Desdemona: First impressions

Like Othello, the audience hears about Desdemona before she appears on stage

Iago and Roderigo refer to her as virtuous figure

Brabantio describes her as pure, virtuous modest and unknown to sexual desire

“Whether a maid so tender, fair, and happy

So opposite to marriage that she shunn’d
The wealthy curled darlings of our nation,” (1.2.66-68)
“A maiden never bold;
Of spirit so still and quiet that her motion
Blush’d at herself; and she in spite of nature,
Of years, of country, credit, everything,
To fall in love with what she fear’d to look on?” (1.3.94-98)
But: how well does Brabantio know his own daughter?

She is first seen and heard in the company of the senior men of her community, standing alone to
defend her marriage choice before the Venetian Senate.

She is respectful but not intimidated.

She has a gift of eloquence.

She establishes a sense of proportion and rightness in her actions. She acknowledges a divided duty
between her father and her husband. But she firmly establishes the base for her decision in terms of the
duty to her husband, Othello.

She is determined and self-possessed and speaks with conviction and authority.

She shows herself to be independent of mind and has firm wishes.

Her independence asserts itself again when she refuses to stay in her father’s house while Othello is
away, begs leave to accompany her soldier husband to the garrison island of Cyprus.

The color of Othello’s skin does not matter: Desdemona “saw Othello’s visage in his mind” (1.3.249).
But like the Duke, she seems to be suggesting that Othello is what he appears to be (i.e. I am black
therefore I am bad.) If that is true that it perpetuates the idea that black is bad. She doesn’t prefer to his
color but half apologizes for it.

Desdemona pleads for Cassio with a fervor that could only come from innocence.

She bears Othello’s abuse with meekness and patience, allowing only a brief expression of bewildered
bitterness, and never swerving in her love for her husband.

And her dying words, after declaring her death to be “guiltless” are an attempt to divert the blame away
from Othello by taking it upon herself and speaking a last goodbye: “Commend me to my kind lord. O
farewell” (5.2.126)
Language, tone, images and metaphor create a sense of:

An intimate world?

A world of discord, hatred, treachery?

A world in which appearances and reality do not correspond?

A world of power and manipulation?

Iago: First impressions

Scornful of virtue and duty? A man who constructs a mask of love and duty to hide his self-interests.

A cynical manipulator?

An accomplished performer? Who understands and manipulates, exploits the desires of those around
him.

Self-interested?

The embodiment of a new kind of individual? Upset the order of the medieval world

A contradictory character? (I am not what I am)

His pride in his own ability to deceive blinds him to the fact that as the saying goes “you cannot fool all
of the people all at the same time”. To believe that he can fool everyone all the time is self-deceptive.

We cannot all be masters, nor all masters cannot be truly follow’d.

Keep yet their hearts attending on themselves.

(1.1.41-46)

He has a pragmatic view of things. He cannot be a master (a leader) by the same token, not all masters
can be truly followed. He also suggests that there are two types of followers: those who serves their
masters loyally and those who serves only themselves. These are the selfish individuals whose
appearance of service disguises selfish exploitative reality. Their outer appearance is an intentional
disguise is used to further their interests.

Iago seems to be a friend to all – Othello’s trusted “ancient”, Roderigo’s ally, counsellor to the downcast
Cassio, even adviser to the wretched Desdemona when she has lost her husband’s favour.

Othello: First impression

Othello is not introduced to the audience by his presence but by the representations of others.

Implicit/explicit hostile references rely on the fact that Othello is an outsider. Thick lips, an old black ram
tupping your white ewe, barbary horse, a beast with two backs, gross, clasp, lascivious Moor. Devilry,
bestiality, sexuality.
Racial prejudice is combined with sexual imagery in Iago’s and Roderigo’s expressions of disgust
concerning Othello’s marriage to a white woman.

Consider also Brabantio’s reaction to the news of his daughter’s marriage to Othello.

Othello: a decisive, dignified, calm and proud man

Confidence rooted in royal background and military service “I fetch my life and being from men of royal
siege, and my demerits” (1.2.21-)

“My parts, my title and my perfect soul/ Shall manifest me rightly” (1.2.30-32)

Parts – good quality/actions

Title – legal right to be Desdemona’s husband

Soul – Perfect/clear conscience

Shall reveal me as I am

Speaks before the Venetian senate and defends himself against Brabantio’s charges.

Experience in battle but not in society?

Very sure of himself and what Desdemona will say?

