WILLIAM SHAKESPEARE s OTHELLO

Transcription

1 WOLFNOTE SUMMARY OF WILLIAM SHAKESPEARE s OTHELLO THE AUTHOR Having died almost four hundred years ago, the works of William Shakespeare are still widely performed, adapted and read throughout the world. This is testimony to his genius and his position must be as one of the greatest literary figures of any age. He was a prolific writer, composing thirty-seven plays over his life. Like all great men, he has received criticism over the years as to whether he had the ability to produce all the work attributed to him. In the absence of any concrete proof to the contrary, it is safe to attribute all his work to Shakespeare s pen. He was born in Stratford-upon-Avon, England on 23 rd April His father was a dealer in grain and his mother was the daughter of a prosperous farmer. It is likely that he received a good education and this was probably obtained at King s New School, being the local Grammar School. However, there is evidence to show that the family s fortunes did decline and that Shakespeare was unable to complete his schooling. In November 1582 he married Anne Hathaway and they had a daughter, Susanna, six months later. This supports the theory that the marriage was, perhaps, forced on William Shakespeare. They had twins later named Hamnet and Judith. Hamnet died at the age of eleven. Little is known about Shakespeare s life between 1585 and Some scholars think he may have been a soldier, this being based on the detail contained in Henry IV and Henry V, concerning the corruption involved in army life. He also worked as an actor and this led him to the city lights of London. By the year 1599 it is clear that Shakespeare was a wealthy man because he applied to the College of Heralds for a Coat of Arms for his family. He also purchased a substantial property in Stratford. In July 1605, Shakespeare paid 440 for the lease of a large portion of tithes (taxes) on real estate in the Stratford area. This meant that he received a 10% income from the agricultural products obtained from the land. He was able to double his capital investment. On 25 th March 1616, Shakespeare revised his last Will and Testament and he died on 23 rd April in the same year. His body was laid to rest in Holy Trinity Church, Stratford. Shakespeare did not start his work as an actor and playwright until the early 1590 s, but he enjoyed almost immediate success, soon becoming the most popular artist in England, and part owner of the Globe Theatre. This has been carefully restored to its former glory and is an important theatrical venue in London. He was patronized by both Elizabeth I, and James I, and it was the latter monarch who gave Shakespeare the great honor of being a King s Player. By 1594 he had become a member of the Lord Chamberlain s Men. His works were collected and printed in various editions in the centuries following his death, and by the beginning of the eighteenth century, his work had a worldwide reputation. It is evident that some of his work may have been lost, but he can claim to have composed thirty-seven plays and one hundred and fiftyfour sonnets. The sonnets were first published in 1609 and stand among the finest works of English poetry. The plays are divided into four groups historical plays, comedies, tragedies and late romances. Most of these were drawn from existing sources. The first collected edition of plays was published in Much of his work as a playwright stands the test of time, and can easily be successfully adapted to the modern age. Stratford-upon-Avon is the home of the Royal Shakespeare Company (R.S.C.) and still actively keeps Shakespeare s work alive. It is the ambition of many an actor worldwide to appear in a Shakespeare play at Stratford with the R.S.C. Many of the great actors of the twentieth century started their careers with the R.S.C. It is thought that Julius Caesar was the first play to be performed at The Globe Theatre in around As always, Shakespeare was anxious to please his main patron, Queen Elizabeth I, who was now in the twilight of her reign. INTRODUCTION

2 The first reference to Othello is obtained from the records of the Master of Revels in the Court of James I. The play was performed in front of the King on 1 st November It was known that the King was very interested in Turkish history during the 16 th Century, and that country s conflict with the Venetian Empire. This is what perhaps prompted Shakespeare to research this subject in order to please his patron. The source of Othello comes from a tale written by the Italian author, Giraldi Cinthio, which was translated by the French scholar, Chappuys in It is thought that Shakespeare drew from both these sources in reforming the story of Othello. Although his finished play has many similarities to the original Italian work, there are also significant changes involving new characters and embellishments to the original short tale. Shakespeare s work provides much greater depth and quality over the original work. Cinthio characterized Iago as a shallow person lusting after Desdemona. Shakespeare provides him with a more plausible motive for his hatred, providing the audience with an acceptable tale as to why he hates Othello. Whilst much of Cinthio s work was fiction, the story of Othello was based on a true historical figure. The depth that Shakespeare provides in his work comes mainly from the creation of a new character Roderigo who becomes Iago s tool of evil. Later on in the story, Iago will also manipulate Cassio. The central figure of the story is, of course, Othello, and Shakespeare is at pains to emphasize his nobility and charisma. Othello is an adventurer and somewhat mysterious, highlighted by the fact that he is of a different race from those around him. The race issue is used with great dramatic effect by Shakespeare and is the main departure from the original work. There has been some debate over the years as to exactly what race Othello was from, but it is clear by the various descriptions within the play that the Moor was black, not of sallow or brown complexion, but sooty black. When first viewed by the Jacobean audience in England, who at