Critical Focus on Act 4 Scenes 1, and 2

Othello the Moor of Venice

Character of Othello?Estimating a character / a leader?

Qualities of Othello as an individual?As a leader?How intelligent?Is he a critical thinker?Is he logical / rational?Is he wise?

A wise man proportions his belief to the evidence. - David Hume

It is undesirable to believe a proposition when there is no ground whatever for supposing it true. - Bertrand Russell

One of the things that should be taught in schools must be the habit of weighing evidence, and the practice of not giving full assent to propositions which there is no reason to believe true. - Bertrand Russell

Bertrand Russell

What is wanted is not the will to believe, but the wish to find out, which is the exact opposite.

A condition of rational doubt would be desirable;

To address the problem of the inherent irrationality and credulity in the world

Iago in soliloquy on Othello 1.3 p45

He holds me well;

The better shall my purpose work on him.

Iago in soliloquy on Othello p47

The Moor is of a free and open nature, That thinks men honest that but seem to be so, And will as tenderly be led by th’nose As asses are.

1.3.397-400

Iago 1.3 p43

’Tis in ourselves that we are thus or thus. Our bodies are our gardens, to which our wills are gardeners.

These Moors are changeable in their wills…

The food that to him now is as luscious as locusts, shall be to him shortly as bitter as coloquintida. 1.3 p43

Iago

If sanctimony and a frail vow betwixt

an erring barbarian and supersubtle Venetian

be not too hard for my wits and all the tribe of hell,

thou shall enjoy her.

Michel de Montaigne writing in one of his essays in1580

It is perhaps not without reason that we consider credulity and the readiness to be persuaded to be signs of simplicity and ignorance.

For I was once taught, and I think, that belief is like an impression made upon the mind, and that the softer and less resistant the mind, the easier it is to impress something upon it.

That is why children, the common people, women, and the sick are particularly apt to be led by the ears.

Othello-Desdemona relationship

Iago suggests there is something unnatural in Desdemona’s flouting of the established social hierarchies of ‘clime, complexion and degree’ to marry a black man

‘Clime’ (location); ‘complexion ‘(skin-colour); ‘degree’ (class);

Desdemona’s act indicates as Iago declares: ‘Foul disproportions , thoughts unnatural!’ 3.3.235-238 p129

Poetic Drama (Dramatic Technique)Quantity of a line; Short Lines

When there are fewer than five beats made up of ten syllables (Iambic Pentameter) in a line, in an otherwise regular poetic speech;

Reason for the missing beat of two syllables? May be because of a demand within the situation;

or within the character for this silence; It may be that a movement is needed, or that the

thought overwhelms the speaker for that moment;

Note the short lines in the following; critical significance?

Iago: ‘I do not like the office.’ 3.3 p141Contains how many beats? Only three; not five I do / not like / the office Iago: ‘I could / not sleep.’ Contains two beats Iago: ‘One of / this kind / is Cassio.’ Contains three or four depending on pronunciation of

‘Cassio’

Critical Significance of these Shorter Lines

These short lines seem to point to the fact that Iago is intentionally giving Othello Extra time; Why? So that Othello can better absorb the implications of what Iago is saying;They are deliberately calculated in this way;Iago is keeping Othello on the hook,And he is closely observing the effect he is having on him at this moment in time;

Iago thus manipulates Othello also by how he manipulates Rhythm

Later in this scene 3 of Act 3We hear Othello exclaim:‘O, blood, blood, blood!’How many beats? (Rhythmic Movement)Three; Why? Purpose? Intention?The three beats indicate an overcharging of emotionIago’s last line: ‘I am / your own / for ever.’Its simplicity also underlines the irony of the lie; And Iago’s relief at the success of his hard work.