He has led a very adventurous life

A man of great bravery and integrity

But also a proud and confident man

Rude – unvarnished, rough

Soft – polite, aiming at pleasing rather than the truth

Bradley sees Othello as a noble hero, trapped by Iago’s machinations in a web of deceit and
misunderstanding. On this view Iago exploits Othello’s virtues (his courage and willingness to trust
others - gullibility) so that they become source of weakness.

Eliot argues very differently that Othello is not a blameless victim but a crude, vain egotist who deserves
his fate: a man so in love with his self-image that he is incapable of loving Desdemona except as the
projection of his own ideal. The slightest suspicion of that ideal – which is really suspicion of himself –
makes him easy prey for Iago.

What Othello seems to me to be doing is cheering himself up. He is endeavouring to escape reality, he
has ceased to think about Desdemona, and is thinking about himself. Humility is the most difficult of all
virtues to achieve; nothing dies harder than the desire to think well of oneself. Othello succeeds in
turning himself into a pathetic figure, by adopting an aesthetic rather than a moral attitude, dramatizing
himself against his environment. He takes in the spectator, but the human motive is primarily to take in
himself. 5 Eliot's notion of a weak, self-dramatizing Othello was endorsed by F.R. Leavis, and echoed by
Robert B. Heilman, who emphasized Othello's ‘need for justification, for a constant reconstruction of
himself in acceptable terms'.
Setting

Venice

A commercial society, a commonwealth

Represented stability, order, authority, the conventional and respectable world

However, with its wealth came the possibility of decadence

To the English, Venice represented this tension between civilization and decadence

Cyprus

It represents a frontier between barbarism and civilization

It represents a place of ambiguity where apparently secure values may be challenged or overthrown

Othello, Act 2, Scene 1

Iago is then critical of women in general, telling Emilia and Desdemona that “you are pictures out of
doors, bells in your parlours, wild-cats in your kitchens, saints in your injuries, devils being offended,
players in your housewifery, and housewives in your beds”

Women appear virtuous in public, but prostitutes in private, silent in public, aggressive defender of their
territories. They imitate the saints when complaining, they act like devils when offended. They are
deceivers in their domestic duties and prostitutes in their beds. Iago describes women as unchaste,
deceitful, lacking virtue with no sense of duty.

Iago’s honest misogyny

Iago provides a list of the faults that women in general do possess. Therefore, according to Iago, they
are proud, nagging, vain, overdressed, either frigid (having no lust at all) or full of lust, revengeful,
stupid, unable to keep a secret, and always staring at man. Deeply cynical view of the world where lust,
vanity and stupidity are universal.

Virtue and vice among women is a central theme of this tragedy

Good nature is equivalent to weakness.

Sexual promiscuity

Othello’s cosmic grandeur

Consider the shift in mood and tone from Iago’s discourse on women to Othello’s greeting to
Desdemona.

Othello’s images elevate human beings to a cosmic, divine level.

Compare to Iago, who is the cynic who continually reduces humans to their animal natures, the bestial
level
Othello’s greetings to Desdemona lifts the mood up high, indeed, Olympus high. Othello’s speech
enlarges the love between himself and Desdemona to an enormous, cosmic proportion. Notice the
contrast, Othello puts human beings in touch with higher cosmic forces, Iago takes human back down to
animality, bestiality. Othello may be pretentious, exaggerating, idealistic his love with Desdemona.

2.1.207-273

Lay the finger thus, and let thy soul be instructed. Mark
Me with what violence she first loved the Moor but for
Bragging and telling her fantastical lies. And will she
Love him still for prating? Let not thy discreet heart
think it. Her eye must be fed. And what delight shall she
have to look on the devil? When the blood is made dull
with the act of sport, there should be, again to inflame it
and to give satiety a fresh appetite, loveliness in favour,
sympathy in years, manners, and beauties: all which the
Moor is defective in. Now for want of these required
conveniences, her delicate tenderness will find itself
abused, begin to heave the gorge, disrelish and abhor
the Moor. Very nature will instruct her in it, and compel
her to some second choice. Now, sir, this granted – as it
is a most pregnant and unforced position – who stands
so eminent in the degree of this fortune as Cassio
does? – a knave very voluble; no further conscionable
than in putting on the mere form of civil and humane
seeming for the better compassing of his salt and most
hidden loose affection. Why none; why none – a slipper
and subtle knave, a finder out of occasions, that has an
eye can stamp and counterfeit advantages, though true
advantage never present itself; a devilish knave! Besides,
the knave is handsome, young and hath all those
requisites in him that folly and green minds look after.
A pestilent complete knave; and the woman hath found
him already.

