Act III - Scene III
[The garden of the castle.] |
Enter Desdemona, Cassio, and Emilia. |
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Enter Othello, and Iago, at a distance. |
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Exit [Cassio.] |
Enter Othello and Iago. |
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Exit. |
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Enter Iago. |
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Exeunt. |
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— Zachary, Owl Eyes Editor
As the scene draws to a close, Othello agrees to the plot Iago has devised. When Iago beseeches Othello to let Desdemona live, he may be employing his often-used tactic of reverse psychology. By expressing a desire to let her live, Iago further coaxes Othello into choosing to kill her.
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— Zachary, Owl Eyes Editor
Othello offers a dense metaphor for his rage. 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. Othello describes his anger as similarly ceaseless, without ebb. The image he produces likens his violent urges to an “icy current” as well as to “bloody thoughts,” a pair of contradictory images. This contradiction indicates the lack of clarity in his thinking.
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— Zachary, Owl Eyes Editor
Othello expresses his internal shift from love to hate. He characterizes his vengeance as “black,” drawing upon both racial and moral connotations. Othello’s self-awareness in this passage is fascinating. He understands how toxic his shift in perspective is—“‘tis of aspics’ tongues”—and yet he is helpless in controlling his emotions.
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— Zachary, Owl Eyes Editor
In an intriguing double metaphor, Othello characterizes Desdemona’s shift in reputation as a change in her face’s complexion. Her face was once “fresh as Dian’s”—an allusion to the Greek goddess Diana, whose virginity and moonlike skin are used to symbolize purity. Now her face is as “black” as Othello’s, an image that draws again on the play’s complicated association between racial blackness and moral blackness. Othello’s metaphor suggests that Desdemona’s fall from grace would place her at his level.
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— Zachary, Owl Eyes Editor
In this couplet, Othello admits to the nuanced nature of his trust in others. In this moment he cannot decide whether Desdemona is faithful and Iago dishonest, or if Desdemona is faithless and Iago honest. Shakespeare structures this phrase to encompass both realities. The audience, of course, knows well which line of thinking is accurate.
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— Zachary, Owl Eyes Editor
For the first time in the play, Othello directs his anger towards Iago, calling him “villain.” It is a shallow label; Othello does not understand the depths of Iago’s villainy. Rather, he projects his confusion and rage about the possibility of Desdemona’s faithlessness onto Iago, demanding “the ocular proof.”
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— Zachary, Owl Eyes Editor
For the first time in the play, Othello directs his anger towards Iago, calling him “villain.” It is a shallow label; Othello does not understand the depths of Iago’s villainy. Rather, he projects his confusion and rage about the possibility of Desdemona’s faithlessness onto Iago, demanding “the ocular proof.”
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— Zachary, Owl Eyes Editor
Othello makes reference to “the rack,” an infamous medieval torture device which stretches the prisoner’s limbs in opposite directions. Othello’s point is that knowing just “a little” about Desdemona’s adultery is the greatest torture of all. Even full knowledge of the situation is manageable by comparison.
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— Zachary, Owl Eyes Editor
Emilia explains the significance of the napkin, giving meaning to the previous exchange between Desdemona and Othello. Desdemona tries to heal Othello’s ache with this symbol of their love, but he refuses it, and it falls to the floor. This small moment foreshadows the breaking down of their relationship.
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— Zachary, Owl Eyes Editor
Othello makes a subtle reference to the cuckold’s horns. The horns are from a medieval myth in which cuckolded men were thought to sprout horns as a result of their symbolic castration.
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— Zachary, Owl Eyes Editor
Othello uses a falconry metaphor to explain his torn feelings for Desdemona. Part of him wishes to let her fly free and do as she wishes. As Othello describes it, however, Desdemona’s jesses—the cords that attach a falcon to its falconer—are his heartstrings. In other words, he loves her too deeply to let her go.
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— Zachary, Owl Eyes Editor
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.
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— Zachary, Owl Eyes Editor
Othello thinks of the racial divide between Desdemona and himself. Brabantio has remarked time and again that Desdemona’s love for Othello is an aberration from nature. Othello finds this insecurity resurfacing in the context of Desdemona’s possible adultery.
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— Zachary, Owl Eyes Editor
Iago succeeds in recasting Othello’s courtship with Desdemona as evidence of her duplicitous nature. In this exchange, Iago evokes what psychologists refer to as “confirmation bias.” After planting doubt in Othello’s mind, Iago compels him to look for evidence, knowing that he will find further grounds for jealousy even where they do not exist. The growth of jealousy based on nonexistent evidence becomes one of the play’s central themes.
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— Zachary, Owl Eyes Editor
True to his character, Othello does not believe in Iago’s stance of jealousy. In a reiteration of the theme of emotion versus reason, Othello uses reason to suppress any potential flarings of emotion. As he judiciously puts it, “I’ll see before I doubt; when I doubt, prove.”