Note Symbolism of Light and Darkness

Acts 1, 2, and 5 are set in the darkness of the night Act 3 and Act 4 are set in broad daylight Critical significance [Linked to Appearances] Note: In the scenes of Act 3 and Act 4

Iago’s deceptions take place; Why ? Symbolically suggests Othello should be able to

see through matters more clearly; Dramatic Effect: This intensifies the irony

Fifth stage of Iago’s malice

Act 4 Scene 1 begins with the entry of Othello and Iago in the middle of a conversation [Recall Scene 1 of Act 1]

Dramatic technique / a stage device to concentrate attention upon crucial dialogue in a realistic way

We have seen Othello grow in jealousy in the belief in his wife being guilty of adultery;

From the first uneasiness at Iago’s hints to the savage insistence on the handkerchief

But the growth has not been steady Othello has had moments of return to near sanity And until the end there will be other moments

when he remembers the purity and love which Desdemona once represented to him;

Dramatic Effect? Creates and sustains suspense

Plot summary of this scene

Opening of this scene shows Iago working Othello up to a further peak of jealous rage

Begins with suggestions of an illicit love affair between Cassio & Desdemona

Then comes Cassio’s ‘confession’ of his conquest of Desdemona

Another of Iago’s fabrications (like Cassio’s dream in Act 3 Scene 3)

Iago supplies sufficient details engineered to cause Othello to collapse into incoherence

Plot summary cont (note symbolic significance of this conversation)

Upon Othello’s recovery Iago has a further daring scheme ready, intended to finally satisfy Othello

that Cassio and Desdemona really are lovers Othello is to stand by, UNSEEN,

while Iago engages Cassio in conversation

Note: Othello can see Cassio’s gestures but he cannot hear exactly what is being said

Othello therefore misinterprets the conversation, as Iago intends him to do

Othello comes to believe that Iago and Cassio are discussing Desdemona

But they are in fact talking about Bianca in grossly unflattering terms

Dramatic Effect? Meanwhile how all this appears to Othello

works him up into an anguished rage

Lodovico, a kinsman of Brabantio, arrives from Venice, bringing news that Othello is to be recalled from Cyprus

And that Cassio is to replace him as Governor Desdemona recounts to Lodovico what has happened

between Cassio & Othello And innocently mentions the ‘love’ she has for Cassio At which point Othello strikes her publicly; Lodovico recalls the noble Moor of earlier days And laments the transformation he witnesses in him And turns to WHOM? To Iago of all people for an explanation

Dramatic purpose of Act 4 Scene 1

To win over pity and sympathy for the hero To revive Othello’s anger To show the depths of jealousy and violence

to which Othello has descended To highlight the outrage upon Desdemona To highlight Iago’s malice To intensify audience hatred of Iago To introduce a necessary moment of relief

Dramatic effect?? Theatrical effect??

Pity and sympathy for Othello

Othello is undergoing the most horrible torture.

Of what kind? Form?

Mental torture; psychological

Interpretative analysis

In Othello, we see the grand simplicity of the barbarian; or would you agree???

With his love a rapture of chivalry and fond protectiveness

Fatal flaw arises not of injured personal pride It is the anguish of despair for human purity

and truth???

The Individual, Humanity and Society

Shakespeare shows how a marginalized individual like the Moor, Othello, comes to believe he is somewhat less than human

And in striving to embody the dominant notion of humanity in Venetian society

He comes to lose his way in the world Despite initially seeming different from other Moors,

Othello ultimately embodies the stereotype of Moorish lust and violence

‘Are you a man?’

Othello becomes a jealous, murderous husband of a Christian high society lady, the daughter of a senator no less;

Why does Othello do so? Is Othello returning to his essential nature? Is he hard-wired, fated and hence predestined to play out

the script of wife-murderer? Or asked in more modern terms—

Is he genetically programmed as a man, or as a Moor? Iago asks him, ‘Are you a man?’

Sure, he does contribute to his destruction? But what of his punishment? Deserves it? The audience may feel he meets with

punishment out of all proportion to what he has done

What again of his qualities? We know he has admirable, great qualities

That he has achieved much in military affairs That essentially he is of noble character And so? Any big ‘BUTS’? But he has allowed himself to be debased by

a humiliating passion; How much debased? To a level not far above that of the animal In fearing for him, we also even fear for

ourselves. Do you know why this may be so?