A world divided between outward appearance and inner, base reality. Base= low values, lacking high
quality of mind and spirit.

Othello is attracted to Desdemona because of his bragging and telling fantastical lies. Cassio, likewise, is
a voluble knave, a smooth deceptive talker. This progressively builds up an insulting conception of
empty false, speech. Cassio also represents a deceptive appearance, he can stamp and counterfeit good
qualities and his appearance as handsome and young will seduce naïve mind.

Cassio base reality is indicated by the phrase “salt and hidden loose affection” meaning strong feeling of
sexual desires. Iago language emphasizes the hypocrisy of false appearances. Images of eating
frequently appear in this speech, Desdemona’s eyes must be fed, satiety meaning status of being fed or
gratifying beyond capacity will lead to a craving of fresh appetite. Othello disadvantages will make her to
heave the gorge, disrelish and abhor the Moor meaning she will vomit, more imagery of eating. Then
she will taste Cassio’s salt affection. More imagery of eating and eating is a base desire. SO Desdemona
love is brought low to the level of hunger and eating. According to Iago, she will grow tired of the plain
meal offered by Othello and desired something more savory more salty. According to Iago, then
Desdemona well bred and well appearances hide or disguise her desires driven by base impulses. The
language and imagery conveys Iago’s view is base and deceptive. If you understand their nature, you can
predict what they will do. Understanding that Cassio polite and hysteria is not the truth is a disguise for
his salt and affection enable Iago to predict he will seduce Desdemona. This is one nature law present in
his speech that people are driven by their base nature. This is cynical view.

According to Iago, if you understand human nature you can predict what people will do.

Iago believes civilization is a false appearance: people are driven by base desires.

Iago also believes that there is a natural order of attractions defined by status and class.

He explains that Desdemona must want a suitable mate who has loveliness in favour, sympathy in years,
manners and beauty. Meaning someone who is handsome and young and have sophisticated manner
like herself.

These two laws do not seem to fit together very well. On the one hand, civilized structure are
meaningless because people are driven by base desires. On the other hand, Iago suggested that these
civilized structure social rank are all powerful and determined people’s behavior according to social class
and background so perhaps there is a contradiction here in Iago thinking. These laws suggest that
people do not make up their own mind as individual. Their behaviors is always control by something
more powerful than the individual decisions. Either they are driven by instinctive desires or they are
driven by social laws. Either way Iago is convinced that He understand human society and and predict
human behaviours as a result he will take advantage of this understanding to manipulate and therefore
control and dominate society.

These laws of behavior suggest that people do not make up their own minds as individuals

Their behavior is always controlled by something more powerful than individual decision

Either they are driven by instinctive drives or they are driven by social laws.

Either way, Iago is convinced that he understands human society; he can predict human behavior and as
a result he will take advantage of this understanding to manipulate and therefore control and dominate
society.

Now, Iago’s argument has its flaw – and a perceptive audience might recognize that his understanding is
possibly limited. For example, if people always attracted to other of the same social group as
Desdemona would apparently aattracted to Cassio then why did Desdemona marry Othello in the first
place. Indeed Othello accounts their courtship in act 1 that she is attracted to him on account of
differences not his sameness that is exotic and adventurous life not his membership of her own social
class. Moreover, in this speech Iago begins by suggesting that their marriage is unnatural deviation, a
divergence from the law. Then he goes on to insist that it is impossible to go against these laws that he
describes. So Iago understanding cannot account for everything that is happening. Shakespeare then
shows a character that is dedicated to understand and manipulating the rules by which society operates
but also shows that society does not quite conform or not quite predictable in this way.

Othello, Act 2

Reputation

Concept of reputation very important in the Renaissance and early modern period – a much more
positive ideal than it is today

It determined one’s ability to earn a living or practice a profession or maintain a position in society.

Despite its importance, reputation was a fragile attribute, vulnerable to slander

The role of reputation in the play

Since a man’s good name is most precious, the slander which deprives him of it is most evil

Slander means precisely the act of saying something false about someone that damages that person’s
reputation

Iago’s ability to speak falsely about so many people rests in part on his own reputation for honesty.

