Othello: Act III Notes

OTHELLO
Act III Notes
Geschke/English IV AP
Othello Act III Notes
Steps for Cassio
to Restore Himself
Cassio
Emilia
Desdemona
Othello
Steps for Cassio
to Restore Himself
• Exterior layers required to get to

Othello
– odd, considering Cassio is a lieutenant
– one would think Cassio could go right to
Othello
Emilia’s Reaction to Cassio’s
Request
• (III.i.47-50)
• Tells Cassio to go directly to Othello
– He needs no one else
• Emilia is very direct
• Opposite of Iago
How Does Iago Persuade
Othello?
Iago’s Use of Rhetoric
(III.iii)
Iago’s Rhetoric
• Convinces Othello of control
• “My lord, you know I love you”
(III.iii.117)
– This phrase is used more in Act III, scene iii that
at any other place in the play
• Uses flattery to convince Othello of
control
– (III.iii.148-151)
– Often elevates Othello while putting himself down
Iago’s Rhetoric
• Impromptu/Casual Air
• Increases Othello’s curiosity
• Othello says what Iago does not
• Shows ownership of thoughts and
therefore is more believable
Iago’s Rhetoric
• Feigned Supplication
– “O, beware, my lord, of jealousy;
It is the green-eyed monster which doth mock
The meat it feeds on; that cuckold lives in bliss
Who, certain of his fate, loves not his wronger;
But, O, what damned minutes tells he o'er
Who dotes, yet doubts, suspects, yet strongly
loves!”
(III.iii.165-170)
Iago’s Rhetoric
• Cultural and gender assumptions

– (III.iii.201-204)
– (III.iii.227-238)
Iago’s Rhetoric
• “Concrete” Evidence
• Handkerchief
Iago’s Rhetoric
• Suggestive/Evasive
• Repetition
• Withholding information (that
doesn’t exist) makes it more valuable
Iago’s Rhetoric
• Ownership
• Iago allows Othello to finish Iago’s
thoughts
• Therefore, the thoughts become
Othello’s and gain more validity
Iago’s Rhetoric
• Ownership (continued)
• Iago will also often interrupt Othello
• Iago is in complete control of the
conversation
• If he does not like where it is going,
he interrupts Othello to put him on
the proper path.
Iago’s Rhetoric
• Iago’s Ethos and Pathos
• Ethos
– The distinguishing character, sentiment,
moral nature, or guiding beliefs of a person,
group, or institution
• Pathos
– The emotionally moving quality or power of a
literary work or of particular passages within
it, appealing especially to our feelings of
sorrow, pity, and compassionate sympathy
(Oxford Concise Dictionary of Literary Terms)
Iago’s Rhetoric
• Iago’s ethos and pathos as directed
towards Othello:
• “I am honest Iago. I am just telling
you what I see. If you don’t believe
me, that is okay.”
Why Does Iago’s Rhetoric Work?
• Othello’s insecurity?
• Othello’s ignorance?
• Othello’s extremism?
• Othello’s focus on the exterior?
The Changes in Othello
• Hypothetical Speculation
– (III.iii.260-277)
• Hubris
– Oedipus Rex
• His tragic pride creates his
blindness to the truth
• Focus on Extremes (Pinnacles)
• “No; to be once in doubt
Is once to be resolved”
(III.iii.179-180)
• Once he doubts her, she is
automatically guilty
• Absolutism
• Othello’s faith in appearances is being
challenged
• (III.iii.359-363)
• Requires “ocular proof”
• Seeing is proof for Othello
• Focus on the exterior
• Irrational/Illogical
• Believes it would be better if
Desdemona was intimate with his
entire army as long as he did not
know about it.
– “I had been happy, if the general camp,
Pioners and all, had tasted her sweet body,
So I had nothing known…” (III.iii.345-347)
• Focus on extremes
• Importance of the Status Quo

