Othello Act 3 Scene 3

In Othello Act 3, the plot is able to advance with the introduction of Othello's internal and external conflict forcing him to make a decision. In scene 3, Othello faces an internal conflict after hearing from Iago that he had seen Desdemona and Cassio lusting for each other grew worrisome. He questions Desdemona virtue contemplating if his “wife be honest” or “think she is not” (385-386). Othello inner self struggles with the idea of the his first love Desdemona with someone else. This allows for jealousy to shroud over Othello’s thoughts and choices. This internal conflict allows to advance the play by making Othello make rash decisions on what he believes to be true. Furthermore, in scene 4 Othello now doubtful and full of suspicion,

Critical Analysis of Iago's Soliloquy in Act 2 Scene 3 of Othello by William Shakespeare

Rhetorical strategies are continually used to get a point across or to manipulate another. Iago uses many devices to put false accusations into Othello’s head. In lines 330-447 in Act 3 scene 3, Iago uses rhetorical question, imagery, and sarcasm. He questions Othello and makes him think the worst between Cassio and Desdemona, and then his use of words adds color and a picture, so it has to be right. Last his sarcasm creates the assurances Othello needed to be duped.

The end of Act III, scene iii, is the climax of Othello. Convinced of his wife's corruption, Othello makes a sacred oath never to change his mind about her or to soften his feelings toward her until he enacts a violent revenge. At this point, Othello is fixed in his course, and the disastrous ending of the play is unavoidable. Othello engages Iago in a perverse marriage ceremony, in which each kneels and solemnly pledges to the other to take vengeance on Desdemona and Cassio. Just as the play replaces the security of peace with the anxiety of domestic strife, Othello replaces the security

To some people, power is authority, and to some, it is capability. To all, it is a metaphorical concept that is individually assigned by one's own view of a situation. George R.R. Martin targeted this concept precisely in A Clash of Kings when he wrote, “Power resides where men believe it resides. No more and no less.” This quote ties in nicely to Othello by William Shakespeare. Power seems to be a relevant theme in this story, although the question of who help the power is also very prominent. The insightful quote from Martin helps us determine this. To defend this quote with evidence from Othello, one must first understand how to obtain ‘power’, then understand why the characters thought Othello was the one in power, furthermore, one may

In other words, Cassio is a man who knows as much about war as an old woman does, unless it is what he has read in books. Therefore, Iago finds him hardly qualified for the job he has gained. Iago is also jealous toward Othello because it is rumored that he has slept with his wife Emilia. (Find Quote In Book) Iago now has a motive to make Othello think that Cassio and Desdemona are having an affair to get revenge on Othello and achieve his goal. His hatred and jealously toward Othello and Cassio seem to turn Iago, himself into “the green-eyed monster” (III.iii.1203) that leads him down a path of destruction.

This facilitated Iago’s success in the process of bringing out the ‘green-eyed monster’ in Othello. Iago seems to manipulate and delude Othello by his constant questioning of Desdemona’s fidelity and hinting of her affair with Cassio “Look at your wife; observe her well with Cassio”. Othello succumbs to Iago’s accusations and acknowledges them, causing Othello’s emotions to take control rather than his rationality, leading to his dismissal of the need to analyze the situation. Othello’s rage and jealousy are further escalated through Iago’s act of leaving Desdemona’s handkerchief in Cassio’s room. The handkerchief, in Othello’s eyes, is the symbol of Desdemona’s infidelity due to its value to him “Make it a darling like your precious......... could match”. Similarly in the movie, Hugo poisons Odin’s mind with the idea of Michael and Desi being together by using the technique of appearing doubtful and naive to the fact that Odin gave the scarf to Desi “O , didn’t you give Desi a scarf a while back ... Wait you gave that scarf to Desi ?” In this case, Desi's fidelity is questioned through the scarf rather than the handkerchief. Furthermore, Desdemona’s imprudence exacerbates the situation and can be seen in her words “T’atone them, for the love I bear to Cassio” which is further proof of her infidelity to Othello and expedited

Othello’s love for Desdemona was so deep he could not bear the thought of another being with her; “If she be false, O! Then heaven mocks itself. I’ll not believe’t.” Iago uses the characters of Cassio and the obsessive Roderigo as his weapons in his cunning plan. Iago drives the idea into Othello’s mind that Desdemona has been unfaithful, inciting him into a state of jealousy. “Excellent wretch! Perdition catch my soul, but I do love thee; and when I love thee not, chaos is come again.” Othello growing insecurities about his wife’s faithfulness only adds to his psychological suffering which in turn acts as a catalyst towards the suffering of other characters involved in the play.Iago tells these lies with the intention of driving Othello insane as well as establish his dominance and influence the situations of those characters close to Othello. Evidence of this comes in one of Iago’s soliloquies from act two, scene one; “That Cassio loves her, I do well Believe’t: That she loves him, ‘tis apt and of great credit.” This section shows that he is trying to convince himself that his own manipulative lies are true and is trying to reassure his motives by justifying his own actions. By convincing Othello