that time were fairly insular, this play would have aroused much excitement and controversy. At this time in history there was an influx of blackamoors (Negros) into the city of London, and this caused speculation among the English regarding the mysterious Dark Continent. Historically, the Venetian Empire frequently used mercenaries in their wars extending over the Eastern Mediterranean. It is safe to assume, therefore, that Othello s origins are from North Africa. He would wear Arab robes, hence his title of Moor, from which the modern day country of Morocco originates. In contrast to the physical and adventurous Othello, we have the Venetian, Desdemona, who is spiritual and passionate. The play revolves around these two key characters. One of the reasons why this play has been performed so often is that these two parts provide great challenges for the actors. Unlike Romeo and Juliet, this love story is full of power and the goal for the actors is to try to live up to the lines that Shakespeare has written. There have been many notable performances of this play throughout the centuries. It is said that the performance of ** as Othello, reduced his audience to tears. The key for playing Othello is to realize that the character is larger than life, and his black complexion emphasizes this. Notable performances in the 20 th Century have been the 1930 production with Paul Robeson and Peggy Ashcroft, 1942 with Frederick Valk, and 1964 with Laurence Olivier. There were also other memorable performances by Orson Wells, Anthony Quayle and Richard Burton. Perhaps Paul Robeson s portrayal of Othello had the most impact for up until that time; English audiences had seen Othello played by white men using black make-up. His performance is the one most vividly remembered by his contemporaries. He was able to portray a blend of physical power and gentleness, and the audience could fully appreciate Robeson s origins and his aptitude in playing the part. He was also fortunate in playing opposite one of the finest actresses ever to play Desdemona, Peggy Ashcroft, who complemented him well. Commercially one of the most successful performances of Othello was the production involving Laurence Olivier. He produced a virtuoso solo performance, making full use of his captivating voice. In conclusion, Othello can be regarded as Shakespeare s greatest lover. Whilst other plays have waxed and waned in popularity, Othello has remained universally acclaimed since its first performance back in It is, therefore, regarded as one of the finest literary works, and Shakespeare s greatest play. CONTEXT The first ACT of this play takes place in Venice and the final four ACTS take place in Cyprus. Othello is a black Moor who is a mercenary general for the Venetian Empire. He is highly respected by the Duke of Venice. Othello names Cassio as his lieutenant, offending Iago who considers that he is more qualified to hold this high position. Iago is determined to have his vengeance over this matter and this is the plot of the entire play.

3 Iago is portrayed as a totally evil character, determined to ruin the noble Othello and his innocent Venetian wife Desdemona. At the start of the play Othello is portrayed as a man of action, courageous and true. His physical presence attracts the attentions of Desdemona who idolizes him and the pair become married against convention early on in ACT I. In order to achieve his revenge, Iago firstly uses Roderigo as a tool of his evil intent. Roderigo loves Desdemona and has an interest in seeing the relationship falter. Desdemona marries Othello against her father s wishes, but the Duke sides with Othello because he needs the Moor to defend Cyprus against the invading Turkish fleet. The action moves to Cyprus, but the impending battle does not transpire as a violent storm destroys the Turkish fleet. Using Roderigo, Iago undermines Cassio s position and he loses his post as Othello s lieutenant. Othello has been made Governor of Cyprus. Iago persuades Cassio to ask Desdemona to intercede with Othello on his behalf to regain his position. Othello had given Desdemona a family heirloom, an embroidered handkerchief that would ward off evil. He tells her to keep this token close to her. Unfortunately, she loses the handkerchief and it comes into the hands of Iago via his wife Emilia, who was also Desdemona s companion. Iago arranges for the handkerchief to be planted in Cassio s lodgings, and he persuades Othello that Desdemona s attempts to have Cassio restored in his post are out of love for Cassio. The handkerchief ends up in the hands of Bianca, Cassio s mistress. Now convinced of his wife s infidelity, Othello charges Iago to arrange Cassio s death, and he will murder his wife not through jealousy or hatred, but to stop her carrying out any further evil. Iago and Roderigo s assassination attempt on Cassio fails, and Iago silences Roderigo by killing him. As Desdemona lies dying, Emilia tells Othello the true story concerning the handkerchief and he realizes the mistake he has made. This, together with letters written by Roderigo prior to his death, and information obtained from Cassio reveals Iago s villainy. He attempts to escape the scene, killing his wife in the process, but he is soon recaptured to face punishment. Othello kills himself, bringing this tragedy to an end. MAIN CHARACTERS OTHELLO (The Moor) He is a mercenary general in the service of the Duke of Venice. IAGO Iago is an evil man who is ensign to Othello. DESDEMONA She is wife to Othello and daughter of a noble Venetian, Brabantio. CASSIO He is an honorable lieutenant to Othello, known for his embellished language. RODERIGO He is a gullible rich gentleman and one-time suitor to Desdemona. BRABANTIO He is Desdemona s father and a well-respected Venetian Senator. DUKE of VENICE He relies heavily on Othello for maintaining the peace in his Empire. EMILIA She is Iago s wife and Desdemona s companion. MONTANO He is Governor of Cyprus until the arrival of Othello. LODOVICO He is a noble Venetian and kinsman of Brabantio. GRATIANO He is a noble Venetian and brother of Brabantio. BIANCA She is a harlot and mistress of Cassio.

