ACT II Scene.

i Context

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. !e advises Montano that Othello and "ago 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 #esdemona. "n flourishing language he describes #esdemona s charms to the Governor. $ second sail is sighted and this is "ago s ship, and when he enters with his wife, %oderigo and #esdemona, Cassio continues his enthusiastic compliments concerning #esdemona. $gain this action gratifies "ago. #esdemona is an&ious about her husband and she tries to distract her thoughts by entering into a play of words with "ago. !e attempts to demean womankind including his wife, and #esdemona defends 'milia. Cassio, who is concerned at #esdemona s fears for her husband s safety, gallantly comforts her and takes her hand. "ago twists this behavior and considers it evidence that Cassio is making love to #esdemona. (inally, Othello arrives safely at the port and the couple is blissfully reunited. "ago and %oderigo are once again alone and "ago incites %oderigo s )ealousy of Cassio by misinterpreting #esdemona s relationship with Cassio. "ago tells %oderigo that #esdemona is in love with Cassio as she is beginning to tire of Othello. The pair plot to discredit Cassio and %oderigo is persuaded to engage Cassio in a fight when the opportunity presents itself. Now %oderigo is )ealous of both Othello and Cassio and he will be a useful tool for "ago s scheme. Interpretation $gain *hakespeare uses a storm in order to bring an element of the supernatural into the storyline. "t 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. !owever, will it cause any of the characters in the play to be drowned+ *hakespeare 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.

*hakespeare develops the character of Cassio here by using e&travagant language, showing him to be a gallant, but loyal servant to Othello. #uring this scene, "ago uses this trait as misplaced evidence that Cassio in fact loves #esdemona. *hakespeare makes it clear that Othello s only enemy will be "ago. The Governor Montano clearly respects Othello and will obey the #uke s command to have over power to him. !e is genuinely concerned for Othello s safety and puts up a prayer to ,ove that he will be safe. -hen #esdemona enters, she engages in banter with "ago in order to take her mind away from her missing husband. *he dislikes "ago s cynical attitude regarding women. "ago 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 #esdemona s situation is manipulated by "ago, and he relishes the fact that this behavior is shown in public. "ago will use this for best effect later on. -hen the lovers are reunited, it marks the pinnacle of their happiness. This delights "ago because he will now destroy their blissfulness and he sets the wheels in motion by plotting with %oderigo. %oderigo has been duped yet again to be "ago 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. -e see the clear happiness of Othello and #esdemona, which is overshadowed by the plotting of "ago. !e will use %oderigo 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 #esdemona. $gain this scene finishes with a solilo0uy from "ago, which contains important lines summari1ing what has occurred and what his plans are for the future2 .Cassio loves her3 " do well believe it3/ .The Moor 44 is of a constant, loving, noble nature2/ .!e ll prove to #esdemona a most dear husband. Now " do love her too./ .5ut partly led to diet my revenge 44 a poisonous mineral gnaw my inwards and nothing can, or shall, content my soul till " am even d with him, wife for wife./ The whole solilo0uy should be read in detail. 'very line has something to say, but briefly we have that the perverted "ago believes that Cassio loves

#esdemona. !e acknowledges that the Moor is a noble man, but that he will destroy him. !e confesses that he loves #esdemona, but the observer knows that this man is incapable of love. -hat he desires is to possess her. !e seeks revenge over the Moor and this has totally consumed him, like a poison. The last line of the solilo0uy, .6navery s plain face is never seen till used/, meaning that his plotting will go undetected until it is too late. A bumblebee, if dropped into an open tumbler, will stay there until it dies. It never sees the means of escape at the top, but persists in trying to find some means of escape through the sides near the bottom. It will seek a way where none exists, eventually fighting to frantically achieve a way out, until it completely destroys itself. Iagos schematics throughout Othello parallel this perfectly. In the soliloquy that concludes Act II, scene i, Iago details whom his vengeance will be directed toward as well as sets up his weighty downfall in the end. ince this soliloquy directly follows Iagos confrontation and persuasion of !oderigo "#.$.#%&'#($), readers should presume it pertains to this conference. *ut it does not. In fact, Iagos intentions are too vague to determine his manipulative and vengeful plot of a quarrel between !oderigo and +assio being carried any farther, or even ,ustified for Iagos own sake. Iagos plan to sexually advance toward -esdemona is not clearly stated either. more of his frustration focused toward Othello arises. And even though these characters names arise within this soliloquy, no evil plot is devised for +assio, Othello, -esdemona, or /milia either. Iago creates a double meaning. 0his soliloquy ends with Iagos parenthetical 1yet confused2 "II.i.#&3) excuse for his misdirected vengeance, though we find a double meaning even within this simple statement. !eaders presume that this statement reflects Iagos ha4e, his confusion caused by the characters remarked upon in this soliloquy. 5ot until after reading and digesting the manipulative elements of this play introduced by Iago do we reali4e that this confusion is instilled by Iago purely within this soliloquy. 0hough Iago once again explains quite clearly what he intends to do, none of his logic even relatively substantiates. 0hus, this confusion serves as the tumbler surrounding this bumblebee, Iago, who is desperately though constructively searching for an escape.

