Act IV - Scene I
[Cyprus. Before the castle.] |
Enter Iago and Othello. |
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He falls down [in a trance.] |
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Enter Bianca. |
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Exit. |
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Exit Cassio. |
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Enter Lodovico, Desdemona, and Attendants. |
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[Strikes her.] |
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Exit. |
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Exeunt. |
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— Zachary, Owl Eyes Editor
Iago’s plan is coming to fruition. Lodovico, a Venetian nobleman, has seen the results of Othello’s rage and will spread the word of Othello’s apparent insanity. Iago, always calculated in his speech, reveals as little as he needs to in order to reinforce Lodovico’s perspective. His reply of “He is much changed” is technically true, but it does not tell the whole truth. The audience understands the irony nonetheless.
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— Zachary, Owl Eyes Editor
Iago’s plan is coming to fruition. Lodovico, a Venetian nobleman, has seen the results of Othello’s rage and will spread the word of Othello’s apparent insanity. Iago, always calculated in his speech, reveals as little as he needs to in order to reinforce Lodovico’s perspective. His reply of “He is much changed” is technically true, but does not tell the whole truth. The audience understands the irony nonetheless.
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— Zachary, Owl Eyes Editor
In this humorous, final exclamation, Othello indirectly points to the source of his problems. Goats and monkeys are known to be demonstratively sexual animals. Relatedly, Othello’s concerns are around Desdemona’s promiscuity.
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— Zachary, Owl Eyes Editor
In his rage, Othello fails to cogently explain to Lodovico why he has stricken Desdemona. He rants and babbles, repeating the words “turn,” “weep,” and “obedient.” The phrase “well-painted passion” expresses Othello’s belief that Desdemona’s displays of emotion, her weeping and her obedience, are fake.
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— Zachary, Owl Eyes Editor
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.”
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— Zachary, Owl Eyes Editor
In this exchange, we can see how Othello struggles with his shifting view of Desdemona. He begins with “Ay, let her rot” but loses this steely edge when he says “O, the world hath not a sweeter creature.” Indeed, after each of Othello’s lines, Iago must renew the general’s anger for Desdemona with a “Nay, you must forget that” or a “Nay, that’s not your way.” Despite the evidence of adultery before him, Othello’s feelings for Desdemona are mixed.
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— Zachary, Owl Eyes Editor
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.
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— Zachary, Owl Eyes Editor
A “bauble” refers to a cheap piece of jewelry, and thus it becomes both a metaphor and metonym for Bianca. Cassio refers to her as a bauble, but a bauble is also something she is likely to wear. This line is one of several instances throughout the play in which women are referred to as objects of monetary value.
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— Zachary, Owl Eyes Editor
“Caitiff” means “coward” and comes from “captivus,” the same Latin root as “captive.” In the previous line, Iago cleverly lowers his voice before making mention of Bianca but after bringing up Desdemona. Thus, Othello believes that Cassio is referring to Desdemona, and he becomes enraged.
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— Zachary, Owl Eyes Editor
Shakespeare may well have invented the adjective “unbookish” here to describe Othello’s emotionally charged jealousy. This phrase reiterates one of the play’s central themes: the dichotomy of reason versus emotion. “Unbookish” here most nearly means “without reason.” One of Iago’s core beliefs as a character is that one ought to apply reason rather than follow one’s emotions.
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— Zachary, Owl Eyes Editor
Iago claims that Bianca is a prostitute: a “strumpet” in Middle English. As he puts it, Bianca draws in many men but loves only Cassio. Iago plans to use this relationship between Cassio and Bianca to his own ends. Iago will encourage Cassio to talk about Bianca while the eavesdropping Othello will believe that Cassio is discussing Desdemona.
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— Zachary, Owl Eyes Editor
Iago brings Othello in on the next phase of his plan: to draw out Cassio’s stories of seduction in front of a hidden, “encaved” Othello. Iago asks Othello to search for the expressions of bravado in Cassio’s face. The word “fleer,” of Scandinavian origin, indicates a look of mockery. A “gibe” is an insult, and a word derived from the French “giber”—to shake.
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— Zachary, Owl Eyes Editor
Iago attempts to calm Othello by saying how common jealousy is. Iago uses the metaphor of a team of oxen to describe the shared plight of suspicious husbands together drawing the heavy plough of jealousy. Shakespeare assembles a sonorous trio of rhyming words in “dare swear peculiar.”
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— Zachary, Owl Eyes Editor
It is up for debate whether or not Othello’s fit is a result of epilepsy or entirely triggered by his rage at the thought of Desdemona’s adultery. As is the case with much that Iago says, the truth is difficult to discern. If Othello is not epileptic, his fainting indicates the extremity of his jealousy.
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— Zachary, Owl Eyes Editor
This is a subtle sentence from Othello. Once again the notion of Nature is reiterated, the suggestion being that the alleged affair between Cassio and Desdemona is unnatural. The manner in which Othello personifies Nature as a woman indicates that “Nature” is synonymous with Desdemona herself. Othello believes that Desdemona would only commit adultery by “some instruction”—which is to say, manipulation—and not by her own volition. The word pair “shadowing passion” is notably musical in its repetition of sh, n and short a sounds.
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— Zachary, Owl Eyes Editor
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.
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— Zachary, Owl Eyes Editor
Othello’s simile alludes to the ancient practice of augury—predicting the future, often by reading the activity of birds. As with many of Shakespeare’s metaphors, there are multiple meanings to unpack. The example Othello uses—ravens flying over an infected house—points to an omen of death, which serves as an important piece of foreshadowing. The metaphor of his mind as an “infected house” bolsters the theme of jealousy as a monstrous, poisonous force.
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— Zachary, Owl Eyes Editor
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.”