Act I - Scene III
[A council chamber.] |
Enter Duke and Senators, set at a table with lights and attendants. |
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[Within.] |
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[Enter Sailor.] |
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[Enter a Messenger.] |
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Enter Brabantio, Othello, Iago, Roderigo, and Officers. |
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Exit two or three. |
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Enter Desdemona, Iago, and the rest. |
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Exeunt [Duke, Senators, and Officers.] |
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[Exeunt [Othello] and Desdemona.] |
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[Exit Roderigo.] |
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Exit. |
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— Zachary, Owl Eyes Editor
Iago ends Act I with a strange, dense rhyming couplet. In these two lines, Iago layers three separate metaphors to describe his plot. The three metaphors are initiated in the first line and completed in the second. The first metaphor uses a cycle of conception—or engenderment—and birth. The second uses a movement from hell, or the underworld, up to the living world. The third uses the transition from night to day. One could say that the use of “monstrous” is aptly metaphorical as well. After all, the mythological definition of monster—a composite creature—finds its parallel in the “double knavery” of Iago’s plan.
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— Zachary, Owl Eyes Editor
Iago’s plot sets the stage for the second act. By spreading a rumor that Cassio and Desdemona are having an affair, Iago hopes to accomplish a “double knavery.” Such a rumor would destroy both Othello and Cassio, the two men for whom he holds a grudge.
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— Zachary, Owl Eyes Editor
Iago claims that Othello and Desdemona will tire of one another in time. As with much that comes from Iago’s mouth, it not clear whether he believes this to be the case or whether he says this to further his own ends, in this case by raising Roderigo’s hopes.
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— Zachary, Owl Eyes Editor
Iago repeats this request, beseeching Roderigo to put together funds to give to Iago. The idea is that with funds, Iago will execute a plan to separate Othello and Desdemona and deliver her into Roderigo’s arms.
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— Zachary, Owl Eyes Editor
Iago’s thesis is that human emotions must be controlled by reason, lest they run our lives. Iago firmly believes in a self-aware cultivation of the soul, and that industry and moderation can be practiced through rational thought. While Iago’s message of self-control is valid, it goes hand in hand with his ruthlessness of character.
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— Zachary, Owl Eyes Editor
The Duke continues his pattern of issuing words of wisdom in the form of rhyming couplets. Using “black” as a double entendre to signify both virtue and race, he characterizes Othello as a virtuous man, no matter his race.
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— Zachary, Owl Eyes Editor
Desdemona’s argument for joining Othello on the frontlines is complex but compelling. She claims that she loves Othello for his mind and his military prowess, and to separate her from him while he exercises those qualities would be a shame.
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— Zachary, Owl Eyes Editor
Despite the turmoil surrounding Othello’s marriage, the Duke still trusts Othello with his military operations. It is notable that Shakespeare shifts the speech form from verse to prose at the start of these lines. The jump from rhymed pentameter to prose suits the topical shift from marital drama to military concerns.
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— Zachary, Owl Eyes Editor
The Duke takes on a scholarly tone here, speaking in rhyming couplets, each one of which serves as a wise saying. For the rest of his speech, the Duke invents new ways to tell Brabantio to get past his woes.
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— Zachary, Owl Eyes Editor
In medieval times, prisoners were often tortured by having clogs—heavy wooden blocks—hung around their necks before being marched through the streets. Fortunately, Brabantio has no one to direct such anger toward.
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— Zachary, Owl Eyes Editor
In other contexts, a father calling his daughter a “jewel” would register as a mark of affection. Considering Brabantio’s pattern of referring to Desdemona as valuable property, this line takes on a different meaning. Brabantio is lamenting the loss of a prized possession as well as a daughter.
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— Zachary, Owl Eyes Editor
Not only does Desdemona make it clear that she has married Othello by her own choice, she evokes her mother’s path in life—husband before father—as a justification for her dedication to Othello. In an interesting way, she reverses Brabantio’s notion of nature’s course. Her love for Othello is natural because it was her mother’s way.
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— Zachary, Owl Eyes Editor
The Duke employs an interesting metaphor for Brabantio’s clumsy handling of the situation. He calls for Brabantio to use his hands rather than “broken weapons” in dealing with the matter. It is fitting that he uses a military metaphor to describe the discussion at hand, for it is Othello the general who is winning this war of words at the moment.
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— Zachary, Owl Eyes Editor
According to Othello, his relationship with Desdemona has blossomed out of their connection over his war stories. Othello’s language blurs any sense of which side held the greater interest. He first says that Desdemona would “with a greedy ear/Devour up my discourse,” indicating her intense interest. He then claims to have “found good means/To draw from her a prayer” to continue telling his stories. Othello thus intends to paint a picture of mutual infatuation in order to defend their marriage.
