheated on him with Cassio.

RoderigoRoderigo – A long-rejected suitor of Desdemona, who seeks to woo her withjewels through the Iago as. Like Othello, Roderigo trusts Iago and is duped byhim. Otherwise, Roderigo shares none of Othello's noble characteristics.

BrBrabantioabantio – A senator in Venice and Desdemona's father. At first enraged byDesdemona's elopement with Othello, he does eventually grant a grudgingblessing to their marriage. But his blessing never seems heartfelt, and he diesof grief shortly after their departure for Cyprus (and before any of thetragedies of the play occur).

EmiliaEmilia – Iago's wife and Desdemona's friend and serving woman. AlthoughEmilia is far less idealistic about marriage and the world in general thanDesdemona is, she is loyal to her mistress. Though she steals Desdemona'shandkerchief for Iago, she doesn't know else anything about Iago's plot. In fact,when she learns of his plot, she reveals Iago's duplicity, and he kills her for it.

BiancaBianca – A prostitute in Cyprus, who expresses real affection for Cassio. He,however, only mocks her.

DukDuke of Ve of Veniceenice – The official authority in Venice, the Duke has great respectfor Othello as a military man and, unlike the other residents of Venice, doesnot betray any racial prejudice against Othello and, in fact, is unsurprised thatDesdemona fell in love with him. It is the Duke who sends Othello to lead theVenetian mission to defend Cyprus against the Turks.

LLodoodovicovico – A relative of Brabantio's, Lodovico acts as an emissary, bringingletters from Venice to Cyprus. He is present on the island for the full unfoldingof the tragedy.

MontanaMontana – The governor or Cyprus before Othello's arrival.

GrGratianoatiano – A kinsman of Brabantio who accompanies Lodovico from Veniceto Cyprus.

ClownClown – Othello's fool/servant. Although he appears in only two short scenes,his riddling language reflects Othello's own language as the Moor descendsinto jealous madness.

PREJUDICEPREJUDICEThe most prominent form of prejudice on display in Othello is racial prejudice.In the very first scene, Roderigo and Iago disparage Othello in explicitly racialterms, calling him, among other things, "Barbary horse" and "thick lips." Innearly every case, the prejudiced characters use terms that describe Othelloas an animal or beast. In other words, they use racist language to try to defineOthello not only as an outsider to white Venetian society, but as being lesshuman and therefore less deserving of respect. Othello himself seems to haveinternalized this prejudice. On a number of occasions he describes himself insimilarly unflattering racial terms. And when he believes that he has lost hishonor and manhood through Desdemona's supposed unfaithfulness, hequickly becomes the kind of un-rational animal or monster that the whiteVenetians accuse him of being.

Yet racial prejudice is not the only prejudice on display in Othello. Manycharacters in the play also exhibit misogyny, or hatred of women, primarilyfocused on women's honesty or dishonesty about their sexuality. Severaltimes, Othello's age is also a reason for insulting him. In all of these cases, thecharacters displaying prejudice seek to control and define another person orgroup who frighten them. In other words, prejudice works as a kind of strategyto identify outsiders and insiders and to place yourself within the dominantgroup. And Othello himself seems to understand this—he concludes hissuicide speech by boasting that he, a Christian, once killed a Muslim Turk, a"circumcised dog" (5.2.355) who had murdered a Venetian citizen. Othellotries to use religious prejudice against Muslims to cement his place withinmainstream Christian Venetian society.

APPEARANCE VS. REALITYAPPEARANCE VS. REALITYThe tragic plot of Othello hinges on the ability of the villain, Iago, to misleadother characters, particularly Roderigo and Othello, by encouraging them tomisinterpret what they see. Othello is susceptible to Iago's ploys because hehimself is so honest and straightforward. As Iago puts it: "the Moor is of a freeand open nature/ That thinks men honest that but seem to be so; and will astenderly be led by th' nose/ As asses are" (2.1.391-4)

In Othello, Shakespeare plays with the idea of unreliable reality in a number ofways. The language of the play, which time and again refers to dreams, trances,and vision, constantly highlights the way in which what seems to be real mayactually be fake. In addition, Shakespeare extends the theme of appearance vs.reality to include the art of playwriting and acting. As he develops his plotagainst Othello, Iago creates scenes within scenes. He sets up encountersbetween two characters and putting a third in the position of a spectator. Forinstance, he has Othello watch Cassio and Desdemona speak, and he hasOthello watch him speak with Cassio about Bianca. In each case, Iagomanipulates Othello so that Othello sees the appearance that Iago wants himto see, rather than the reality of what is actually happening. In this way, Iagobecomes a kind of "director"—he even directly addresses the audiencethrough his many soliloquies—and Shakespeare draws attention to the way

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that a playwright and actors create an appearance onstage that tricks theaudience into seeing something other than reality.

JEALJEALOUSYOUSYIago refers to jealousy as the "green-eyed monster." As this metaphorsuggests, jealousy is closely associated with the theme of appearance andreality. For instance, at one point Othello demands that Iago provide "ocularproof" of Desdemona's infidelity—he demands to see reality. But Iago insteadprovides the circumstantial evidence of the handkerchief, which Othello,consumed by his jealousy, accepts as a substitute for "ocular proof." Othello'sjealousy impedes his ability to distinguish between reality and appearance.While the prejudiced characters in the play denigrate Othello as an animal or abeast based on his race, Othello's obvious honor and intelligence makes theseattacks obviously ridiculous. Yet when Othello is overcome by jealousy, hedoes become beast-like, falling into epileptic fits that rob him of the ability tospeak intelligibly.

Othello is also not the only character in Othello to feel jealousy. Both Iago andRoderigo act to destroy Othello out of jealousy, with disastrousconsequences.

MANHOOD AND HONORMANHOOD AND HONORThroughout the play, various male figures seek to assert and protect theirmanhood and their honor. Based on the Duke's regard for him in 1.3, it is clearthat Othello has attained political power through his military might. Thesubplot in which Iago gets Cassio drunk and causes him to humiliate himself,also indicates the importance of "reputation, reputation, reputation." In fact,Cassio asserts that reputation is all that makes you human ("I have lost theimmortal part of myself, and what remains is bestial" [2.3.252-3]). Iagoasserts—however genuinely or disingenuously—that reputation is morevaluable than anything in the world: "good name in man and woman [...] is theimmediate jewel of their souls" (3.3.156).

Though military exploits are one way for men to build their honor, when not inwar the primary means by which men define their honor is their ability tocommand the faithfulness of their women. In 1.1, Iago and Roderigo callBrabantio's honor into question because he hasn't been able to control theromantic or sexual impulses of his daughter, Desdemona. Later, Iago drivesOthello to question his own manhood—indeed, his very humanity—by makinghim doubt whether he has power over his wife. In despair over his suspicionsabout his wife's faithfulness, Othello laments of himself: "A horned man's amonster and a beast" (4.2.62). That is, in his view, to lose control of the womanin his life is to lose everything that makes him human. In other words, withouthis honor, he sees himself in the same terms that the prejudiced characters seehim: as an animal.

WOMANHOOD AND SEXUWOMANHOOD AND SEXUALITYALITYTwo contrasting images of womanhood dominate Othello: the virtuous andloyal woman, or Madonna, embodied by Desdemona; and the whore,embodied, to a certain extent by Bianca. Yet over the course of the play, itbecomes clear that these two different ways of describing women don'tactually apply to real women. Instead, they are male fantasies imposed onwomen—ideals that men want woman to fulfill, and roles that womentherefore purposefully play for men. For instance, Desdemona often describesher devotion to Othello in front of other people, underscoring that, eventhough she does love him very deeply, she is to a certain extent playing the roleof the virtuous wife. Iago then stokes Othello's jealousy in part by forcingOthello to realize that there is no way for a man to tell the difference betweena truly virtuous wife and one who is just playing the role of virtuous wife whileactually acting as a whore and being unfaithful.

Meanwhile, Iago's wife, Emilia, complicates the simple contract between theMadonna and the whore. Initially, she wants to please her husband—and doesso by stealing Desdemona's handkerchief, knowing that he has long hankeredafter it. Yet she is not wholly loyal, and even tells Desdemona in 4.3 that shebelieves many women, including she herself, would cheat on their husbandsunder certain circumstances. And, finally, she proves her own, independentvirtue by defending Desdemona's virtue and revealing her husband's crimes inthe process. So while womanhood in Othello is, therefore, often defined by

men in terms of pure virtue or voracious and deceptive sexuality, the playultimately shows that real women are far more complex.