As I am an honest man, I thought you had received some bodily wound: there is more of sense in that
than in reputation. Reputation is an idle and most false imposition, oft got without merit and lost
without deserving. You have lost no reputation at all, unless you repute yourself such a loser… (2.3.249-
254)

Good name in man and woman, dear my lord,

Is the immediate jewel of their sould
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 name
Robs me of that which not enriches him
And makes me poor indeed. (3.3.156-62)

Act 3, Scene 3

Temptation Scene

Give me the ocular proof (3.3.361)

Scene generates questions of knowledge:

In particular, difference between appearance and reality, belief and knowledge

Othello believes his wife is virtuous and faithful. His love and trust for her is fundamentally intuitive and
it is the love based on instinctive feelings, on faith rather than empirical evidence. Evidence which can
be known by the senses. In that case, much like everyone love and trust for their partners.

But Iago asks, how do you know that she is?

This question raises the problem of the gap between appearances and reality.

Iago’s first strategy

Appearances are deceptive

First: to convince Othello that appearances are deceptive:

Men should be what they seem

Or those that be not, would they might seem none!

Transform embarrassed exist from Desdemona into guilty departure. Then he casts doubts on Cassio
honesty by suggesting that Cassio appears to be honest while implying that he believe that Cassio is
dishonest.

Infidelity.

Having undermined Cassio apparent honesty, Iago goes on to raise the prospect of infidelity. O beware
the green eye monster. jealousy. But here Othello intervenes and demands proof. No Iago, I’ll see
before I doubt. Iago’s strategy shift: seeing is actually believing

Iago’s second strategy

Seeing is believing

First he attempts to undermine the value of appearances by saying that Cassio is not what he appears to
be

But now he attempts to convince Othello that seeing is in fact believing that literal vision produces
knowledge superior to intuitive faith

He says: “I speak not yet of proof. Look to your wife, observe her well with Cassio; Wear your eyes thus:
not jealous, nor secure”. (3.3.199-200)

This recalls Brabantio to Othello: “Look to her, Moor, if thou hast eyes to see: She has deceived her
father, and may thee” (1.3.289-90) Iago now sets about to make the most out of the idea that
knowledge depends on empirical evidence that knowledge depends on seeing while at the same time
paradoxically, he undermines that same idea

Othello’s demand for proof

Give me the ocular proof (3.3.361)

Make me to see’t (3.3.365)

Now do I see ‘tis true (3.3.445)

But what has Othello seen?

Iago suggests such situation is impossible “would you be the supervisor behold her top’ It is impossible
you could see it prime as goat hot as money…. P.76. it is impossible to be in the same room as they are
sleeping together. (animal imagery) such a situation is impossible. Iaago follows by a false account of
Cassio dream and Cassio wiping his beard with the handkerchief..

Othello concludes now I see tis true. Othello sees nothing but he sees/i4magines what iago want him to
visualize. Iago provides a mental image and Othello draws a ridiculous conclusion. Part of iago success
can be attributed to othello’s lack of ability to discern truth and falsity between an honest man and
roguish knave. Here it is not the matter of iiago has a reputation for honesty more accurately he has a
reputation for being an honest man who can perceive dishonesty in others. Part of iago success is his
ability to undermine Othello faith in his wife, might also be attributed to his faults, failings or
weaknesses , vulnerabilites

Othello the tragic hero

Admirable, noble individual, a great commander, great warrior, a figure of strength, control, authority,
discipling, rationality.

As noble warrior

Within his clear limitations, othelllo is indeed noble; his consciousness prior to his fall is firmly
controlled, just and massively dignified has its own kind of perfection

Wht are these clear limitation

Naïve

The moor is of free and open nature

That thinks men honest that but seem to be so (1.3.390-91)

Critics are divided as to whether othello’s willingness to trust people should be considered noble or
naïve

Othello fails to understand the separation of appearances and reality enforced by the lies of iago

As self-dramatising

Othello as self-dramatising: tendency to speak of himself and his love to Desdemona in large and
romantic (unrealistic) terms. From this perspective, Othello incapable of seeing himself in anything other
than grand terms.

Othello – self-dramatising: someone who was prone to enlarging or amplifying the events of his own life
onto a grand scales.

“My parts, my title and my perfect soul/ Shall manifest me rightly” (1.2.30-32)

Parts – good quality/actions

Title – legal right to be Desdemona’s husband

Soul – Perfect/clear conscience

Shall reveal me as I am

Speaks before the Venetian senate and defends himself against Brabantio’s charges.