6hile readers focus on the cause of Iagos confusion, the true confusion rests in his manipulation. 0his soliloquy cannot be rationally understood in any favor. Iago inconsistently degrades +assio, then Othello, then -esdemona, and next his own wife. In fact, he even contradicts most of his own criticisms. *y examining the two logical forms of reasoning, inductive and deductive reasoning, Iago holds no validity. 0he reader cannot inductively reason Iagos intentions. In an inductively sound argument, the premises provide reasons to support the probable truth of the conclusion. In this instance, as Iago begins this soliloquy, he states as an antecedent 10hat +assio loves her, I do well believe it2 "#.$.#($). 7e then goes to say, 10hat she loves him, tis apt 8probable9 and of great credit2 "#.$.#(#'#(:). *ut Iago then draws in a completely separate element, 1Ill have our ;ichael +assio on the hip2 "#.$.#&$). Iago proves nothing to be probable. 0he truth of Iagos conclusion does not follow the truth of the premises. 5ot only does this argument not inductively reason, it does not logically follow at all. 0he same logic is shown concerning any attack on his lustful motivation for -esdemona, his envy of +assio, his ,ealousy over his wifes supposed affair with Othello, or his suspicion that +assio might have slept with his wife "#.$.#<=). 0his does not reason deductively either. -eductive reasoning leads to a conclusion that is guaranteed to follow, granted that the evidence provided is true and the reasoning used to reach the conclusion is correct. 5othing from Iagos soliloquy deductively follows any logic to back any of these earlier stated claims. >ets look to Iagos recognition of Othello? 1@or that I do suspect the lusty ;oor A 7ath leapd into my seat2 "#.$.#3$'#3#). !ather than attempting to ,ustify this in any way, he directly goes into his vengeful plot. Iago must be 1evend with him, wife for wife2 "#.$.#3B), so he at least roughly estimates the impact of his conclusive emotional disorder? 1yet that I put the ;oor A At least into a ,ealousy so strong A 0hat ,udgment cannot cure2 "#.$.#3('#3&). *ut never within this does he even remotely inductively or deductively conclude with reasons why he must cause such a disturbance. 5othing within this soliloquy holds any logical reasoning whatsoever. 0he only conclusion to be drawn in this soliloquy is that Iago has fallen into something that has blinded him already.

Iagos parenthetical 1yet confused2 statement was not to signify any of Iagos confusion. ;isguidance and misrepresentation, such as Iagos full intent, however, follow his character impeccably. Indeed, the confusion instilled from this entire soliloquy is to call his bluff and aid in more of his manipulation. 0his sets the stage for Iagos vengeful ploy throughout the rest of the play. Iago mocks the audience, as he does Othello and !oderigo, for attempting to approximate his ob,ectives, forcing all to 1as tenderly be led by th nose A As asses are2 "I.iii.:&%C:&$). As illustrated, Iagos schematics parallel that bumblebee in an open tumbler perfectly. Othellos promotion of the inexperienced +assio drops the bumblebee, Iago, in the open tumbler. Iago discusses +assios lack of merit with !oderigo? 1One ;ichael +assio, a @lorentine,ADAD;ere prattle without practiceA Is all his soldiership. *ut he, sir, had th election2 "$.$.#$,#3E#&). Iago becomes so consumed in vengeance and fury that he behaves as this bumblebee does. 5ext Iago becomes so tainted by his own selfEcreated illusions and misinterpreted delusions that he does not reali4e until the end when >odovico confronts him. 1;ore fell than anguish, hunger, or the seaF A >ook on the tragic loading of this bed2 "=.#.:3:E:3=). >odovicos quote marks that this ignorant bumblebee has tried to fight and frantically achieve a way to escape where none exists until it has completely destroyed itself. Iago has merely brought the rest of the characters as well as the readers down to his own level of confusion. 0he significance of this soliloquy details the manipulative confusion that will mastermind the plot throughout the rest of this play.

