In this scene we see more of the theme of deception. Iago’s soliloquy suggests that the manipulation of Roderigo and Othello is a prelude to more serious deception; the web Iago is weaving will also trap Desdemona and Cassio.
In Act 2 scene 1 the characters are now isolated in Cyprus, in this new and unfamiliar setting Iago is able to prey on those around him, his cynicism undermines and taints the innocence, relief and joy of the other characters. Here we see more polar opposites of Othello and Iago, while Othello takes pleasure in his wife’s presence, Iago can only see women as dishonest, mean spirited and lesser creatures. More differences between the characters of Othello and Iago become even more glaring when we compare the words and actions of the two. Othello’s speeches are relaxed and joyful while Iago is full of hate and contempt; he speaks of lust, preferment and profit. Iago defines his feelings as ‘lust’, ‘partly led to diet my revenge’. Personal and professional envy dominate Iago’s soliloquy, he wants Othello to endure the same torment that rages inside him.
Towards the end of Act 2 scene 1 Othello suggests that Desdemona is his source of happiness now; he seems overwhelmed by this feeling ‘As hell’s from heaven if it were now to die twere now to be most happy, for I fear my soul hath her content so absolute that not another comfort like to this succeeds in unknown fate’ and ‘Ameno that, sweet powers! I cannot speak enough of this content, it stops me here, it is too much of joy. And this, and this the greatest discords be that e’er our hearts shall make’. The emphasized nature of Othello’s love for Desdemona is preparing us for his colossal jealousy later in the play.
In Act 2 scene 3, Iago’s ideas become reality. He continues his manipulation over the hapless Roderigo, at the end of the scene he confident enough with an impatient ‘Nay, get thee gone’. He acknowledges speed is imperative if his plans are to work. He draws out Cassio in the same vein as he did Roderigo, exploiting their limitations and weaknesses, soon he will start on Othello.
At all times Iago acts as if he has someone else’s interests at heart, presenting himself in the best possible light. His imagery is crude and materialistic; he will convince Othello that his wife pleads for Cassio ‘for her body’s lust’; she will ‘undo her credit to the moor’. In this scene Othello’s control is undermined; although the he is unaware so far he is being manipulated. Iago interrupts his wedding night and the peace of the town.
Scene 3 is the major scene in Act 3, in contrast to the two previous scenes this one is lengthy. Here we see Othello’s mind poisoned and everything precedes exactly the way Iago wishes. In the first part of the scene we see Iago and Desdemona trying to persuade to adopt their own personal view of Cassio. Iago’s methods of doing this are very subtle; his pretended reluctance to speak enables him to gain ground swiftly. Unlike Desdemona, Iago needs prompting to reveal his thoughts, revealing very little at the start of the scene. However, the words he chooses are devastatingly effective ‘(lines 34, 36, 38-40). Iago is also helped by an unknowing Desdemona who ‘digs her own grave to an extent by nagging Othello about Cassio, whose exit at the beginning of the scene could easily have been misread.
The dreadful Irony of the scene continues. Othello did not want Desdemona to share her thoughts with him and asked her to leave it alone; now he is anxious for Iago to reveal his thoughts. Iago not only shows reluctance to voice his opinions, he also says that he hopes his suspicions are unjustified (147-157). Othello makes Iago’s manipulation easier, he introduces the subject of his wife when he is warned about jealousy, Iago is suggesting the topics for consideration, but Othello takes it all in and jumps to false conclusions.
Iago having set the scene with generalities, now chips away at the specifics, reminding Othello of his wife’s deceiving behavior in marrying Othello, the painful reminder that he is an outsider and the alarming reminder that it was unusual for Desdemona to choose Othello when there were more natural choices she could have made. Iago continues the pretence of his friendship with Cassio, making his reluctance to speak more plausible. This scene shows the power of silence, Iago already knowing that his poison has taken hold of Othello’s mind is confident enough to make precise suggestions for Othello to follow, leaving his victim alone in his misery for a moment before dealing him further blows.
In the final part of the scene we see further proof of Iago’s quick-witted opportunism. Iago tells a false story of Cassio’s lustful dream and asks a leading question about the handkerchief. Then with Othello’s mind set on revenge, Iago reverts to the role of loving and loyal assistant and friend. There is horrible irony here that by seeking to kill Cassio, Othello is carrying out Iago’s revenge for him. By the end of this scene Iago has attained what he wanted in Act 1, to be lieutenant.
In Act 3 scene 3 we see that Othello may be on the verge of catastrophe, even before Iago’s poison takes hold. As Desdemona leaves Othello utters these words ‘Excellent wretch! Perdition catch my soul But I do love thee! And I love thee not Chaos is come again.’ These lines suggest that Othello will be utterly devastated if his love is destroyed. It is proof that Othello’s temperament is unable to handle these emotions; in spite of his indisputable qualities as a soldier he is susceptible to jealousy because of his unfamiliarity with these feelings. Othello’s character is very suggestible and insecure, his interjections at lines 157 ‘zounds!’ and 173 ‘O misery!’ show that he can not deal with Iago’s suggestions, who is always prompting him to think the worst. This shows Othello’s powerlessness in the face of these iniquitous insinuations.
