Othello offers a dense metaphor for his rage.

When Iago beseeches Othello to let Desdemona live, he may be employing his often-used tactic of reverse psychology. Momentarily, Othello seems to revive his senses, snarling at Iago's villainy and sending him away, then he slumps into despair. In this simile, Othello stresses his high status (as we might expect a tragic hero to do), identifying himself with large and mighty elements of nature. Here it is significant that twice Emilia uses the verb steal and also the verb filch when she refers to Iago's request (lines 293, 309, and 315).

Then he bids Iago farewell, painfully asking himself why he married at all; it is obvious to him that "this honest creature [Iago] doubtless / Sees and knows more, much more, than he unfolds" (242-243). Othello insists that only the collapse of form and order (chaos) would cause him to fall out of love with his wife, Desdemona. A turning aside to address someone directly in a poem. Emilia is present and adds her own good wishes for Cassio; she too hopes that Desdemona will be successful. Othello's anxiety, though unfair, is understandable. Jove, king of the gods in Roman mythology and known as Zeus in Greek, ruled the sky and heavens.

One cannot imagine more welcome words to Iago. Cassio, the ignorant one, is condemned.

Here the reader should recall Othello's words to the Duke of Venice; he confessed that he knew very little of the world except for that pertaining to warfare.

As Othello describes it, however, Desdemona’s jesses—the cords that attach a falcon to its falconer—are his heartstrings. . This thought is similar to his father-in-law's observation in Act I, Scene 3, when Brabantio spoke of "nature erring" — when Desdemona "unnaturally" chose Othello, a man not of her own race or culture. One might profitably recall Iago's antithetical views on the same subject when he was talking with Cassio earlier. She promises to speak of him with her husband repeatedly until the quarrel is patched up and Cassio is recalled.

Now that Othello knows of the fictional adultery, the rest of the play is devoted to the unfolding consequences. Othello solemnly vows to execute "a capable and wide revenge" (459), and then he kneels. Enter DESDEMONA, CASSIO, and EMILIA DESDEMONA Be thou assured, good Cassio, I will … In fact, a conclusion is hardly necessary; for a mind as inflamed with jealousy as Othello's, the handkerchief itself is metaphor enough. This small moment foreshadows the breaking down of their relationship.

Othello describes his anger as similarly ceaseless, without ebb. Green and yellow are both emblematic of jealousy, so jealousy is a "green-eyed monster." Iago enters and, after a brief exchange with his wife, learns that she has the very handkerchief that he has longed for.

Literary Analysis : Othello Act 3 Scene 3 Rhetorical and Literary Devices By: Kathy, Melinda, Kyle and Anthony line 93-94 & 100-107 line 374 Leading Questions: Timeline Anticipations are reached and manipulations of Iago's plan unfold without this scene the play and plot would be hold her free (255) believe her to be guiltless.

Pioners (346) manual laborers doing the least desirable kinds of work. Act 3, Scene 3 of Shakespeare's OTHELLO, with notes, line numbers and search function. It is necessary to remember throughout the play and especially in this scene that Iago has a reputation for complete honesty. Othello expresses his internal shift from love to hate.

Iago's words here are filled with forceful innuendo, and as he pretends to be a man who cannot believe what he sees, he reintroduces jealousy into Othello's subconscious. The images of Othello’s home life—his bed, his dining table—become political locations where affairs of state are discussed. Othello finds this insecurity resurfacing in the context of Desdemona’s possible adultery. He then pretends not to have reasons for distrusting Cassio. Rather, it is in Othello’s best interests. Emilia explains the significance of the napkin, giving meaning to the previous exchange between Desdemona and Othello. He tries to tell himself that it is not true.

Even though she did promise Cassio not to delay speaking to Othello about the matter, such annoying insistence seems unnecessary, and it leads to Othello's becoming mildly vexed with his wife's childish pestering: "Prithee, no more; let him come when he will, / I will deny thee nothing" (74-75). Desdemona’s case for reinstating Cassio is that his crime is one of ignorance, not cunning.