Othello: Total Allegiance to Justice

While it is evident that involvement need not imply direct participation, it remains clear that few people cannot be affected by the spectacle of Othello's tragic execution of Desdemona. The strength of our involvement arises from the disparity between what we see and what Othello sees, and that disparity is not a product of a single accidental misunderstanding. It is a mistake to dismiss the

stature of this play by thinking that the infamous handkerchief was the cause behind Othellos actions. Iago sees in Othello the potential for the suspicion Othello later comes to have, and does everything he can to foster it--the handkerchief is only one of a great number of circumstantial evidences that ultimately bring Othello to his decision. But the point is that the germ of the tragedy lies in the nature of Othello's character, in the fact that he is at heart insecure in his marriage; and the tragedy occurs because of that in Iago's character which could make use of Othello's flaw. Character is the motivator of the tragedy, not circumstances--the play is the tragedy of and by Othello; it springs from no dirty linen. Part of the impact of the tragedy is due to the stature of the man who falls. He appears from the very first as a man of supreme nobility: his reply to the senators, in its full and easy dignity, makes him appear large in the sense that Gulliver, threatened by the Lilliputians, is large. Othello is incapable of fear, shown from early in the play; his retort to the officers who threaten his life is gentle even in scorn: Keep up your bright swords, for the dew will rust them (1.2.58; all references to line numbers are from The Complete Works of Shakespeare, ed. Hardin Craig [Palo Alto, California: Scott, Foresman and Company, 1961]). So it is not only jealousy and certainly not fear that brings Othello to act as he does. Instead, it is Othellos total allegiance to justice. For example, Othello dismisses Cassio from his high office with no thought of vengeance, but because it is the just thing to do. And he brings himself to kill his wife in spite of his personal feelingshe does not want to kill her, but his sense of justice demands that he do so. (The temptation to make comparisons with modern headlines is nearly irresistable.) Similarly, when he finally discovers what he has done, he kills himselfnot from shame or remorse, but as an act of justice. Indeed, Othello bears the seeds of his own destructionbut it is the circumstances surrounding him that bring the tragedy to fruition. His love for Desdemona is not passion, but a love whose quality is reflected in Othello's tone when he speaks of it to the senatorscalmly, with dignity, serenity, simplicity and stature. Desdemona is rich and nobleshe has gone out of her social sphere to marry Othello, and he is aware of this. When he speaks of his marriage, there is a hint of uncertainty over what has happened, a feeling that he thinks it is almost too good to be true. But this insecurity, if it exists, is buried, latent, and nonfatal. it would not rise of itself to produce tragedy, but needs one who sees its existence and uses it. Without Iago, Othello's marriage would not have ended in catastrophe. Despite what some critics would have us believe, destruction was not inherent in the relationship, but was brought about by the operation of an outside force. It may similarly be said that Macbeth would not have come to tragedy without the witches, and that Brutus would not have ended as he did without Cassius. The important point is that these outside forces would not have had the effects they did were it not for the character of the protagonists involved. They were the sort of men they were, and it was possible to prod them. It is not character alone that makes for tragedy, but character acted upon by circumstance, the inextricable interweaving and interdependence of character and event. Othello

