a clown is mincing words with a few musicians, then has a little wordplay with Cassio

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1 Act III Notes

2 Comic relief: a clown is mincing words with a few musicians, then has a little wordplay with Cassio Iago enters, and Cassio tells him that he means to speak to Desdemona, so that she may clear things up with Othello. Emilia comes out, and bids Cassio to come in and speak with Desdemona about his tarnished reputation.

3 Othello is unlike other Shakespearean dramas for two reasons: the scarcity of comic relief, which only appears briefly at the beginning of this short scene. there are no subplots running through Othello as there are in most Shakespearean plays as a whole. Both of these differences make Othello one of Shakespeare's most focused, intense tragedies.

4 Othello gives Iago some letters that need to be delivered back to Venice Iago is in turn supposed to give the letters to a ship's pilot who is sailing back to Venice.

5 Desdemona decides that she wants to advocate for Cassio. She tells Emilia so, and that she believes Cassio is a good person, and has been wronged in this case Iago seizes on this opportunity to play on Othello's insecurities, and make Cassio seem guilty Othello then speaks to Desdemona, and Desdemona expresses her concern for Cassio She is persistent in his suit, which Othello is not too pleased about.

6 Iago then plays on Othello's insecurities about Desdemona, and gets Othello to believe, through insinuation, that there is something going on between Desdemona and Cassio. Othello seizes on this, and then Iago works at building up his suspicions. Othello begins to doubt his wife, as Iago lets his insinuations gain the force of an accusation against her. Othello begins to voice his insecurities when it comes to Desdemona, and himself as well. Desdemona enters and Othello admits that he is troubled, though he will not state the cause.

7 Read III Desdemona drops the handkerchief that Othello gave her on their honeymoon Emilia knew that her husband had wanted it for something, so she doesn't feel too guilty about taking it. Emilia gives it to Iago, who decides to use the handkerchief for his own devices. Othello re-enters, and tells Iago that he now doubts his wife Othello demands proof so Iago sets about making stories up about Cassio talking in his sleep He says that Cassio has the handkerchief that Othello gave to Desdemona. Othello is incensed to hear that Desdemona would give away something so valuable, and is persuaded by Iago's insinuations and claims to believe that Desdemona is guilty. Othello then swears to have Cassio dead, and to be revenged upon Desdemona for the non-existent affair. Watch movie scene

8 Desdemona's choice of words to describe Cassio is unfortunate: she calls him a "suitor," not meaning it in a romantic sense, although Othello could certainly take it that way. Desdemona binds her reputation to Cassio's in an unfortunate way She says that if Cassio is wrong, "I have no judgment in an honest face". Of course Desdemona means well, but she gambles too much on another person's honor.

9 Jealousy is soon addressed specifically by Iago. "It is the green-eyed monster," Iago tells him The "green-eyed monster" becomes a symbol representing Othello's dark feelings, a specter lurking in his mind and beginning to steer his behavior. Iago's speech is also deeply ironic, since it points out Othello's flaws, and the root of his tragedy Othello has no idea of the significance of these statements, and so neglects to take them to heart.

10 Othello is deeply insecure about his personal qualities and his marriage Insecurity becomes a theme that weakens his resolve not to doubt Desdemona. Othello uses his black skin as a symbol for how poorly spoken and unattractive he thinks he is. All of his claims are very much beside the point; his words are actually more complex and beautiful than those spoken by any other character in the play. Because he begins to believe that Desdemona cannot love him, he starts to believe her guilty of infidelity. The leap is great, but it is all a product of Othello's own insecurities and his incorrect conception of himself, another theme of the play. How Othello sees himself directly influences how he views Desdemona's love

11 Othello begins to use the black/ white imagery found throughout the play, to express his grief and rage at Desdemona's alleged treachery. "My name, that was as fresh as Dian's visage, is now begrimed and black as mine own face," Othello says. Although the allegations against Desdemona are personally hurtful to him, Othello focuses more on the public ramifications, rather than the private There is great irony in this concern, since this rumored betrayal is a private one, and also since Othello's name is highly regarded, because nothing has really happened. Iago's "proofs" also rely on the animal imagery which has run throughout the play he makes Desdemona and Cassio seem like lustful lovers, by describing them as "prime as goats, as hot as monkeys" (400). This comparison is calculated, since Iago knows that thinking of Desdemona as lusting after another man disturbs Othello greatly.