Another example, raising it to the level of myth. Having raised the relationship to these great height,
there is only one direction for it to go and that is down.

Othello’s greetings to Desdemona lifts the mood up high, indeed, Olympus high. Othello’s speech
enlarges the love between himself and Desdemona to an enormous, cosmic proportion. (2.1.175-86)

As obsessed with public reputation?

He proclaims his resignation from the public life as the result of Desdemona supposed infidelity. What
troubles Othello most about Desdemona infidelity is not that she has cheated on him but that people
will know that he is a cuckhold.

I had been happy if general camp,/ Pioneers and all, had tasted her sweet body, SO I had nothing
known. O now for ever Farewell the tranquil mind Farewell content Farewell the plumed troops, and the
big wars. That make ambitions virtue o farewell othello’s occupation gone. (3.3.346-358)

According to this speech, Othello would preferred that Desdemona had slept with every common
soldiers in the camp and kept it a secret rather than have a single affair with his officer. And this affair
comes to his and public notice. Iago recognizes that Othello relies on public reputation makes him
vulnerable when he points out that reputation is the immediate jewel of the soul.

As an insecure outsider?

At the public level Othello appears fairly assimilated into venetian society. As reflected, for example in
his confidence that the service that he has done the signory his standing as a valiant military leader will
ensure the senate support for his marriage in act I

At private level however Othello remains very much a stranger to venetian culture and customs and iago
exploits this vulnerability in act 3 scene 3. As iago hightlights the tension between reality and
appearances. He trades on his own position as an insider

Iago “I know our country disposition well:/ In Venice, they do let God see the pranks/they dare not show
their husbands (3.3.203-05)

The results of this strategy is striking. Within 50 lines, Othello becomes convinced that the color of his
skin, his lack of venetian culture, and his age, place a question mark over Desdemona fidelity.

Othello: Haply for I am black and have not those soft parts of conversations that chamberers have or for
I am declined into the vale of years (3.3.265-68) he doesn’t have sophisticated manner like Cassio.

In his

As fearful of women?
Consider iago’s attempt to portray Desdemona as wanton to Cassio (2.3.15-25)

Compare this to iago’s attempt to do the same with Othello

Some critics argue that the monster must already be present in othello’s thought just as much as it is in
iago’s thoughts – otherwise iago’s insinuations would have little effect.

Iago: [Othello] hath not yet made wanton the night with her, and she is sport for Jove

Cassio: She’s a most exquisite lady.

Iago: And I’ll warrant her full of game. [game i.e. sexually active]

Cassio: Indeed she is a most fresh and delicate creature.

Iago: What an eye she has! Methinks it sounds a parley to rovocation.

C: An inviting eye, and yet methinks right modest

I: And when she speaks, is it not an alarum to love! [alarum=alarm]

C: She is indeed perfection

I: [giving up] well happiness to their sheets.

….

Iago and Othello discuss Cassio

O: O, yes, and went between us very oft

I: Indeed?

O: Indeed? Ay, indeed. Discern’st thou aught in that? Is he not honest?

I: Honest, my lord

O: Honest, ay honest

I: My lord, for aught I know (for all I know)

O: what dost thou think?

I: Think, my lord?

O: Think, my lord! By heaven, he echoes me/ as if there were some monster in his thought too hideous
to be shown(3.3.99-109)

The immediate subject of this dialogue is Cassio the green-eyed monster concerns Desdemona
faithfulness before it concerns Cassio honesty. The monster must already be present in othello’s
thoughts just as much as it is in iago. Otherwise, iago suggestion would have the same effect that it has
on cassio which is none. This suggest iaago has a skill to recognize in Othello the same view of women as
his own that is the view that women are given over sexual appetites that cannot be controlled.

Othello’s fall, or transformation is registered most clearly, perhaps, in the breakdown of his language.
Loss of language, here as elsewhere Shakespeares is emblematic of the loss of humanity. Othello’s
decline into incoherence, fragments of sentences, and contradictions, is a sign of his temporary
abandonment of human codes and qualities.

For the first two and a half act, Othello language possess a lyrical and poetic qualities the qualities that
generation of critics have preferred to as the Othello music there is a magical quality about it within the
context of the play the qualities that enchants Desdemona and wins the praise of others such as the
duke in act 1. Once Othello becomes convinced that Desdemona is unfaithful, he begins to lose this
language, this capacity to enchant others through speech, instead his speech becomes more
aggressive, more violent, more uncontrolled,. Short, it become more uncivilized.

