Othello the Moor of Venice

1. Othello the Moor of Venice Critical Focus on Act 4 Scenes 1, and 2

2. Character of Othello?Estimating a character / a leader? Qualities of Othello as an individual? As a leader? • How intelligent? • Is he a critical thinker? • Is he logical / rational? • Is he wise?

3. A wise man proportions his belief to the evidence. - David Hume • It is undesirable to believe a proposition when there is no ground whatever for supposing it true. - Bertrand Russell • One of the things that should be taught in schools must be the habit of weighing evidence, and the practice of not giving full assent to propositions which there is no reason to believe true. - Bertrand Russell

4. Bertrand Russell • What is wanted is not the will to believe, but the wish to find out, which is the exact opposite. • A condition of rational doubt would be desirable; • To address the problem of the inherent irrationality and credulity in the world

5. Iago in soliloquy on Othello 1.3 p45 He holds me well; The better shall my purpose work on him.

6. Iago in soliloquy on Othello p47 The Moor is of a free and open nature, That thinks men honest that but seem to be so, And will as tenderly be led by th’nose As asses are. 1.3.397-400

7. Iago 1.3 p43 • ’Tis in ourselves that we are thus or thus. Our bodies are our gardens, to which our wills are gardeners. • These Moors are changeable in their wills… • The food that to him now is as luscious as locusts, shall be to him shortly as bitter as coloquintida. 1.3 p43

8. Iago If sanctimony and a frail vow betwixt an erring barbarian and supersubtle Venetian be not too hard for my wits and all the tribe of hell, thou shall enjoy her.

9. Michel de Montaigne writing in one of his essays in1580 • It is perhaps not without reason that we consider credulity and the readiness to be persuaded to be signs of simplicity and ignorance. • For I was once taught, and I think, that belief is like an impression made upon the mind, and that the softer and less resistant the mind, the easier it is to impress something upon it. • That is why children, the common people, women, and the sick are particularly apt to be led by the ears.

10. Othello-Desdemona relationship • Iago suggests there is something unnatural in Desdemona’s flouting of the established social hierarchies of ‘clime, complexion and degree’ to marry a black man • ‘Clime’ (location); ‘complexion ‘(skin-colour); ‘degree’ (class); • Desdemona’s act indicates as Iago declares: ‘Foul disproportions , thoughts unnatural!’ 3.3.235-238 p129

11. Poetic Drama (Dramatic Technique)Quantity of a line; Short Lines • When there are fewer than five beats made up of ten syllables (Iambic Pentameter) in a line, in an otherwise regular poetic speech; • Reason for the missing beat of two syllables? • May be because of a demand within the situation; or within the character for this silence; • It may be that a movement is needed, or that the thought overwhelms the speaker for that moment;

12. Note the short lines in the following; critical significance? • Iago: ‘I do not like the office.’ 3.3 p141 Contains how many beats? • Only three; not five • I do / not like / the office • Iago: ‘I could / not sleep.’ • Contains two beats • Iago: ‘One of / this kind / is Cassio.’ • Contains three or four depending on pronunciation of ‘Cassio’

13. Critical Significance of these Shorter Lines These short lines seem to point to the fact that Iago is intentionally giving Othello • Extra time; Why? • So that Othello can better absorb the implications of what Iago is saying; • They are deliberately calculated in this way; • Iago is keeping Othello on the hook, • And he is closely observing the effect he is having on him at this moment in time;

14. Iago thus manipulates Othello also by how he manipulates Rhythm Later in this scene 3 of Act 3 • We hear Othello exclaim: • ‘O, blood, blood, blood!’ How many beats? (Rhythmic Movement) • Three; Why? Purpose? Intention? • The three beats indicate an overcharging of emotion • Iago’s last line: ‘I am / your own / for ever.’ • Its simplicity also underlines the irony of the lie; • And Iago’s relief at the success of his hard work.

15. Note Symbolism of Light and Darkness • Acts 1, 2, and 5 are set in the darkness of the night • Act 3 and Act 4 are set in broad daylight • Critical significance [Linked to Appearances] • Note: In the scenes of Act 3 and Act 4 Iago’s deceptions take place; Why ? • Symbolically suggests Othello should be able to see through matters more clearly; • Dramatic Effect: This intensifies the irony

16. Fifth stage of Iago’s malice • Act 4 Scene 1 begins with the entry of Othello and Iago in the middle of a conversation [Recall Scene 1 of Act 1] • Dramatic technique / a stage device to concentrate attention upon crucial dialogue in a realistic way • We have seen Othello grow in jealousy in the belief in his wife being guilty of adultery;

17. From the first uneasiness at Iago’s hints to the savage insistence on the handkerchief • But the growth has not been steady • Othello has had moments of return to near sanity • And until the end there will be other moments when he remembers the purity and love which Desdemona once represented to him; • Dramatic Effect? • Creates and sustains suspense

