Good Luck

It is darkness that surrounds our remorse.

It creeps up on us on the most unsuspecting times,

As if to punish us for our loss…

And by law it makes the black crow caw.

It pierces the sky and scours the ground,

Making the innocent victim drown.

It blankets the day and terrifies the night,

Leaving the victim trembling in fright.

Navigating the seas and exploring the air,

Death can come from nearly anywhere.

I have come to the point where the darkness arrives,

It kicks in my door with subtle surprise.

Remember my name for the reaper hath slain.

It is darkness that surrounds your remorse. Good luck.

Othello: Act V scene II lines 1-24

Othello's final soliloquy in Act V scene ii overtly displays his transformation from a composed and confident leader to an irrational thinker dictated by his emotions. Although it appears Othello is sympathetic to the murderous act he is about to perform, constantly kissing Desdemona and complimenting her smooth, white skin, he is in no way shape or form the same character he was at the beginning of the play. Othello even goes on to explain his motives, proclaiming that "she must die, else she'll betray more men" (V.ii.6). Othello seems to be dictated by his own emotions, especially that of vengeance stemming from Iago's false inquiries of adultery between Desdemona and Cassio. Originally in the novel, the audience perceives Othello as an incredibly gifted leader who uses concepts of diction, syntax, and decision making to successfully command an army and influence a nation. The nature of Shakespearean tragedies tell us about Othello's ultimate downfall, but when and where this unquestionable demise occurs is unclear until reading Act V scene ii. Othello's passion for Desdemona is still fairly strong and in tact; however, the juxtaposition of Othello's passion and his ultimate intentions highlight Othello's transformation as a character. One would expect a calm and composed leader to arrive at a rational conclusion that does not involve murder and "cruel tears" (V.ii.23). However, his love for Desdemona is clearly overshadowed by his emotions, which eventually lead him to kill his love and ultimately himself. Othello's downfall as the protagonist of a Shakespearean tragedy is plain and clear cut. There are nearly no distinguishable similarities between Othello as a composed leader and Othello as an emotion-driven tyrant who resorts to acts of murder in order to restore order and authority.

Othello #5

Act four views Othello’s continuous loss of self-control and composure. Originally, the audience is forced to perceive Othello as this infinitely humble, thoughtful, and articulate leader. In fact, it is not until late in Act two that we begin to see the manifestations of Othello’s fall from power. Act four is meant to stand in stark contrast with the previous scenes involving Othello directly after arriving at Cyprus. In the earlier act, Othello was first praising his “soul’s joy” (II.i.169), and now he now “trembles” (47) with rage at the thought of Cassio sleeping with his wife Desdemona. Any sense of self control and rational thought are completely out the window, especially when Othello proclaims, “to confess and be hanged for his labor. / First to be hanged and then to confess” (46-47), meaning he will kill Cassio before he allows him to confess to his crimes. Othello’s rage is like no other. He is unquestionably the most powerful man on the island, and his trip to Cyprus does not seem to be getting better. Iago’s conspiracy against Othello leads to his ultimate demise, which is clearly professed in the inner-workings of Act four. Observing the behaviors of Othello in the succeeding scenes will be interesting to analyze. Othello’s articulate manner and power seem to diminish at the hands of Iago’s uncontrollable guile. Act four prepares the audience for Othello’s final transformation into a gutless and seemingly foolish character, as he can do nothing but watch himself fall from power as a result of the uncontrollable series of unfortunate events that riddled the earlier sections of the play.

Othello #4

Scenes 3 and 4 of Act III overtly display Iago’s simple attempts to manipulate Othello. It appears as though manipulating Othello was an easy task, when beforehand in the novel outplaying the almighty Othello seemed like an impossible task. Before Iago began manipulating Othello and his fortunes, Othello was a well-gifted and honest man. Now with every little piece of evidence pointing towards adultery and conspiracy, Othello is outraged and maddened at the blasphemous tales Iago tells him. First, Othello is led to believe that Cassio and Desdemona are fooling around behind his back, then he searches for reasons to distrust Desdemona and ultimately is made sensible of her lost handkerchief. According to Othello, the handkerchief carries sentimental value and “to lose ‘t or give ‘t away were such perdition / As nothing else could match” (58-59). It is important to understand Othello’s heightened temper over such a little period of time. Within 40 lines of the play, he transitions from ill-tempered to absolutely furious and demanding of unmistakable evidence against his wife’s supposed affair. Othello entrusts Iago with finding answers and swears Cassio away from the lieutenantship and offers it to Iago. Accordingly, Iago’s plan continues to mold itself into a successful scheme that will result in the fall of Othello and destruction of an originally beautiful marriage and friendship. 

OTHELLO #3:

Iago’s plan all comes to be in these dense scenes ranging from Othello celebrating his marriage, to Cassio stabbing Montano out of pure drunkenness, to Othello dismissing Cassio of his service. Believe it or not, all of these tragic events are precipitated by Iago, who seems completely innocent in these scenes. However, it is this exact innocence that makes Iago the most dangerous and even prompts him to ask, “And what’s he, then, that says I play the villain, / When this advice is free I give and honest / Probal to thinking, and indeed the course / To win the Moor again” (356-359).  Iago’s mastery as a perpetrator enables him to take control of Cassio and pit him against Othello. This is the beginning of Othello’s fall from power. His rage for Cassio’s actions and disloyalty are fully developed. According the Iago, it is only a matter of time before the plan is in full drive and Iago and Roderigo are rewarded for their labor as “the fruits that blossom first will first be ripe” (398). Iago’s character in the coming scenes is important. He is capable of slipping into a crowd without being scene, yet his intentions are fatal and tragic. It seems that Iago is acting almost every second of the play. His trickery is something to keep an eye out for as he beguiles Othello into distrusting both Cassio and Desdemona for the benefit of his own selfish desires.

OTHELLO #2:

 

It is safe to infer that Act 2 scene 1 is the height of Othello’s happiness and joy if one remembers the tragic novelty of the play. Surviving a tempest and being reunited on Cyprus with Desdemona, Othello is ecstatic he escaped almost certain death. The battle he came to Cyprus to fight is over because the Turkish fleet “hath seen a grievous wreck and sufferance / On most part of their fleet” (23-25). Othello’s presence on Cyprus immediately makes him the most powerful man on the island. All of Othello’s excitement forces him to say, “Amen to that, sweet powers! / I cannot speak of enough of this content. / It stops me here, it is too much of joy” (180-182). It is almost believable to say that Othello’s happiness will never cease in this condition. However, with Iago breathing down Othello’s neck and conspiring against him, it is impossible to overlook the oncoming tragedy that will likely ensue. The audience even grabs a glimpse of the foreshadowing in the early making of the act: “What from the cape can you discern? / Nothing at all. It is a high wrought flood” (1-2). The first conversation between Montano and the First Gentleman focuses on the limitations of sight as a physical burden, which relates to the Turkish fleet. Since the fleet is destroyed and there is no war to fight, the conversation foreshadows a more metaphorical blindedness, caused by Othello’s blinding passion and rage for Desdemona. With that in mind, it is safe to infer that Othello’s happiness during this scene is temporary, and a sudden onslaught of tragedy is likely to follow.