22.29

Gender relations

Because Othello deals with sexual jealousy between a man and a woman, and specifically the possibility
of an unfaithful wife, one of the play’s main themes concerns the relations between men and women.

IN these terms, the female characters assume special significance.

BIANCA

A small role, but indispensable to the dramatic design.

As a prostitute, she highlights the predominantly sexual nature of this world.

As a women used and abused by men she underlines the theme of female abuse. Both cassio and iago
speak about her in terms that deny her humanity. They prefer to her as a trumpet, a monkey,…

In contrast, her own words portray her as a spontaneous and honest human being. When she speaks,
she threatens men pride, sense of correctness and order in their world. Cassio pursued her out of the
stage after her outburst in order to stop her from speaking rally in the streets. Apparently afraid of this
woman speaking and speaking out of terms

EMILIA
Desdemona’s maid

Her importance is revealed in second half of play. She is instrumental in two important incidents that
leads to Othello downfall

First, steal the handkerchief

Second, reveals iago’s deceit

She functions as a female character in contrast with Desdemona, more realistic, down-to-earth,
especially in relation to male-female relations

Emilia’s loyalty is divided between Iago and Desdemona

To Iago, her husband? She is an obedient wife, who steal the handkerchief to please her husband, this
implies her submission her servitude to her husband her silence is the direct cause of the tragic action,
asked by Desdemona about the handkerchief she tells a deliberate lie I know not madam
And during the argument between Othello and Desdemona over the missing handkerchief, she remains
silent. However, her silence to Iago in act 2 scene 1, suggests antagonism, ill feelings, dislikes towards
her husband. When men are not around, she expresses to Desdemona, a negative view of women in
relation to men.

Tis not a year or two shows us a man

They are all but stomachs, and we all but food

They eat us hungerly and when they are full

They belch us (3.4.98-100)

Men understood in terms of their appetites>?

A view of men as driven by base desires (see also: Iago’s similar attitudes)

This suggests a moral view: a sense of the injustice of men’s treatment of women

This becomes increasingly express in the drama of act 4 and 5 as a sense of outrage decency loyalty to
her mistress which ultimately make her rebel against her husband, defending Desdemona against
Othello in act 4 scene 2, Emilia gain a stronger voice, she becomes direct and pragmatic she asks the
kind of question that Othello himself should be asking why should he call Desdemona a whore who
keeps her company what place what time what form of likelihood, her questions function as a moral
reminder of Othello’s failure in regards to such responsibility. Her questions and the fact that she speaks
freely pose a threat to Iago who demands that she be silent

Desdemona

Represented by men as saintly and divine” (2.1.73)

A generous spirit one of her most significant characteristics “perfection” (2.3.24)

Associated with images of whiteness “wedding sheet, handkerchief, skin as smooth as monumental
alabasta” and purity “she framed as fruitful as free element (2.3.319-20)

Modest, passive, obedient a perfect female figure in the patriarchal world

Contrast between male representation and Desdemona presence in Acts1-3: eloquent, determined, self-
possessed, speak with conviction and authority, forthright regarding sexual desire when speaking to the
venetian senates.

Courageous and independent of her judgement

Becomes increasingly self-effacing and submissive in acts 4 and 5

Audiences may find it difficult to reconcile the strong-willed and free-speaking woman of the first three
acts of the play
The Desdemona who disobeys her father, insists on accompanying Othello and persists in her outspoken
support for Cassio contrasts with the more submissive Desdemona of the final two acts

In act 4 and act 5, as Othello becomes brutal, Desdemona becomes increasingly meek, humble, passive

I have not deserv’d this (4.1.238) when Othello strikes her, she merely says,..

What shall I do to win my lord again? (4.2.148) when he calls her a whore, she is eager to learn from
Iago ……

Unkindness may do much/ and his unkindness may defeat my life but never taint my love (4.2.158-60)

She follows this with a statement of the purity of her love and her absolute commitment to this men
regardless of his treatment to her. There is an eloquence in these words and striking quality in which her
moral conviction is based on her generosity of feelings.

The willow scene

It begins with a note of obedience of women submissiveness to men it begins with a short exchange
between ludivico, Desdemona and Othello where we see Othello dismisses Desdemona and she
instantly obeys. When Emilia is told by Desdemona she must be dismissed, Desdemona reinforced this
notion of obedience by saying we must not now displease him.