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— Zachary, Owl Eyes Editor
Iago cleverly employs personification here, identifying not Cassio as the foe but rather jealousy itself. This continues Iago’s tactic of withholding the specific accusation of Cassio, allowing the thought to emerge in Othello’s mind. This moment represents the beginning of the play’s climax. Now that Othello knows of the fictional adultery, the rest of the play is devoted to the unfolding consequences.
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— Zachary, Owl Eyes Editor
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.
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— Zachary, Owl Eyes Editor
Iago cleverly frames his thoughts as untrustworthy and beyond his own control. He claims that his thoughts about Cassio might be unnecessarily upsetting. All the while, Iago builds Othello’s anticipation.
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— Zachary, Owl Eyes Editor
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.
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— Zachary, Owl Eyes Editor
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.
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— Zachary, Owl Eyes Editor
Othello refers to himself as an “excellent wretch,” an oxymoron that characterizes his status as a foolish, out-of-control lover. Othello acknowledges that his love for Desdemona has the power to influence him negatively. Iago knows this well and capitalizes on it.
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— Zachary, Owl Eyes Editor
As if to quell Othello’s concerns about her intentions, Desdemona assures him that her case to reinstate Cassio is not a “boon,” or personal favor. Rather, it is in Othello’s best interests.
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— Zachary, Owl Eyes Editor
Desdemona stresses the immediacy of Cassio’s case because of Cassio’s fears that Othello might leave him behind entirely after too long. From Othello’s perspective, Desdemona may be stressing the urgency of the case out of her feelings for Cassio.
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— Zachary, Owl Eyes Editor
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.
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— Zachary, Owl Eyes Editor
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.
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— Zachary, Owl Eyes Editor
Desdemona promises to take up Cassio’s cause and to torment Othello about it incessantly. The scene she paints represents a fascinating overlap between the domestic and the political. The images of Othello’s home life—his bed, his dining table—become political locations where affairs of state are discussed. That Desdemona characterizes her relationship to Othello in this way indicates the level of power she commands in both her marriage and the political sphere.
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— Zachary, Owl Eyes Editor
In this case, “strangeness” means “estrangement.” In other words, even though Othello has distanced himself Cassio, the distance is short because of the history the two men share.
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— Zachary, Owl Eyes Editor
This exchange between Cassio and Desdemona places Desdemona in a higher tier of importance than Othello. Not only does she claim to have the power to reinstate Cassio, Cassio himself pledges to be her servant, not Othello’s.
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— Sarah, Owl Eyes Staff
Iago pretends to be reluctant to reveal the fictitious affair between Cassio and Desdemona because stealing a person's honor is far worse than stealing his/her money. According to Iago, "Who steals my purse steals trash" because money doesn't compare to honor; honor can only belong to a specific person, whereas money doesn't change based on who possesses it. The idea of reputation is the idea on which Iago will build all of his deceit.
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— Sarah, Owl Eyes Staff
A "vale of years" is the flat stretch between middle age, beyond the slope of youth. In Shakespeare's time, a vale (which is a broad, flat valley) was often used as a metaphor for the span of life between the peaks of life and death. Othello thinks that his decline into the vale of years may be a reason for Desdemona to cheat on him.
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— Sarah, Owl Eyes Staff
Renaissance men often suspected their wives of adultery because of the stigma around being a "cuckold." A cuckolded man (a man whose wife is cheating on him) faced both social humiliation and ruined credit. Such harsh consequences led to frequent paranoia, also called horn-madness because of the metaphorical horns that supposedly sprout from the cuckold's brow. Othello's anxiety, though unfair, is understandable.
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— Sarah, Owl Eyes Staff
Shakespeare was not the only Renaissance Englishman to pair colors with emotions or personal qualities, though he is the first we know of to do so in print. Green and yellow are both emblematic of jealousy, so jealousy is a "green-eyed monster." Iago argues that the fortunate man knows his wife is adulterous, while the unfortunate man is plagued by the anxiety of unconfirmed suspicion.
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— Sarah, Owl Eyes Staff
"Pomp, and circumstance" are the glories and ceremonies of warfare. Othello swears off his profession, as well as marital bliss, because Iago has convinced him that Desdemona has been unfaithful. Othello can no longer enjoy the "pomp, and circumstance" of his occupation because he believes he has been cuckolded (betrayed by his adulterous wife).
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— Sarah, Owl Eyes Staff
Iago has convinced Othello that Desdemona had an affair with Lieutenant Cassio; however, Iago is pretending to downplay it by insisting that he only heard Lieutenant Cassio dreaming (audibly) about Desdemona. Othello, however, interprets Cassio's dream as a "foregone conclusion" that Desdemona betrayed him.
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— Sarah, Owl Eyes Staff
Othello insists that only the collapse of form and order (chaos) would cause him to fall out of love with his wife, Desdemona. Desdemona is essentially tasked with maintaining the sanity of her husband.
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— Owl Eyes Reader
Jove, king of the gods in Roman mythology and known as Zeus in Greek, ruled the sky and heavens. His dread clamors represent thunderbolts.
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— Owl Eyes Reader
The reflexive pronoun construction "their own" refers to "their own eyes," which is to say that no one, aside from them, will be able to catch them.