THE HANDKERCHIEFIn European medieval and renaissance love poetry, the handkerchief istypically a symbol for a woman's romantic favor. For instance, there was aparticular ritual in which a lady would drop her handkerchief for a knight topick up and keep as a token of her regard. The handkerchief that Othello givesDesdemona is, similarly, a love-token and therefore a symbol of their love. Butthe handkerchief, which originally belonged to an Egyptian sorcerer, alsocomes to symbolize the illusions that Iago is "casting" through his plotting andsubterfuge.

ANIMALSOthello is rife with animal metaphors. In particular, this language is used todescribe Othello, the "Barbary horse," or the "beautiful creature" Desdemona.In each case, the animal language is connected to prejudice. Describing aperson or group in animal terms is a way of defining that person or group asbeing less than human, something that deserves to be humiliated andcontrolled.

ACT 1 QUOTES"Preferment goes by letter and affectionAnd not by old gradation, where eachsecondStood heir to the first." —Iago, 1.1.35-7

"When my outward action doth demonstrateThe native act and figure of myheartIn complement extern, tis not long afterBut I will wear my heart upon mysleeveFor daws to peck at. I am not what I am." —Iago, 1.1.60-4

"Damned as thou art, thou hast enchanted her!For I'll refer me to all things ofsense,If she in chains of magic were not bound,Whether a maid, so tender, fair,and happy,So opposite to marriage that she shunnedThe wealthy curleddarlings of our nation,Would ever have, t'incur a general mock,Run from herguardage to the sooty bosomOf such a thing as thou—to fear, not to delight."—Brabantio, 1.2.62-71

"Tis a pageantTo keep us in false gaze." —Senator, 1.3.18-9

"Rude am I in my speech,And little bless'd with the soft phrase of peace:Forsince these arms of mine had seven years' pith,Till now some nine moonswasted, they have usedTheir dearest action in the tented field,And little of thisgreat world can I speak,More than pertains to feats of broil and battle,Andtherefore little shall I grace my causeIn speaking for myself. Yet, by yourgracious patience,I will a round unvarnish'd tale deliverOf my whole course oflove." —Othello, 1.3.81-91

"I do perceive here a divided duty." —Desdemona, 1.3.181

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"The Moor is of a free and open natureThat thinks men honest that but seemto be so;And will as tenderly be led by th' noseAs asses are." —Iago, 1.3.391-4

ACT 2 QUOTES"I am not merry; but I do beguileThe thing I am by seeming otherwise."—Desdemona, 2.1.122-3

"Oh heavy ignorance! Thou praisest the worst best." —Desdemona, 2.1.143-4

"You may relish him more in the soldier than in the scholar." —Cassio,2.1.165-6

"If I were now to die,Twere now to be most happy, for I fearMy soul hath hercontent so absoluteThat not another comfort like to thisSucceeds in unknownfate." —Othello, 2.1.188–91

"Her eye must be fed." —Iago, 2.1.224

"I'll [...] make the Moor thank me, love me, and reward meFor making himegregiously an ass." —Iago, 2.1.302-6

"Notwithstanding, with my personal eyeWill I look to't." —Cassio, 2.3.5-6

"Reputation, reputation, reputation! O, I have lost my reputation! I have lostthe immortal part of myself, and what remains is bestial." —Cassio, 2.3.251-3

ACT 3 QUOTES"Excellent wretch! Perdition catch my soulBut I do love thee! And when I lovethee not,Chaos is come again." —Othello, 3.3.90-2

"By heaven, thou echo'st meAs if there were some monster in thy thoughtToohideous to be shown." —Othello, 3.3.106-8

"Good name in man and woman, dear my lord,Is the immediate jewel of theirsouls.Who steals my purse steals trash; tis something, nothing;Twas mine, tishis, and has been slave to thousands.But he that filches from me my goodnameRobs me of that which not enriches himAnd makes me poor indeed"—Iago, 3.3.155–61

"O, beware, my lord, of jealousy!It is the green-eyed monster, which dothmockThe meat it feeds on." —Iago, 3.3.165-7

"This honest creature doubtlessSees and knows more, much more, than heunfolds." —Othello, 3.3.242-3

"This fellow's of exceeding honesty,And knows all qualities, with a learnedspiritOf human dealings." —Othello, 3.3.258–60

"Haply, for I am blackAnd have not those soft parts of conversationThatchamberers have, or for I am declined Into the vale of years – yet that's notmuch – She's gone." —Othello, 3.3.263-7

"Be sure of it; give me the ocular proof." —Othello, 3.3.360

"On horror's head horrors accumulate." —Othello, 3.3.370

"I am your own forever." —Iago, 3.3.480

ACT 4 QUOTES"Her honor is an essence that's not seen;They have it very oft that have it not."—Iago, 4.1.16-7

"A horned man's a monster and a beast." —Othello, 4.1.62

"Upon my knee, what doth your speech import?I understand a fury in yourwordsBut not the words." —Desdemona, 4.2.31-3

"O thou weedWho art so lovely fair, and smell'st so sweet,That the sense achesat thee, would thou hadst never been born" —Othello, 4.2.67-9

ACT 5 QUOTES"Put out the light, and then put out the light.If I quench thee, thou flamingminister,I can again thy former light restore,Should I repent me; but once putout thy light,Thou cuning'st pattern of excelling nature,I know not where isthat Promethean heatThat can thy light relume. When I have plucked thyrose,I cannot give it vital growth again;It must needs wither." —Othello,5.2.7-15

"Had she been true,If heaven would make me such another worldOf oneentire and perfect chrysoliteI'd not have sold her for it." —Othello, 5.2.144-7

"I told him what I thought, and told no moreThan what he found himself wasapt and true." —Iago, 5.2.177-8

"Demand me nothing. What you know, you know.From this time forth I neverwill speak word." —Iago, 5.2.303-4

"When you shall these unlucky deeds relate,Speak of me as I am. Nothingextenuate,Nor set down aught in malice. Then must you speakOf one thatloved not wisely, but too well;Of one not easily jealous, but, being

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wrought,Perplexed in the extreme; of one whose hand,Like the base Judean,threw a pearl awayRicher than all his tribe; of one whose subdued eyesAlbeitunused to the melting mood,Drops tears as fast as the Arabian treesTheirmedicinable gum. Set you down this.And say besides that in Aleppoonce,Where a malignant and a turbaned TurkBeat a Venetian and traduced thestate,I took by the throat the circumcised dogAnd smote him—thus." —Othello,5.2.341–56

ACT 1, SCENE 1On a street in Venice, Italy, Roderigo,a nobleman, and Iago are in the middleof an argument. Roderigo has paidIago a lot of money to help him win thehand of Desdemona. Yet he has justlearned that Desdemona has elopedwith Othello, the Moorish (NorthAfrican) general under whom Iagoserves.

Roderigo's primary reason for hatingOthello is not racial prejudice, but ratherjealousy that Othello has wonDesdemona. That Iago has not managedto help Roderigo despite being paid hintsat his duplicity.

Iago assures Roderigo that he hatesOthello, and explains that Othellorecently passed him over for apromotion to lieutenant despite thefact that he was Othello's ancient(standard bearer) and had therecommendations of three leadingmen of Venice. Instead, Othellopromoted Michael Cassio, a man whoin Iago's estimation is just a "spinster"(1.1.23) military theorist with nopractical experience in fighting orleading men.

Iago has his own jealous motives forhating Othello. When he calls Cassio a"spinster," Iago is questioning Cassio'smanhood, while also implying that justas real men know how to fight, realwomen know how to have sex. A spinsteris an old, unmarried woman who has noexperience of sex, just as the militarytheorist Cassio has no experience ofbattle.

Iago then adds that while he currentlypretends to serve Othello, he is in factjust looking out for his own self-interest: "In following him I but followmyself [...] I am not what I am" (1.1.57;64).

Iago here reveals his capacity to hide hisfeelings and motives so that his actionsdon't reveal them.

Iago and Roderigo go to the house ofBrabantio, a senator andDesdemona's father. They shout fromthe street that Brabantio has beenrobbed. Brabantio comes to thewindow, but at first doesn't believethem because he recognizesRoderigo, whom he has recently toldto stop hanging around his house andpursuing Desdemona. But then Iago,who doesn't give his name and whomBrabantio doesn't recognize,graphically describes Othello andDesdemona having sex—he says that"an old black ram is tupping yourwhite ewe" (1.1.88-89), callingOthello a "Barbary horse" (1.1.110),and adds that "your daughter and theMoor are making the beast with twobacks"(1.1.118).

