Cassio is projected by Shakespeare as seeing perfection within Desdemona. He emphasises her prestige to himself with comments such as “our captins’s captin” and the “Divine Desdemona”. Cassio seeing Desdemona above Othello almost presents her as angelic. Desdemona is perceived as virtious woman who is loving, innocent and loves Othello.
When Desdemona enters she thanks the “valiant” Cassio, and her first concerns are of her “lord” Othello. Her piroites lie in her husband and his safety, “O, but I fear…”, Desdemona is acting as she is perceived. Once a sail is spotted Desdemona becomes more relaxed but still anxious. More than any other character in the play, she has a thorough knowledge of “goodness”, although Shakespeare takes pains to make it plausibly human in it appearance. Her concern as she waits for Othello’s arrival, Desdemona tries to desguise her own anxiousness “I am not merry, but I do beguile The thing I am, by seeming otherwise.” This comment has a sinster ring to it, and it helps to make Othello’s own fall more plausible, but at this point it enables us to engage with the thoughts and feelings of Desdemona as a caring human being, as well as savour the irony of her position.
There is a sense in which Desdemona is intrinsically incorruptible, although her doubts go some way towards humanising her character. Also, her actions are shown to be extremly vulnerable. Iago illustrates this in his conversation with Cassio just before the lieutenant falls from favour, but the latter continues to assert Desdemona’s qualities in the facde of a cynical attempt to undermine them. For Cassio she remains ‘a most exquisite lady’, ‘a most fresh and delicate creature’ whose specch is the model of ‘perfection’. But to one already corrupted , these claims have no force, and hence she is made to seem naïve in her subsequent pleading for Cassio.
There is a sense in which all ‘good’ in the play seems naïve in the face of Iago’s cynical and reductive outlook. Desdemona’s openness is made to seem tactless, and in a curious way, childish, in a situation in which it is a quality no longer to be valued.
The playful argument with Iago about the position of women, Desdemona seems to be flirtasous yet firm woman. As Iago discriminates women and think they should “go to bed to work”, Desdemona at first gives short and simple lines like “O, fie upon thee, slander” and a comment as “Alas! She has no speech.” This compliments her image of innocence, she is shocked and as a younger lady doesn’t dare to argue back with Iago. Instead Desdemona plays around with Iago and wants to know what he thinks of her; “what wouldst thou write of me, if thou shouldst praise me?” Is Desdemona not thinking of Othello’s safety at this point? Her playful puns; “how if she be black and witty?” creates less tension whilst waiting for the news of Othello, it also shows Desdemona qualities to be witty and intelligent as she plays along with Iago’s games.
She seeks Cassio for support “How say you Cassio,” who kisses her on her hand “he takes her by the palm; ay well said, whisper” this is helps Iago’s plan to manipualte Othello into thinking Cassio and Desdemona love each other.
Othello arrives in Cyprus safe and unharmed and meets his “fair warrior!” He calls her, "My fair warrior" since she has conquered what he has not, namely innocence. "My life upon her faith", he says acknowledging her counterpoint to his own existence.
Desdemona calls Othello by his name “my dear Othello!” this is the first time someone has called Othello by his name and not “the moor”; this reflects Desdemona’s kindness, love and respect for him.
Othello says Desdemona provides his soul with 'content so absolute' and 'joy' - a word with connotations of spiritual union, not just happiness.
Othello expresses his most love for Desdemona as he sees her; “If I were now to die ‘Twere now to be most happy” he celebrates his real joy for Desdemona’s arrival. This language of love is enhanced by the stage direction Shakespeare adds “they kiss”, this is passionate and shows their affection for one another. Shakespeare is one known for rarely using stage directions and when he did they were only if really necessary and he was trying to emphasis a point.
When they both leave, it is Iago and Rodgerigo left together alone; Iago ,makes false allegations that “Desdemona is directly in love” with Cassio. Roderigo knows Desdemona is an innocent and pleasant woman and doesn’t believe this at first “With him? Why, ‘tis not possible” and “she’s full of most blest condition”.
Iago slowy turns Roderigo’s feelings for Desdemona’s innocence to believeing Iago she is having an affair. Iago changes the image of sweet Desdemona to a mad young love sick child. Iago denies Desdemona of her innocence and believes she has none “If she had been blest she would never have loved the Moor.”
Iago then plays with Cassio about his relationship with Desdemona and makes comments which are abravise and rude. Cassio still speaks highly of Desdemona; “she’s a most exquisite lady” and “Indeed she’s a most fresh and delicate creature” Iago persistently tries to makes Cassio think sexual thoughts of Desmona; “And when she speaks is it not an alarum to love?” Cassio rejects the sexual thoughts and the mater is closed.
After the fight between Roderigo and Cassio, the place is in choas and Desdemona is awakend, this is what Othello is most angry about “Look if my gentle love be not raised up! I’ll make thee an example” Only because Desdemona has been awaken he will do harm.
Desdemona is shown in many different ways in this scene; Iago’s many faces has different opinions of Desdemona; one of sexual desire, one of hate, one of friendlyness. Othello is deeply in love with her and sees nothing but joy and innocence. Cassio only sees goodness and compliments her in every possible way. Desdemona herself is a young woman but brave, strong and witty; her presence in Cyprus and leaving her father and marrying in secret all show her brave and less innocent side. She is madly on love with Othello and would do anything to please him. Overall our understanging of Desdemona is increased and we picture her in a different light from Act 1, where she was just a young innocent lady.
