Irony in Othello

This statement perfectly encapsulates Iago’s character. Iago is deeply iniquitous—or immoral—and all the more so for the fact that he claims not to be. A great many of Iago’s words are steeped in irony.

Iago takes on an ironic tone to convince Roderigo that Desdemona will soon fall out of love with Othello. As Iago puts it, she will grow tired of Othello’s war stories, not to mention his old age, lack of manners, and unattractive appearance. Iago has no good reason to believe any of this, but he must give Roderigo hope in order to pull the man—and his money—into his schemes.

In a moment of distinct dramatic irony, Desdemona calls to the heavens for a continued increase of “loves and comforts.” The audience, of course, knows of Iago’s plots and thus knows that such an increase is unlikely.

Iago paints an ironic portrait of Cassio as the right “knave” to steal Desdemona’s heart: he is charming, sly, handsome, and young. Good qualities aside, Iago’s personal hatred for Cassio finds its way into the description: “a devilish knave!… a pestilent complete knave.” Despite Iago’s speech in Act I about using reason to control the emotions, Iago often allows his emotions to guide his words and actions.

Iago takes an ironic tone to convince Roderigo that Desdemona will soon fall out of love with Othello. As Iago puts it, she will grow tired of Othello’s war stories, not to mention his old age, lack of manners and unattractive appearance. Iago has no good reason to believe any of this, but he must give Roderigo hope in order to pull the man—and his money—into his schemes.

In a moment of distinct dramatic irony, Desdemona calls to the heavens for a continued increase of “loves and comforts.” The audience, of course, knows of Iago’s plots, and thus knows that such an increase is unlikely.

In another moment of dramatic irony, Iago adds insult to injury. Not only did Cassio lose his rank “without deserving” as a result of Iago’s scheming, Iago subtly indicates that Cassio achieved his rank in the first place “without merit.”

Ever the brilliant orator, Iago takes the outward stance of defending Cassio while revealing the man’s identity as instigator. As is the case with much of Iago’s scheming, this speech pulsates with dramatic irony, for the audience alone knows Iago’s purposes.

Iago is from Venice; Cassio, Florence. In this remark, Cassio compares Iago to his fellow Florentines, finding the man just as kind and honest. This reiterates one of the play’s central sources of irony: despite his intentions, Iago is consistently praised for his upright moral character.

Iago fuels Othello’s concerns, claiming that nature’s course would guide Desdemona to choose someone of the same clime—or social status—and race. According to Iago’s lies, Desdemona found neither characteristics in Othello, suggesting a “will most rank.” In other words, Iago characterizes Desdemona as deceitful and manipulative.

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. His words also ironically reflect on Othello’s situation. If Iago’s false allegations of adultery between Cassio and Desdemona were true, Othello’s reputation would be destroyed. In Elizabethan times, to be a cuckold was a severe embarrassment.

Othello’s words reveal a trace of dramatic irony. Othello wishes to know the “horrible conceit” about Cassio that Iago has “shut up in [his] brain.” In truth, the horrible conceit in Iago’s brain is a much deeper one than Cassio’s fictional adultery. The horrible conceit is Iago’s larger plan to exact revenge on Othello and Cassio.

Iago’s tactic in this exchange with Othello is to give away slight inclinations of distrust in Cassio. He then pretends not to have reasons for distrusting Cassio. Iago’s tactic is meant to cultivate Othello’s doubts about Cassio without behaving as if he intends to do so.

Desdemona’s case for reinstating Cassio is that his crime is one of ignorance, not cunning. Her method of argument is fascinating because it contains an unseen irony: the qualities she brings up are those which separate Cassio and Iago. Cassio, the ignorant one, is condemned. Meanwhile Iago, the cunning one, runs free.

Iago knows well that Othello saw Cassio exit, and yet he shrouds Cassio’s presence in intrigue. Ever the master of irony, Iago’s goal here is to sow seeds of jealousy in Othello. Iago understands that Cassio spoke to Desdemona about his reinstatement. By pointing to the man’s “guiltylike” movements, though, Iago introduces the idea that Cassio is guilty of some other indiscretion.

Emilia’s words cut to the heart of the play’s message about jealousy. Jealousy is “a monster/Begot upon itself.” Jealousy does not need to be founded on any external cause; rather, it fuels itself. The audience knows Emilia is correct, for Othello’s jealousy is based on Iago’s fictions. The dramatic irony increases in Desdemona’s response: a plea to “keep that monster from Othello’s mind!” We know it is too late.