18. Plot summary of this scene • Opening of this scene shows Iago working Othello up to a further peak of jealous rage • Begins with suggestions of an illicit love affair between Cassio & Desdemona • Then comes Cassio’s ‘confession’ of his conquest of Desdemona • Another of Iago’s fabrications (like Cassio’s dream in Act 3 Scene 3) • Iago supplies sufficient details engineered to cause Othello to collapse into incoherence

19. Plot summary cont (note symbolic significance of this conversation) • Upon Othello’s recovery Iago has a further daring scheme ready, intended to finally satisfy Othello • that Cassio and Desdemona really are lovers • Othello is to stand by, UNSEEN, while Iago engages Cassio in conversation • Note: Othello can see Cassio’s gestures but he cannot hear exactly what is being said

20. Othello therefore misinterprets the conversation, as Iago intends him to do • Othello comes to believe that Iago and Cassio are discussing Desdemona • But they are in fact talking about Bianca in grossly unflattering terms Dramatic Effect? • Meanwhile how all this appears to Othello works him up into an anguished rage

21. Lodovico, a kinsman of Brabantio, arrives from Venice, bringing news that Othello is to be recalled from Cyprus • And that Cassio is to replace him as Governor • Desdemona recounts to Lodovico what has happened between Cassio & Othello • And innocently mentions the ‘love’ she has for Cassio • At which point Othello strikes her publicly; • Lodovico recalls the noble Moor of earlier days • And laments the transformation he witnesses in him • And turns to WHOM? To Iago of all people for an explanation

22. Dramatic purpose of Act 4 Scene 1 • To win over pity and sympathy for the hero • To revive Othello’s anger • To show the depths of jealousy and violence to which Othello has descended • To highlight the outrage upon Desdemona • To highlight Iago’s malice • To intensify audience hatred of Iago • To introduce a necessary moment of relief

23. Dramatic effect?? Theatrical effect?? • Pity and sympathy for Othello • Othello is undergoing the most horrible torture. • Of what kind? Form? • Mental torture; psychological

24. Interpretative analysis • In Othello, we see the grand simplicity of the barbarian; or would you agree??? • With his love a rapture of chivalry and fond protectiveness • Fatal flaw arises not of injured personal pride • It is the anguish of despair for human purity and truth???

25. The Individual, Humanity and Society • Shakespeare shows how a marginalized individual like the Moor, Othello, comes to believe he is somewhat less than human • And in striving to embody the dominant notion of humanity in Venetian society • He comes to lose his way in the world • Despite initially seeming different from other Moors, Othello ultimately embodies the stereotype of Moorish lust and violence

26. ‘Are you a man?’ • Othello becomes a jealous, murderous husband of a Christian high society lady, the daughter of a senator no less; • Why does Othello do so? • Is Othello returning to his essential nature? • Is he hard-wired, fated and hence predestined to play out the script of wife-murderer? Or asked in more modern terms— • Is he genetically programmed as a man, or as a Moor? Iago asks him, ‘Are you a man?’

27. Sure, he does contribute to his destruction? • But what of his punishment? Deserves it? • The audience may feel he meets with punishment out of all proportion to what he has done • What again of his qualities? • We know he has admirable, great qualities

28. That he has achieved much in military affairs • That essentially he is of noble character • And so? Any big ‘BUTS’? • But he has allowed himself to be debased by a humiliating passion; How much debased? • To a level not far above that of the animal • In fearing for him, we also even fear for ourselves. Do you know why this may be so?

29. Being a tragedy, it is meant to involve us • And excite emotions of fear and pity [Effects] • Othello seems to suffer for the virtues he has; • His nobility of mind; • Defect? Too self-centred? • With his jealousy aroused, do you not think he dwells too long on his own lost pride? • Thus excluding other considerations; such as? • The possibility of his wife’s innocence…

30. Othello had a choice? • The choice of believing in Desdemona’s innocence, • but Iago…??? • thus for Othello, is choice therefore impossible? • Could we then say therein lies the essence of this tragedy?

31. Let us look more closely at Othello in this scene and his horrible transformation… • Recall again qualities we associate with Othello? • Such as what? • His courage, honesty, nobility, dignity? • And what about now? • An infected mind; And near psychological exhaustion • No longer demands proofs • Iago’s gross image of a “kiss in private” [L-4] is enough to convince him • Argument is now a tedious process for him

32. Yet he tries hard to endure the torture • And to reason things out (textual evidence?) • As Othello declares: A wife should be “protectress of her honour” L-14 • Othello appears forgetful? • Iago reminds him, and keeps prodding him about the matter of the handkerchief • Othello snaps back “I would most gladly have forgot it!” [L-19]

33. Each fresh verbal stroke of Iago debases him • Notice Othello jumps to conclusions long before Iago finishes a sentence or fills in the point of Cassio’s “blab— ” [re Cassio’s urge to talk…of his ‘affair’] • All his dignity, nobility, and authority dissolve and he is shaken not by words, but by images • “Noses, ears, and lips” • Note: Stage Directions [Falls in a trance]

34. Iago: With her? On her. What you will. • Othello: Lie with her? Lie on her? We say lie on her when they belie her. Lie with her – Zounds, that’s fulsome. Handkerchief – confessions –handkerchief! To confess and be hanged for his labour – first to be hanged, and then to confess. I tremble at it. Nature would not invest herself in such shadowing passion without some instruction. It is not words that shake me thus. Pish! Noses, ears, and lips. Is’t possible? Confess – handkerchief! O devil!

