They go in to dinner, and Emilia picks up the fallen handkerchief, one that her husband, Iago, often urged her to steal from Desdemona. Yet Iago is certain that Othello has already exaggerated to himself everything he has just heard. monstrous!" U ¼Æú^Ásû°¸½Á1xRp æòbýD#rÊYÌñNÊ¬r«ÉJC.aêeDý=ÉU]ßÈôS¦Øik®@´X6ÿG[:b4È(uH´©%¶å-¢ÅÔ+0A?t>vT ä ®³îÞ9ò. "All my fond love thus do I blow to heaven. All rights reserved. Ironically also, when the curtains for this act part, they reveal the loveliest scene in the entire play: the garden of the Cyprian castle. Act 3, scene 2 Themes and Colors Key LitCharts assigns a color and icon to each theme in Othello , which you can use to track the themes throughout the work. Cassio will keep it and then Othello will see it in the ex-lieutenant's possession. / 'Tis gone," he exclaims (445-446), and in highly rhetorical lines, he dwells upon "black vengeance" and "tyrannous hate" (446-449). In his rage, the Moor declares that he will tear Desdemona to pieces. (357). Yet Iago must be sure that Othello is sufficiently mad; therefore, he makes reference to Desdemona's handkerchief with its intricate strawberry embroidery; Othello immediately remembers it as the very one he gave to his wife. bookmarked pages associated with this title. She wants the clown to make it clear that she's been good to her word about asking Othello for Cassio's reinstatement. / to-morrow night; on Tuesday morn; / On Tuesday noon, or night; on Wednesday morn. . Ironically, it is Desdemona's innocent attempt to reconcile Othello with Cassio that gives Iago the opportunity to wreak vengeance upon Othello, thereby causing the murder and suicide that bring this tragedy to its violent conclusion. In fact, a conclusion is hardly necessary; for a mind as inflamed with jealousy as Othello's, the handkerchief itself is metaphor enough. The characters in the play, however, with the exception of Iago, are blind to Iago's duplicitous nature. / I prithee, name the time, but let it not / Exceed three days . In other words, the faithless wife is a well-known member of Venetian society. He turns to his general and fawns over his master's distress, noting that Othello is "eaten up with passion" (391). I like not that!" Read Act 2, Scene 3 of Shakespeare's Othello, side-by-side with a translation into Modern English. Never more shall he find repose. In this simile, Othello stresses his high status (as we might expect a tragic hero to do), identifying himself with large and mighty elements of nature. She is puzzled by his request, but now she has an opportunity to have the embroidery pattern copied, and she can give it to her whimsical husband. Once he felt he was one of the "great ones" (273); now his pride in himself and in Desdemona's love for him is destroyed. 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" (207). Iago represents himself as an honest, but reluctant, witness. Othello then turns on Iago with savage intensity and demands to see the proof of Desdemona's infidelity. He uses such words as heaven, reverence, and sacred, and it is as though he sees himself as a rightful scourge of evil, as executing public justice and not merely doing personal revenge. Firstly, we have Othelloâs soliloquy towards the Duke. The dramatic irony is especially keen here as Desdemona tells Cassio that she is convinced that she "will have [her] lord and [him] again / As friendly as [they] were" (6-7). Here the reader should recall Othello's words to the Duke of Venice; he confessed that he knew very little of the world except for that pertaining to warfare. He then asks the Moor to use his "free and noble nature" (199) to determine for himself the truth of the behavior between Desdemona and Cassio. She promises to speak of him with her husband repeatedly until the quarrel is patched up and Cassio is recalled. She sees no villainy in Cassio's face, she says; Cassio "errs in ignorance and not in cunning" (49). Iago asks Othello whether he is properly married, warning that he is at risk from Brabantio and needs everything to be as legal as possible. Iago appears incredulous, and it is then that Othello turns on him with words that make Iago only too aware of the danger that faces him. Summary: Act IV, scene ii Othello interrogates Emilia about Desdemonaâs behavior, but Emilia insists that Desdemona has done nothing suspicious. The superb "farewell speech" that follows emphasizes how much Othello has lost — he, the model commander, the premier soldier — his "occupation's gone!" One cannot imagine more welcome words to Iago. Convulsed with introspection, he curses his black skin and his lack of social graces and also the fact that he is "into the vale of years" (266) (he is much older than Desdemona) — all these things, he fears, could turn a woman from her husband's bed. Alone, Emilia picks up the handkerchief. . Here, fate plays a major role in this tragedy; not even Iago wholly arranged this swift, coincidental confrontation of Othello, Desdemona, and Cassio, and certainly the pathos of Desdemona's position here is largely due to no other factor than fate. Cornered, Iago produces the dream story: Cassio spoke in his sleep, embraced him, called him Desdemona, and cursed the Moor. In it, Iago speaks carefully and at length with Othello and plants the seeds of suspicion and jealousy which eventually bring about the tragic events of the play. ¯Jr6êÑ2- Ôû$ñoGzYxc1é¬áûv4q8N!8RS^NðfpóÁ .'¸àjmü¾G5½÷ï®ÿgÕwo±¾ïw¬%üBppÜEt. . 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