4 ACT 1 Scene.i This is set in a Venetian street where Iago and Roderigo are in conversation, and we learn details concerning Othello and the personalities of these two Venetians. Iago is the protagonist and key character of the play. Roderigo is a much weaker person, but Iago needs Roderigo as a source of money, and to help him in his vendetta against Othello. Iago is Othello s personal servant and he wished to become Othello s lieutenant, but instead, Othello chose Cassio to hold this position. Cassio is a Florentine, not a Venetian, and has little experience of military affairs. Iago feels he is more qualified to hold the position and regards Othello s choice as pure favoritism. Roderigo wishes to court Desdemona, the beautiful daughter of Senator Brabantio, and asked Iago to help him with his suit. This he did by using Roderigo s money to make bribes. It now transpires that Desdemona has eloped with Othello who is a Moorish General in the service of the Duke s Venetian army. Iago exerts control over Roderigo in order to maintain a supply of money. He hopes to persuade Roderigo to be an ally in his plans to obtain revenge on Othello. Iago still wishes to appear loyal to Othello, and so he persuades Roderigo to advise Desdemona s father about the elopement. They wake Brabantio to proclaim the news concerning his daughter and at first he is unwilling to listen, as he regards Iago and Roderigo as drunkards. Eventually, after he has searched house, Brabantio organizes a search-party as he is sure the Moor has bewitched his daughter. Iago is pleased that his plans are so far successful, and he hopes that Othello s position will be undermined. Roderigo leads the search-party to the Inn where Othello and Desdemona are to be found. Iago has gone ahead to warn Othello and to show his apparent loyalty. Originally Brabantio had repelled Roderigo s suit, but he now thinks that he would be a far better choice for his daughter than Othello. This first Act takes place in Venice and the final four Acts on the island of Cyprus. Cyprus was part of the Venetian Empire, who was in conflict with the Turks, and who coveted this island. The audience soon has an insight into the villainous character Iago, who is seen to manipulate Roderigo who will help him in his revenge against Othello, and also provide him with money. Iago had sought the prestigious position of Othello s lieutenant, but instead he received the inferior post of personal attendant. Iago is much hurt by this act and when he realizes the post is given to an outsider, Cassio, he is determined to have vengeance. Very early on in the scene we learn of Iago s intentions as follows: I follow him to serve my turn upon him: we cannot all be masters, nor all masters cannot be truly followed. You shall mark many a duteous and knee-crooking knave, that, doting on his own obsequious bondage, wears out his time, much like his master s ass. One of the main aims of this scene is to create an atmosphere of suspense and interest as an introduction to our meeting Othello himself. We can clearly see that Iago is untrustworthy and the audience must realize that his word cannot be relied upon. An element of mystery is conjured up concerning Othello emphasized by Brabantio s speech as follows: Damn d as thou art, thou has enchanted her; for I ll refer me to all things of sense, if she in chains of magic were not bound, whether a maid so tender, fair and happy, so opposite to marriage that she shunn d the wealthy, curled darlings of our nation, would ever have to incur a general mock, What Brabantio is saying here is that it is not feasible that his daughter would willingly elope with this black Moor unless she was enchanted, or under some influence, for such action opens her family to mockery. What this also tells us is that Desdemona, if not enchanted, has shown great courage in turning her back on her family for love of this man. ACT I Scene.ii

5 We are still in the streets of Venice and Iago meets with Othello, and he shows his apparent loyalty to his master by warning him of Roderigo s treachery. He tells Othello that he is shocked at the animosity that Roderigo has for him due to his jealousy concerning Desdemona. Although Desdemona s father has great influence in the state, Othello is confident enough to face him, for he too is not without reputation. A party of men approach with torches, but it is not Brabantio s search-party, but a group of the Duke s men led by Cassio. News has been received concerning Cyprus and the Duke wishes to see Othello immediately. Othello leaves to see Desdemona and we learn that they have been married. The audience will be aware that Iago shows no contempt towards Cassio. He is clearly biding his time and shows a sly facet to his nature. As they prepare to meet with the Duke, Brabantio s party approach and swords are drawn. Iago appears to engage with Roderigo in order to protect his master, and he draws him aside. Othello faces up to Brabantio urging that their weapons should be returned to their scabbards. Desdemona s father accuses the Moor of enchanting his daughter. He cannot come to terms with the fact that she would refuse to marry one of the eligible Venetians and marry the Moor instead. Othello remains calm throughout the confrontation and suggests that Brabantio should go to the Duke to state his case. The audience is quickly learning that Iago is all things to all men. To Othello he is his faithful servant. To Roderigo he is a loyal friend who has done all in his power to help him in his suit for Desdemona. To Cassio he will be a dutiful subordinate and one who will seem to give good advice later in the play. He is indeed a complex character and the audience is perhaps shocked at his two-faced behavior. We now see clearly Othello s status in Venice and it is evident that he is highly regarded by the Duke. The future safety of the Venetian colonies lies squarely with Othello and the Duke urgently calls for him to help with the latest crisis concerning the impending invasion of Cyprus by the Turks. The audience has to come to the conclusion that Brabantio s objection to Othello is because of his color. If he had been white then this would have been a good match socially for Desdemona. This is perhaps why Shakespeare makes this key character a black Moor, for we suspect that just as today, the Jacobean society showed prejudice towards the influx of Blackamoors into England. Shakespeare is perhaps educating the insular audience, showing them the nobility and courage of Othello. We also learn much about Desdemona. She has shown great courage in following her love for Othello, which flies in the face of normal convention. ACT I Scene.iii This scene takes place in the Duke s Council Chamber and we are brought up to date regarding the political situation concerning Cyprus. Various messages are received, but it is soon evident that the Turks intend to throw all their resources against Cyprus. As the excitement reaches a peak, Othello, Cassio, Iago, Roderigo and Brabantio enter, the latter wishing to air his grievance concerning Othello s marriage to his daughter. The Duke is more concerned regarding the Turkish threat than Brabantio s daughter. Eventually the Duke agrees that Desdemona s lover will be suitably punished, but when he realizes that it is Othello, the crime is somewhat diminished and he merely offers condolences to Brabantio that he doesn t look on the Moor favorably. Othello describes how his courtship with Desdemona took place and how he had been invited into the Brabantio s home in order to tell his stories of adventure and battle. Desdemona was captivated by the Moor and his life and she soon fell in love with him. Having heard the tale, the Duke suggests that his own daughter would probably have fallen in love with the Moor as well, thus putting his seal of approval on the match. Desdemona s love for Othello is now fully explained. Brabantio is still of the opinion that his daughter has been charmed, and so the Duke sends Iago to fetch her to the Council Chamber. Desdemona speaks to the Duke showing great courage, conceding that she owes much to her father regarding her education, but now her duty lies with Othello, just as her mother was loyal to her father. Desdemona s father is still bitter, but the Duke places Desdemona s fate in Othello s hands. The Duke then instructs Othello to voyage to Cyprus and take command of the island and resist the Turks. Desdemona entreats the Duke to let her go with Othello to Cyprus, and Othello assures the Duke that her presence won t distract him from the impending battle. The Duke is impatient to have Cyprus secured and he orders Othello to leave for Cyprus that night. Desdemona will travel to Cyprus separately accompanied by Emilia, Iago s wife. The dissatisfied Brabantio strikes an ominous tone to Othello s departure.