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— Zachary, Owl Eyes Editor
This is a clever rhetorical move on Othello’s part. He reminds Brabantio of their previous friendship, which both softens Brabantio’s stance and makes Brabantio appear two-faced for turning on Othello.
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— Zachary, Owl Eyes Editor
Othello addresses his race, understanding that his position as a Moor is problematic in his courtship of Desdemona. Most intriguing is that he depicts his race in a negative light: he “confesses the vices of [his] race.” It is not clear whether Othello actually considers his race a vice, or whether he means to debase himself to appeal to the Duke and Brabantio.
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— Zachary, Owl Eyes Editor
Brabantio refers once again to Othello’s racial background. His understanding is that Othello, as a Moor, is an object of fear, not affection. When Brabantio speaks of errors “against all rules of nature,” he means miscegenation. Brabantio refers once again to Othello’s race. His understanding is that Othello, as a Moor, is an object of fear, not affection. When Brabantio speaks of errors “against all rules of nature,” he means miscegenation, or interracial relationships. This touches on the play’s theme of conflicted race relations.
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— Zachary, Owl Eyes Editor
Othello uses a rhetorical tactic similar to those used by Mark Antony in Shakespeare’s Julius Caesar. By claiming to be ineloquent—“rude in… speech”—Othello hopes to appeal to the statesmen. Ironically, this is itself a rather eloquent move. The eloquence is heightened by his repetition of l and t sounds in “little blest” and f sounds in “soft phrase.”
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— Zachary, Owl Eyes Editor
Shakespeare structures this scene so that the tension and dramatic irony build and finally break in these lines. The audience can foretell how the Duke’s opinion of Othello will rapidly shift upon hearing the news regarding Desdemona. The Duke greets Othello with praise and respect, but the news of his problematic marriage to Desdemona will inevitably surface.
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— Zachary, Owl Eyes Editor
The Duke of Venice grants Brabantio the role of judge, jury and executioner. Shakespeare crafts these lines to be delivered dramatically. Notice the heavy alliteration and rhyme in phrases such as “bloody book of law” and “bitter letter.”
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— Zachary, Owl Eyes Editor
Brabantio views Desdemona’s marriage to a black man as an aberration against nature. As he has done and will continue to do, Brabantio claims Desdemona was bewitched or coerced. Brabantio’s perspective touches on the play’s theme of racial conflict.
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— Zachary, Owl Eyes Editor
Brabantio and the Duke meet with their own individual problems with which they need the other’s assistance. The Duke seeks assistance in fighting off the Turks. Brabantio seeks to undo Desdemona’s marriage to Othello. Shakespeare may have used the political conflict between the Venetians and the Turks as a parallel to the drama between Othello and his enemies.
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— Zachary, Owl Eyes Editor
The Duke and senate have not heard of Othello’s elopement with Desdemona, nor his subsequent clash with Brabantio. To them, he is still the prized general and the Venetians’ best chance to repel the Turks.
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— Zachary, Owl Eyes Editor
The Ottomans have launched a noisy naval assault on Rhodes while also sending along a small fleet to attack Cyprus. As the senators and Duke speculate, the assault on Rhodes is meant to distract from their primary goal, which is Venetian Cyprus.
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— Zachary, Owl Eyes Editor
The events of Othello take place around the year 1500, when the Venetian and Ottoman empires were in conflict over the cities, islands, and ports of the Mediterranean. The duke and senate are discussing the islands of Cyprus and Rhodes in this scene. In this time, Cyprus was a Venetian port but Rhodes was not, though both were under almost constant siege by the Ottoman Turks.
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— Sarah, Owl Eyes Staff
Roderigo, who is hopelessly in love with Desdemona, frequently falls into Iago's snares. Iago convinced Roderigo to send gifts (via Iago) to Desdemona, though Iago always keeps them for himself. Whenever Roderigo becomes frustrated and discouraged by his lack of success with Desdemona, Iago urges him to "put money in thy purse"; of course, Iago will just keep the money for himself.
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— Sarah, Owl Eyes Staff
"Passing strange" means "stranger than strange," or "exceedingly strange." Othello is telling the story of how he convinced Desdemona to marry him; not with black magic, as he is accused, but with anecdotes. The "passing" strangeness of his story effectively seduced Desdemona, who responded with "a world of sighs" and fell in love with him.
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— Sarah, Owl Eyes Staff
When Brabantio accuses Othello of employing black magic to seduce Desdemona, Othello defends himself with "a round unvarnish'd tale." "Round" here means "frank" or "straightforward," and "unvarnish'd" means free of rhetorical tricks.