Focusing on the exchanges between Othello and Iago, create a bar chart or line graph that plots the relative power (on a scale of 1-10) of Iago and Othello as this varies speech by speech. Rather, he projects his confusion and rage about the possibility of Desdemona’s faithlessness onto Iago, demanding “the ocular proof.”. If he indeed finds her false, he'll "whistle her off and let her down the wind / To prey at fortune" (262-263) — that is, he will turn her out and make her shift for herself. He uses such words as heaven, reverence, and sacred, and it is as though he sees himself as a rightful scourge of evil, as executing public justice and not merely doing personal revenge. There is only one thing now of which Othello is certain — the "exceeding honesty" of Iago. Othello is enraged to the point where he is convinced that absolutely all of his suspicions are true. By expressing a desire to let her live, Iago further coaxes Othello into choosing to kill her. 1. The audience, of course, knows well which line of thinking is accurate.

In unusually coarse imagery, Iago then introduces the subject of what kind of evidence would resolve Othello's doubts.

mandragora (330) a soporific, or substance causing sleep.

(Later, Othello will believe not only that she has violated a vow of friendship, but that she has violated their vows of marriage.) This passage alludes to the Pontic Sea, today known as the Black Sea, a body of water without a balanced tide which flows in and out. Iago also urges Othello to recall that Desdemona deceived her own father by marrying Othello.

If Iago fears something, it must be a concern "working from the heart" (123).

If Iago’s false allegations of adultery between Cassio and Desdemona were true, Othello’s reputation would be destroyed.

Brabantio has remarked time and again that Desdemona’s love for Othello is an aberration from nature. The devil; the term 'Satan' actually means 'Enemy' and is often used to refer to the force of evil in the world. Study Othello’s speech starting ‘This fellow’s of exceeding honesty,’ until ‘When we do quicken.’ List the things that Othello wrongly believes.

Desdemona tells Cassio that she will do everything she can to have him reinstated as lieutenant, and will not stop pleading for him until he is restored. Desdemona truly believes Othello is a perfect man. The sign ( ' ) used to indicate the omission of one or more letters or to denote possession in a noun. Are you sure you want to remove #bookConfirmation# What Iago is doing, of course, is making Othello believe that Iago's honor is at stake if he confesses his fears. Othello. . In other words, he loves her too deeply to let her go. One can see how skillfully Iago makes use of his public reputation for honesty.

All rights reserved. Othello hears, and his "O misery!"

In other words, the faithless wife is a well-known member of Venetian society. In this moment he cannot decide whether Desdemona is faithful and Iago dishonest, or if Desdemona is faithless and Iago honest. • ‘the sun where he was born drew all such humours from him’ She links his romanticism with his skin colour and culture. The idea of reputation is the idea on which Iago will build all of his deceit. But schemer that Iago is, he knows what must be done to protect himself; he must feign another vow of honesty and concern for Othello's welfare. Renaissance men often suspected their wives of adultery because of the stigma around being a "cuckold." Is this a fair judgement of Othello? By this time, Othello's suspicions will be ripe with Iago's "poison" (325), for "trifles light as air / Are to the jealous confirmations strong / As proofs of holy writ" (322-324).

[He puts the handkerchief from him, and she drops it.].

In this couplet, Othello admits to the nuanced nature of his trust in others.

© 2020 Houghton Mifflin Harcourt. As he judiciously puts it, “I’ll see before I doubt; when I doubt, prove.”.

For that reason, Iago's remark to Othello that all this has "a little dash'd your spirits" (214) is a gross understatement.

Dramatis Personae Act I Act I - Scene I ... As the scene draws to a close, Othello agrees to the plot Iago has devised. He is within reach of his original objective of driving Othello to despair, but his victory is not secure, as Othello may yet think to blame Iago again for his suffering and turn against him.

Othello then turns on Iago with savage intensity and demands to see the proof of Desdemona's infidelity.

The bestial images that Iago conjures up reek of base sexuality, for now Iago no longer needs to rely on innuendo.

This contradiction indicates the lack of clarity in his thinking.

But when Emilia adds that her husband, Iago, grieves "as if the cause [for Cassio's demotion] were his" (4) and that his friendship with the Moor has been severed, even the most casual listener in the audience would probably gasp in disbelief. It is for this reason that Othello is alarmed by Iago's hesitations and "pursed brow"; Othello knows that Iago is not a "false disloyal knave" (121) and that he is "full of love and honesty" (118). His words also ironically reflect on Othello’s situation. On one level, Iago speaks of himself hypothetically. He expresses his concern that his reputation would be ruined should he freely give his thoughts away.

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