6 Iago and Roderigo are left alone and Roderigo is depressed at the loss of Desdemona. Iago still needs him and tries to bring him out of his depression. It is so deep that he says, I will incontinently drown myself. Having not known love himself, Iago is surprised and reviled at Roderigo s state and through his intelligence and powers of persuasion he brings Roderigo back to some sort of normality. He still needs Roderigo s financial assistance. He tells Roderigo that Desdemona will soon tire of the Moor and will seek a younger lover. Roderigo is persuaded to travel to Cyprus due to the suggestion from Iago that events may turn in both their flavour. The scene opens with a growing excitement regarding the events over the impending invasion of Cyprus. The audience is provided with details of the Turks movements in a piecemeal fashion, a common technique for increasing the excitement levels of the audience and providing curiosity. The Duke shows his agitation regarding the National emergency and only gives Brabantio part of his attention, as he is more concerned about the fate of Cyprus. Its future depends on Othello and he cannot side against him in this matter of love, so he gives his approval to the match once he has heard Desdemona s story. We are now given a full explanation regarding Othello and Desdemona s courtship, and we realize that Desdemona is not just physically attracted to this larger-than-life masculine figure, but she also views him as a hero and defender of her country. She is enthralled by the stories of his prowess and bravery and she has literally been swept off her feet. The Duke also concedes Othello s status as a man of action, and throughout all his adventures Othello has maintained his nobility. We also see that the Duke trusts Othello implicitly and he gives him authority to take full control of the island when he arrives in Cyprus. Although the Duke blesses the union, Brabantio more of less disowns his daughter. Keen to stay with her husband and support him in his campaign, Desdemona is given permission to join Othello in Cyprus as soon as practical. Othello is charged to leave immediately and the rest of the entourage will follow, including Emilia, Iago s wife. Othello shows his trusting nature by leaving Desdemona in the care of Emilia until they are reunited in Cyprus. As he departs, Brabantio makes a parting shot at the Moor and the dialogue is as follows: Brabantio: Look to her, Moor, if thou hast eyes to see: She has deceived her father, and may thee. Othello: My life upon her faith! Honest Iago, My Desdemona must I leave to thee, I pr ythee, let thy wife attend on her, These lines almost encapsulate the whole plot. Brabantio sows the seed that Desdemona might deceive Othello, as he has been deceived. Othello stakes his life on the fact that Desdemona will be faithful. He also shows his naivety in regarding Iago as honest. Iago is in fact the totally evil character of the play, while Desdemona is the symbol of goodness, and Othello has left goodness in the hands of evil. The characters leave, leaving Roderigo and Iago alone, so the Act is framed by these two characters, and much has transpired since the original meeting of these two. Roderigo is in fact further away from Desdemona, but Iago gives him hope, suggesting that affairs may change in Cyprus. Iago still needs to use Roderigo and he successfully persuades him away from suicide and back to the role of his instrument of evil. Fate seems to be on Iago s side, as he has not had to work hard to make events suit his purpose, and he has received help from unexpected quarters. This will continue to be the situation throughout the play. Roderigo exits, leaving Iago to make a soliloquy, which shows this evil man thinking aloud. There are several telling lines in his speech. Concerning Roderigo he says, Thus do I ever make my fool my purse; So far as Othello is concerned, he says, But for my sport and profit. I hate the Moor. He now advises the audience that he will bring Cassio into the plot by saying, Cassio s a proper man: let me see now; to get his place, in double knavery. He is suggesting here that he will undermine Cassio s position so that he will lose his office, but he will also use Cassio in order to bring down Othello by concocting lies to abuse Othello s ear. He acknowledges that Othello is of a free and open nature that thinks men honest that but seem to be so. In other words, he is too naïve. The soliloquy ends by him saying that he must bring this monstrous birth to the world s light. This shows that he is totally evil. He regards this manipulation of people and their lives as a game. Much has happened in this scene. The pace has accelerated due to the military developments and Iago s scheming. Although our hero is full of courage and has a great physical presence on the stage, he is naïve and seems vulnerable to Iago s evil.