provides the character, and Iago the circumstance, and both are indispensable to the tragedy. Shakespeare's vision of Iago is full, clear, and complete; Iago is one of his great dramatic character creations. The most fascinating thing about Iago's character is its apparent lack of motive. (Hence, the old Coleridge label of Iago as a motiveless malignity.) It might seem, on the surface, that lago has many reasons to do what he does. For example, he was passed up for the lieutenancy, and he is consequently jealous of Cassios position; he suspects both Cassio and Othello have cheated him with Emilia; he shows native patriotism and chauvinistic resentment of the foreigners Othello and Cassio. While any of these might well be Iago's true motive, none of them, in the light of what Iago does and the manner in which he does it, provides sufficient motive for a completely sane individual. In the original work, Cinthio, from which Shakespeare took the framework for his tragedy, Iago covets Desdemona, and this feeling might be sufficient motive for his subsequent acts. Shakespeare, finding it necessary to have Desdemona coveted, will not allow lago to perform that funcion in his play, and invents Roderigo, a sort of Sir Andrew Aguecheek gone bad, to do the courting. Iago's objectivethe destruction of Othelloremains pure and unsullied. Iago, in mentioning the reasons for his actions so frequently and in such great detail, shows that he himself is searching for motive for the actions he seems compelled to perform! Actually, he begins his practice on Othello as part of his long-standing practice on Roderigo: he persuades Roderigo that it would be an easy and pleasurable thing to cuckold Othello and asks him point-blank and repeatedly for money. He gets his money, and he comments after Roderigo has gone, Thus do I ever make my fool my purse(1.3.390). At the outset, he has no definite plan in mind; he builds his plan as the action progresses. Othello, on his part, is passive to the manipulations of Iago; he is the only protagonist who does not seem to take an active part in constructing the means of his own destruction. It is not too difficult to see how Othello might be taken in by Iago, considering both his essential greatness and his lack of suspicion, and considering also his alien sense of insecurity. While Othello cannot and does not see what is going on in Iago's mind until the very end of the play, everyone else also interprets Iago's motives and manipulations incorrectly. Roderigo is the first to see the depths of Iago's depravity, but his vision occurs at the moment of his death; Desdemona turns to Iago to help her win back her husband; Cassio, after he has been tricked twice, still calls him honest Iago. Iago fools everyone, so that Othello cannot alone be called blind. Iago's method is superlative; he appears virtuous by the strength of his avowals to avenge those who have been hurt by vicehe rushes to the aid of the wronged Othello,who does not yet know that he has been wronged. Many presentations of Othello have represented Iago as some sort of devil incarnate; however, to do so is a mistake. Iago is passionless and motiveless. He is referred to as honest Iago in the play over fifty times! Iago is a devil insofar as he is devoted to evil in the same way that Othello is devoted to justice. But there is something clean-cut and direct about pure Satanism which Iago lacks. He

possesses an abnormal concentration of foulness and depravity that would seem to indicate that his mind is unhealthy rather than that his soul is sold. He is abnormally concentrated on the achievement of his purpose, and yet he remains comprehensibly human, and his concentration therefore appears maniacal. His speech when his practices are finally discovered (From this time forth I never will speak word [5.2.305) has nothing in common with deviltry, but rather brings to mind the picture of a silent, glaring, supremely malevolent madman. In the face of that horrifying image, Othello's final action of justice, his suicide, offers lasting redemption.