Desdemona’s idealism v. Emilia’s pragmatism

Emilia, in Desdemona’s place, would see no difficulties making her husband a cuckhold for “all the
world”

But Desdemona’s goodness, her virtue, and her belief in the goodness of others, prevents her from
accepting Emilia’s views: “In truth, I think though wouldst not”

Here we hear the women speak freely and openly on a subject which their husbands would either not
listen to them about or would silence them and prevent them from speaking about

Their entire conversation is framed by the fact that both will shortly be dead at the hands of their
respective husbands.

This speech argues for women’s freedom in sexual matters, stressing the common humanity of the
sexual matters of men and women. In contrast to the patriarchal view (Brabantio’s view) that women
should be without such sexual nature

Argues that women have equal rights in love as men and that if men behave badly, women will learn
from their example

An indirect condemnation of Othello

Desdemona takes the opposite view of things: not to follow bad examples but to learn from them

Desdemona remains aloof from Emilia’s pragmatic realism. She retains her belief in the essential
goodness of others.

The handkerchief
Handkerchief is perhaps the key symbolic object in the play

Critics complain that the handkerchief is an inadequate object within the context of such large and
monumental passions and conflict

But the trivial nature of the handkerchief might also be precisely the point in terms of its function as a
sign, a symbol

i.e. the trivial nature of the object represents the difference between the sign and the thing it stands for

Iago recognizes this perhaps when he observes: upon being given the handkerchief by Emilia

Trifles light as air/ are to the jealous confirmations

Strong as proofs of holy writ (3.3.323-35)

The handkerchief: possible meaning

As a gift from Othello to Desdemona, A symbol of the bond of love or fidelity between Othello and
Desdemona

A symbol of desdemona’s domesticated position within the household (a housewife), so when she lost
it, it proved her failure to be a good housewife

A symbol of desdemona’s virginity ,chastity, honesty even of Desdemona herself

Piece of linen clothing => draw

Important point: under Iago’s influence, Othello takes appearance for reality, he mistakes the sign of
fidelity as the thing itself: the fact of Desdemona’s love

So when he fears she has lost the handkerchief he becomes certain he has lost her love

In a play that focuses on jumping to wrong conlcusions, the handkerchief represents the danger of
applying inappropriate measures to test a relationship of love

i.e. infidelity cannot be empirically proven and apparent signs of infidelity may be misleading

by the same token , apparent signs of fidelity may be misleading

consider Iago’s honesty

Iago’s view of the world

People are not innately virtuous

Tis in ourselves that we are thus or thus: our bodies are gardens to the which our wills are gardeners
(Iago to Roderigo 1.3.319-26)

One meaning: a person is able to make themselves, shape themselves in to who they want to be

From which it follows that people are not virtuous (or evil) by nature i.e. people are not born virtuous
(or evil)
People are, instead, driven by base desires and appetites.

Therefore, civilization is a false appearance

This view contrasts with Othello’s traditional view of social order, his view of appearances as reality and
his belief in virtue and goodness

Iago is convinced that he understands human society and he can therefore control and dominate society

But his argument is possibly flawed

Emilia’s divided loyalties

Emilia as dutiful, obedient, loyal wife to Iago:

Steals the handkerchief

Lies to Desdemona

Remains silent during the argument between Othello and Desdemona

Emilia as dutiful maid to Desdemona, serving her with care and devotion

Defends Desdemona against the charge of infidelity (act 4, scene 2)

Emilia’s contrasting attitudes

Emilia’s belief in Desdemona’s virtue contrasts to some degree with the more cynical or down-to-earth
attitude she exhibits towards male-female relations in the Willow scene (Act 4, Scene 3)

There she expresses the view that it is very likely that there are many adulterous men and women in the
world

This is similar to Iago’s view: i.e. a view of people as driven by base desires rather than by higher moral
values such as virtue, nobility, honor, trust, faithfulness.

Emilia’s moment of truth

Iago

What, are you mad? I charge you get you home

Emilia

Good gentlemen, let me have leave to speak

Tis proper I obey him, but not now

Perchance, Iago I will ne’er go home (5.2.193-96)

Iago it seems fails to anticipate Emilia’s honest, courageous loyalty to her mistress

A failure of his world view

Who is responsible for Emilia’s death?