7 The love between Desdemona and Othello is deep and passionate, in contrast to the frivolous love between Romeo and Juliet. The audience is now anticipating the final outcome. ACT II Scene.i The action moves to a seaport town in Cyprus and the Governor of Cyprus, Montano awaits the arrival of Othello and the other ships. The island is being hit by a raging storm and concern is felt for any ship on the high seas. Montano hopes that the Turkish fleet have not found harbor, for they will be destroyed by the storm, but he also hopes that Othello and the rest will be saved. News is received that in fact most of the Turkish fleet has been lost and, therefore, Cyprus is safe, and a sail has been sighted that belongs to Cassio, Othello s lieutenant, who arrives safely. He advises Montano that Othello and Iago s ships have been separated in the storm, and Montano shows real concern for Othello, even though he will hand over power to him when he arrives. Cassio advises Montano concerning the marriage of Othello and Desdemona. In flourishing language he describes Desdemona s charms to the Governor. A second sail is sighted and this is Iago s ship, and when he enters with his wife, Roderigo and Desdemona, Cassio continues his enthusiastic compliments concerning Desdemona. Again this action gratifies Iago. Desdemona is anxious about her husband and she tries to distract her thoughts by entering into a play of words with Iago. He attempts to demean womankind including his wife, and Desdemona defends Emilia. Cassio, who is concerned at Desdemona s fears for her husband s safety, gallantly comforts her and takes her hand. Iago twists this behavior and considers it evidence that Cassio is making love to Desdemona. Finally, Othello arrives safely at the port and the couple is blissfully reunited. Iago and Roderigo are once again alone and Iago incites Roderigo s jealousy of Cassio by misinterpreting Desdemona s relationship with Cassio. Iago tells Roderigo that Desdemona is in love with Cassio as she is beginning to tire of Othello. The pair plot to discredit Cassio and Roderigo is persuaded to engage Cassio in a fight when the opportunity presents itself. Now Roderigo is jealous of both Othello and Cassio and he will be a useful tool for Iago s scheme. Again Shakespeare uses a storm in order to bring an element of the supernatural into the storyline. It is the usual portent of evil manifesting itself in the plot, but it also at a stroke removes the threat of invasion from the Turks. However, will it cause any of the characters in the play to be drowned? Shakespeare induces an element of suspense, but at the end of the day, all the main characters are saved and are available to see out the action that will follow. Shakespeare develops the character of Cassio here by using extravagant language, showing him to be a gallant, but loyal servant to Othello. During this scene, Iago uses this trait as misplaced evidence that Cassio in fact loves Desdemona. Shakespeare makes it clear that Othello s only enemy will be Iago. The Governor Montano clearly respects Othello and will obey the Duke s command to have over power to him. He is genuinely concerned for Othello s safety and puts up a prayer to Jove that he will be safe. When Desdemona enters, she engages in banter with Iago in order to take her mind away from her missing husband. She dislikes Iago s cynical attitude regarding women. Iago says of women, they rise to play, and go to bed to work, and later he says that they are fit only to raise children and keep household accounts. Cassio s genuine concern for Desdemona s situation is manipulated by Iago, and he relishes the fact that this behavior is shown in public. Iago will use this for best effect later on. When the lovers are reunited, it marks the pinnacle of their happiness. This delights Iago because he will now destroy their blissfulness and he sets the wheels in motion by plotting with Roderigo. Roderigo has been duped yet again to be Iago s instrument in bringing down Cassio, which is the first stage of his plan. To summaries, therefore, the storm is used to increase the tension. We see the clear happiness of Othello and Desdemona, which is overshadowed by the plotting of Iago. He will use Roderigo to discredit Cassio in order that he will lose his position, and there will also be an accusation that Cassio has been making love to Desdemona. Again this scene finishes with a soliloquy from Iago, which contains important lines summarizing what has occurred and what his plans are for the future: Cassio loves her; I do well believe it; The Moor is of a constant, loving, noble nature: He ll prove to Desdemona a most dear husband. Now I do love her too.

8 But partly led to diet my revenge a poisonous mineral gnaw my inwards and nothing can, or shall, content my soul till I am even d with him, wife for wife. The whole soliloquy should be read in detail. Every line has something to say, but briefly we have that the perverted Iago believes that Cassio loves Desdemona. He acknowledges that the Moor is a noble man, but that he will destroy him. He confesses that he loves Desdemona, but the observer knows that this man is incapable of love. What he desires is to possess her. He seeks revenge over the Moor and this has totally consumed him, like a poison. The last line of the soliloquy, Knavery s plain face is never seen till used, meaning that his plotting will go undetected until it is too late. ACT II Scene.ii A proclamation is made that Othello has ordered a night of celebration to commemorate the destruction of the Turkish fleet and to honor his marriage to Desdemona. The feasts will start at 5.00 and finish at p.m. Othello s first act as Governor is to order a night of celebrations and merry-making. The Cypriot people have been freed from the impending invasion by the Turks. However, Iago will seize the opportunity to further his evil intent against Cassio with the assistance of Roderigo and whilst everyone becomes embroiled in celebrating, Iago will make his move. There will be general euphoria in the seaport, but this will be a prelude to the tragedy that will unfold. ACT II Scene.iii There is much feasting and merry-making in the hall of the castle, and Othello praises Cassio and reminds him that they must not allow the celebrations to distract them from their duties. Cassio confirms that he will inspect the guard as well, even though Iago is also on duty. Othello and Desdemona leave. Iago enters and Cassio reminds him that they must look to the watch. Iago protests saying that they still have one hour s merriment left and he invites Cassio to join him in a further drink, but Cassio thinks that he has had sufficient already. Iago persuades Cassio to relent and whilst he is obtaining further wine, Iago plots further through a soliloquy. Iago plans to discredit Cassio by persuading Roderigo to have a fight with him. Cassio returns with Montano and Iago plays the part of a carousing friendly chap, singing and encouraging Cassio to do the same. Montano can clearly see that Cassio has had too much to drink, but this is part of Iago s plan. When Cassio leaves, Iago tells Montano that Cassio is a great friend of his, but regrets that he has a weakness for alcohol and hopes that his master Othello will not put too much trust in him. Montano shows concern about this situation and intends to advise Othello. This is turning out better than Iago had planned. Cassio and Roderigo enter and they are fighting, and Montano tries to intervene. In doing so, Cassio diverts his attack towards Montano. Iago begs Cassio to stop fighting and their noise rouses Othello who threatens the brawlers with death. Othello asks Cassio for an explanation, but he is embarrassed and begs Othello s pardon. During the fight, Montano has been wounded and he is appalled that he has become an innocent victim of this drunken brawl. Othello is determined to get to the bottom of the dispute and asks Iago to speak out. Iago refuses, making a show of protecting Cassio, and Montano also pleads with Iago to tell the story, and Iago relents showing Cassio in the worst possible light. Othello is completed duped by Iago s story and dismisses Cassio from his rank as lieutenant. Desdemona also enters, having been roused by the noise, and this further infuriates Othello. The couple leaves, assisting the wounded Montano, leaving Iago alone with Cassio. Iago secretly gloats over Cassio s loss of position and sarcastically says to him, What, are you hurt, lieutenant? Although he too has been wounded, Cassio is more concerned at his loss of position and his misfortune soon sobers him. Iago consoles Cassio by saying that Othello s decision can be altered. He just needs to be patient. During the conversation, Iago cunningly distances himself from Roderigo asking Cassio whom it was he was fighting with. Iago goes on to make light of the affair by saying that everyone gets drunk once in a while. He then suggests that Cassio should try and obtain Desdemona s help in reinstating his position, as she has great influence over Othello. Cassio agrees with this advice. Iago is left alone and he relishes in the success of his plans.

