Transcript Othello - Livre Or Die

Lecture Othello the Moor of
Venice
Critical focus on Act 3,
most particularly the
Temptation Scene
Iago at end of Act 2, Scene 3
Iago to Roderigo
 How poor are they that have not patience!
What wound did ever heal but by degrees?
Thou know’st we work by wit, and not by
witchcraft;
And wit depends on dilatory time. p101
Iago in soliloquy
at end of Act 2, Scene 3

Two things are to be done.
My wife must move for Cassio to her
mistress:
I’ll set her on.
Myself the while to draw the Moor apart,
And bring him jump when he may Cassio find
Soliciting his wife. Ay, that’s the way.
Dull not device by coldness and delay. p101
Dramatic purpose of Act 3 Scene 1




To accomplish some comic relief
To effect the transition between Acts 2 and 3
To move the action of the play another step
forward
To throw further light on the characters of
Cassio, Iago, and Othello
Re- Dramatic Irony in the play…







There are numerous instances of dramatic irony
How to recognize it?
In those numerous instances in the play
where the speaker is totally blind to the implications
of what s/he is saying…
E.g. Cassio’s greeting Iago: “In happy time, Iago”
“I never knew / A Florentine more kind and honest”
Cassio is thus so impressed that he considers the
character and behaviour of Iago, the Venetian,
worthy of his own Florentine countrymen
Some comic relief




Act 3 Scene 1: a scene of tension. Audiences tend to
take pleasure and delight in the bawdy,
the burlesque, and comically clever wit
Through the entry of a Clown, some comic relief is
achieved
The Clown’s ribald, witty puns on ‘wind’, ‘tail’
and ‘tale’, and his allusion to the nasal drawl of
Neopolitan speech has the power to amuse
The Clown plays up his amused audience, and adds
a little more merriment with his comically witty
remark:
“and the general so likes your music, that he desires
you, for love’s sake, to make no more noise with it.”
[3.1.11-12] p109
 We can imagine his wit being appreciated with a
highly amused burst of laughter, thus helping to
relieve the tension of the previous scene.

Effecting the transition




Cassio has arranged for the musicians to play in the
court before Othello’s castle
Having fallen into disfavor with Othello, he hopes
through the morning music to soothe the savage
beast…
The music itself effects the transition between Act 2
and Act 3, by marking the setting of the time and
place of the new action
For a short while the music and the Clown’s puns
help put at bay the evil of the previous scene.
Another step forward
In Act 3 Scene 1, we learn from Emilia that
Desdemona has been defending the cause of
Cassio
“The general and his wife are talking of it,
And she speaks for you stoutly.” [3.1.44-45] p111



We learn from Emilia that Othello might be prepared
to listen to her and to forgive Cassio (Not that he is)
Emilia: “He might not but refuse you…” 3.1.47 p111
We learn that Emilia is prepared to arrange a private
meeting for Cassio with Desdemona where he can
speak his heart more freely
 We learn that Iago is planning to use this private
meeting to further his own scheme:
“And I’ll devise a means to draw the Moor
Out of the way, that your converse and business //
May be more free.” [3.1.37-39] p111
 We can assume what his real purpose will be.

A brief word about Act 3 Scene 2

A very, very, very short scene, so what?
It is nevertheless very dramatically significant

Why?

The audience will notice that it is Iago who
now accompanies Othello,
not Cassio


and Irony re Act 3, Scene 2

And it contains a very deep irony…?

While Othello is inspecting
fortifications…defenses against attack

Othello’s security in his own home is already
being undermined and endangered by Iago’s
evil, scheming machinations
Scene 3, The Temptation Scene

Theatre audiences tend to be very impressed
by this part of the play?