Othello Essay

When Iago's treachery is fully revealed, Othello asks "Why hath thou thus ensnar'd my soul and body?"+ Ex lain Iago's motives for hating both Othello and !assio, analyse the methods he uses to ruin their lives and sho" ho" #hakes eare reveals Iago's thoughts and lans to the audience$ %he lay "Othello" "as "ritten by the lay"right William #hakes eare, one of the best and "ell&kno"n "riters of that eriod and u to the current day$ 'e "rote it in ()*+ to be erformed to the ne" ,ing- ,ing .ames I and for that reason he included themes in it such as %urkish history, "itchcraft and black magic "hich he kne" ,ing .ames I liked$ %he lay is named after one of the main characters "ho has a fatal fla"$ %he character in /uestion is Othello, the 0oor of 1enice, a believing and honourable member of the 1enetian community and a general of the 1enetian army$ 2lthough the lay "as named after Othello, #hakes eare brings in a true villan "hose name is Iago$ 2t the time # ain "as Englands enermy and Iago being a # anish name makes the audience sure that Iago is evil$ Iago could arguably be the main character, making the lay a tragedy "hich is a lay in "hich characters must struggle "ith circumstances in "hich most meet death and des air "hich in this case the 0oor's torture and eventually his, and other innocent characters' demise$ #hakes eare seems to suggest in this lay that "hite Iago is a very negative character and Othello the black general is the hero$ %his "ould have been at a time "hen much of England "ould have /uestioned these vie"s$ #hakes eare may have been trying to make a social comment and utting for"ard a negative attitude to"ards racism$ %he story is based around a tale by the Italian "riter 3iraldi !inthio$ It begins in 1enice, a 4nice', civilised city, and moves to the chaotic "ar in !y rus$ %his change has a lot of significance and relevance in the lay because it symbolises the changes in Othello's life and erce tions$ !y rus is an island that is ex osed and can be easily attacked "hich brings in irony "hen Othello moves there Iago's lan succeeds$ %he lay begins "ith a conversation bet"een Iago and a 1enetian nobleman 5oderigo$ %hey are discussing about ho" 6esdemona, "hom 5oderigo loves, has elo ed "ith Othello$ %hrough this early conversation it is evident that that Iago is mani ulative and cunning as he is already taking advantage of the rich and love struck 5oderigo, "hose money he has full use of"%hus do I ever make my fool, my urse$$" %he first "ord "e hear from Iago is "#blood", a strong s"ear "ord in the 7ritish language at the time$ We learn through the conversation that Iago uses crude language and is not "ell s oken, or noble, but a sim le man, a soldier$ Iago ex lains to 5oderigo "hy he hates the general, Othello$ It seems that he had leaded "ith Othello for the osition of lieutenant in the army, but des ite his efforts Othello romotes !assio, a nobleman- "One 0ichael !assio, a 8lorentine,$$$$%hat never set a s/uadron in the field" 98rom this statement "e kno" that he des ises Othello for this decision because not only is !assio inex erienced, but he is also not from 1enice but from 8lorence$

2s Iago tells 5oderigo of "hat he thinks as a mistake "e become more a"are of his bitterness$ Iago here also gives a further reason "hy he hates Othello to the audience in the "ay of a solilo/uy, a dramatic device "hereby a character talks directly to the audience about his feelings and o inions$ %his "ay of conveying an idea to the audience is used by #hakes eare a lot because it builds u tension because the audience kno" things the other characters don't$ In this solilo/uy, Iago tells the audience of his sus icion that Othello has sle t "ith his "ife, Emilia- "2nd it is thought abroad that 4t"ixt my sheets 'e has done my office$" 2t this oint "e start to become more a"are of his :ealous nature and sus ect that it may be based mostly on his aranoid mind$ ;ot only does he believe that Othello has sle t "ith his "ife he also believes that !assio has as "ell,and "ith has good looks, his charm and his luck "ith "omen also the fact that !assio got the romotion and not him makes Iago totally :ealous of !assio and this is "hy he hates !assio so much$ "'e hath a erson and a smooth dis ose to be sus ected & framed to make a "oman false$" 'e suggests in this sentence that !assio is irresistible to "omen because of his charm and looks$ #hakes eare is sho"ing here ho" :ealous Iago is but also sho"ing that sometimes Iago can be honest$ In the first act of the lay, Iago convinces 5oderigo to hel him arouse 7rabantio, 6esdemona's father, in order to tell him of the secret marriage bet"een his daughter and Othello- "Even no", no", very no", an old black ram is ta ing your "hite e"e$" Iago again uses crude, racist language bringing sexual animalistic images "hich "ould have been des ised in the city of civilised and so histicated 1enice$ #hakes eare makes Iago does this to anger 7rabantio into violence and to make the audience /uestion their o"n vie"s on racism$ %his method of mani ulation is used by Iago as he kno"s ho" his "ords "ill affect others$ 'e uses this method against Othello to convince Othello of 6esdemona's affair and also uses it against other eo le during the length of the lay$ "Were they as rime as goats, as hot as monkeys, 2s salt as "olves in ride and fools as gross as ignorance made drunk" <2ct III #cene III= 'ere he com ares 6esdemona and !assio to animals to bring into Othello's mind terrible and horrific images to make him angry$ Iago is confident that his "ords "ill hit their target$ Iago fre/uently uses racist terms$ In the resence of 5oderigo and to anger 7rabantio, he is often being racist$ 'e refers to Othello as a "7arbury horse", a ty e of 2rab horse, "hich is not only racist but adding animalistic terms in as "ell$ In the lay, the scene changes from 1enice to !y rus$ #hakes eare uses 1enice to symbolise truth and civility and, in contrast to this, the setting moves to !y rus, bad, terrible and "ar&torn, and the setting for Othello's similarly tumultuous trial$ Whilst Othello's mind is at rest, the audience en:oys a 1enetian setting, and "hen he becomes rovoked and disturbed, "e see the backcloth of !y rus$ %he other characters in

