Here Othello is saying that he would never suspect his wife of infidelity (“revolt”) merely because he believes he is unworthy of her love.
So if Othello is so spiritually attached and inlove, why is he so swift to change his mind and give into thoughts of jealousy and doubt. Some critics have suggested that despite his other positive qualities and calm authority as a soldier, Othello is susceptible to jealousy: “he is suggestible and insecure” (York notes, Rebecca Warren).
When Desdemona re-enters (III.iii.277) Othello is in the processes of accepting she has cheated on him, he doesn’t give her a chance to talk. Othello and Desdemona’s true love is being destroyed by the false and empty love Iago professes. There is no indication that they are going to have a conversation, in private, about his suspicions. Othello is keeping his conscience to himself because that is what Iago has made him think Desdemona is also doing. Iago told him that in Venice the woman, “dare not show their husbands; their best conscience…keep it unknown.”
After has raised Othello's suspicions about his wife's fidelity, Othello shows signs that he is beginning to believe he is inarticulate and barbaric, lacking: “those soft parts of conversation / That chamberers have." This is also the first time Othello himself, without Iago, directly associates his race or age negatively. His conclusion that Desdemona is "gone" demonstrates how far Iago's insinuations about and Desdemona have taken Othello: in a matter of around a 100 lines, he has gone from belief in his marital happiness to a belief of abandonment. Othello finds Desdemona to be a mere "creature" of "appetite" and imagines himself as a "toad" in a "dungeon." We can see how Othello is becoming infected by Iago’s imagery and begins to use the same animal metaphors. Although the imagery in Othello's speeches reveals the hero’s misery, rather then the bestial lust apparent in Iago's:
“What shall I say? Where’s satisfaction?
It is impossible you should see this
Were they as prime as goats, as hot as monkeys,
As salt as wolves in pride;”
Iago is speaking to Othello with a rough tone, “what shall I say? Where’s satisfaction?” he is clearly accusing Othello of being blind to what’s happening under his nose. Here we can see the dynamics of the two characters shift, Iago has taken on the role of an impatient master.
Not only does Iago’s language demonstrate his dominating character, he deliberately introduces “stops” to show ultra power over Othello. By pretending he is reluctant to talk, he gains the opportunity to speak at length.
In Act I Iago is clearly the underdog, overlooked and perhaps irrelevant except as an escort for the general’s wife. In Act II we see him forming his plan and setting up his revenge, so how is it possible that this “irrelevant” character is able to achieve such “triumph” over Othello, how is he able to manipulate his character in such a way that he is can make such assumptions about his misters with such a vulgar tongue?
It’s all in the way Iago closes in on his prey. Iago is an expert at manipulating the distance between characters, by isolating his victims he knows they will fall prey to their own obsessions. At the same time, Iago, who separates himself from all other characters, falls prey to his own obsession with revenge.
"And then, sir, would he gripe and wring my hand,
Cry 'O sweet creature! then kiss me hard,
As if he plucked kisses up by the roots,
That grew upon my lips"
This story Iago creates, is a perfect example of his obsession with plant metaphor’s and how it functions within the play. Characters in this play seem to be under the control of a certain inevitable, natural forces, which, if left alone, will grow wild. Iago understands these natural forces; he is, according to his own metaphor, a good "gardener," both of himself and of others. It’s not until Iago actually tells Othello this story of Cassio’s dream that Othello gives in completely to the lies and cries out: “ill tear her all to pieces!”
“Iago cultivates his "conceits" so that they become lethal poisons and then plants their seeds in the minds of others. The organic way in which Iago's plots consume the other characters and determine their behaviour makes his conniving, human evil seem like a force of nature. That organic growth also indicates that the minds of the other characters are fertile ground for Iago's efforts. (.)”
"The Moor already changes with my poison:
Dangerous conceits are in their nature’s poisons, / … / …
Not poppy nor mandragora
Nor all the drowsy syrups of the world
Shall ever medicine thee to that sweet sleep"
Iago has awakened a ragging monster; it’s now his job to direct Othello's frenzied passion to his advantage.
The idea of monsters runs through this scene. Monsters belong to myths; they are not real in the same way that Desdemona’s infidelity is just a story. Othello's allusion to "some monster in [his] thought" ironically refers to Iago (similarly, his vision of Desdemona's betrayal is "monstrous, monstrous!”