Brabantio thinks little of Roderigo. Iago,however, rallies the white Brabantio ontheir side by using prejudice as a tool,describing Othello as an animal ("blackram") and sex with Desdoma as bestial.Iago also makes use of the fact thatBrabantio will feel his manly honorchallenged by his daughter's having sex.Notice that Desdemona is also describedin animal terms. In her case, thecomparison is meant to evoke purity, butit also indicates that the men do notthink of her as an equal human being.

Brabantio goes to search his housefor his daughter, worried because hehas had a "dream" (1.1.140)anticipating these events. Iago takesthe chance to leave in order to keephis plot against Othello secret.

The language of "dreams" plays into thetheme of appearance vs. reality. As doesIago's slipping away without giving awayhis identity, so he can continue to plotagainst Othello.

Brabantio emerges from his housewithout finding Desdemona. Furious,lamenting his life as wasted, he saysthat his daughter has been stolen bymagic and that he wishes she hadmarried Roderigo. They set off toraise an armed search party andconfront Othello.

Brabantio feels his manhood ruined byhis daughter's deception, and insists thatOthello could only have unmanned himin this way by twisting reality throughsome kind of sorcery. His change of heartregarding Roderigo as the lesser of twoevils reveals his prejudice againstOthello.

ACT 1, SCENE 2At the inn where Othello is lodging,Iago tells Othello that he wanted tostab Roderigo when he hears thethings Roderigo was saying aboutOthello. He also warns Othello thatBrabantio is likely to try to legallyforce a divorce between Othello andDesdemona. Othello seemsunconcerned.

Iago changes sides seamlessly. He tries toprovoke Othello by suggesting thatRoderigo has slighted his manly honor.But, at this point, Othello seemscompletely secure in himself, immune tochallenges to his manhood.

Just then, they see a group of menapproaching. Iago says it must beBrabantio and advises Othello to goinside. Othello refuses, preferring toface them, saying he has dutifullyserved the state of Venice and hisconscience is clean: he lovesDesdemona.

Othello knows that his honorablemilitary service will outweigh Brabantio'sgrievance. He's also the first character tospeak of love. All the other men seem tothink of women as something to possess,not love.

The men turn out to be Cassio andservants of the Duke of Venice, sentto bring Othello to meet with theDuke regarding an urgent militaryissue in Cyprus (an islandprotectorate of Venice).

Cassio's news is proof that the state'sneed for Othello's military leadership willoutweigh any racial prejudice againsthim.

Iago then mentions to Cassio thatOthello has married. But before hecan say who Othello has wed,Roderigo along with Brabantio andhis men arrive. Brabantio states thatOthello must have enchantedDesdemona, or else why would shehave gone "to the sooty bosom ofsuch a thing as thou" (1.2.70-71). Heorders his men to seize Othello.

Brabantio gives full voice to his injuredsense of manhood by interweaving thelanguage of racial prejudice with horrorat interracial sexuality. He cannot believethat things are as they seem: that hisdaughter has voluntarily eloped with a"sooty...thing."

Othello is unfazed, tells everyone onboth sides to put up their arms, andinforms Brabantio that he has beencalled to meet with the Duke on statebusiness. Brabantio decides toaccompany Othello to the Duke andair his grievance there.

Agreeing to go before the Duke's court oflaw, Othello remains confident that hishonorable service will outweigh hisoutsider status.

SUMMARY & ANALSUMMARY & ANALYSISYSIS

Othello

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ACT 1, SCENE 3The Duke of Venice meets with hissenators about a Turkish invasion ofCyprus. They manage to see through aTurkish ploy to make it look as if theTurks will attack Rhodes instead ofCyprus. Then the Duke and theSenators discuss how to repel theTurkish attack on Cyprus.

Games of illusion and appearance play aserious role in politics and war as well asin jealousy and love.

Othello and Brabantio enter alongwith their men. Brabantio demandsthat they cease discussing statebusiness and instead deal with thefact that his daughter has beencorrupted by spells and potions sothat she would marry a man she wouldnever otherwise have considered. TheDuke promises to help Brabantioprosecute the man who has seducedDesdemona, but when he learns thatthe accused man is Othello he givesOthello a chance to defend himself.

Brabantio continues to insist, based oncommon racial, that Desdemona couldnever have been sexually drawn tosomeone of Othello's racial backgroundin the absence of some kind of deceptionon his part. The Duke, though, who needsOthello's military leadership, is not soswayed by prejudice.

Othello admits that he marriedDesdemona. But he denies using anymagic to win her love, and says thatDesdemona will support his story.They send for her. As they wait forDesdemona to arrive, Othello saysthat Brabantio used to invite him tohis house to hear his life story, with allits dramatic tales of travel, battle, andvalor. These stories, Othello says, wonDesdemona's love. The Dukecomments that he thinks his owndaughter might be won over byOthello's story.

The truly remarkable story of Othello'slife, described by Othello in plainlanguage, contrasts with the illusionsthat Iago will later build out of flowerywords. Yet note that Othello doesexplicitly assert that storytelling has aseductive power, and Iago will indeedseduce Othello with his inventions lateron.

Desdemona arrives. Brabantio askshis daughter to whom she owesobedience. Desdemona responds thatjust as her own mother once had toshift her obedience from her ownfather to Brabantio, so must she shifther obedience from Brabantio toOthello. At this, Brabantio grudginglygives up his grievance against Othello,and allows the meeting to turn back toaffairs of state.

Desdemona asserts independence fromher father and obedience to Othello.Women in this society were alwaysobedient to some man, or at least weresupposed to be. Men who did not keeptheir women obedient were seen asfailures.

As discussion turns back to fightingoff the Turks, the Duke says thatOthello must go to Cyprus to lead itsdefense. Though the Duke at firstsuggests that Desdemona stay inVenice with her father, Brabantio,Othello, and Desdemona all object,and the Duke says that she may gowith Othello.

While she has both Othello andBrabantio backing her, here, Desdemonacontinues to assert her will in a highlypublic forum among men.

Brabantio exits, but not beforewarning Othello to watchDesdemona—since she disobeyed herfather, she might disobey herhusband.

Brabantio defines Desdemona'sindependence as disloyalty to men.

Because Othello must leave forCyprus that night, he decides thatDesdemona should follow after him inthe care of Iago, and asks Iago to havehis wife attend Desdemona. Othelloand Desdemona then exit to spendtheir last few hours together beforeOthello must depart.

Othello and Desdemona exhibit devotionto each other, although not excessivesexual passion. Othello clearly has faithin Iago, entrusting him with his wife.

Iago and Roderigo are left alone.Roderigo, convinced his chances withDesdemona are now hopelessly lost,talks of drowning himself. Iago mocksRoderigo for such silly sentimentality.Roderigo responds that he can't stophimself from feeling so miserable, butIago disagrees, saying that a personcan control himself by sheer force ofwill. He tells Roderigo to follow themto Cyprus, where he will make surethat Desdemona will end up withhim—for a price. Roderigo exits.

In contrast to Roderigo's jealous despair,Iago emphasizes his belief that you canmake yourself whatever you like—atheme related to his confidence in hisown ability to direct everyone aroundhim, tricking people into doing exactlywhat he wants.

Alone, Iago delivers a soliloquy inwhich he says again that he hates theMoor. He notes that there are rumorsthat Othello has slept with his wife,Emilia, and while he isn't at all surethat the rumors are true, he'll act as ifthey're true. He says that he will takeRoderigo's money, and decides thathe will convince Othello that Cassio ishaving an affair with Desdemona, andin so doing also get the position oflieutenant. He adds that Othello has a"free and open nature" (1.3.380) andtherefore thinks that anyone whoseems honest actually is honest, andthat he will use this trait to leadOthello by the nose.

Iago lays out his plans to deceive theother characters, putting himself in therole of "director" of a kind of play-within-the-play. While he suspects that Othellohas slept with his own wife, he seemsrelatively indifferent to whether or notthis is true: Iago derives his sense of self,his manhood, from his ability tomanipulate others, rather than sexualpride. He suggests that Othello'sweakness is that he doesn't understandthat appearance can hide reality. Notalso that Iago seems to hold no racialprejudice against Othello at all. He justuses prejudice against Othello when it'shelpful to him.

ACT 2, SCENE 1From Cyprus, Montano, the governorof Cyprus, watches as a storm rages atsea. He states that he does not thinkthe Turkish fleet could withstand thestorm, and a moment later agentleman enters with the news thatCassio has arrived, and that on hisvoyage to Cyprus, Cassio saw that theTurks lost so many ships in the stormthat Cyprus need not fear them.Cassio soon arrives himself, andthough glad of the defeat of the Turks,he worries that Othello might himselfhave been lost at sea.