9 Roderigo then enters depressed that events are not turning out well for him. He has little money left and Cassio gave him a sound beating. He is considering returning to Venice. Again Iago persuades Roderigo that things are looking better for him because Cassio has been dismissed. He orders Roderigo to go to his lodging. The next day Iago must ensure that his wife Emilia persuades Desdemona to speak to Cassio, and when this meeting takes place Othello must witness it. Iago s intricate plan is in motion. He successfully discredits Cassio and this leads to his dismissal. This done, Iago takes on the position as mentor to Cassio advising him that the way to gain flavour with Othello once more, will be through the influence of Desdemona. We again see Iago s skill playing the actor and convincing Cassio that he is a true friend. The key to this part of the plot, however, is to have Othello witness the meeting between Cassio and Desdemona. The reader feels some sympathy towards Roderigo. His importance in Iago s scheme is crucial, but he is a pawn and is only used to develop the plot. We sense his frustration because he has not personally gained from being Iago s tool, and does not share the delight in seeing Cassio dismissed. Although still under Iago s control, there are signs that the bond between the two is weakening. We also see the first chink in Othello s armor. Up until now he has been calm and confident, but there is a hint of a more angered person when he is roused by the drunken brawl and then he is near to losing his temper when his love is also disturbed: Now, by heaven, my blood begins my safer guides to rule; and passion, having my best judgment collied Translated, this means that he is in a situation where his heart is ruling his head and he feels that this influences his judgment. It appears to Montano and Othello that Iago has been forced by them to betray his so-called friend Cassio. When he eventually tells the story concerning Cassio s quarrel, this makes it all the more plausible and inevitably Othello has no choice but to dismiss Cassio. Whilst the other characters in the play seek delight in their merriment, Iago gets his pleasure in advancing his wicked plans. His mind remains icy cold demonstrated by his soliloquy, which tells us about his plan to get Cassio drunk, If I can fasten but one cup upon him, with that which he hath drunk tonight already, he ll be as full of quarrel and offence as my young mistress s dog. Now, my sick fool, Roderigo, whom love has turn d almost the wrong side out The above lines show how Iago has prepared the ingredients for the fight between Cassio and Roderigo. Drink will make Cassio ready for a fight, and the lovesick Roderigo still has hope of winning Desdemona fuelled by the comments Iago has made to him. Towards the end of this scene, Iago has a further soliloquy. Again this provides the audience with a view into his evil mind. His aim is to have Desdemona plead on behalf of Cassio to Othello and Iago says, And she for him pleads strongly to the Moor, I ll pour this pestilence into his ear, that she repeals him for her body s lust; and, by how much she strives to do him good, she shall undo her credit with the Moor. So will I turn her virtue into pitch, and out of her own goodness make the net that shall enmesh them all. ACT III Scene.i The scene opens outside the castle where Cassio introduces some musicians who are to entertain in the castle next day. Cassio asks the clown to deliver a message to Emilia (Desdemona s attendant) requesting that she speak to him. Cassio is confident that he will be able to reinstate his position, not suspecting for one moment that he is being manipulated by Iago. Iago enters and Cassio advises him what he has done and he volunteers to assist Cassio by ensuring that Othello is kept out of the way so that he can pursue his reinstatement. Emilia leaves the castle to speak to Cassio and she shows genuine regret for the trouble that he has faced. She confirms that Othello still regards Cassio highly, but dismissed him because it was in Cassio s best

10 interest, and also he had to demonstrate some discipline because Montano had been wounded. Emilia suggests that Othello will soon come round and reinstate him, but Cassio wishes to be sure and still asks Emilia to request Desdemona to intercede on his behalf. Emilia advises that she will arrange a meeting between Desdemona and Cassio. Shakespeare cleverly lifts the oppression that the audience must feel arising from Iago s soliloquy in the previous scene. This is done through the musicians and clown who are standard characters in many of Shakespeare s tragedies. The dialogue in this scene seems for a moment to suggest that Iago s plan will unravel, for Emilia indicates that a meeting between Cassio and Desdemona will not be necessary and that Cassio will be reinstated in due course. However, the headstrong Cassio ignores this and still wishes to have a meeting with Desdemona. Fatally, he has decided to stick with Iago s advice and disregard s Emilia s. Towards the end of the scene, the suspense builds again as the audience realize that a private meeting between Cassio and Desdemona is set. ACT III Scene.ii This is a very brief scene and it illustrates that Iago is now much closer to Othello following Cassio s dismissal, and it will give him an opportunity to manipulate and poison Othello s thoughts. It also heightens the suspense as the audience realizes that an arrangement has now been made for Othello and Iago to meet, and this will clearly coincide with Cassio and Desdemona s liaison. ACT III - Scene.iii This scene takes place in the garden of the castle and Desdemona and Cassio enter. It is clear that they have discussed Cassio s position and she is persuaded to make representations to Othello to reinstate him. Emilia is also with them and her belief is that her husband, Iago, is truly upset concerning Cassio s disgrace. Desdemona is confident that her petition will be successful. Othello approaches and Desdemona urges Cassio to stay and witness her approach to Othello, but he hurries away, still ashamed of his conduct on the previous day. His exit is witnessed by