Being a tragedy, it is meant to involve us And excite emotions of fear and pity [Effects] Othello seems to suffer for the virtues he has; His nobility of mind; Defect? Too self-centred? With his jealousy aroused, do you not think he dwells

too long on his own lost pride? Thus excluding other considerations; such as? The possibility of his wife’s innocence…

Othello had a choice? The choice of believing in Desdemona’s innocence, but Iago…??? thus for Othello, is

choice therefore impossible? Could we then say therein lies the essence of this

tragedy?

Let us look more closely at Othello in this scene and his horrible transformation…

Recall again qualities we associate with Othello? Such as what? His courage, honesty, nobility, dignity? And what about now? An infected mind; And near psychological exhaustion No longer demands proofs Iago’s gross image of a “kiss in private” [L-4]

is enough to convince him Argument is now a tedious process for him

Yet he tries hard to endure the torture And to reason things out (textual evidence?) As Othello declares: A wife should be

“protectress of her honour” L-14 Othello appears forgetful? Iago reminds him, and keeps prodding him about

the matter of the handkerchief Othello snaps back “I would most gladly have

forgot it!” [L-19]

Each fresh verbal stroke of Iago debases him Notice Othello jumps to conclusions long before Iago

finishes a sentence or fills in the point of Cassio’s “blab— ” [re Cassio’s urge to talk…of his ‘affair’]

All his dignity, nobility, and authority dissolve and he is shaken not by words, but by images

“Noses, ears, and lips”

Note: Stage Directions [Falls in a trance]

Iago: With her? On her. What you will. Othello: Lie with her? Lie on her? We say lie on her

when they belie her. Lie with her – Zounds, that’s fulsome. Handkerchief – confessions –handkerchief! To confess and be hanged for his labour – first to be hanged, and then to confess. I tremble at it. Nature would not invest herself in such shadowing passion without some instruction. It is not words that shake me thus. Pish! Noses, ears, and lips. Is’t possible? Confess – handkerchief! O devil!

Note Othello’s preparedness to faithfully follow all Iago’s instructions

To become an eavesdropperCritical thinking question: Does he come across as a tragic figure? We see him hide, crane his neck, and strain his

ear to listen to talk between Iago and Cassio

Critical significance of his dramatic actions? Recall Othello was so frank, and open in all his dealings But Othello is now prepared to be “most cunning in my patience” [L-91] so that he can

hear all Emerging from his hiding place with one thought? “How shall I murder him, Iago?” L-167 Slow or fast? “I would have him nine years a-killing” L-175

In what state is his heart now?Turned to stone; convinced of Desdemona’s unfaithfulnessSo when shall her murder take place?At once: “…let her rot and perish, and be damned tonight, for she shall not live” L178-179

Conjures up in his mind a picture of what he is about to murder:

“O world hath not a sweeter creature…so delicate with her needle…an admirable musician…O she will sing the savageness out of a bear…Of so high and plenteous wit and invention…and then of so gentle a condition” L180-190

Othello at this point is out of his mind with these torturous thoughts;

And he wants vengeance—HOW? “I will chop her into messes.” L197 He is now so corrupt and debased in mind he is even ready to change his plan and accept

Iago’s instead— Iago: “Do not with poison, strangle her in her

bed, even the bed she had contaminated” L204-205

Even when he speaks of her murder he thinks of himself not as a murderer but what?

An agent of JUSTICE: “the justice of it pleases, very good.” We note his display of anger when he hears

Desdemona express her happiness at the news of Cassio’s appointment. Does what?

Note stage action: He strikes her… Symbolical significance?

Even hints publicly at her promiscuity? How? “Ay, you did wish that I would make her turn. Sir, she

can turn, and turn, and yet go on, And turn again”Note, tries to vindicate striking her…How? By calling her “devil”: ‘O

devil, devil! if that the earth could teem with woman’s tears, Each drop she falls would prove a crocodile. Out of my sight!

Critical significance of these words and actions???