the lay also seem leased and contented of the im lications of being in 1enice$ 7rabantio himself ex lains- "What tell'st thou me of robbing? %his is 1enice> 0y house is not a grange$" <2ct I #cene I= %his is :ust roving that the idea of robbery in 1enice is :ust outrageous to a man like 7rabantio, content "ith his 1enetian home and his 1enetian blood and not used to uncival behaviour$ %he difference bet"een 1enice and !y rus is really sho"n by Iago "hose lan is unsuccessful in his attem ts to bring comedo"n to Othello in 1enice by telling 7rabantio that Othello has sle t "ith his daughter in no uncertain terms, "hile in !y rus he succeeds, by breaking u Othello's marriage and then annihilating !assio$ 'e makes Othello believe that !assio is 6esdemona's secret lover, thereby ruining both of his enemies "ith the same liebut first of all he makes sure everyone thinks he is !assio's friend- "%ouch me not so near I had rather have this tongue cut from my mouth than it do offence to 0ichael !assio$" 'e does this so no one "ill sus ect him of foul lay$ %his brings a lot of dramatic irony into the lay by characters such as Othello and !assio continually calling him "honest Iago" "hile the audience kno" he's not$ %herefore Iago can continue his evil lan "ithout being sus ected$ ;ext Iago loses !assio his osition of lieutenant$ In doing this he brings cleverly into the lan stu id, lovestruck 5oderigo$ Iago tells 5oderigo that he should ick a fight "ith !assio "hile he is on duty$ Iago does this because he kno"s that this "ould hurt !assio's re utation and ruin his friendshi "ith Othello$ Othello holds a arty and Iago :oins !assio$ Iago asks him to artake in a glass of "ine$ !assio agrees, but insists that he can only have a little for he has "no brains for drinking"$ 7ut he gives "ay and soon gets drunk$ Iago gets !assio drunk to hel him "ith his lan$ When 5oderigo starts on !assio, !assio "ill res ond, therefore u setting Othello "hen he sees them, giving him no choice but to take !assio's osition from him$ Iago then cunningly tells !assio that to get his osition back he needs to ersuade 6esdemona to s eak to Othello on his behalf$ "!onfess yourself freely to he $$$ re/uested" Iago does this so "hen he has filled Othello's mind "ith thoughts, having 6esdemona coming u to Othello "anting to talk about !assio "ill u set Othello further$ While 6esdemona is trying to s eak to Othello about !assio, Iago is lanting lots of sexual animalistic thoughts in Othello's mind- "Were they as rime as goats, as hot as monkeys, as salt as "olves$" While Othello is thinking about this, Iago also reminds Othello of 6esdemona being disloyal to her father and leaving him in secret stating that she could so easily do it again$ In the end, "ith Iago making more and more comments and Othello becoming more and more sus icious, Othello is ushed over the edge, killing his "ife and himself$ 2ct III #cene III is the most im ortant scene in the lay and is often called the %em tation #cene$ it contains lots of tension and "orks u the audience a great deal$ %his is because this is "here Iago's lan seems to change everything so /uickly$ 2t the start of the scene Othello says"Excellent "retch- ?erdition catch my soul 7ut I do love thee- and