Othello and Iago, who says, Ha! I like not that! Othello has been having second thoughts about dismissing Cassio and is not suspicious of his wife and her friendship with Cassio, but Iago makes insinuations that sow a seed of doubt in Othello s mind. It is clear that Othello does intend to reinstate Cassio, but he wishes to make him sweat a bit longer. Iago makes the suggestion that Cassio is wooing Desdemona and he reminds Othello that Desdemona and Cassio have been alone together before. Desdemona makes her plea for Cassio s reinstatement and Othello advises her that he will relent. She leaves with Emilia and Iago proceeds to cast more doubt in Othello s mind about his wife s faithfulness. He first of all encourages Othello to be more curious about his wife s activities, but Iago holds back from making any direct accusations at this stage. As Othello starts to ask Iago for more details just as he did with Cassio, he appears to be protecting Desdemona. Othello is convinced that Iago is honest never once considering that he could be totally evil. By nature Othello is not a jealous man, but Iago cunningly suggests that he should be jealous, hinting that he has cause. Othello says that if there is suspicion concerning Desdemona, then this should be supported by evidence. Iago suggests that it is more natural for her to have empathy with Cassio because they are of the same race, and he insinuates that Othello is a foreigner. Iago echoes the words of Desdemona s father by saying that she deceived her father. He holds back from saying that she is deceiving Othello, leaving him to come to that conclusion. Iago continues his work on Othello boosted by the fact that his words are having effect on Othello s mind, and he is successfully fuelling Othello s vivid imagination. He is careful to stress his love and loyalty to Othello and only speaks so out of friendship. Othello is still convinced that Desdemona is honest and Iago feigns to agree by saying, Long live she so! And long live you to think so! Iago makes a veiled suggestion that Desdemona s controversial choice of husband indicates that she may have perverse feelings for other men. The audience witness Othello s change and he requests Iago to watch his wife and report any other lapses in her behavior. Iago suggests that Othello should suspend Cassio s reinstatement and see if Desdemona will act on Cassio s behalf.

11 Othello is left alone and he is now troubled concerning the suggestion that Desdemona has been unfaithful. He has lost some confidence and is bewildered by this turn of events. Desdemona enters and she notices that her husband is not his usual self. He complains of a headache. She offers to bind his forehead with her handkerchief, but it is too small and as they leave the garden, it is dropped unnoticed. Emilia enters the garden and picks up the handkerchief and advises the audience that this was Othello s first gift to Desdemona. We also learn that Iago had urged his wife to try and steal this handkerchief from Desdemona. She had not thought that this would be possible because Othello had stressed that Desdemona should always keep this handkerchief close by her. Emilia considers that fate has played a part here, and she will give the handkerchief to Iago rather than return it to Desdemona. Iago decides to plant the handkerchief in Cassio s lodging. After much thought, Othello is now convinced that Iago s accusations are correct, but he still requires proof and urges Iago to obtain this. Iago curses himself for being honest with Othello, suggesting that his master might have been better in blissful ignorance. This only goes to persuade Othello that Iago is honest and true. Iago then creates a totally false story saying that he overheard Cassio talking in his sleep about making love to Desdemona, but that a dream is not evidence. He then uses his trump card and tells Othello that he has seen Cassio using Desdemona s handkerchief to wipe his beard, carefully describing the embroidery. Othello is now convinced, and he charges Iago to arrange Cassio s death. Iago agrees, but requests that Othello allows his wife to live, but Othello is determined to kill her also. The scene ends with Othello proclaiming Iago as his lieutenant. At the outset, we have Othello s total love for and trust in his wife. From line 34 the scene deals with Iago eating away at Othello s mind and reason, where we have Iago s reference to Cassio s exit from the garden when he says, Ha! I like not that! He suggests that Othello should be wary of being jealous, knowing full well that by nature Othello is not a jealous man, and he says, O! Beware, my lord, of jealousy; it is the green-eye d monster, which doth mock the meat it feeds on: that cuckold lives in bliss who, certain of its fate, loves not his wronger What Othello should be wary of is the monster Iago, who is feeding on Othello s dark side, bringing it to the surface by his innuendos. Iago goes on to remind Othello that she deceived her father in marrying the Moor. Iago is pleased to see how his work on Othello is progressing, and he becomes bolder. He suggests that Desdemona is having second thoughts about her marriage to Othello, and regrets their partnership. In Othello s soliloquy, we see the results of Iago s poison. He opens by praising Iago s honesty. He feels that Desdemona has been playing with his feelings and they are as sensitive as any white man s. He curses the marriage and says, I had rather be a toad and live upon the vapor of a dungeon than keep a corner in the thing I love for others uses. If she be false, O! then heaven mocks itself. Othello s confidence is undermined and although we do not feel that he is acting jealously, there is a clear indication that he requires revenge. We have watched Othello change from being the hero to the victim. Fate seems to be against him and for Iago, demonstrated by the incident with the handkerchief. This will become the evidence of Desdemona s infidelity. We observe Emilia s loyalty to her husband and we wonder why she has no idea concerning Iago s plot of intrigue. She says, I nothing but to please his fantasy. Although there will be tragic events at the end