Eventually Iago’s echoes turn Othello to rage, that increase exponentially throughout the rest of the scene. Iago is in power now, both in terms of speech and in reality. Othello’s doubts and fears about his wives fidelity, and his insecurities regarding how highly he is regarded in Venetian society are all mercilessly exploited by Iago. Iago delays when questioned by Othello and this further increase the tension and adds to Othello’s doubts.
The absolute irony in “Othello” is out Othello refers to Iago as “Honest Iago”. In reality, he is as far form honest as one can go. It is only Othello’s unquestionable trust for Iago that allows him to get away with making such insinuations about the situation. Othello believes, through sheer love, that Iago is measuring his words and refusing to speak as he is hiding the truth form him, and does not want to cause further unnecessary upset. In truth, they are “tricks of custom” and he is misleading Othello. Iago uses Othello’s perception of him to call into question Cassio’s honesty. Iago ‘think’ that Cassio is honest as it ‘’seems’ to be so. Iago cleverly manipulates Othello into pursuing the matter and the general asks him to reveal his innermost thoughts concerning Cassio. Once again, Iago delays here and this further heightens the dramatic tensions and gives the false impression that he does not want to upset Othello by voicing his concerns. It is clear who is in control of the situation – Iago. Othello’s response between lines 148 and 500 have been reduced to mere exclamations as Iago implies Othello must control his jealousy or risk irreparably damaging his good name.
Iago has cleverly manipulated Othello into feeling confused and uneasy. Othello has no reason to think Iago would lie to him, and it is this that causes Othello’s uneasiness to be personified into the “green-ey’d monster”. He suggests that he would not waste his life feeling insecure and suspicious but that once an infidelity had been uncovered he would be “resolved” and unforgiving. These ominous words are tempered somewhat by his faith in Desdemona. He knows she is “fair” and attractive, but his insecurities are appeased by the fact that Desdemona chose him. He would require proof to believe any suggestions of infidelity, and armed with the proof, his response would be deadly.
Othello’s words here give Iago license to utter his false suspicions about an illicit affair between Cassio and Desdemona – significant to the drama of the play. We can observe the clever contrast in speech between Othello and Iago at this point: Iago is being brief and to the point whereas Othello’s speech is wordy and impressive. Iago is no longer being implicit as Othello as already taken the bait and, sensing he is susceptible to doubt he reveals his ‘fairs’. Iago suggests to Othello that he is only making these accusations out of duty and love for him. This combined with his earlier hesitancy implies what he has to say, has some truth in it. Iago’s skilful delaying tactics have therefore laid the way for the false accusations and sensing Othello is vulnerable, Iago speaks ‘with franker spirit’ and eventually shifts vague generalisations to specific revelations. To protect his position, Iago says that he only has suspicions and no hard evidence. Despite this lack of evidence, he still cunningly convinces Othello to observe Desdemona’s behaviour and actions when she is with Cassio.
Iago, throughout the next section continues to tackle Othello’s weakness. He knows Othello is not comfortable with his position in Venetian society, that he is insecure in the manners and customs of the court and that he constantly seeks reassurance that he is, indeed, worthy to be part of such a society. Iago implies that Desdemona’s disloyalty is a common feature of Venetian society and Othello, inexperience in these matters is once again inclined to accept Iago’s word. Iago also reminds Othello that Desdemona has broken a bond before with ease – that with her own father – and so is likely to break a bond with her husband with the same ease. Iago manages to take all of Othello’s doubts and suspicions and compound them. It is his ability to do this that makes him, at this point the one to prosper and Othello, the damned one. Iago will not directly challenge Desdemona’s infidelity for fear of humiliating himself socially. Iago further adds to the drama by continually recalling his love for Othello, which he obviously lacks. He says he is “bound” to Othello and evens suggests that his fears may be exaggerated because he loves the general too much and is overly concerned with protecting his position. In terms of dramatic irony, Iago’s villainy is overwhelming.
Iago later returns to further enforce Desdemona’s manipulative powers, how ironic. Desdemona has fooled her own father to such an extent that he believes her marriage to “the moor” was work of witchcraft. Iago therefore implies that it would be easy for Desdemona to fool Othello.
Othello is now completely under the spell of Iago. The idea of bonding is repeated as Othello echoes Iago’s words, “I am bound to thee for ever.” At this point there is a sense that Othello’s fate is tragically sealed and this is extremely dramatically significant. Ever since the tragedy genre was established by the Greeks, once the tragic hero, or rather Aristotelian hero had been set, his fate was written. Aristotle wrote, “The best tragic plot, moves the hero from prosperity to misfortune, occasioned not by depravity, but by some great mistake he makes.” Othello’s mistake is falling pray to his own jealousy and Iago’s manipulation.
The apparent lack of speech by Othello is due to the emotional and mental strain placed upon him, notably when he drifts into a monologue about the fidelity of his wife. At this point, Othello is so affected by Iago’s plotting and manipulation, he requests to be left alone for reflection. We can actually see how directly taken he is by Iago’s words as he requests that Iago report back any further findings and he asks him to set his wife, Emilia to spy on Desdemona. Othello is so convinced of Iago’s loyalty that he thinks he is holding back information purely to protect him. Iago later returns to interrupt Othello’s thoughts and attempts to play down the suggestion he previously made, claiming he was probably wrong. A clever technique. Iago then warns Othello to watch out for Desdemona supporting Cassio’s cause as “much will be seen in that” and it will be further proof the characters are up to no good. Iago, just before he leaves drums up more doubt in Othello, by repeating that his fears are merely speculation.