Jealousy is symbolised as “the green-eyed monster which doth mock the meat it feeds on," a complex and destructive human emotion which spawns from human ambition and selfishness. Othello the noble ‘fairer than black’ begins the play characterised as the composed, eloquent protagonist of the play with high status and good reputation, correlating with the social hierarchy of the Elizabethan era. This contrasts with the enraged person he degrades into at the end of the play, consumed by the symbolic “green eyed monster” and engulfed with jealous rage of infidelity and honesty, instigated by the Machiavellian villain, Iago of the play who is also engulfed in jealousy:“…That I put the moor in to a jealousy so strong,” . Iago is spurred on by jealousy caused by Cassio’s promotion which he believed was rightfully his and shows his plan to bring Othello down with jealousy during his first soliloquy in Act 2. Soon after imagery is used to depict Iago as a gardener planting his “seed of doubt” in Othello which results in Othello being entangled in the of lies and deceit on Desdemona’s infidelity. This reduces him to a jealousy induced seizure as : “Is’t possible? – Confess? Handkerchief? O devil! [He] falls into a trance,” Iago’s jealousy is further enhanced during Othello’s seizure where he says “Work on my medicine, work on”. The motif of jealousy leads Othello to feel that he would “Rather

Iago finds the opportunity to make an undermining comment — "Ha, I like not that" — that rankles in Othello's mind. Iago further insinuates that Cassio was not just leaving, but that he was "steal[ing] away so guilty-like". Iago's words here are filled with forceful insinuation, and as he pretends to be a man who cannot believe what he sees, he introduces jealousy into Othello's mind. Iago also urges Othello to recall that Desdemona deceived her own father by marrying Othello. To Brabantio, Desdemona pretended to be afraid of Othello's dark looks; she pretended to shake and tremble at Othello's exotic demeanor, yet "she lov'd them [Othello's features] most".The implication is clear; Iago does not have to state it: If Desdemona deceived her own flesh and blood, she might just as naturally deceive her husband. ‘Look to her, Moor, if thou hast eyes to see, She has deceived her father, and may thee’.(Act I,

A key figure, if not the most important in the play, is that of the malcontent Iago, who sows the seeds of jealousy in Othello’s mind, and presents him with ‘proof’ to back up his suspicions. Iago acts as a catalyst to Desdemona’s murder and it is his intricate

Othello, not knowing that Cassio was in fact speaking with Desdemona in hopes of being reinstated as Lieutenant, mistakenly believes that the two are having an affair and that Desdemona has lost her chastity. Iago skillfully capitalizes on the situation by developing his attack further: "She did deceive her father, marrying you" (3.3.220). Othello begins to see Iago's reasoning: if she could deceive her father, she could just as easily deceive her new husband. Once Othello's bliss has been decimated, Iago concentrates on weakening Othello's perception of himself; Iago very carefully and very tactfully chooses words and metaphors that subconsciously pit Othello against the Venetians. Othello begins to perceive himself as an outsider in his own country, "a malignant and turbaned Turk" (5.2.365). A fruitful marriage with a Venetian woman becomes out of the question in Othello's mind. Iago's successful manipulation takes a self-confidant man and reduces him to one at ends with himself and with the woman he loved.

The scene that I chose to illustrate and direct was act 4 scene 1, when Othello slapped Desdemona. Here you can really grasp Othello’s controlling attitude as he insists on Desdemona lying, even though she didn’t know what she was necessarily lying about. We really witness the manipulative portion of Othello’s personality, and that’s why I'm focusing on this scene.

important scene where the play’s main themes of jealousy and doubt surface. Through Iago's way of displaying subtle but effective implications in speech patterns and mannerisms, it draws Othello's inner conflict to start and eventually take a hold of him as the play continues. The subconscious worries of Othello become known, not only through Iago's words and unsupported claims, but by filling his mind with the image of doubt envisioned as Cassio. Taking form of his worries, Iago plays the mirror reflecting Othello's inner fear and Cassio as the physical form of all his apprehensions. This scene reflects the most hidden parts of Othello in a way where his future actions become a direct result of this scenes affect and conclusion. Those that believe Iago to be the one to set up Othello's future endeavors and downfall are mistaken in the realization that Iago mirrors Othello's own self in worries and fears. The role Iago has in this scene is not one to manipulate Othello into believing what's not there but to believe what's there by Othello's own mind.

Iago’s relationship with Othello becomes a power struggle where Iago attempts to degrade Desdemona in order to position himself so he can ‘poison’ Othello. Here Shakespeare is showing how powerful and manipulative Iago can be with his use of words, and how powerful they can be. This power struggles is exemplified