In the early scenes of the play, Othello iscompletely in command of himself, andthe idea that someone could manipulatehim seems almost ludicrous. ButOthello's self-possession is based on hisknowledge that his military leadership isneeded by the state. But the storm thatdestroys the Turks also means thatOthello's military leadership, the sourceof his manhood, is no longer necessary.

The Venetian ship carryingDesdemona, Iago, Emilia (Iago's wife),and Roderigo is the next to arrive. Assoon as they arrive, Desdemona asksafter Othello. When she hears thatCassio and Othello's ships lostcontact during the storm sheworries—but just then Othello's shipis spotted arriving at Cyprus.

Desdemona again demonstrates herloyalty and love toward her husband.

Othello


As they wait for Othello to arrive,Iago and Desdemona banter. Iagoportrays all women, whetherbeautiful, ugly, smart, or foolish, asgenerally deceptive and sex-starved.But he also says that a woman withperfect virtue would be boring.Desdemona defends women againsthim, though she's clearly amused byIago.

Iago expounds the prejudices againstwomen and female sexuality that he willlater use to manipulate Othello. Giventhe comic tone of his banter withDesdemona, however, it's hard to tellhow he "really" feels about anything.

Cassio, courteous as always, takesDesdemona's hand and speaks withher privately for a moment. Iagonotices, and says that this littlecourtesy of Cassio takingDesdemona's hand will be enough of aweb to "ensnare as great a fly asCassio" (2.1.169) and strip Cassio ofhis position as lieutenant.

Iago, in his "director" role, seems todirectly address the audience. Heexplains how he will use "reality," Cassiotaking Desdemona's hand, to spin anillusion—that Cassio and Desdemona arehaving an affair.

Othello arrives, in triumph. He isoverjoyed to see Desdemona, andsays that he is so happy and contenthe could die now. She responds that,rather, their love and joy will onlyincrease as they age. Othello thenthanks the people of Cyprus for theirhospitality. He asks Iago to overseethe unloading of his ship, and he,Desdemona, and all but Iago andRoderigo head to the castle tocelebrate their victory over the Turks.

With the Turks defeated, the scene onCyprus is domestic rather than military.Othello and Desdemona continue to actout their love for each other in front ofall. Yet in commenting that he couldhappily die at this moment, Othellounwittingly adds a dark tone to the lovehe shares with Desdemona.

Iago tells Roderigo that Desdemonais bound to tire of Othello, and wantinstead someone younger, morehandsome, and better-mannered. Hesays that it is obvious who this manwill be—Cassio, whom he describes toRoderigo as a knave and posturer whois always looking out for his ownadvantage.

In his plotting, Iago lies to everyone, allthe time. Here he gets Roderigo to dislikeCassio by making Roderigo jealous ofCassio's chances with Desdemona.Notice that Iago's description of Cassio isactually a good description of himself.

In fact, Iago says, Desdemona alreadyloves Cassio, and he asks if Roderigonoticed them touching hands.Roderigo did, but says it was justcourtesy. Iago convinces himotherwise, and further advisesRoderigo to provoke Cassio into afight with him that night. He says thatthe people of Cyprus will thendemand that Cassio be replaced, andin the process remove an obstaclethat separates Roderigo fromDesdemona. Roderigo agrees to do it,and exits.

Iago continues to play on Roderigo'sjealousy. Roderigo had in fact correctlyinterpreted the briefly touching hands ofDesdemona and Cassio as just courtesy,but Iago is able to use Roderigo's jealousyto warp his understanding, to mistakeappearance for reality.

Alone, Iago delivers his secondsoliloquy. He says that he thinks itlikely that Cassio does indeed loveDesdemona, and believable at leastthat she might love him. He says thathe himself loves Desdemona, thoughmainly he just wants to sleep with herbecause he wants revenge on Othellofor possibly sleeping with Emilia. Ifhe's unable to sleep with Desdemona,though, he reasons, at least theconfrontation he's engineeredbetween Roderigo and Cassio willcause Othello to suspect Desdemonaof infidelity and drive him mad.

Once again, Iago directly addresses theaudience, laying out his plans to theaudience and once again taking on therole of "director." In fact, nearly all of therest of the action of Othello involves thecharacter's "acting out" the "play" thatIago is "writing." Also note how clear it isto Iago that if Othello suspects he hasbeen unable to control his wife that hewould lose his sense of manhood and hismind.

ACT 2, SCENE 2A herald reads a proclamation thatOthello has called for a night ofrevelry to celebrate the annihilation ofthe Turkish fleet as well as his recentmarriage.

In a military situation, where facts andactions are crucial, Othello is dominant.But in a domestic world of interpersonalrelationships, facts can be fudged andIago is in his element.

ACT 2, SCENE 3Othello puts Cassio in charge duringthe celebration. He instructs Cassio tomake sure that the men on guardpractice moderation and self-restraintdespite the party. Cassio says thatIago knows what to do, but that he willmake sure to see to it himself. Othelloand Desdemona leave to consummatetheir marriage.

Both Othello and Cassio wildly misjudgeIago, revealing just how duplicitous Iagois. Also notice that Othello andDesdemona did not have sex until theywere married, in contrast to the graphicimaginations that the other charactershave indulged in.

When Othello and Desdemona aregone, Iago praises Desdemona'sbeauty while also slyly suggesting thatshe might be a seductress. Cassioagrees that Desdemona is beautiful,but believes her to be modest.

Iago tries to convince Cassio to actuallytake a shot at seducing Desdemona byalluding to the idea that demure womenare probably just hiding their innerwhore. Cassio, like Othello, takes peopleat face value.

Iago then turns the conversation tothe revels, and tries to convinceCassio to take a drink. Cassio declines,saying he has no tolerance for alcohol.Eventually, Iago convinces Cassio tolet in the revelers who are at the door.Cassio exits to do just that.

Unable to manipulate Cassio only withwords, Iago progresses toward moredirectly bodily means: alcohol. Cassio,however, knows himself and refrains.

Alone, Iago addresses the audience:the revelers are Rodrigo and threemen of Cyrpus, who are all touchyabout their honor and whom he hasmade sure to get drunk. Once he hasalso gotten Cassio drunk, he willcreate some event that results inCassio offending the people ofCyprus.

Updating the audience about his secretplans, Iago continues to act as a"director." Earlier he used people'sprejudices to manipulate them to dowhat he wants. Now he uses honor.

Othello


Cassio returns with Montano andother revelers. Cassio, in good spirits,says that they have already forced himto take a drink. The revelers drink andsing. Eventually, Cassio, who is drunkbut loudly protesting that he is in factnot drunk, exits offstage .

Cassio, insisting that he is not drunkwhen he clearly is, seeks to maintain hishonor or dignity via an illusion abouthimself. At the same time, at a triviallevel, he also starts to speak untruths asa result of Iago's manipulations.

While Cassio is gone, Iago speaks withMontano, telling him that Cassio is agreat soldier, but that he has a terribledrinking problem and may not be ableto handle the responsibilities Othellohas given him. Montano says that theyshould report this to Othello, but Iagosays that he cares too much for Cassioto do that. Meanwhile, Iago secretlysends Roderigo off to pick a fight withCassio.

Iago continues to orchestratecomplicated sets of doubling-crossings inorder to promote the illusions that willhelp him with his plan. He is a master atmaking someone look bad whileseemingly trying to defend that person.

Seconds later Cassio chases Roderigoonstage, cursing at him. They areabout to fight when Montano tries tointervene, noting that Cassio is drunk.Cassio is offended, and he andMontano fight. During the fighting,Iago sends Rodrigo to raise an alarm.Cassio injures Montano.

All of the characters in this scene, misledabout each other by Iago, now do exactlywhat Iago wants them to do. Just as Iagohoped, Cassio's honor is offended whenhis drunkenness is noticed, and he reactsby fighting.

Othello enters with his attendants.He immediately puts an end to thefighting, and demands to know howthe fighting began. Iago and Cassiosay they do not know, while Montanosays that he is too injured to speak,but he adds that Iago does know thefull story.

Othello keeps up his strong, quiet dignityin contrast to Iago's flurry ofmanipulations. By saying he doesn'tknow what happened, Iago makes it looklike he is trying to protect Cassio..

Iago speaks, saying that it pains him tocause any harm to Cassio but that hemust tell the truth as Othellocommands. He explains that as he andMontano were talking, Cassio chasedin some unknown fellow (Iago doesnot identify him as Roderigo) withsword drawn. He says that Montanothen stepped in to stop Cassio, whileIago went after the unknown man butcould not catch him. When Iagoreturned, Cassio and Montano werefighting. Iago then adds that the firstunknown man must have offendedCassio in some way to make himbehave as he did.

