Act II - Scene III
[A hall in the castle.] |
Enter Othello, Cassio, Desdemona, [and Attendants.] |
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Exit Othello and Desdemona. |
Enter Iago. |
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Exit. |
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[Enter Montano, Cassio and others [Gentlemen.] |
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Exit. |
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Enter Roderigo. |
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Exit Roderigo. |
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(Without:) “Help, help!” |
Enter Cassio, driving in Roderigo. |
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Enter Othello, and Gentlemen with weapons. |
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Exit Moor [Othello], Desdemona, Attendents. |
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Exit. |
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Exeunt. |
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— Zachary, Owl Eyes Editor
Iago’s plot enters its next phase. His aim is for Cassio to plead to Desdemona for his position as lieutenant. Iago will then lie to Othello that Cassio is making sexual advances on Desdemona. The idea is that when Desdemona then approaches Othello to relay Cassio’s request, Othello will believe that Desdemona is helping Cassio out of mutual, adulterous infatuation. Once again, Iago constructs the next phase of his scheme at the act’s end so as to executes it in the next.
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— Zachary, Owl Eyes Editor
Iago again uses the tension between heaven and hell to describe his motives. Iago is a “Divinity of hell,” a devil whose “blackest sins” project “heavenly shows.” This passage shows why Iago is such a perplexing character. Whereas many unfavorable characters think themselves noble, Iago is a villain who owns his villainy. He is a devil who admits to his sins and relishes them.
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— Zachary, Owl Eyes Editor
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.”
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— Zachary, Owl Eyes Editor
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.
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— Zachary, Owl Eyes Editor
For the first time in the play, we witness Othello subject to his own temper. It is uncharacteristic of him to leverage his authority in such a tyrannical way. Once again, we see the interplay between emotion and reason; in this case, Othello’s passions collie—or control—his “best judgment.”
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— Zachary, Owl Eyes Editor
Othello takes control of the scene with a commanding, eloquent speech. The musicality of his phrasing marks a change in tone from the brawl to the aftermath. He employs a number of subtle rhymes and alliterations: “turn’d Turks”; “barbarous brawl”; “holds his soul”; “dreadful bell”; “matter, masters.”
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— Zachary, Owl Eyes Editor
“‘Zounds” is a common exclamation in Shakespeare’s plays. It rhymes with “wounds,” as opposed to “sounds” because it is a shortening of the old English curse “God’s wounds!”
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— Zachary, Owl Eyes Editor
Shakespeare uses a combination of consonance and assonance to give this phrase emphasis. The pair of r and k sounds in “drink” are repeated in “rock.” This is an example of rim rhyme, a technique in which the beginning and ending sounds of a word are repeated in another. “Rock” shares its short o sound with “not,” creating a short rhyming chain. The phrase is additionally startling because of the trio of stressed syllables in “drink rock not.” These effects are purposeful; we get the sense of a cradle being rocked.
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— Zachary, Owl Eyes Editor
In this humorous exchange, Cassio drunkenly attempts to convince the party of his sobriety. He stumbles into a hilarious but poetic moment. These lines are often staged so that Cassio reaches for Iago—his “right-hand man”—with his right hand as he utters “this is my ancient, this is my right hand”; he then flourishes his left hand.
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— Zachary, Owl Eyes Editor
While the play and, in most cases, its productions are English, Othello’s characters are almost exclusively Italian. In tangential passages such as this, Shakespeare pokes fun at his countrymen to the likely delight of his Elizabethan audiences.
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— Zachary, Owl Eyes Editor
Shakespeare pens this tune using onomatopoeia, a technique in which the sounds of the words imitate their subject. In this case the words “canakin”—a drinking can—and “clink” recreate the sounds of cups and cans clinking together in a toast.
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— Zachary, Owl Eyes Editor
Iago uses this lively phrase to describe Roderigo’s drinking. Shakespeare pulls together some inventive, alliterative language to give the phrase a festive tone. “Pottledeep” is a word invented by Shakespeare (a pottle being a half gallon.)
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— Zachary, Owl Eyes Editor
Shakespeare uses a clever metrical device here. These two lines of iambic pentameter have eleven syllables, so that each has an unstressed syllable hanging off the end. This effect gives these lines a loose, uncontrolled feeling. This is fitting, for in these lines Iago plots to get Cassio drunk.
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— Zachary, Owl Eyes Editor
In this dialogue, Iago and Cassio share slightly different opinions on Desdemona’s character. Cassio views Desdemona with admiration and respect, referring to her as “exquisite,” “fresh and delicate.” Without disagreeing, Iago adds a sexual tone, calling Desdemona provocative and “full of game.” Iago’s goal is to compel Cassio to make advances on Desdemona.
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— Sarah, Owl Eyes Staff
Iago tries to convince Roderigo to remain in Cyprus, where his evil plot is in full force. Iago pretends to help Roderigo, who is in love with Desdemona, while at the same time cheats him out of money. Roderigo, however, is impatient to return to Venice. Impatience is the undoing of many of Shakespeare's characters; those who "have not patience" are usually ill-fated.