For the awesome power of its drama, and
its highly impacting, gripping dramatic effect

Crucial third stage of Iago’s malice / evil
Dramatic purpose of Act 3 Scene 3
the central scene;
The Temptation Scene…








To begin on a lighter note a horrifying scene
To introduce the importance of a strategic exit
To show Othello & Desdemona as husband and wife
To show how Iago casts his mesmerizing spell over
Othello, and to bring his plot to a head
To introduce a strategic entrance
To draw attention to the significance of a seemingly
trivial object to a jealous mind
To create suspense in the mind of the audience
To introduce a moment of suspense for Iago
Overview of this pivotal scene





The scene deals with psychological action;
rather than physical action
It is a scene of great dramatic interest and gripping
psychological intensity [Effects]
We watch Iago fostering suspicion by using
veiled, undefined insinuations
and purposefully avoiding explicit accusations
against Desdemona
We see the effect of his skilful Machiavellian style of
manipulation of words and ideas on Othello
Timing of movement





There is little physical movement except
the strategic entrances and exits of characters;
Important to observe the timing of these;
Here we see terrible events occurring; but
they all happen in the minds of Othello and Iago
The scene generates and grows in intensity,
full of inner action
Portrays fully the psychological changes brought
about in the mind of the noble Moor by the devilish
Iago

We as audience are made to hear this
lengthy Iago-Othello conversation in full

So that we as audience can appreciate the
full irony
of the interpretation that Iago will place on it
later

Dominant Role in this dialogue?
Iago;
 His ingenuity, inventiveness, cunning, luck,
and hypocrisy are evident throughout
 An analysis of the various crucial stages in
Iago’s assault on Othello’s peace of mind,
and
 on the reputations of Desdemona and Cassio
 Reveals the depth of Iago’s evil genius
Theme of Transformation / Change
/ Metamorphosis





At the beginning of this scene, Othello is still a
happily married man
By the end? Change?
He has decided to murder his wife, and also Cassio
Iago alone who contrives this extraordinary
transformation of Othello’s mind and heart
Remember:
Every word, and every pause in this scene is of
dramatic significance
Beginning on a lighter note
It is a scene with a horrifying mixture of wit
and witchcraft (note these themes!!!) packed
tight with the sinister work of the poisoning of
Othello’s mind
Note the imagery of?
 Imagery of disease and corruption
 But it begins with deceptive lightness as we
hear Desdemona reassuring Cassio:
 “I give thee warrant of thy place” 3.3.20

Foreshadowing




Desdemona is in a cheerful mood in contrast
with the sad Othello
Her reassurance comes across as sincere:
“Therefore be merry, Cassio,
For thy solicitor shall rather die
Than give thy cause away” 3.3.26-28
Unknown to herself, what she says ironically
is foreshadowing her own disaster


Note also implications of Desdemona’s
assessment of Iago’s character:
“O that’s an honest fellow. Do not doubt,
Cassio” [3.3.4]
p113
[Note the dramatic irony]
Her faith in Iago, and the part she plays in
Cassio’s suit lead to the loss of her
husband’s love and her own death
The ‘strategic’ exit (of Cassio)





We see Desdemona behaving as Iago predicted.
Her generosity of spirit is evident in her reply to
Cassio as he requests for reinstatement
It is the ever alert Iago who notices Cassio’s abrupt
exit
And he immediately sees in the hasty departure a
golden opportunity to implement his scheme for
REVENGE
He shrewdly improvises to have it fit into his evil plot
Tone of voice; How are we meant
to hear Iago ‘s words to Othello?





Iago thus mutters “Ha! I like not that” p115
He assumes reluctance; Why?
To elaborate on what exactly it is he does not
like…
He therefore with pretended casualness tries
to turn to another conversational topic
Iago affects a show of surprise:
“Cassio, my lord?” 3.3.37 p115
*Remember in drama—
the importance of also reading and
noting…the unspoken text; the unsaid







Iago answers evasively Othello’s question
Pretends to deny that there was anything wrong in Cassio’s
sneaking away “so guilty-like” 3.3.36
*This allows time for suspicion to take root in Othello’s mind
But the upshot is, Iago has made his point
Iago has created in the mind of Othello, if not suspicion, at least
an unhealthy curiosity
He has sown the first seeds of disquiet;
It is important to trace and note how this dramatic effect is
created through close attention to the Machiavellian nature of
the language choices.