As usual, Iago pretends that he does notwant to say what he is about to say,which makes what he is saying seemeven more authentic. Because theaudience knows that he's lying, though,his tactics are clear to us, but not to theany of the other characters. In this way,Iago makes the audience complicit in hislies, and audience almost comes to rootfor his success.

When Iago finishes his story, Othellosays that he can tell that, out of lovefor Cassio, Iago tried to tell the storyin a way that made Cassio look asgood as possible. He says that he lovesCassio as well, but that he mustdismiss Cassio as an officer.Desdemona arrives, awakened by thenoise. Othello leads her back to bed,and also promises to tend toMontano's wounds. Everyone exitsbut Iago and Cassio.

Othello is just as decisive as he was inearlier scenes, but now he, too, has beentricked by Iago and his actions onlyfurther Iago's plot. Even so, Desdemona'sarrival and then exit with Othello showsher continued obedience to Othello, and,more importantly, his confidence in thatobedience.

Cassio despairs at his lost reputation:"O, I have lost my reputation! I havelost the immortal part of myself, andwhat remains is bestial" (2.3.251-3).Iago asks if Cassio knew who he waschasing after, but Cassio says that hecan't remember anything distinctly.He adds that he plans to ask Othelloto return him to his position. Iago,however, counsels him to approachDesdemona for help. Desdemona isso kind and generous, and Othello soin love with her, that she is sure tohelp Cassio if he asks for it and just assure to convince Othello to returnCassio to his former position. Cassiothanks Iago for his counsel, and exits.

Cassio sees his reputation, his honor, aswhat makes him human. Without it, hesees himself as a beast, using the kind ofanimal imagery that other racistcharacters had used only to describeOthello. Meanwhile, Iago moves his plotinto its second phase: to twist two nobletraits—Cassio's desire to regain his honorand Desdemona's generosity—toprovoke Othello's doubt of Desdemonaand sexual jealousy of Cassio.

Iago delivers another soliloquy, inwhich he says that his advice toCassio is actually good advice, andthat enlisting Desdemona's help is thebest way for Cassio to regain hisposition. But he adds that when devilswant to do evil they make it seem as ifthey're trying to do good. Iago saysthat as Desdemona tries to helpCassio, Iago will convince Othello thatshe does so not out of goodness butlust for Cassio. "Out of her owngoodness [I'll] make the net that /Shall enmesh them all" (2.3.335–336).

Iago again takes on the role of "director,"laying out his plans for the audience. Inthe soliloquy he makes the differencebetween appearance and reality stillmore obscure. He suggests that evenreally good actions can produce badeffects. He promises to turnDesdemona's generosity against her, anduse it to provoke Othello's jealousy andruin everyone.

Rodrigo enters. He is angry that hehas gotten himself beaten by Cassioand given Iago almost all his money,but does not have Desdemona. Iagotells him to be patient, notes thatCassio has already been removed asan obstacle, and says that these sortsof plans take wits and time to develop.

Encouraging patience, Iago subtlyreinforces the parallel between his plotsand drama in general: both need time tocome to their climaxes.

Roderigo exits. Iago addresses theaudience, outlining his plan: he will gethis wife to set up a private meetingbetween Cassio and Desdemona,then make sure that Othello observesthis meeting.

Iago describes how he will stage yetanother scene and control how the othercharacters will interpret it, much as aplaywright does with every scene he orshe writes.

ACT 3, SCENE 1Trying to regain Othello's favor,Cassio hires musicians to playbeneath his window. But Othellosends down a clown, or servant, whomocks the musicians and sends themaway.

The musicians serenading create anotherscene within a scene.

Cassio gives the clown a gold piece,and asks the clown to bring Emilia tohim so that he may speak with her.The clown exits and Iago enters.Cassio explains that he sent the clownto get Emilia. Iago says that he willsend Emila down himself, and will alsomake sure that Othello does not comenear so that they will be free to talk.Cassio thanks him for his kindnessand honesty. Iago exits.

Following Iago's final soliloquy in 2.3, theaudience knows that no good can comeof Cassio's seeking Desdemona as hisadvocate. The fact that even Emilia playsinto Iago's manipulations drawsattention to how limitless Iago's capacityfor deception is: he will even use his ownwife.

Othello


Emilia enters, and tells Cassio thatOthello and Desdemona have beentalking about his situation.Desdemona spoke strongly in hisfavor. Othello responded that becauseMontano is so powerful and well-likedin Cyprus he can't simply give Cassiohis job back. However, Othello alsotold Desdemona that he loved Cassioand that he is looking for the earliestopportunity to reinstate him. Even so,Cassio begs Emilia to help him have abrief conversation with Desdemona.Emilia agrees to help him.

Emilia's report on Othello andDesdemona's conversation aboutCassio's fate underlines the extremedifferences between the Othello-Desdemona and Iago-Emilia couples.The first is based on mutual respect andlove, in the second, Iago keeps Emiliacompletely in the dark and uses her forhis own ends.

ACT 3, SCENE 2Othello, Iago, and a gentleman walktogether. Othello gives Iago someletters to send to the Venetian senate,and tells him to meet him on thefortifications. Iago exits. Othello goesto tour the fortifications.

Othello yet again exhibits his trust inIago. Such trust shows Othello's honor,yet also highlights how this good traitmakes him vulnerable he is to Iago'smachinations.

ACT 3, SCENE 3Desdemona, Cassio, and Emilia enter.Desdemona assures Cassio that shewill help him regain his position. Justthen, Othello and Iago enter. Cassiofeels so ashamed that he feels unableto talk with Othello, and exits. Othelloasks Iago whether it was Cassio whojust departed. Iago responds that itseems unlikely, because why wouldCassio "steal away so guilty-like /Seeing your coming" (3.3.38-39)?

Desdemona, who showed independenceresisting her father's anger in 1.1, hereproves herself willing to take anindependent political stand against herhusband. Iago once again manages toplant a seed of doubt in another person'smind without seeming to mean to.

When Othello reaches Desdemona,she asks him to reinstate Cassio.Othello promises to do so soon, butwon't give a definite time, much toDesdemona's annoyance. Othello saysthat he will deny her nothing, but asksfor some time to himself. Desdemonaexits, saying "I am obedient" (3.3.90).

Othello's sudden curtness to Desdemonamay indicate that he is alreadysuspicious of her, just from seeing Cassiorush away. For her part, Desdemonainsists on her obedience to him as avirtuous wife.

Othello and Iago are now alone. Iagostarts asking vague but leadingquestions about Cassio, until Othellofinally demands that Iago make clearhis suspicions. Iago then makes a showof saying that his suspicions must bewrong because Cassio seems sohonest, but in the process plants theidea of an affair between Cassio andDesdemona in Othello's mind.

Othello's exasperation with Iago's furthersupports that Othello has alreadybecome suspicious. Iago once againplants seeds of doubt while makinghimself look innocent by airing hissuspicions and then arguing that theycan't possibly be true.

Iago again says that his suspicions arelikely false. He warns Othello againstthe dangers of "the green-eyedmonster" (3.3.165-7) of jealousy,while at the same time noting thatDesdemona did successfully deceiveher father. Othello claims not to bejealous; though it is obvious from hismanner that this is untrue. Finally,Iago counsels Othello to trust onlywhat he sees, not Iago's suspicions.Othello tells Iago to have Emilia watchDesdemona, and Iago tells Othello towatch how Desdemona acts regardingCassio.

Iago continues to strive to produce theeffects of honesty. However, his wordsand shifts are carefully calculated toinspire jealousy. Notice, also, that untilthis moment, Othello has always beenhonest. Now, to protect his own honor,he lies and says that he is not jealous.Jealousy is a "green-eyed" monsterbecause it takes you over and causes youto see what is not there.

Iago exits. Othello, alone, now voicesworry that perhaps it's unrealistic forhim to expect Desdemona to love himwhen he is black, not well mannered,and considerably older than she is. Hecurses marriage and laments that it isthe fate of "great ones" to becuckolded (3.3.277).

As soon as doubt about Desdemona'sfaithfulness creeps in, Othello loses hissense of manhood and begins to beaffected by the racial prejudice that hehad formerly shrugged off.