In the ensuing exchange is an acute example of dramatic irony. Each character entirely misreads the other’s intentions. Othello believes Desdemona cares about Cassio’s cause out of love. Desdemona fails to realize that Othello is obsessed with the handkerchief because he is suspicious.

Determined to get to the truth, Othello begins to test Desdemona. By referring to her hand as moist, he is accusing her of being nervous and thus having sweat on her hands. His manner on the surface remains polite—he calls her “my lady” as usual—but his intentions are pointed.

Othello utters this sentence as an aside to the audience in a moment of dramatic irony. The “hardness” he means to set aside is his “hardness of heart,” a common Shakespearean phrase for ill intent. This moment marks the visible fracturing in the relationship between Othello and Desdemona. When Othello must turn to the audience for solidarity, it is clear his intimacy with his wife is shattered.

This is a passage of intense dramatic irony. If Desdemona had said these words in Act II, the audience would be inclined to agree. In the context of the changes in Act III, Scene III, Desdemona’s miscalculation is enormous.

In a moment of dramatic irony, the audience understands Emilia’s loyalties. Emilia knows precisely where the handkerchief is, for she delivered it to Iago. It is clear that Emilia puts more value in her role as Iago’s wife than her role as Desdemona’s attendant.

This line marks the moment in which Othello makes his anger for Desdemona clear to her. The reference to “fire and brimstone” frames Desdemona’s actions as sinful. The dramatic irony is at a peak here; Othello entirely misunderstands what Desdemona means by “the love I bear to Cassio.”

The handkerchief serves as another convenient source of confusion in this scene. Othello believes that Desdemona gave the kerchief to Cassio as a token of love and that Cassio in turn insolently gave the kerchief to the prostitute Bianca. The dramatic irony is sharp here, for only Iago and the audience understand that Iago is the culprit. It is also interesting that Bianca refers to Desdemona as a “minx” shortly after Cassio calls Bianca a “fitchew”—another type of weasel.

In this exchange, Iago plays with Othello’s imagination. He lingers on the word “lie” before supplying “with her, on her” to evoke sexual images in Othello’s mind and thus enrage him. The irony is that “lie” takes on an additional meaning: Iago is lying about the relationship between Cassio and Desdemona.

Iago discusses the intangible nature of honor, and he adds a twist of dramatic irony. By saying that “they have it very oft that have it not,” Iago admits that honor is often attributed to those without honor. This is true of Iago himself, who is repeatedly referred to as “honest Iago.”

In this passage, Desdemona frames her repentance to Othello as a prayer to God. In fact, Shakespeare draws some of the language of her repentance from the Catholic Eucharist, specifically the section devoted to the confession of sin. There is an irony to this moment, because Desdemona confesses to a sin she did not commit.

Emilia’s accusation of a hypothetical rogue, followed by Iago’s dismissal of her claim, is one of the play’s most pointed moments of dramatic irony. Emilia’s description of Iago as a “cogging cozening slave” is humorous; “cozening” means deceiving and comes from the Italian “cozzone,” which means “horse trader.” Emilia even accurately guesses the purpose of Iago’s plans—“to get some office”—which heightens the irony.

Upon this line, Iago stabs Rodrigo. As always, Iago’s actions are entirely self-serving for he has no true allegiances. There is an irony in Rodrigo’s choice to call Iago a dog, an animal known for its loyalty, during this act of complete disloyalty.

In a rhyming couplet, Othello addresses Desdemona from afar. He claims that her hold on him, represented by her eyes, has been “blotted,” or removed. The second line is highly ironic. While Othello plans to spill Desdemona’s lustful blood on their bed, the sheets are already stained with her matrimonial blood—the symbol of her faithfulness.

Othello fails to understand the situation before him. He believes Iago has slain Cassio as a punishment for his adultery. The dramatic irony is sharp here, for the audience understands that Iago is not “honest and just” in his intentions nor acting on Othello’s behalf. The word “hie” means “hasten,” suggesting that Cassio is hastening towards his death.

Shakespeare uses the movements of the moon as a metaphor for the relationships between men and women in the play. Shakespeare casts the moon as a “she” whose closeness to the earth drives “men mad.” The irony is that the events of the play are not caused by the “error” of women but rather by the schemes of men, chiefly Iago.

In this chilling exchange, Othello offers Desdemona a chance to repent for her actions. The conversation is built on a tense dramatic irony, because Othello does not understand, as the audience does, that Desdemona is innocent.