• How do things look or seem?
• What is really going on is insignificant
• What appears to be going on is
important
– Focus on the exterior
• Occupational Anxiety
• (III.iii.347-357)
• Falls into a warrior pattern
• End of marriage is equivalent to the
end of his career
• Does not say farewell to Desdemona
• Rather, says farewell to his job
• Occupational Anxiety (continued)
• Virility
• Strength of a man is equivalent to his
strength as a soldier
• How can he control an army if he
cannot control his wife?
• Reputation
• Iago stresses the importance of
reputation to Othello
– Opposite philosophy is presented to
Cassio
– Knowing your audience is critical
• Reputation=Exterior
Iago and Othello’s Vow
• (III.iii.453-480)
– “I am your own forever.”
• Iago and Othello make a vow to each
other
• Two men coming together to destroy a
woman
Ocular Proof
• (III.iii.383-408)
• Othello demands to be satisfied
– “make me see proof”
Ocular Proof
• Iago’s brilliant response:
• How do you want it proved?
• Do you literally want to catch her in
the act?
• Iago suggests it will be very difficult to
catch them in the act
Ocular Proof
• Result:
• Othello no longer needs “literal” ocular
proof
• On a subconscious level, Othello did get the
ocular proof when Iago placed the image in
his mind
• Notice the use of animal imagery by Iago
(lines 390-403)
• The desire of Cassio and Desdemona is
primal and animalistic (according to Iago)
Othello’s Speech Patterns
• By the end of Act III, scene iii, Othello
no longer speaks in complete,
eloquent sentences
• “O, blood, blood, blood!” (III.iii.451)
• Othello’s speech patterns become very
similar to Iago’s
• Also, very similar to Brabantio’s
– “And yet, how nature erring from itself”
(III.iii.227) vs. (I.iii.94-106)
The Journey of the
Handkerchief
Charmer
Othello’s Mom
Othello
Desdemona
Emilia
Iago
Cassio
Bianca (prostitute)
The Handkerchief
• According to Snow’s essay, the
handkerchief symbolizes virginity/chastity,
sexuality, and Desdemona
• Therefore, Desdemona (or her virginity/
chastity and sexuality) has been passed
around
• Ends up in the hands of a prostitute
– Courtesan—a prostitute; a mistress of a king,
nobleman, etc.
The Handkerchief
• Earlier, Othello wants Desdemona to
be “passed around”
• “I had been happy, if the general
camp,
Pioners and all, had tasted her
sweet body,
So I had nothing known.”
(III.iii.345-347)
Othello Reads Desdemona’s
Palm
• It is moist
• A moist hand symbolizes a lustful
nature
• What if it were cool?
• Then she is giving her “lust” to
someone else
Othello Reads Desdemona’s
Palm
• Therefore, Desdemona is in a no-win
situation
• Othello wants proof and will find it
and assume its truthfulness no matter
what
Othello does not see
Desdemona as a complete
person
• Remember the definition of perfect
• He sees her as body parts (hands,
lips, etc.)
– He runs around shouting out body parts
• “A liberal hand: the hearts of old gave hands;
But our new heraldry is hands, not
hearts.”
(III.iv.46-47)
• “I’ll tear her to pieces!” (III.iii.431)
person
• Desdemona’s Response:
• Her hand is good because it gave away
her heart to Othello
• “For ‘twas that hand that gave away
my heart.” (III.iv.45)
• Heart and hand (interior and exterior)
are connected
person
• Othello’s Response:
• “A liberal hand: the hearts of old gave
hands;
But our new heraldry is hands, not
hearts.” (III.iv.46-47)
• Definition of who we are (heraldry—
coat of arms) is hands (exterior) not
hearts (interior)
person
• Othello’s Response (continued):
• Othello is over-determined
• If the handkerchief means everything,
then Desdemona says she does not
want it; it is too much for her
(III.iv.69-77)
person
• Othello’s Response (continued):
• Othello now constantly brings up
spells and witchcraft
• Charmer and handkerchief
• Complete opposite of Act I
• In Act I, many people (especially
Brabantio) accuse Othello of using
spells and magic to force Desdemona
to love him
The Handkerchief as a Symbol
• If the handkerchief symbolizes Desdemona’s
sexuality or chastity, notice then the depth
of Othello’s remarks:
• “…take heed on’t;
Make it a darling like your precious eye.
To lose’t or give’t away were such
perdition
As nothing else could match.”
(III.iv.65-68)
The Handkerchief as a Symbol
• “Most veritable. Therefore look to’t
well.” (III.iv.76)
• “Is’t lost? Is’t gone? Speak, is’t out o’
th’ way?” (III.iv.80)
• “Fetch me the handkerchief! My
mind misgives.” (III.iv.89)
– Misgives—feels doubt or regret

Othello: Act III Notes

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OTHELLO

Act III Notes

• Exterior layers required to get to

• Cultural and gender assumptions

• Importance of the Status Quo

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