12 The handkerchief, the most crucial symbol and object in the play. The handkerchief, to Desdemona, symbolizes Othello's love, since it was his first gift to her. Othello thinks that the handkerchief, quite literally, is Desdemona's love When she has lost it, that must clearly mean that she does not love him any longer. The handkerchief also becomes a symbol of Desdemona's alleged betrayal

13 "Proof" is a key word in this scene Othello demands that Iago prove Desdemona unfaithful by actually seeing evidence of her guilt. Iago manages to work around this completely; he plays off of Othello's jealousy, telling him stories that damn Cassio and mention the handkerchief Othello trusts Iago's words to convey proof, and is thwarted by Iago's dishonesty Othello only realizes later that he has been tricked and has seen no proof, when it is too late for him to take his actions back.

14 This act represents the beginning of Othello's giving up language From this point forward, notice how Othello's use of imagery and story become less and less frequent, and how he begins to rely upon Iago for speech and explanation. Othello is reduced by Iago and his own jealousy to single lines of speech, monosyllabic utterings of "O!" and the like. And just as language is the power with which Othello was able to woo Desdemona, his loss of it is a resignation of this power which attracted her to him. Othello suspects his wife's language, and Cassio's as well; he is distracted from suspicion of Iago Othello begins to lose his power over himself, and over others, when he loses his beautiful language This resignation marks a huge shift in the balance of power between Othello and Iago Iago becomes more dominant in the relationship, and begins to steer Othello.

15 In the battle between order and chaos, chaos seems to be winning out. Othello abandons his reason in judging Iago's "proofs," and his abandonment of language also marks a descent into chaos. Although it is a chaos controlled by Iago, order and reason are on the losing side Raging emotions and speculations begin to rule Othello's fate, as he comes closer and closer to his tragic end.

16 Desdemona asks the clown where Cassio is; the clown goes off to fetch him. Desdemona is looking everywhere for the handkerchief, very sorry to have lost it; she knows that her losing it will upset Othello greatly Othello enters, and asks for Desdemona's handkerchief; she admits that she does not have it, and then Othello tells her of its significance and alleged magical powers. Desdemona does not like Othello's tone; he seems obsessed with this object, and Desdemona is so frightened by him that she wishes she had nothing to do with it. She interrupts Othello's inquiry by bringing up Cassio's attempt to get back into Othello's favor; Othello becomes angry, and storms out.

17 Cassio then enters, with Iago and laments that his suit is not successful, and that Othello does not seem likely to take him back. Desdemona is sorry for this, since she knows that Cassio is a man of worth She tells Cassio and Iago that Othello has been acting strange, and is upset, and Iago goes to look for him, feigning concern. Emilia thinks that Othello's change has something to do with Desdemona, or Othello's jealous nature

18 Read III Bianca comes in, and Cassio asks her to copy the handkerchief that he found in his room It is Desdemona's handkerchief, though Cassio has no idea. He claims he does not love her, and gets angry at her for allegedly suspecting that the handkerchief is a gift of another woman. Bianca is not disturbed, and leaves with the handkerchief.