Lecture on

Act 3 Scene 3

Part 2
*Othello & Desdemona: a dramatic
moment in their husband / wife
relationship



Just before Iago begins proper to set the full
force of his evil plot in motion
We are presented with Desdemona as an
ordinary yet loving wife pleading to her
husband on behalf of Cassio
She feels she has a right to plead for this
reconciliation, as Othello’s equal and
partner






To which Othello declares twice: “I will deny thee
nothing.” 3.3.76 p119 and again in line 84
Her serious pursuit reinforces his rising suspicion
Note Othello’s off-hand replies; Suggesting what?
Doubts about her sincerity
Desdemona has won her point but it is won because
of the love between them,
But —
Into this gentle victory, a note of tragic irony is
registered with a dramatic foreshadowing in Othello’s
last lines:
Foreshadowing “Chaos”
“Excellent wretch! Perdition catch my soul,
But I do love thee, and when I love thee not,
Chaos is come again.” [3.3.90-93] p119
 For Desdemona, up to this point the scene is one of
unclouded happiness
 And notice her language: the short, tripping phrases
which gives a quicker, lighter rhythm e.g. lines 19-28
 In contrast to the rhythm of lines spoken by Othello
 When later Othello turns against his wife, we will see
‘chaos’ does indeed have a bloody reign.
Iago’s alertness and
mesmerizing evil spell
We see here Iago’s diabolic cunning as he sets
about gaining possession of Othello’s soul
Let us look more closely at his evil skillfulness:
 Iago has been alert all the time during
Othello’s conversation with Desdemona
 He affects surprise at learning Cassio knew
of Othello’s love when he wooed Desdemona
Importance again of tone of voice
p119




Othello: ‘What dost thou say, Iago?’
Iago : “Did Michael Cassio, / When you
wooed my lady, / Know of your love?”
Othello: “He did, from first to last.
Why dost thou ask?”
Iago pretends his question was merely an
afterthought with ‘But for a satisfaction of my
thought; / No further harm’ p119
Iago’s questioning (tone?) and
half-expressed thoughts
Iago’s questioning intoned “Indeed?” L-101
creates the internal dramatic effect of?
 Arousing Othello’s curiosity further…
 Iago evasively parrots Othello’s words:
“Honest, my lord?” “Think, my lord?”
Internal dramatic effect?
 Iago intensifies doubt in Othello’s mind with
his deliberately half-expressed thoughts

Importance of facial gestures





Iago excites Othello’s curiosity by contracting
and pursing his brow together
Othello notices Iago’s expression: ‘And didst
contract and purse thy brow together’ L-113
Provokes Othello by refusing to let him know
what “horrible conceit” 115 he has concealed
It is evident Iago’s words (his hesitations)
have frightened Othello [effect]:
“Therefore these stops of thine affright me
more” L-120 p121





Up to this point how might one best in
summary characterize Iago’s language?
Iago has been working on the mind of
Othello; ‘abuse his ear’
by veiled suggestions
and stirring up his mind
using vague general insinuations
Iago continues in this vein…
but dares to also give more explicit
statement of his menace
Iago now becomes more specific;
 Introduces directly the name of Michael
Cassio
 Iago slyly suggests there is no basis for belief
in Cassio’s honesty
 except that “Men should be that they seem”
L-126 p123
Planting Suspicion





Plants suspicion in the mind of Othello who then
demands that he speak his thoughts no matter how
horrible; Othello thus says:
“…and give thy worst of thoughts” L-132 p123
[Effect] Othello is so eager now to know more
But Iago’s hesitant replies, those “stops”
are intended to give what impression?
[Effect] That the truth is more shockingly foul and
filthy than would be appropriate to say straight out
And getting more daringly direct;
Iago does not forget details…





Iago warns Othello against “the green-eyed monster”
Iago: “…for now I shall have reason / To show the
love and duty… / With franker spirit” 192-194 p127
“Look to your wife; observe her well with Cassio” 196
And note his well timed pointed remarks about the
natural tendency of Venetian women to deceive their
husbands and commit adultery: ‘In Venice…’ 201-4
And here too he timely revives Desdemona’s
deception of her father: “She did deceive her father”
Iago: ‘Beware the green-eyed
monster’ speech p125