Desdemona and Emilia enter to tellOthello it is time for dinner.Desdemona tries to soothe him withher handkerchief, but Othello says it istoo small and drops it to the floor.They exit to go to dinner. Emilia thenpicks up the handkerchief, noting thatDesdemona treasures it since it wasthe first gift that Othello gave to her,and also that Iago is always asking herto steal it for some reason. Shedecides to make a copy of thehandkerchief for him.

The handkerchief is a symbol of Othelloand Desdemona's love. Notice that it isOthello, now jealous, who says it is toosmall and lets it fall. Meanwhile, despitebeing misused by her own husband,Emilia nonetheless remains eager toplease him. Emilia's making a copy of thehandkerchief echoes her husband'sdiligently producing illusions.

Iago enters. To his delight, Emiliashows him the handkerchief. He grabsit from her hand. She asks for it backunless he has some important use forit, but he refuses to give it back andsends her away. Once he's alone, Iagoplots to place the handkerchief inCassio's room, so that Cassio will findit.

Snatching the handkerchief, Iago retainsexclusive control over "directing" theunfolding jealousy of Othello. Theplanting of the handkerchief, whichOthello dropped, in Cassio's room showshow jealousy produces the effect it fears.

Othello enters, frantic and furious,and says to Iago that he would havebeen happier to be deceived than tosuspect. He shouts farewell to warand his "occupation's gone" (3.3.357).Othello then grabs Iago by the throat,and commands him to come up with"ocular proof" (3.3.360) thatDesdemona has been unfaithful orelse be punished for causing Othellosuch emotional pain.

Othello here states that the uncertaintyof jealousy is actually worse than thepossible crime, and expressly connectshis worrying with the loss of militaryglory, of honor and manhood. He seeks toeliminate the uncertainty by gettingproof—by seeing reality.

Othello


Iago responds that it's probablyimpossible to actually catchDesdemona and Cassio in the act ofinfidelity, but that he can providecircumstantial evidence. He says thatone recent night he and Cassio sleptin the same bed, and that Cassio,while asleep, called out Desdemona'sname, kissed Iago, lay his leg overIago's thigh, and cursed fate for givingDesdemona to the Moor. Othello isenraged, saying "I'll tear her all topieces" (3.3.438).

Iago responds to Othello's demand forvisible proof with the mostcircumstantial, unverifiable evidence.And Othello, overcome by jealousy,accepts it. Notice also that Othelloimmediately thinks of killing Desdemona.He believes that she has robbed him ofhis manhood, so he feels he must destroyher.

But Iago cautions Othello that it wasjust Cassio's dream and may notsignify anything about Desdemona'sfaithfulness. Then Iago asks whetherOthello once gave Desdemona ahandkerchief with strawberriesembroidered on it (this is the kerchiefthat Emilia earlier picked up). WhenOthello says yes, Iago sadly informshim that earlier that day he sawCassio holding the handkerchief.

Yet again, Iago is most deceitful preciselyin the moments in which he pretends tobe most moderate. And, once again, hefollows a moment of backing off with aninsinuation calculated to drive Othellostill madder with jealousy—all carefullystaged.

Othello cries out in aguish, thenkneels and vows that he will takerevenge on Cassio and Desdemona.Iago kneels and vows as well. Othellomakes Iago his new lieutenant.

This highly theatrical moment of vow-taking reflects the climax of Iago's plan.He has become lieutenant, anddestroyed Othello's sense of his ownhonor in the process.

ACT 3, SCENE 4In her quarters, Desdemona sendsthe clown to tell Cassio she has madeentreaties on his behalf to Othello,and to ask him to come speak with her.

The sudden shift from the wronglyjealousy Othello at the end of the lastscene to Desdemona emphasizes justhow innocent and virtuous she actuallyis.

When the clown exits, Desdemonawonders what has happened to herhandkerchief. Emilia, who is alsopresent, says she doesn't know.

In response to Desdemona's frankquestion Emilia exhibits some of herhusband's duplicity.

Othello enters. He takesDesdemona's hand, and notes that itis moist. When Desdemona tries tobring up Cassio's suit, Othello says hehas a headache and asks for thehandkerchief he gave her. When,Desdemona admits she doesn't have itat hand, Othello tells her that thehandkerchief is magic, was given to hismother by an Egyptian sorceress, andthat a woman who loses it will lose herhusband.

Othello obsessively tries to find evidenceof infidelity. The handkerchief's originswith an Egyptian sorceress connects it to:Othello's non-white background; illusion,such as those Iago is using thehandkerchief to create; and to athreatening woman, hinting that, to men,all women are threatening.

Uncomfortable, Desdemona says shedoesn't have the handkerchief withher, but that it isn't lost. When Othellodemands that she go get it, she tries tochange the subject back to Cassio'ssuit. This enrages Othello, who exits.Emilia wonders if Othello is jealous,then comments on how fickle men aretowards women.

Under Othello's pressure, the typicallyhonest Desdemona is herself forced toequivocate. Bringing up Cassio in goodfaith, she plays right into Iago's hands.Emilia, who is less idealistic and moreworldly than Desdemona, immediatelyunderstands that Othello's behaviorstems from jealousy.

Iago and Cassio enter. Cassio asksabout his suit, but Desdemona tellshim that he must be patient—for somereason Othello seems not himself andher advocacy of Cassio only madeOthello angrier. Iago exits, promisingto look into Othello's anger.

Iago continues to handle every personinvolved in the unfolding drama carefully.The others remain clueless.

Desdemona surmises that Othello'sbad temper must arise from someaffair of state. Emilia wonders againwhether it might be jealousy. WhenDesdemona says he can't be jealous,since she gave him no reason to be,Emilia answers that jealousy needs noreason—it is a monster that grows byfeeding on itself. Emilia andDesdemona exit to look for Othello.

Like Othello, Desdemona doesn'tunderstand that a skillful liar can twistreality to look like something else. Shethinks that if she is virtuous, then Othelloand the world will see it. Emilia, however,understands that jealousy can warp aperson's vision, so that they see whatisn't there.

As Cassio waits alone, a prostitutenamed Bianca enters. She says that hedoes not visit her enough. Heapologizes and says he has been wornout with troubled thoughts. He thenasks Bianca to make a copy of ahandkerchief that he hands to her.Bianca thinks that the handkerchiefmust be a gift to him from anothermistress, but he says that her jealousyis for nothing—he found thehandkerchief in his room and doesn'tknow whose it is. Though Biancawants to stay with Cassio, he says thathe has to see Othello and that they'llhave to meet later. Bianca grudginglyaccepts.

Bianca's jealousy of Cassio provides acontrast for the jealousy that Othellofeels for Desdemona—demonstratingthat women are also subject to thejealousy that Emilia, earlier in this scene,attributes only to men. Bianca alsoserves as a contrast to Desdemona:Bianca is whore, while Desdemona'svirtuous wife. But the depiction ofBianca as a jealous woman who trulycares for Cassio complicates thecontrast.

ACT 4, SCENE 1Othello and Iago enter, discussinginfidelity. Iago uses the conversationto further enrage Othello, then letsslip that Cassio has actually told himthat he has slept with Desdemona.Othello grows frantic, almostincoherent, then falls into an epilepticfit.

Othello’s fit robs him of his ability tospeak, the trait that distinguisheshumans from animals. Consumed byjealousy, without his honor, he hasbecome the animal that the prejudicedcharacters have described him as being.

Cassio enters while Othello isunconscious from his fit. Iago informsCassio that this is Othello’s second fitin as many days, and though Cassiowants to help advises that it would bebetter if Cassio stayed away. He addsthat he’d like to speak with Cassioonce Othello is better.

Although Cassio shows real concern forOthello, Iago skillfully maintainsexclusive control over his situation.

Othello


Othello’s fit ends after Cassio exits.Iago tells Othello that Cassio passedby during Othello’s fit and will soonreturn to speak with Iago. Iago saysthat he will get Cassio to talk aboutthe details of his affair withDesdemona, and that Othello shouldhide and watch Cassio’s face duringthe conversation. Othello hides.

Up until now, Iago has staged events andthen enjoyed them as a spectator. Nowhe sets up a staged event with Othello asthe spectator.

Alone, Iago explains to the audiencethat he will actually speak with Cassioabout Bianca, who’s doting pursuit ofCassio never fails to make Cassiobreak out in laughter. This laughterwill drive Othello mad.

At the play’s beginning, Othello was thecenter of the action, the military hero.Now, his honor gone, he skulks aroundthe periphery, a kind of peeping tom.Cassio, by the way, is rather nasty toBianca.

The plan works perfectly: as Cassiolaughs and gestures, Othello growsangrier and angrier. Then Biancaherself enters, again accuses Cassio ofhaving another mistress, throws thehandkerchief at him, and exits. Othellorecognizes the handkerchief. Cassioraces after Bianca.