Dramatic Effects

Othello is in the labyrinth of the monster Iago And now he also is similar to

the demi-devil who ensnared him

Othello’s degradation, his debasement is complete

The audience’s sense of pity for Othello deepens

What of Iago? Intensifying hatred

Iago now aware of his own imminent danger There is the possibility his plan could be

discovered [TEXTUAL EVIDENCE?] Recall Othello’s words to Iago:

“Villain, be sure thou prove my love a whore” But Iago plays his role calmly and steadily Tantalizes Othello with disconnected phrases

and enigmatic laughter

More graphic, grosser Imagery

He is bolder in the vivid images of this relationship which he presents to the tortured mind of Othello

And brutally direct and realistic sounding in his description of Desdemona’s allegedly immoral behaviour…

“To kiss in private….naked with her friend abed”

Iago is elated by his own success: “Work on, My medicine, work: thus credulous fools are

caught” The unexpected entrance of Cassio at this moment is a

challenge to Iago’s presence of mind

Note he cleverly switches from gloating and moralizing to pretended concern for his master

He inventively tells Cassio the trance is epilepsy

Manipulating Rhythm

“The lethargy must have its quiet course” Why ‘quiet’? Stressing the need for ‘quiet’ is to get rid of Cassio and return

to inflicting further torture on Othello Seeing Othello’s rage flag, concocts a fresh plan Iago provokes Cassio to speak scurrilously of Bianca

One challenging problem for Iago here? Must somehow prevent Cassio from mentioning the name,

BIANCA

Following the movement of the dialogue

Iago’s plan continues to work well But he is not yet altogether satisfied He must keep Desdemona in Othello’s mind He does so by reminding him of the handkerchief Once again he turns the knife in the wound Iago says that Desdemona gave the handkerchief

to Cassio; and then next he says: “he hath given it to his whore”

In doing so he steers Othello to ultimate destruction

In thinking over this scene?

There is immense horror to be seen in Iago (very much apparent in this scene)

Behind Iago’s action we see only the working of his own dark, devilish mind

Some critics maintain he had a grievance which justified some of his actions???

They being what???

Grievances accounting for his motivations for malice

1) That Iago had been passed over for promotion;

2) That both Othello and Cassio had illicit relationships with his wife, Emilia

Critical question to ask re- point 2: If suppose the second point were true,

how come we do not hear Iago express indignation about his wife?

Some critics maintain that Iago had not an innate love for cruelty for its own sake

Rather that he had a love for POWER This allows him to be master of the destiny of

others What is your theory to account for Iago’s evil

machinations???

Act 4 scene 2 a room in the castleThe Brothel Scene

To introduce the Brothel Scene; (So called because Othello questions Emilia as though she

were the keeper of a brothel) To accentuate the nobility of Desdemona To link up the machinery of the plot [this scene functions to

tie up loose ends of the plot thus far] To prepare the audience for the downfall of Iago To show the progress of Othello’s degradation To show Othello is more anxious to obtain evidence of

Desdemona’s guilt than her innocence To highlight the character and function of Emilia

Othello’s ideas and language(Entry point through language)

This scene marks an even more extreme stage in the degradation of Othello

who is by now thoroughly corrupted His corruption is underlined by his use of

ideas and language previously characteristic of Iago (note the language of corruption)

Othello has taken over Iago’s role as he blackens Desdemona’s character

Desdemona perceived as a prostitute

Othello treats Desdemona as a harlot;

She cannot comprehend the reason for his attitude or his anger

Then Othello indulges in self-dramatization and self-pity seeing himself as the very pattern of the betrayed husband;

Diction; repetition of the word ‘whore’ the language of corruption

Emilia: ‘…the purest of their wives.’ Othello: This is a subtle whore. Are you not a strumpet? Was this fair paper, this most goodly book Made to write ‘whore’ upon? Damn thyself; false as hell Impudent strumpet

Recall Iago on Reputation 3.3

Good name in man and woman, dear my lord,Is the immediate jewel of their souls,Who steals my purse, steals trash; ’tis something,nothing;’Twas mine, ’tis his, and has been slave to thousands;But he that filches from me my good nameRobs me of that which not enriches him,And makes me poor indeed.

Desdemona about Othello in 3.4Noble Moor; and Base Moor

Believe me, I had rather have lost my purseFull of crusadoes. And, but my noble MoorIs true of mind, and made of no such basenessAs jealous creatures are, it were enoughTo put him to ill-thinking. p147

Desdemona’s denials of guilt inflame Othello’s anger; (stage directions: Raises his voice) ‘I took you for that cunning whore of Venice’ p193

Calls Desdemona a strumpet and Emilia a procuress;

He feels that he must make her admit that she is the wanton he believes her to be.