35. Note Othello’s preparedness to faithfully follow all Iago’s instructions • To become an eavesdropper Critical thinking question: • Does he come across as a tragic figure? • We see him hide, crane his neck, and strain his ear to listen to talk between Iago and Cassio

36. Critical significance of his dramatic actions? • Recall Othello was so frank, and open in all his dealings • But Othello is now prepared to be • “most cunning in my patience” [L-91] so that he can hear all • Emerging from his hiding place with one thought? • “How shall I murder him, Iago?” L-167 • Slow or fast? • “I would have him nine years a-killing” L-175

37. In what state is his heart now? • Turned to stone; convinced of Desdemona’s unfaithfulness • So when shall her murder take place? • At once: • “…let her rot and perish, and be damned tonight, for she shall not live” L178-179

38. Conjures up in his mind a picture of what he is about to murder: • “O world hath not a sweeter creature…so delicate with her needle…an admirable musician…O she will sing the savageness out of a bear…Of so high and plenteous wit and invention…and then of so gentle a condition” L180-190 • Othello at this point is out of his mind with these torturous thoughts;

39. And he wants vengeance—HOW? • “I will chop her into messes.” L197 • He is now so corrupt and debased in mind • he is even ready to change his plan and accept Iago’s instead— • Iago: “Do not with poison, strangle her in her bed, even the bed she had contaminated” L204-205

40. Even when he speaks of her murder he thinks of himself not as a murderer but what? An agent of JUSTICE: • “the justice of it pleases, very good.” • We note his display of anger when he hears Desdemona express her happiness at the news of Cassio’s appointment. Does what? • Note stage action: He strikes her… • Symbolical significance?

41. Even hints publicly at her promiscuity? How? • “Ay, you did wish that I would make her turn. Sir, she can turn, and turn, and yet go on, And turn again” Note, tries to vindicate striking her…How? • By calling her “devil”: ‘O devil, devil! if that the earth could teem with woman’s tears, Each drop she falls would prove a crocodile. Out of my sight! • Critical significance of these words and actions???

42. Dramatic Effects • Othello is in the labyrinth of the monster Iago • And now he also is similar to the demi-devil who ensnared him • Othello’s degradation, his debasement is complete • The audience’s sense of pity for Othello deepens

43. What of Iago? Intensifying hatred • Iago now aware of his own imminent danger • There is the possibility his plan could be discovered [TEXTUAL EVIDENCE?] • Recall Othello’s words to Iago: “Villain, be sure thou prove my love a whore” • But Iago plays his role calmly and steadily • Tantalizes Othello with disconnected phrases and enigmatic laughter

44. More graphic, grosser Imagery • He is bolder in the vivid images of this relationship which he presents to the tortured mind of Othello • And brutally direct and realistic sounding in his description of Desdemona’s allegedly immoral behaviour… • “To kiss in private….naked with her friend abed”

45. Iago is elated by his own success: “Work on, My medicine, work: thus credulous foolsare caught” • The unexpected entrance of Cassio at this moment is a challenge to Iago’s presence of mind • Note he cleverly switches from gloating and moralizing to pretended concern for his master • He inventively tells Cassio the trance is epilepsy

46. Manipulating Rhythm • “The lethargy must have its quiet course” • Why ‘quiet’? • Stressing the need for ‘quiet’ is to get rid of Cassio and return to inflicting further torture on Othello • Seeing Othello’s rage flag, concocts a fresh plan • Iago provokes Cassio to speak scurrilously of Bianca • One challenging problem for Iago here? • Must somehow prevent Cassio from mentioning the name, BIANCA

47. Following the movement of the dialogue • Iago’s plan continues to work well • But he is not yet altogether satisfied • He must keep Desdemona in Othello’s mind • He does so by reminding him of the handkerchief • Once again he turns the knife in the wound • Iago says that Desdemona gave the handkerchief to Cassio; and then next he says: “he hath given it to his whore” • In doing so he steers Othello to ultimate destruction

48. In thinking over this scene? • There is immense horror to be seen in Iago (very much apparent in this scene) • Behind Iago’s action we see only the working of his own dark, devilish mind • Some critics maintain he had a grievance which justified some of his actions??? • They being what???

49. Grievances accounting for his motivations for malice • 1) That Iago had been passed over for promotion; • 2) That both Othello and Cassio had illicit relationships with his wife, Emilia Critical question to ask re- point 2: • If suppose the second point were true, how come we do not hear Iago express indignation about his wife?

50. Some critics maintain that Iago had not an innate love for cruelty for its own sake • Rather that he had a love for POWER • This allows him to be master of the destiny of others • What is your theory to account for Iago’s evil machinations???