"hen thee not, !haos is come again$" 'e means that if he didn't love 6esdemona, it "ould be chaos$ %his builds u the tension because of the dramatic irony because "e, the audience, kno" "hat's going to come$ Iago continues to make Othello sus icious and then says- "@tter my thoughts? Why say, they are vile, and false?" #hakes eare again /uestions society by utting in he lay "hat lots of eo le have done and "ill do$ 'ere Iago is actually getting Othello to ask him "hat he is thinking, not directly telling him, but using his sus ision against him making him ask "hat Iago thinks so that, cleverly, he cannot be blamed later on$ 'e does this by telling him that he doesn't "ant to hear "hat he has to say$ 'e does this, making Othello's sus icions "ork against him, making him ask and from there on"ards uts concocted "ords into Othello's mind$ %he things he tells Othello mostly are to make his sus icions gro", but Iago does add the slightest of truths in to rove it a bit more- "#he did deceive her father, marrying you$$" 'ere he reminds Othello that 6esdemona did deceive her father, so could deceive again$ While Iago is reminding and telling Othello "hat has ha ened, and "hat could be ha ening, he is adding language in "hich he is saying ho" a lady could fall for !assio, building u Othello's fatal fla" & :ealousy$ 'ere "e see a big change Othello turning into someone almost like Iago%he audience see Othello's language change from gentlemanly to crude- "6amn her le"d minx$$$" 'ere is Othello uttering in #hakes earian times very bad "ords$ #hakes eare makes Othello change his languageand thoughts :ust to sho" the audience ho" someone can easily change from mere sus ision$ %hen the last statement Othello says in the scene roving the oint for the audience that Othello has changed" O damn her, damn her$ !ome go "ith me a art, I "ill "ithdra" %o furnish me "ith some s"ift means of death" %his changes the "ay the audience erceive Othello from Othello saying life "ould be chaos if 6esdemona "asn't there at the beginning of the scene to damn her, get hera"ay from me and kill her at the end$ %his really starts the tragedy "ith the audience no" kno"ing that evil Iago's lan has "orked and the lay "ill have a tragic ending, %his builds u the tesnion as "ell, because the charaters in the lay still refer to Iago as "honest" "hen the audience can see lainly he is not$ %he handkerchief scene is another im ortant scene in Othello$ %he scene is full of tension, "hich #hakes eare kee s on cleverly adding to, to bring more furore from the audience$ %his tension is brought about by 6esdemona s eaking for !assio "hich com ounds Othello's fears and at the same time Othello asking for the handkerchief bringing in dramatic irony creating tension$ %hroughout the scene, Othello gets more and more des arate making the audience sit on the edge of their seats even more and then at the same time 6esdemona interru ting "ith "ords for !assio$ 'ere you can see that, even though 6esdemona kee s on denying it, Othello "on't rest and kee s on asking her, sho"ing ho" "ell Iago has "orked u Othello "ith evil lies$%his scene and the tem tation scene bring the lay u to its climax full of dramatic tension #hakes eare has cleverly made$ Aots of Iago's motives

"ere based on sus icion and his truly "icked and cunning "ays forced Othello's "eakness to come from him & :ealousy$ Othello changed during the lay from a olite general to a badly s oken murderer all because Iago thought Othello may have sle t "ith his "ife and Othello didn't romote him but !assio$ In this lay Iago "as re ared to ruin and end eo les' lives :ust because of his :eaousy$ 'is motives "ere small and his actions huge and horrific$ #o "hat most eo le "ould "onder and "hat Othello asked on the brink of death "as- "Why hath thou thus ensnar'd my soul and body?"