Othello’s attributes as a decisive soldier work against him in this scene, he makes up his mind too quickly, refusing to look back. Left alone he wonders ‘Why did I marry?’ showing he has concluded that his wife is false. Although Othello is in a state of disorientation he continues to resist Iago’s version of her until he is told of Cassio’s dream, from line 332 there is a change in the temperament of Othello from what the audience have seen so far. Othello speaks violently to Iago ‘Villain be sure thou prove my wife a whore’, the violence in his speech indicates Iago is winning.
Onwards from line 387 there is suggestion that the moor has two roads to choose from. Othello speaks of ‘Poison, or fire, or suffocating streams’, says his name is ‘begrimed’ and then begins to curse, ‘Death and damnation! O!’. Here we are seeing the disruption of his mind, as his speech is breaking down, becoming more disjointed. Othello’s most barbaric words are ‘I’ll tear her all to pieces’.
We know that Othello will not change his mind on revenge, he is a resolute character and his words are purposeful and ruthless (lines 456-65, 472-6, 478-81).
Act 3 scene 4 focuses on Desdemona. She lies to Othello about losing the handkerchief, simply seeking not to anger him further. The handkerchief is loaded with ominous importance, symbolizing Desdemona’s honour. Its loss represent the ‘break’ between Othello and his wife, she is lost to Othello since he has adopted Iago’s views. The ‘magic in the web’ of the handkerchief represents the ‘magic’ of Othello’s union with Desdemona which has been decimated by Iago.
In Act 4 scene 1we continue to se the downfall of noble moor Othello, signified by his fit and physical striking of Desdemona. In the striking of Desdemona we see Iago’s enjoyment of power. In Act 3 scene 3 Othello threatened Iago with death ‘woe upon thy life!’ if he was unable to prove his wife a whore. Iago encourages Othello to strangle Desdemona because her death will help preserve his own life.
Iago is able to command Othello’s imagination, painting images of infidelity early in the scene. He is able to have a devastating effect on Othello’s speech as we see on line 35 where his speech is disjointed and is barely in control of his own senses. Othello’s convulsion is the physical expression of his inner torment. It is also horribly ironic how Iago can tell Othello to ‘bear your fortune like a man’ (line 61), while simultaneously torturing him with thought of the ‘millions’ that make other men cuckolds every night. Iago knows that Othello’s pride will not be able to render this idea.
In this scene we continue to see the helplessness of Othello, reduced to asking questions rather than commanding. We know Othello finds it hard to take on Iago’s views but he gives in as fierce words suggest ‘I will chop her into messes! Cuckold me!’ Othello has fallen and is becoming increasingly isolated by Iago and his jealousy.
In Act 4 scene 2 Othello is at a struggle with his warring emotions of love and jealousy, dramatized through his use of contrasting images; the ‘fountain’ which becomes a ‘cistern’, he now looks ‘grim as hell’ when faced with the ‘rose lipped cherubim’.
In Act 4 scene 3 we see Othello and Desdemona both driven to tears, unwittingly do they know through Iago’s malignant influence. Othello is mourning for his marriage and his own and his wife’s innocence. Desdemona has wept, unable to comprehend what is happening to her.
Othello’s brief appearance in Act 5 scene 1 links him with the dark treachery about to prevail. Ironically a misunderstanding provokes his violence; he believes Iago has killed Cassio. Through this misunderstanding we see his motive to act in a direct response to the example set by Iago.
In the final scene it is revealed to us that Othello sees himself as an agent of justice whose purpose is to prevent Desdemona from committing further sins. Later in the scene he tells us he sees her death not as murder, but a sacrifice, as if it were a religious ritual. In Othello’s mind his wife is dead already he speaks of a rose withering on a tree then says ‘be thus when thou art dead and I we kill thee/ and love thee after’, this shows his determination but also his pain and reluctance. At the moment that kills her, he is still obsessing over the handkerchief; he uses Iago’s crude language, suggesting that he should not be viewed as the sole perpetrator. Othello’s confusion; is seen at line 90, where his speech is disjointed. It is completed by a cry of pain ‘my wife, my wife, what wife? I have no wife; / O, insupportable! O heavy hour!
In this final scene of the play Iago says less than in any other scene. He does not seem diminished by the unveiling of his crimes, he gloats to Othello saying ‘I bleed, sir, but not killed’. Iago’s final acts are brutal and unnatural. There is Irony in the fact that he kills his wife to preserve is honour, same as Othello.
The Imagery associated throughout the play with the theme jealousy suggests the destructive qualities of the emotion. It is referred to as ‘the green-eyed monster, which doth mock/ the meat it feeds on’, ‘a monster/ Begot upon itself, born on itself, born on itself’. There is a strong sense of devouring in these images, fitting in with Iago’s description of Othello as being ‘eaten up with passion’. These lines signify the issue of Othello’s jealousy, once he has been convinced of his wife’s unfaithfulness; it leads him to behave monstrously.