‘Heaven truly knows that thou art as false as hell.’

Desdemona: I hope my noble lord esteems me honest.

Othello: O ay, as (honest) summer flies are in shambles, That quicken even with blowing. O thou weed Who art so lovely fair, and smell’st so sweet That the sense aches at thee, would thou hadst never been born.

Cold Irony

It is this monstrous ‘fact’ which In this last full conversation with his wife before

her murder in Act 5 That finally drives Othello from heart-break,

through disgust and anger, To the cold irony when he declares I cry you mercy then. / I took you for that

cunning whore of Venice / That married Othello.

Desdemona (earlier and now)Making cross connections

Roderigo (to Brabantio, about Desdemona) in 1.1.132-136 p11Your daughter, if you have not given her leave, I say again, hath made a gross revolt, Tying her duty, beauty, wit, and fortunesIn an extravagant and wheeling strangerOf here and everywhere.

The Individual in conflict with Society

Emilia critically questions 4.2 p195Note the use of enumeration

Hath she forsook so many noble matches,Her father, and his country, all her friends,To be called whore? Would it not make one weep?

[Issues related to the Individual and Society]

Parallelism

Desdemona is reduced to a pitiful wreck through the vile abuse of her character by the only person she really and deeply loves

(We recall) in the previous scene, [4.1] Iago has enjoyed his cruel triumph over a helpless, suffering Othello

In this scene Othello enjoys a similar triumph over a helpless Desdemona

Both episodes dramatically parallel each other, to what dramatic effect?

Parallelism (making connections)

Desdemona pleads with Iago to help her to win back her husband’s love

But she is met only with the same cold merciless response as greeted Othello when he cried out for understanding from Iago

Her kneeling to heaven at this point to confess her fidelity parallels Othello’s similar action in Act 3, Scene 3 when his motive was to seek divine sanction for his revenge

Irony of this scene oft times intense

Of all people, Desdemona to ease her torment, who does she go to / turn to for assistance?

Iago (Implications?) For help to win back Othello’s love Irony Bitter irony When Iago enters to observe the suffering Desdemona

Desdemona to Iago

O good Iago What shall I do to win my lord again? Good friend, go to him; for, by this light of heaven, / I know not how I lost him. Here I kneel: / If e’er my will did trespass ‘gainst his love / Either in discourse of thought or actual deed, / Or that mine eyes, mine ears, or any sense, / Delighted them in any other form, / Or that I do not yet, and ever did,

And ever will – though he do shake me off To beggarly divorecement – love him dearlyComfort forswear me! Unkindness may do much;And his unkindness may defeat my life,But never taint my love. I cannot say ‘whore’:It does abhor me now I speak the word;To do the act that might the addition earnNot the world’s mass of vanity could make me.

Emilia stumbles on the truth of Othello’s bitterness

Emilia is now convinced that Othello’s jealousy has been inspired by some self-seeking knave—

‘some eternal villain / Some busy and insinuating rogue’ has ‘abused’ Othello with foul slander of Desdemona pg 197

Dramatic Irony? The rogue in dramatic ironical terms stands

beside her in the form of her husband

This scene serves to illuminate character

We see Othello maddened by grief and jealousy

Devising a fantastic playlet through which he acts out his fears that Desdemona is a prostitute

And her attendant Emilia, the brothel Madam With himself as the visiting stranger throwing

coins for the services they have rendered ‘There’s money for your pains.’ p193 It is a horrific scene With Othello the only player And the ladies completely defenseless against

his cruel epithets

Cruel epithets; foul imagery

Recall the noteworthy choice of imagery of

‘foul toads’ ‘o, ay, as summer’s flies’ and ‘o thou black

weed’ that accompanies Othello’s words

The scene in powerful dramatic terms shows further the extent of Othello’s degradation

Change; Transformation

Emilia:

Here’s a change indeed. [p193]

Recall the words of Iago at the end of 1.3

‘It is engendered. Hell and night Must bring this monstrous birth to the world’s light.’