of the play, the real tragedy is the destruction of Othello by Iago. He is slowly losing his nobility and coming down to Iago s level. Evil is corrupting his mind and his actions, and Iago s words will make Othello an instrument of evil, just as Roderigo and Cassio had been used before. ACT III Scene.iv This scene is set outside the castle where we find Desdemona asking the clown to find Cassio. She is under the impression that Othello wants to forgive him. She is worried concerning the loss of her handkerchief, but Emilia is unable to shed light on the handkerchief s disappearance. Desdemona is confident that her husband will not be jealous concerning the loss of her handkerchief. Othello enters and he is still acting strangely towards Desdemona, and he asks for Desdemona s handkerchief. She confesses that she does not have it with her. Othello reminds her concerning the history of this handkerchief, that it was given to his mother by an Egyptian mystic, and it has powers. Othello states that if she should lose the handkerchief, then it would mean disaster. He then asks her directly if she

12 has lost her handkerchief and Desdemona tries to avoid the question. Othello loses his temper and he leaves. Cassio and Iago enter and Desdemona tells Cassio that she has been unable to speak to Othello, as her husband is not himself. She puts her husband s strange behavior down to pressures of state. Emilia suspects that Othello is jealous of Desdemona, but she still thinks he is incapable of this and everyone leaves, except Cassio. Cassio is joined by his mistress Bianca who is angry with him for neglecting her. He has Desdemona s handkerchief, which he found in his lodgings, put there by Iago, and he gives it to Bianca asking her to unravel the embroidery. Bianca suspects that Cassio has been seeing another woman and becomes jealous. Cassio refutes her suggestion saying that he found the handkerchief in his room. He sends Bianca away because he wishes to meet with Othello alone. The audience already witnesses the rift between Othello and Desdemona widening. Rather than reinstating Cassio, Othello wishes him dead believing he has tempted his wife. However, he still has strong feelings for Desdemona and hopes she will be able to produce the handkerchief. When she is unable to do this, he misguidedly thinks that it is because she lacks feelings for him. When he originally gave this token to her, he emphasized its importance, it being almost like a good luck charm warding off evil. Evil has in fact entered his mind due to Iago s influence. There is an indication that perhaps the handkerchief will not play a key part in the storyline for the audience hopes that it might be returned to Desdemona before any real harm is done. At the start of this scene we see that Emilia is being deceitful to Desdemona. She is not aware of the evil being carried out by her husband, and so she remains loyal to him and lies to Desdemona concerning the handkerchief. Her intention is not to harm Desdemona, but simply to keep in flavour with her husband. Iago s plot continues further in this scene, and he is pleased that Othello is losing his calm and behaving aggressively towards Desdemona. We still do not see any real signs of jealousy in Othello s behavior, unlike Bianco towards the end of the scene who is easily roused to jealousy over a minor incident. ACT IV - Scene.i The scene opens with Iago and Othello outside the castle and Iago is still pursuing the line that his master should be jealous concerning Desdemona s behavior. Iago makes veiled suggestions as to what would make Othello jealous. Would it be a kiss or something more serious? For example the loss of a valued item. If that valued item was in the possession of a suitor, would that make Othello jealous? He suggests that if Cassio possesses the handkerchief, then he could only have obtained this by lying with Desdemona. Othello is horrified by this suggestion, but as the possibility of it manifests itself in his mind, he falls into a trance. Iago says, Work on, my medicine, work! Thus credulous fools are caught; and many worthy and chaste dames, even thus, all guiltless, meet reproach. Cassio enters and tries to revive Othello, but Iago explains that it is a fit and he should be left to recover in his own way. He urges Cassio to leave and return later. Othello recovers and Iago tells him that in order for him to be satisfied that his wife has been unfaithful; he should hide himself and listen to his conversation with Cassio. Othello agrees. Prompted by Iago, Cassio returns and they engage in a conversation concerning Bianca, but Othello assumes it is Desdemona that Cassio speaks about. Cassio falls into the trap and freely discusses Bianca, and Othello is worked up into a jealous rage. During the conversation, Bianca enters and refers to Desdemona s handkerchief. Iago cleverly uses this additional information to his advantage. To Othello it seems obvious that Desdemona had given her handkerchief to Cassio. He is appalled that the handkerchief has been passed on to Cassio s mistress. Bianca demands that Cassio explains himself and tells him to come to supper to explain matters further. The pair leaves and Iago and Othello continue their conversation. Othello is now determined to have Cassio murdered. He is in torment, torn between Desdemona s loveliness and wickedness. Iago suggests that Othello should strangle his wife in bed and that he will deal with Cassio. A trumpet calls and Desdemona enters with Lodovico who is a friend of Desdemona s father in Venice. He has a letter from the Duke that Othello starts to read. During this time, Desdemona tells Lodovico about the trouble between her husband and Cassio. Othello can hear what Desdemona is saying and mutters condemnations, which Desdemona misinterprets as being a reaction to the news in the letter, but he is stating that his wife is evil. Suddenly Othello strikes Desdemona and Lodovico is horrified. Othello pushes Desdemona aside and tells her to go, and she obeys. Othello insults Desdemona in front of Lodovico. The letter in fact orders Othello to return to Venice. Othello leaves bewildered, leaving Lodovico with Iago.