O beware my lord of jealousy;
It is the green-eyed monster which doth
mock
The meat it feeds on. That cuckold lives in
bliss
Who certain of his fate loves not his wronger,
But O, what damned minutes tells he o’er
Who dotes, yet doubts, suspects, yet fondly
loves.
Dramatic effect? The poison is working







From a rapturous declaration of faith in Desdemona,
we now see Othello suspecting and
Interpreting his wife’s behaviour in unfaithful terms
Iago puts on a mask of loyal concern and apologizes
for imparting these suspicions
Deceit
He is watching the effect of his words on Othello
And is confident the desired effect will show itself
“I see this hath a little dashed your spirits.” L-214
Othello now entirely in Iago’s power





Othello, a noble character, now almost literally
possessed by a demonic agent of Evil;
Iago elaborates on Desdemona’s refusing many
proposed matches, and in time
bound to regret her choice of husband when she
regains her own true nature
Iago is now in full control of Othello, and we see the
depths into which he has sunk
Othello wants to know more and is now even
prepared to spy on his wife






“If more thou dost perceive, let me know
more. / Set on thy wife to observe.”
Othello then asks Iago to be left alone
At which point he gives free rein to the
feelings of grief that have been building up
inside him
Othello asks “Why did I marry?” L-241 p129
Tone of voice?
It is a cry of painful awareness
Othello has fallen for and into Iago’s
trap





In this groan we have reached the climax of the
scene
The highest point in the tension / conflict
And the decisive turning point in the play
The monstrous image of Desdemona’s infidelity and
adultery is conjured up in Othello’s mind
By the power of language, by innuendo, Iago has
sired the “green eyed monster” and the stirring of
Othello’s imagination will nurture it.
Othello p131 Critical Significance?

Haply, for I am black
And have not those soft parts of conversation
That chamberers have; or, for I am declined
Into the vale of years – yet that’s not much –
She’s gone. I am abused, and my relief
Must be to loathe her. O curse of marriage!
That we call these delicate creatures ours,
And not their appetites. I had rather be a
toad, / And live upon the vapour of a
dungeon, …
Proof: Auricular p141


Iago: I lay with Cassio lately…
In sleep I heard him say, ‘Sweet Desdemona,
Let us be wary, let us hide our loves’;
And then, sir, would he gripe and wring my hand,
Cry ‘O, sweet creature,’ then kiss me hard,
As if he plucked up kisses by the roots,
That grew upon my lips; then laid his leg
Over my thigh, and sighed and kissed, and then
Cried, ‘Cursed fate that gave thee to the Moor!
Othello: I’ll tear her all to pieces.
Ocular proof:
Iago to Othello p143


Nay, but be wise; yet we see nothing, done.
She may be honest yet. Tell me but this,
Have you not sometimes seen a
handkerchief,
Spotted with strawberries, in your wife’s
hand?
I know that: but such a handkerchief –
I am sure it was your wife’s – did I today
See Cassio wipe his beard with.
Dramatic Effects?
So what picture of Othello does the
audience now see on stage???






We see a picture that contrasts with that of the great
military leader of men, and the saviour of Cyprus
It is a pathetic picture of a man who now sees
himself as what?
As being different (an outsider), black, older
Without the gift of making love, or love-talk
Stands before us as a partly broken man, at least
mentally; broken spirited
Greatly perturbed at the horrible thought of life with
an unfaithful wife
Imagery, and
the debasement of Othello
Imagery of Appearance and Reality
 Imagery of Disease and Corruption
 Imagery of Nature; Imagery of Clothing
 Supernatural Imagery; Animal or Bestial Imagery
Noteworthy: Othello uses animal imagery
for the first time when the notion that he is
jealous is suggested by Iago:
“Exchange me for a goat / When I shall turn the
business of my soul…” L-179-180 p125
 As his jealousy increases, he uses animal imagery to
correspond to
his descent from the human to the less than human state.

Othello & Iago at close of Scene 3
What a change! What a transformation!
Othello:
“Damn her, lewd minx! O, damn her, damn her!
Come go with me apart. I will withdraw
To furnish me with some swift means of death
For the fair devil. Now art thou my lieutenant.”
Iago:
“I am your own for ever”