19 Othello's words often have a double meaning When he is describing Desdemona's hand, he says it is "moist" and "hot an allusion to a lustful nature. He says she is of a "liberal heart"; this could mean a generous heart, but could also be indicating Desdemona's supposed licentiousness. "Here's a young and sweating devil here, who constantly rebels," Othello says; the metaphor speaks badly of Desdemona, and betrays his distrust of her. In the next breath, he says, "tis a good hand"; the juxtaposition of the two statements shows Othello trying not to betray his disappointment He is deeply disturbed, and seems to be questioning and examining her to prove that she really is the harlot

20 Here, Othello finally elaborates upon the handkerchief's importance for Desdemona. "There's magic in the web of it," Othello says; he language is full of mystical, dark images Othello reveals that he believes the handkerchief to literally symbolize Desdemona's affection The irony is that although the handkerchief is lost, Desdemona still loves him. The theme of appearance vs. reality appears

21 Cassio's behavior toward Bianca is in sharp contrast to the courtly politeness he shows Desdemona and Emilia. This is because of Bianca's station as a courtesan; not regarded the same respect as ladies Bianca proves to be as perceptive as Emilia and Desdemona, and even more realistic about matters of love. The change in Cassio's tone and behavior around Bianca betray a cultural bias of the time toward women of certain stations His behavior would not have been thought mean at the time, because of Bianca's lowly status.

22 Cassio Emilia Desdemona Othello

23 Exterior layers required to get to Othello odd, considering Cassio is a lieutenant one would think Cassio could go right to Othello

24 (III.i.47-50) Tells Cassio to go directly to Othello He needs no one else Emilia is very direct Opposite of Iago

25 Iago s Use of Rhetoric (III.iii)

26 Convinces Othello of control My lord, you know I love you (III.iii.117) This phrase is used more in Act III, scene iii that at any other place in the play Uses flattery to convince Othello of control (III.iii ) Often elevates Othello while putting himself down

27 Impromptu/Casual Air Increases Othello s curiosity Othello says what Iago does not Shows ownership of thoughts and therefore is more believable

28 Feigned Supplication O, beware, my lord, of jealousy; It is the green-eyed monster which doth mock The meat it feeds on; that cuckold lives in bliss Who, certain of his fate, loves not his wronger; But, O, what damned minutes tells he o'er Who dotes, yet doubts, suspects, yet strongly loves! (III.iii )

29 Cultural and gender assumptions (III.iii ) (III.iii )

30 Concrete Evidence Handkerchief

31 Suggestive/Evasive Repetition Withholding information (that doesn t exist) makes it more valuable

32 Ownership Iago allows Othello to finish Iago s thoughts Therefore, the thoughts become Othello s and gain more validity

33 Ownership (continued) Iago will also often interrupt Othello Iago is in complete control of the conversation If he does not like where it is going, he interrupts Othello to put him on the proper path.

34 Iago s Ethos and Pathos Ethos The distinguishing character, sentiment, moral nature, or guiding beliefs of a person, group, or institution Pathos The emotionally moving quality or power of a literary work or of particular passages within it, appealing especially to our feelings of sorrow, pity, and compassionate sympathy (Oxford Concise Dictionary of Literary Terms)

35 Iago s ethos and pathos as directed towards Othello: I am honest Iago. I am just telling you what I see. If you don t believe me, that is okay.

36 Othello s insecurity? Othello s ignorance? Othello s extremism? Othello s focus on the exterior?

37 Hypothetical Speculation (III.iii )

38 Hubris Oedipus Rex His tragic pride creates his blindness to the truth

39 Focus on Extremes (Pinnacles) No; to be once in doubt once to be resolved (III.iii ) Once he doubts her, she is automatically guilty Absolutism Is

40 Othello s faith in appearances is being challenged (III.iii ) Requires ocular proof Seeing is proof for Othello Focus on the exterior

41 Irrational/Illogical Believes it would be better if Desdemona was intimate with his entire army as long as he did not know about it. I had been happy, if the general camp, Pioners and all, had tasted her sweet body, So I had nothing known (III.iii ) Focus on extremes

42 Importance of the Status Quo How do things look or seem? What is really going on is insignificant What appears to be going on is important Focus on the exterior

43 Occupational Anxiety (III.iii ) Falls into a warrior pattern End of marriage is equivalent to the end of his career Does not say farewell to Desdemona Rather, says farewell to his job

44 Occupational Anxiety (continued) Virility Strength of a man is equivalent to his strength as a soldier How can he control an army if he cannot control his wife?