With Bianca’s appearance, which Iagodoesn’t seem to have planned, his scenetakes on a life of its own. Again, Bianca’sjealousy provides a foil to Othello’s own,while also further convincing Othellothat Iago is telling the truth.

Othello comes out of hiding andpromises to kill Cassio. But it is lesseasy for him to think about killingDesdemona. He keeps rememberingwhat a kind, beautiful, talented, anddelicate person she is. But Iagoconvinces him that these qualitiesmake her unfaithfulness all the worse.Othello, at Iago’s prodding, says hewill strangle Desdemona in her bed.Iago promises to kill Cassio.

Othello still shows the residue of thetenderness that he and Desdemonaeloquently expressed for each other inearlier scenes. But Iago turns this logic onits head, arguing that in Desdemona, asin all women, such attractive or nobletraits are in fact just hiding a devioussexuality that threatens to steal men’shonor and manhood.

Just then, Desdemona enters withLodovico, an envoy who is carryingorders from the Duke of Venice thatOthello is to return to Venice andleave Cassio behind to govern Cyprus.Desdemona mentions to Lodovico thefalling out between Othello andCassio, and how much she wants toheal it. This enrages Othello, and hestrikes Desdemona and commandsher to leave. Lodovico is shocked, andasks that Othello call Desdemonaback. Othello complies, but thencondemns her as a loose woman andsends her away again. He promises toobey the Duke’s commands, and thenexits himself.

The arrival of Lodovico, like that ofBianca just before, provides yet anotherserendipitous addition to Iago’s plan. Thepresence of Lodovico as an emissaryfrom Venice also reinforces howdramatically Othello has changed fromthe early scenes in Venice. Jealousy andthe fear that he has been cuckolded haverobbed him of his honor, and he now actsrecklessly, angrily, and without self-control.

Lodovico can’t believe that Othello,renowned for his unshakable self-control, would act this way. He asksIago if Othello has gone mad. Iagorefuses to answer, but clearly impliesthat something seems to be terriblywrong with Othello, and advisesLodovico to observe Othello forhimself.

Iago quickly assumes control of this newdimension of the situation. Once again,Iago refuses to answer questions in sucha way that makes him look loyal while atthe same time inspiring the beliefs hewants his interlocutor to have.

ACT 4, SCENE 2Othello questions Emilia, who insiststhat nothing has happened betweenDesdemona and Cassio. He ordersher to go get Desdemona. Othelloassumes that Emilia is helpingDesdemona in her infidelity.

Despite naively playing into Iago's handsearlier by giving him the handkerchief,Emilia shows her earnest loyalty toDesdemona.

Emilia returns with Desdemona.Othello sends Emilia outside to guardthe door. Othello than says he couldhave handled any affliction butinfidelity. Desdemona denies beingunfaithful and asserts both her loveand loyalty to Othello. But her denialsonly make Othello more angry—hecalls her a whore, and, after givingEmilia money for guarding the door,storms out.

Now that Othello suspects thatDesdemona's virtue is just a cover forwhore-like behavior, her denials of hisaccusation just makes him more certainof its truth. Jealousy feeds on itself. Bypaying Emilia, Othello is implying thatDesdemona is a whore whose time costsmoney.

Desdemona asks Emilia to fetch Iago,whom Desdemona then questionsabout Othello's behavior. Emiliathinks that it must be the doing ofsome "eternal villain" who is looking"to get some office" (4.2.135-136).Iago scoffs at this, and says thatOthello is just upset by affairs of state.Trumpets sound, and Emilia andDesdemona exit to go to supper.

Here Iago shows that he is both willingand able to manipulate everyone,including his own wife, to the end. Emiliaherself exhibits some—but notenough—perceptiveness about the entiresituation.

Roderigo enters, angry that he stilldoes not have Desdemona despite allthe jewels he's given to Iago to passon to her. He says he is ready to giveup his effort and ask her to return hisjewels.

For the first time, Roderigo asserts a freewill, and wants to do something thatwould not benefit Iago.

Iago responds that he's been workingdiligently on Roderigo's behalf andcan promise that Rodrigo will haveDesdemona by the following night.He then tells Roderigo about Cassiobeing promoted by the Duke to takeOthello's place as defender of Cyprus.But he adds a lie: that Othello, ratherthan returning to Venice, is being sentto Mauritania along with Desdemona.Iago persuades Roderigo that the onlyway to stop Desdemona from slippingforever beyond his reach is to killCassio, which will keep Othello inCyprus.

But Iago manages to maintain control ofthe situation by once again playing onRoderigo's jealous desire for Desdemona.Once he has convinced Roderigo to stay,he then weaves him even more fully intohis plots.

Othello


ACT 4, SCENE 3After supper, Othello invites Lodovicoon a walk. Before leaving, he ordersDesdemona to go directly to bed andto dismiss Emilia. Emilia helpsDesdemona prepare for bed. As theydiscuss Othello, Emilia says that shewishes Desdemona had never methim, but Desdemona responds thatshe loves him so much that even hisbad behavior has a kind of grace toher. Yet Desdemona's next words is toinstruct Emilia to use the weddingbedsheets as a shroud for her shouldshe die. Desdemona then sings a songcalled "Willow" that she learned fromher mother's maid, a woman who'shusband went mad and abandonedher.

Desdemona remains as faithful here inher love as in 1.3, despite the fact thatOthello has berated her and that sheeven seems to sense that he might killher. Her devotion to Othello even shouldit cost her her life could not contrastmore strongly with the graphic,misogynistic picture of female sexualityIago has described throughout the play.Othello is so threatened by thepossibility of having been cuckolded thathe can't see the reality of his incrediblyfaithful wife.

Desdemona then asks Emilia whethershe would commit adultery. Emiliaresponds that woman are just likemen, and will cheat on their husbandsif their husbands cheat on them.Desdemona responds that she doesnot want to learn how to emulate baddeeds, but instead how to avoid them.She dismisses Emila and goes to bed.

Emilia presents a cynical view ofmarriage, in which one bad deed inspiresanother. Though it should be noted thatEmilia seems to think that men alwayscheat first, while the men suspect thewomen will cheat first. Once again,Desdemona's displays her incrediblevirtue and faithfulness, which in hisjealousy Othello can no longer see.

ACT 5, SCENE 1In the street, Iago and Roderigo waitto ambush Cassio as he emerges fromhis visit to Bianca. Iago convincesRoderigo to make the first attack, andpromises to back him up if necessary.In an aside, Iago comments that hewins either way: if Cassio killsRoderigo, he gets to keep Roderigo'sjewels; if Roderigo kills Cassio, thenthere's no danger that Cassio andOthello will ever figure out his plot.

Iago manipulates Roderigo's jealousyand sense of honor to get him to attachCassio. Iago now shows the depths of hisdepravity. He doesn't just want to ruinOthello, he's willing to trick people intoattacking each other and dying as long asit serves his own ends.

Cassio enters. Roderigo attacks, butCassio's armor turns away the thrust.Cassio counterattacks, woundingRoderigo. From behind, Iago darts inand stabs Cassio in the leg, then runsaway. From a distance, Othello hearsCassio's shouts of pain and believesthat Iago has killed Cassio. Moved byIago's loyalty to him, Othello steelshimself to go and kill Desdemona inher bed.

Iago actions are cowardly, sendingRoderigo ahead of him and thenattacking Cassio from behind. Othelloonce again misinterprets what hashappened, though, to Iago's benefit.Othello's professed admiration for Iago,coupled with his newly misogynistic andviolent plans for Desdemona, contrastpoignantly from his declarations of lovein 1.3.

Lodovico enters with Graziano(Brabantio's brother). They hear thecries of pain from Cassio andRoderigo, but it's so dark they can'tsee anything. Iago enters, carrying alight, and is recognized by Lodovicoand Graziano. He finds Cassio, andthen Roderigo. He identifies Roderigoas one of the "villains: who attackedCassio, and stabs and kills Roderigo.

Iago here reveals the full extent of histreachery, killing the character withwhom he has plotted onstage since 1.1in order to cover his tracks. Iago,basically, has no honor to lose.

As Iago, Lodovico, and Graziano tendto Cassio's wounds, Bianca entersand cries out when she sees Cassio'sinjuries. Iago, meanwhile, makes ashow of recognizing Cassio's attackeras Roderigo of Venice, and alsoimplicates Bianca as being in on theplot to kill Cassio by getting her toadmit that Cassio had dined with herthat night.

