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.