45 Reputation Iago stresses the importance of reputation to Othello Opposite philosophy is presented to Cassio Knowing your audience is critical Reputation=Exterior

46 (III.iii ) I am your own forever. Iago and Othello make a vow to each other Two men coming together to destroy a woman

47 (III.iii ) Othello demands to be satisfied make me see proof

48 Iago s brilliant response: How do you want it proved? Do you literally want to catch her in the act? Iago suggests it will be very difficult to catch them in the act

49 Result: Othello no longer needs literal ocular proof On a subconscious level, Othello did get the ocular proof when Iago placed the image in his mind Notice the use of animal imagery by Iago (lines ) The desire of Cassio and Desdemona is primal and animalistic (according to Iago)

50 By the end of Act III, scene iii, Othello no longer speaks in complete, eloquent sentences O, blood, blood, blood! (III.iii.451) Othello s speech patterns become very similar to Iago s Also, very similar to Brabantio s And yet, how nature erring from itself (III.iii.227) vs. (I.iii ) Geschke/English IV AP Othello Act III Notes

51 Charmer Othello s Mom Iago Cassio Bianca (prostitute) Othello Desdemona Emilia

52 According to Snow s essay, the handkerchief symbolizes virginity/chastity, sexuality, and Desdemona Therefore, Desdemona (or her virginity/ chastity and sexuality) has been passed around Ends up in the hands of a prostitute Courtesan a prostitute; a mistress of a king, nobleman, etc.

53 Earlier, Othello wants Desdemona to be passed around I had been happy, if the general camp, Pioners and all, had tasted her sweet body, So I had nothing known. (III.iii ) Geschke/English IV AP Othello Act III Notes

54 It is moist A moist hand symbolizes a lustful nature What if it were cool? Then she is giving her lust to someone else

55 Therefore, Desdemona is in a no-win situation Othello wants proof and will find it and assume its truthfulness no matter what

56 Remember the definition of perfect He sees her as body parts (hands, lips, etc.) He runs around shouting out body parts A liberal hand: the hearts of old gave hands; our new heraldry is hands, not hearts. (III.iv.46-47) I ll tear her to pieces! (III.iii.431) But

57 Desdemona s Response: Her hand is good because it gave away her heart to Othello For twas that hand that gave away my heart. (III.iv.45) Heart and hand (interior and exterior) are connected Geschke/English IV AP Othello Act III Notes

58 Othello s Response: A liberal hand: the hearts of old gave hands; But our new heraldry is hands, not hearts. (III.iv.46-47) Definition of who we are (heraldry coat of arms) is hands (exterior) not hearts (interior)

59 Othello s Response (continued): Othello is over-determined If the handkerchief means everything, then Desdemona says she does not want it; it is too much for her (III.iv.69-77)

60 Othello s Response (continued): Othello now constantly brings up spells and witchcraft Charmer and handkerchief Complete opposite of Act I In Act I, many people (especially Brabantio) accuse Othello of using spells and magic to force Desdemona to love him

61 If the handkerchief symbolizes Desdemona s sexuality or chastity, notice then the depth of Othello s remarks: take heed on t; Make it a darling like your precious eye. To lose t or give t away were such perdition As nothing else could match. (III.iv.65-68)

62 Most veritable. Therefore look to t well. (III.iv.76) Is t lost? Is t gone? Speak, is t out o th way? (III.iv.80) Fetch me the handkerchief! My mind misgives. (III.iv.89) Misgives feels doubt or regret

Final Review. Bring Friday: completed tragedy chart Review Suggestions: On class website:

Final Review. Bring Friday: completed tragedy chart Review Suggestions: On class website: Othello Review Final Review Bring Friday: completed tragedy chart Review Suggestions: Shakespearean Structure Introductory handout, study guide Act III, scene 3 & 4 Act IV, scene 2 & 3 Act V, scene 2 (all)