Iago draws his sword against his wife and Gratiano observes him do it

But even though Emilia proceeds to expose Iago none of the men try to disarm him

What we see on stage at this point is a lone unarmed woman surrounded by armed men who fail to
protect her while Iago continues threaten her

Then , when Othello tries to stab Iago, montano disarms Othello, with the result that Iago is able to kill
Emilia and run away

Montano intervenes here to save the villain (Iago) and not his victim (Emilia)

Some critics have observed that as the tragedy unfolds, Desdemona beomes increasingly passive as
Othello becomes ever more irrational and cruel

In renaissance tragedy, the ideal of the good woman was often the good wife who is chaste, silent and
obedient

Brabantio’s idea of his daughter (1.3.94-99)

An accurate description of the Desdemona the audience sees on stage in the first half of the play>

A contrast between

The strong willed and free-speaking woman of the first three acts of the play (disobeys father,
accompanies Othello and supports Cassio)

And the self-renouncing, more submissive Desdemona of the final two acts

Desdemona’s death

When Emilia asks who has killed her, Desdemona responds: “nobody, I myself. Farewell”

Critical interpretations include

An apathetic submission to male, patriarchal demands

Or

A mature acceptance of her situation in which Desdemona takes full responsibility for her marriage and
its consequences

(5.2.1-22)

It is the cause, it is the cause, my soul

Let me not name it to you you chaste stars

It is the cause. Yet I’ll not shed her blood

Nor scar that whiter skin of hers than snow

And smooth as monumental alabaster

Yet she must die, else she’ll betray more men

Put out the light, and then put out the light

If I quench thee, thou flaming minister

I can again thy former light restore

Should I repent me; but once put out thy light

Thou cunnung’st pattern of excelling nature

I know not where is that promethean heat

That can thy light relume. When I have pluck’d thy rose

I cannot give it vital growth again

It needs must wither. I’ll smell it on the tree.

Othello’s soliloquy

Consider the language in this soliloquy

Calmer than in the previous scene

But description of Desdemona as a beautiful woman who is very much alive (her skin “smooth” her
breath “blamy” her life like a “light” or “rose”) contrasts with destructive desire to transform life into
death. Alabaster, quench, pluck, fatal

Also contrasts with his representation of himself as an impersonal figure of justice pursuing a sanctified
cause (adultery)

Some critics suggest that Othello’s concern for justice here is just self-deception and that his real motive
for killing his wife is the damage done to his pride as expressed in act 4 “Cuckhold me!”
when Desdemona awakens Othello talks first as her self-appointed priest (“confess thee freely of thy
sin”) then as her spiritual savior (“I would not kill thy soul”)
but these grand images collapse once she proclaims innocence

With his insistent “down trumpet” Othello’s calm mask of impersonal justice has vanished completely
and in his rage he refuses her even a single prayer.

Othello’s final soliloquy

Some questions:

Does the line “of one that lov’d not wisely, but too well” excuse his behavior on the basis of genuine
passion?

Is Othello’s request that he be represented as “one not easily jealous” creditable

Does this speech provide further evidence of Othello’s ability to deceive himself or to overlook his faults
In re-enacting this story, Othello divides himself: divided character: civility and barbarism; familiarity and
stranger, Venetian and Turk

In Aleppo once

Where a malignant and turbaned Turk

Beat a Venetian and traduced the state

I took by th’throat the circumcised dog

And smote him -thus

Notice how in his final word:

He is both the defender of the Venetian state (embodiment ofcivilisation) and also the (criminal
outsider) turbaned Turk who must be killed.

In other words, Othello described here how in the past he fought as a venetian and killed the Turk
where the turk is defined as uncivilized outsider. But as he speaks he is stabbing himself with a knife so
as he is demonstrating how he, a Venetian, killed the outsider the Turk, he becomes the outsider Turk as
he is killing himself

Perhaps he accepts responsibility for his crimes? But perhaps he also locates their origins in his own
identity as an outsider

That is he seems to adopt the racist language that runs throughout the play and associates racial
difference with lack of reason, uncontrolled passion, extreme jealousy and bestiality.

Look on the tragic loading of this bed

This is thy work. The object poisons sight

Let it be hid

(5.2.359-61)

Is the sight of a black foreigner together with two white European woman on the bed too much for the
ethnocentric world of Venice?

Lodovico: Myself will straight abroad, and to the state

This heavy act with heavy heart relate (5.2.366-67)

Othello: “In your letters/ When you shall these unlucky deeds relate (5.2.336-37)

Othello’s request to retell story is , for the tragic hero, a path to redemption by replaying the play, by
speaking of Othello again and again and by learning from tragic drama, by taking its example seriously
by studying it and learning from it.