Iago in Shakespeare's Othello

Perhaps the most interesting and exotic character in the tragic play "Othello," by William Shakespeare, is "Honest" Iago. Through some care ully thought!out "ords and actions, Iago is able to manipulate others to do things in a "ay that bene its him and mo#es him closer to"ard his goals. He is the main dri#ing orce in this play, pushing Othello and e#eryone else to"ards their tragic end. Iago is not your ordinary #illain. The role he plays is rather uni$ue and complex, ar rom "hat one might expect. Iago is smart. He is an expert %udge o people and their characters and uses this to his ad#antage. &or example, he kno"s 'oderigo is in lo#e "ith (esdemona and igures that he "ould do anything to ha#e her as his o"n. Iago says about 'oderigo, "Thus do I e#er make my ool my purse." )*ct I, Scene III, +ine ,--. /y playing on his hopes, Iago is able to s"indle money and %e"els rom 'oderigo, making himsel a substantial pro it, "hile using 'oderigo to or"ard his other goals. He also thinks $uick on his eet and is able to impro#ise "hene#er something unexpected occurs. When 0assio takes hold o (esdemona1s hand be ore the arri#al o the 2oor Othello, Iago says, "With as little a "eb as this "ill I ensnare as great a ly as 0assio." )*ct II, Scene I, +ine 34,. His cunning and cra tiness make him a truly dastardly #illain indeed. /eing as smart as he is, Iago is $uick to recogni5e the ad#antages o trust and uses it as a tool to or"ard his purposes. Throughout the story he is commonly kno"n as, and commonly called, "Honest Iago." He e#en says o himsel , "I am an honest man...." )*ct II, Scene III, +ine 67-. Trust is a #ery po"er ul emotion that is easily abused. Othello, "holds )him. "ell89The better shall )Iago1s. purpose "ork on him." )pg. 3677, +ine ,46. Iago is a master o abuse in this case turning people1s trust in him into tools to or"ard his o"n goals. His "med1cine "orks: Thus credulous ools are caught...." )pg. 36;7, +ine 77. Iago slo"ly poisons people1s thoughts, creating ideas in their heads "ithout implicating himsel . "*nd "hat1s he then that says I play the #illain, "hen this ad#ice is ree I gi#e, and honest," )*ct II, Scene III, +ine 6<<. says Iago, the master o deception. *nd thus, people rarely stop to consider the possibility that old Iago could be decei#ing them or manipulating them, a ter all, he is "Honest Iago." Iago makes a ool out o 'oderigo. In act, the play starts out "ith Iago ha#ing already taken ad#antage o him. 'oderigo remarks, "That thou, Iago, "ho hast had my purse as i the strings "ere thine." )*ct I, Scene I, +ine 6. Throughout the play, Iago leads 'oderigo by the collar pro essing that he "hate=s> the 2oor" )*ct I, Scene III, +ine ,77. and telling 'oderigo to "make money" )*ct I, Scene III, +ine ,,<. so that he can gi#e gi ts to (esdemona to "in her o#er. (uring the "hole play ho"e#er, Iago is %ust taking those gi ts that 'oderigo intends or (esdemona and keeps them or himsel . 'oderigo e#entually starts to

$uestion Iago1s honesty, saying "I think it is scur#y, and begin to ind mysel opped in it." )*ct I?, Scene II, +ine 3;<. When aced "ith this accusation, Iago simply o ers that killing 0assio "ill aid his cause and 'oderigo blindly alls or it, hook, line, and sinker. "I ha#e no great de#otion to the deed, and yet he has gi#en me satis ying reason," )*ct ?, Scene I, +ine ;. says the ool 'oderigo. *nd "ith this deed, 'oderigo is lead to his death by the hands o none other than, "Honest Iago." 0assio, like 'oderigo, ollo"s Iago blindly, thinking the "hole time that Iago is trying to help him. *nd during this "hole time, Iago is planning the demise o 0assio, his supposed riend. On the night o 0assio1s "atch, Iago con#inces him to take another drink, kno"ing #ery "ell that it "ill make him #ery drunk. 0assio %ust ollo"s along, though he says, "I1ll do1t, but it dislikes me." )*ct II, Scene III, +ine ,@. Iago is able to make him de y his o"n reasoning to take another drink: 0ra ty, is this Iago. When 'oderigo ollo"s through "ith the plan Iago has set on him, 0assio is made to look like an irresponsible ool, resulting in his termination as lieutenant. * ter this incident, Iago sets another o his plans in motion by telling 0assio to beg (esdemona to help his cause, saying, "she holds it a #ice in her goodness not to do more than she is re$uested." )*ct II, Scene III, +ine 6;@. *nd thus, 0assio is set on a dark path "hich leads to trouble and mischie . Aet, 0assio ollo"s it blindly telling Iago, "Aou ad#ise me "ell." )*ct II, Scene III, +ine 6<6. With this, 0assio is e#entually led into a trap "here 'oderigo maims him, and all that time, Iago ! his riend ! is behind it all. +o"ly Iago, is capable o anything ! not e#en Othello is sa e rom this #illain. Othello holds Iago to be his close riend and ad#isor. He belie#es Iago to be a person, "o exceeding honesty, )"ho. kno"s all $ualities, "ith learned spirit o human dealings." )*ct III, Scene III, +ine 6-@. Aes, he does kno" all about human dealings, but no he is not honest. He uses the trust Othello puts in him to turn Othello e#entually into a %ealous man, looking e#ery"here.