Although the other characters dismissBianca as a promiscuous woman, sheshows real affection for Cassio. Iago,however, uses on misogynisticstereotypes to implicate the (innocent)Bianca, and further put himself in theclear.

Cassio is carried offstage and Emiliaenters. Wen Iago explains what hashappened Emilia curses Bianca.Bianca responds by saying that she isas honest as Emilia. Emilia curses heragain, and then exits, sent by Iago tobring news of what has happened toOthello and Desdemona.

The brief cat fight between Emilia andBianca shows that just as Othello mighthold racist feelings about himself, so dowomen entertain gender prejudices andstereotypes against other women.

Iago has Bianca arrested, and in anaside to he audience says "This is thenight / That either makes me orfordoes me quite" (5.1.130–131).

Iago's reference to the night as adramatic climax once again underscoreshis self-consciously chosen role as"director."

ACT 5, SCENE 2Othello enters Desdemona'squarters, holding a candle. Standingover Desdemona as she sleeps, headmires her beauty, kisses her, and isalmost moved to let her live—notingthat, like a flower, once plucked, shecannot be given "vital growth" (5.2.14)again. But, finally resolving to kill her,he moves to do so.

In comparison to his frantic, epilepticstate in the prior scenes, Othello nowseems dignified. He describesDesdemona's beauty and his ownlonging and anguish using traditionalterms, which are both beautiful but alsounderscores the tradition masculinevalues spurring him to kill the "loose"Desdemona..

Just then, Desdemona wakes. Shecalls out to Othello, who answers, andthen tells her to pray in preparationfor her to death. Terrified, Desdemonabegs to know why Othello is going tokill her. He tells her that he has seenCassio with her handkerchief. WhenDesdemona denies giving Cassio thehandkerchief, Othello tells her thatCassio has confessed to sleeping withher and, in punishment, has beenkilled by Iago. Desdemona begins toweep, which only infuriates Othellosince he believes that she is crying forCassio. He struggles with Desdemonaas she begs to be first banishedinstead of killed and then allowed tolive just a few minutes more. Othellois implacable, though, and smothersDesdemona with a pillow.

By refusing to even listen toDesdemona's denials of her suspectedinfidelity, Othello reveals how fully hehas lost his independent perspective andsuccumbed to Iago's web of illusions. Infact, he refuses even to let her live a bitlonger so she can prove her innocence.He is not interested in her innocence, inher pleas to be given a chance to explainthe truth behind appearances, becausehe is so consumed by the "monster" ofjealousy that he is certain that she isguilty.

Emilia calls from the doorway. Othellomistakes her calls as noises made byDesdemona, and smothersDesdemona again.

Othello is can't analyze reality—he can'teven differentiate between Emilia's andDesdemona's voices.

Othello


Finally, Othello realizes that it isEmilia who is calling. He draws thecurtains back around the bed to hideDesdemona's body. Then he goes tospeak with Emilia, expecting her to tellhim of Cassio's death. Othello isshocked to learn from Emilia thatCassio killed Roderigo but is himselfstill alive. Then, suddenly, Desdemonacalls out that she has been murdered.

The slow pace of Desdemona's deathstretches out its brutality and the terribleconsequences of Othello's delusion. Thenews that Cassio has killed Roderigo isthe first sign of Iago's plots unraveling.That these two things happen almostsimultaneously makes heightens theplay's tragedy.

Emilia opens the curtains and to herhorror sees Desdemona, who withher dying breaths says that she isinnocent, but then denies that she wasmurdered and instead says that shecommitted suicide. Desdemona dies.

In changing her story, Desdemona triesto spare Othello from the punishmentshe will receive, proving her love anddevotion to him to the very last.

Though Emilia does not appear tosuspect him, Othello voluntarily (andalmost proudly) admits that he killedher for being unfaithful to him. Emiliadenies that Desdemona was everfalse to him, but Othello counters thatit was "honest, honest Iago" (5.2.156)who showed him the truth.

However, Othello does not seek to profitfrom Desdemona's own attempt to"direct" a scene to his benefit. Therepetition of "honest" in his descriptionof Iago compounds the tragedy byhighlighting how completely he wasduped.

Emilia is dumbfounded as she digeststhis information, but recovers herselfenough to say that Iago was lying andto condemn Othello's actions. Othellothreatens Emilia to keep quiet, butEmilia is unafraid, saying "Though hastnot half that power to do me harm /As I have to be hurt" (5.2.169–170).She calls out that "The Moor hathkilled my mistress" (5.2.174).

Emilia, who understands Iago far betterthan the gullible male characters have sofar, demonstrates her loyalty toDesdemona by risking her own safetyand defying the murderer of her formermistress, despite his obvious willingnessto do violence.

Montano, Graziano, and Iago enter.Othello admits once more, this timeto Graziano, Desdemona's uncle, thathe smothered Desdemona. Grazianois shocked, and says that it is a goodthing that Brabantio died from grief atDesdemona's marriage so that he didnot live to see this.

The speed with which Othello istransformed from respected general toreviled outsider reveals the strength ofprejudices more or less repressed byother characters throughout the majorityof the play. Once there's reason toexclude him from the social group:Othello quickly is diminished to thestatus of outsider among the Venetians.

Meanwhile, despite Iago's effortsdemands that she obey him and bequiet, Emilia begins to piece togetherwhat happened. Othello insists againthat Desdemona was unfaithful andbrings up the proof of thehandkerchief. Now Emilia explodes inanger, and explains that she was theone who found the handkerchief andgave it to Iago.

Iago tries to control Emilia, commandingher as his wife to be silent. But she showsher independence and loyalty to bothDesdemona and to the truth. Othello,meanwhile, his crime staring him in theface, now can only preserve his honor byinsisting that Iago's version must be thetruth.

Realizing that Iago lied to him, Othelloattacks Iago, but is disarmed byMontano. In the uproar, Iago stabsEmilia and flees. Montano chasesafter Iago while Graziano stays toguard the door. Othello is left with thebody of Desdemona and the dyingEmilia. Emilia sings a verse of the song"Willow," and dies while tellingOthello that Desdemona was faithfulto him.

Othello kills Desdemona because hethinks she betrayed him. Iago kills Emiliabecause she did betray him. But shebetrayed him for the greater good, andIago's violence toward her is moregraphic and terrible than the smotheringof Desdemona, bringing home his fullvillainy.

Othello searches his chamber andfinds a sword. Graziano enters to findOthello armed and mourningDesdemona. Moments later Lodovicoand Montano enter with Iago, whomthey've captured. Cassio also enters,carried in on a chair. Othelloimmediately stabs Iago, who is injuredbut not killed. Othello is disarmed byLodovico's men. Othello then begs toknow why Iago did what he did, butIago refuses to speak at all. Lodovico,however, has found two letters inRoderigo's pocket that reveal all ofIago's schemes.

Cassio's relative restraint, despite havingbeen wounded by Roderigo and Iago andmistrusted by Othello, reveals hisstrength of character, which contrastswith Iago's increasingly sadistic malice asthe extent of his plot is revealed. Byrefusing to speak, Iago retains some ofthe directorial control of events that hehas striven for throughout: he neverreveals his inner reality to the othercharacters.

Now Lodovico turns to Othello, andtells him that he must give up hiscommand and return with them toVenice. In response, Othello asks thatwhen they speak of what hashappened they "speak of me as I am ...as one that loved not wisely but toowell" (5.2.344). Then Othello tells astory about a time when he oncedefeated and stabbed a Muslim Turkwho had killed a Venetian, and as hedescribes the stabbing so he takes outa hidden dagger and stabs himself. Hefalls onto the bed next to Desdemonaand dies while giving her a final kiss.

Othello, now comprehending everything,shows frank, deep remorse. His curiousfinal anecdote both asserts his rightfulmembership in Venetian society. In agesture reminiscent of how othercharacters (Iago, Roderigo, Brabantio)have drawn on racial stereotypes toexclude Othello and cement their ownrelationships, he here defines himself asan "insider," a Christian, against the"outsider" or enemy, the Turk. Yet, at thesame time, when he tells of stabbing theTurk, he also stabs himself. In effect, he isdefining himself as both an insider andan outsider, someone who defendedVenice but was nevertheless seen as botha possible enemy and an animal by otherVenetians.

Lodovico demands that Iago lookupon the destruction he has caused.He notes that Graziano is Othello'sheir, and says that Cassio is to carryout the execution of Iago. Then hedeparts to carry the sad news toVenice.

In the final moment of the play, Iago, whohas directed action throughout, ends upas a spectator to his own misdeeds.

Othello


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