Act II - Scene I
[A seaport in Cyprus.] |
[Enter Montano, govenor of Cyprus, and two other Gentlemen.] |
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Enter a third Gentleman. |
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Enter Cassio. |
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Enter a messenger |
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A shot. |
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Exit. |
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Within: “A sail, a sail!” |
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[Aside.] |
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Enter Othello and Attendants. |
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Exit Othello and Desdemona. |
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Exit. |
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Exit. |
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— Zachary, Owl Eyes Editor
Iago sets the stage for the knavery of the rest of the act: a brawl in which Cassio will debase himself to the point of demotion. Keeping up his tradition of ending scenes and speeches with a rhymed couplet, Iago reminds us of his slippery identity. Recalling his motto of “I am not what I am,” Iago removes his mask and reveals his “plain face” only to the audience.
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— Zachary, Owl Eyes Editor
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.
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— Zachary, Owl Eyes Editor
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.
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— Zachary, Owl Eyes Editor
Othello enters the port of Cyprus with an elegant and philosophically astute statement about the nature of happiness. Othello’s moment of joy, his “calms,” come only after the ordeal of the tempest. As many thinkers have remarked, happiness is most powerful when balanced by pain and sorrow. As Friedrich Nietzsche put it in The Gay Science, “What if pleasure and displeasure were so tied together that whoever wanted to have as much as possible of one must also have as much as possible of the other?”
-
— Zachary, Owl Eyes Editor
Iago sets the stage for the knavery of the rest of the act: a brawl in which Cassio will debase himself to the point of demotion. Keeping up his tradition of ending scenes and speeches with a rhymed couplet, Iago reminds us of his slippery identity. Recalling his motto of “I am not what I am,” Iago removes his mask and reveals his “plain face” only to the audience.
-
— Zachary, Owl Eyes Editor
The opposing views of Desdemona shared by Roderigo and Iago in this exchange represent two archetypes of Shakespearean characters. Roderigo is a romantic; Iago is a classicist. Romantic types—think Romeo—are driven by emotion and idealism. Classical types are colder and more analytical. The dialogue between Roderigo and Iago in Act I about emotion versus reason is a perfect example of a clash between romanticism and classicism. In this exchange, Roderigo idealizes Desdemona. Iago, who idealizes nothing, retorts with the humorous, sobering truth that “the wine she drinks is made of grapes.”
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— Zachary, Owl Eyes Editor
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.
-
— Zachary, Owl Eyes Editor
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.
-
— Zachary, Owl Eyes Editor
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.
-
— Zachary, Owl Eyes Editor
Othello enters the port of Cyprus with an elegant and philosophically astute statement about the nature of happiness. Othello’s moment of joy, his “calms,” come only after the ordeal of the tempest. As many thinkers have remarked, happiness is most powerful when balanced by pain and sorrow. As Friedrich Nietzsche put it, “What if pleasure and displeasure were so tied together that whoever wanted to have as much as possible of one must also have as much as possible of the other?”
-
— Zachary, Owl Eyes Editor
Iago’s goal is to lure Cassio into courting Desdemona. By playing the role of the irreverent knave, he has succeeded in bringing Desdemona and Cassio closer together.
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— Zachary, Owl Eyes Editor
After detailing the ideal woman in a series of rhymed couplets, Iago claims that her ultimate goal is to raise children and do housework. This poem within the play represents a parody of the courtly love poem. Rather than praising a woman for her perfection, Iago’s poem takes a turn into cheekiness and disrespect.
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— Zachary, Owl Eyes Editor
As in the case of the woman of “blackness and wit,” Iago claims that the woman who is “foolish [and] fair” will succeed so long as she makes an “heir.” Iago assumes that the purpose of all women is to procreate. This attitude reflects both the historical setting of the play, as well as Iago’s particularly low regard for women. This moment is exemplary of the play’s ongoing interest in gender relations.
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— Zachary, Owl Eyes Editor
Desdemona responds to Iago’s notion of “fairness and wit” with the idea of a woman with “blackness and wit.” In this case, “blackness” refers to ugliness, the opposite of fairness. Iago retorts with a clever pun, claiming that such a woman would use her wit to find a suitable “white”—in this case a play on “wight,” which means man.
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— Zachary, Owl Eyes Editor
Iago’s praise for Desdemona comes down to her combination of “fairness and wit”—her beauty and intelligence. As he puts it, beauty is a resource meant to be used by one’s wit. The rhyming couplets Iago uses to praise Desdemona underscore the irreverence and frivolity of his words.
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— Zachary, Owl Eyes Editor
In a humorous image, Iago jokes about the challenge of imagining kind things to say about Desdemona. Such a compliment would come from his pate, or head, the way “birdlime does from frieze,” “birdlime” being a very sticky substance and “frieze” being cloth.
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— Zachary, Owl Eyes Editor
Desdemona subtly admits to putting on a lively façade. She claims that she is not truly merry, but that she appears so in order to amuse herself. This statement adds depth to Desdemona and parallels Iago’s infamous utterance: “I am not what I am.”
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— Zachary, Owl Eyes Editor
By Iago’s word, every aspect of Emilia’s life is awry. In a flurry of figurative language, Iago offers a series of images that represent things out of place: “bells in your parlors, wildcats in your kitchens,” etc.
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— Zachary, Owl Eyes Editor
As soon as Emilia enters the play, we come to understand the nature of her relationship with Iago. Disrespectful as ever, Iago publicly scolds Emilia for “her tongue she oft bestows on me”—in other words, her talkativeness.
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— Zachary, Owl Eyes Editor
Cassio’s characterization of Desdemona cleverly places her in a militaristic hierarchy above Othello. Though Othello is used to a position of command, his love for Desdemona puts him in a position of servitude.
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— Zachary, Owl Eyes Editor
Cassio’s description of Desdemona alludes to the poetic tradition of the blazon while drawing attention to that tradition in a teasing manner. The blazon is a style of poem in which the poet lists the favorable attributes of a lovely woman. Cassio performs a short blazon of Desdemona while admitting that she “excels the quirks of blazoning pens.” Many of Shakespeare’s sonnets offer examples of the blazon form.
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— Zachary, Owl Eyes Editor
In a clever instance of the pathetic fallacy, the interaction between the storm and the sea is described through the metaphor of a battle. This metaphor is fitting, considering the naval battle taking place.
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— Zachary, Owl Eyes Editor
Shakespeare devises a distinctive metaphor for the stormy sea that Montano and his men face. Instead of waves, we have “mountains” which “melt,” which is an unusual metaphor in that the verb “melt” is an action that neither waves nor mountains technically perform. Shakespeare is known for such attention-grabbing twists of language. The “ribs of oak” refer to the beams of the ship, the “mortise” being the joints between beams and planks.