Othello is shown, by Shakespeare to be overcome with doubt and insecurity through his use of language. He blames his race and even his age for causing Desdemona to be unfaithful to him. It is blatantly obvious that, thanks to Iago, Othello has begun to convince him, before gaining proof of Desdemona’s infidelity. It is only when he actually talks to Desdemona that he regains a strand of mentality. He states he will not believe in her unfaithfulness.
Chance now plays a crucial role in the play as Iago manages to obtain the means to provide Othello with some circumstantial, yet in his present state of mind, convincing evidence of Desdemona’s infidelity. This evidence is, a mere handkerchief. This was a love token given to Desdemona by Othello, his first expression of his love for her. Desdemona enters to remind Othello about a civil dinner and she sees he is distressed. Thinking he has a headache, she attempts to soothe his brow with her handkerchief. It is dropped and forgotten about as the two characters leave. It is passed to Iago by his wife Emilia who picked it up, observing a perfect opportunity. Emilia’s intentions here are dramatically significant, despite being somewhat ambiguous. She realises the handkerchief has great sentimental value to Desdemona and Othello, but she opts to pass it onto he husband who “hath a hundred times” asked her to steal it.
Emilia is obviously torn about what to do, but she resolves to “ha’ the work ta’en out” and passes it onto her husband. We next observe Iago’s negative view of women – his demeanour to Emilia softens when he realises that she has Desdemona’s handkerchief, but he still manages, ‘affectionately’ to call her a wench and ultimately snatched the handkerchief from her when she questions him concerning its use.
Iago’s soliloquy that follows is noteworthy as it reveals his intent to use the handkerchief as ‘proof’ that Desdemona and Cassio are engaged in an illicit affair. Iago knows that he can now manipulate Othello because of his immense jealousy. By placing the handkerchief in Cassio’s lodgings circumstantial evidence will become hard proof to the vulnerable Othello. Iago positively basks in his success at manipulating Othello’s emotions and rt4eadily admits that his “poison” is already working on the rationality of the general. Iago knows that Othello will never sleep soundly again and takes a villainous satisfaction in the result of his actions as Othello appears in a state of obvious distress, talking to himself about Desdemona.
“Avaunt, be hone, thou hast set me on the rack…” In this quote, Othello is almost out of his mind and he lashes out at Iago for being the one who has told him about Desdemona’s infidelity. It is clear now that Othello has fallen for Iago’s lies: he fully accepts that Desdemona has slept with Cassio in “stol’n hours of lust”. While he did not know of his wife’s indiscretion it did not hurt him, but now that he does know he feels that he has been robbed and can no longer function in his role as a solider.
The dramatic significance arises when it appears Iago, for the first time in the play has lost control of the situation. His intention to awaken a violent jealousy in Othello has clearly worked, but at this point in the play, much of Othello’s anger is directed towards Iago. In his utter rage, Othello calls Iago a “villain” and threatens that if his accusations prove slanderous, he will pay dearly. Othello asks for “ocular proof” before he will believe his wife’s wrong doing. This critical moment in the play is full of dramatic tension. Othello touches on the truth: “If thou dost slander her, and torture me” and threatens Iago with death. Othello’s anger is almost uncontrollable, similar to tragic hero’s in other plays, such as King Lear.
Iago’s terrified speech is reduced to a series of short statements and rhetorical questions as Othello rages. Iago, at this decisive stage in the play responds with fury. His exclamations are forceful and he repents that he has been honest only to be repaid with mistrust and threats – the irony is rich, yet his outburst on lines 379-386 appear to curb Othello’s anger, and once again Iago has control of the situation.
The crudities of Iago’s speech from lines 400-415, such as graphic references to sexual intercourse are effective in debilitating Othello. Iago builds up a visual picture of Desdemona’s infidelity which he will later cleverly solidify with references to the handkerchief. With Othello in a deeply distressed (and vulnerable) state, Iago offers further incriminating evidence by suggesting that he has heard Cassio call out Desdemona’s name and utter terms of endearment in his sleep. Othello unquestioningly believes Iago, who again plays down the importance of his words and urges caution from Othello: “Nay, this was but his dream”. For Othello, suggestion has now become fact and, as Iago says, this will “help to thicken other proofs.” Othello now resolves to kill Desdemona. “I’ll tear her all to pieces”, and Iago realises that this is inevitable regardless of what his intentions had been initially.
With Othello still eating out of the palm of Iago’s hand, Iago refers to the handkerchief that he happens to have in his possession. He says the handkerchief is now in Cassio’s possession in spite of its sentimental significance to Desdemona. Iago’s intention to convince Othello of betrayal is now complete. Othello’s use of languages changes here, as he speaks of “black vengeance”, hatred, revenge and “blood”.
The scene ends with Iago pledging his undying and absolute loyalty to the general by accepting that in order to avenge “wrong’d Othello” he will perform “what bloody work so ever”. Othello asks Iago to bring about the death of Cassio and says that he will dispose of Desdemona.
Iago’s triumph seems complete as Othello promotes his ensign to the rank of lieutenant. The scene ends with Iago dutifully, (or rather for us ironically) pledging his loyalty for ever.
Act 3, Scene 3 is one of the most dramatically significant scenes in the play. It shows us how Iago’s plan is now moving with the momentum of a freight train. Othello now trust Iago totally, evident by his subsequent promotion and distrust Desdemona to an extent where he will kill her for her apparent wrong doings.
Copyright © Adrian Hall 2003