When Iago applies the pressure to Othello we can clearly see his language deteriorating into fragmented, hesitant, and incoherent syntax. Throughout Act III, scene iii, Othello speaks in short, abrupt exclamations and half-sentences such as "Ha!" (III.iii.165), "O misery!" (III.iii.171), and "Dost thou say so?" (III.iii.205). There is also notable repetition, as in "Not a jot, not a jot" (III.iii.214), "O, monstrous, monstrous!" (III.iii.424), "O, blood, blood, blood!" (III.iii.449), and "Damn her, lewd minx! O, damn her, damn her!" (III.iii.473). Such moments, when Othello shifts from his typical seemingly effortless verse to near inarticulateness, demonstrate the extent to which Othello's passion has broken down his self-control.
Othello has taken it on himself that he is to blame for all this; he believes it’s in his fate. By adopting a defeatist attitude Othello has made the mistake of giving up to easily. Othello’s decisiveness, which has aided him as a soldier, goes against him in this scene. He is prompted to think the worst and therefore comes to a conclusion too quickly. Once he has made up his mind he vows never to look back on his decision.
The handkerchief symbolises different things to different characters. Since the handkerchief was the first gift Desdemona received from Othello, she keeps it with her constantly as a symbol of their love. Iago manipulates the handkerchief so that Othello sees it as a symbol of Desdemona herself—her faith and chastity. He uses it against Desdemona and converts it into evidence of her infidelity. Although, the significance this handkerchief has to both Iago and Desdemona, derives from the importance Othello gives it. Othello claims that his mother used it to keep his father faithful to her, so, to him, the handkerchief represents marital fidelity.
As Iago begins to blacken Desdemona’s character, Othello feels his honour is at threat. He expresses this by referring to his own blackness in a negative way. Up until this point Othello has been proud about his race and secure in his love (“she had eyes, and chose me” he says, suggesting that his colour was irrelevant). It now seems as though the black (angry and violent) Othello will supersede the fair Othello:
“Her name, that was as fresh
As Dian’s visage, is now begrimed and black
As mine own face”
He no longer has a “fresh” name; both his mind and name are “begrimed.”
Othello calls for assistance with his revenge, “Arise, black vengeances from thy hollow cell.” Its as though he is linking himself to hell and darkness, even though he feels he's serving heaven by making “a sacrifices” of Desdemona.
Othello's identity as a lover is crumbling around him, he desperately tries to cling to the security of his former self; the war hungry military-man. Othello begins to confuse one with the other. We can clearly see as the expression of his jealousy quickly devolves from the usual—"Farewell the tranquil mind"—to the absurd:
“Farewell the plumed troops and the big wars
That make ambition virtue! O, farewell,
Farewell the neighing steed and the shrill trump,
The spirit-stirring drum, th'ear piercing fife,
The royal banner, and all quality,
Pride, pomp, and circumstance of glorious war!"
It seems as though Othello is saying farewell to the wrong things—he has become entirely preoccupied with being soldier. Othello depends on his identity as a soldier to glorify himself in the public's eye, the fact that he has failed as a lover is too much for the moor to cope with, so instead of trying to fix this, he turns back to his military ways: kill or be killed.
Iago thrives at the thought of the pain he is causing, we can see this from his description of his methods.
“Dangerous conceits are in their natures poisons
Which at the first are scarce found to distaste
But with little act upon the blood
Burn like mines of sulphur.”
Othello later describes how he feels tortured by jealousy, using images that recall Iago’s words, “if there be cords or knives / poison, or fire, or suffocating streams, / ill not endure it. Would I were satisfied!”
Iago has succeeded in painting a devilish picture in Othello’s mind of his wife. Othello makes a “sacred vow” to wreck vengeance on her “by yond marble heaven.”
The climax occurs at the end of Act III, scene iii, when Othello kneels with Iago and vows not to change course until he has achieved bloody revenge.
Iago’s language is one of the main sources of his power. Although his characteristic idiom is very different, it is full of compounds colloquialism and oaths suiting his character of a bluff soldier. Iago is able to manipulate his style to suite his different audiences and purposes. He adopts a loftier style in his parody of Othello’s idiom as he kneels next to him. This is a great example of Iago's power; he can transform his manner effortlessly.
Iago has mastered his cunning and destructive power; not only is he able to direct but he also makes comments about the action in the play. Its almost as though Shakespeare is forcing his audience to collude with the villain; Iago is so clever, such an impressive actor.