Scene 3 – Key Scene Extended Commentary New arrangements (lines 235–322)


The Duke urges Othello to lead Venice’s ‘stubborn and boisterous expedition’ against the Turks. Desdemona pleads to be allowed to accompany Othello on his campaign. She is prepared to publicly ‘trumpet’ her love for the Moor. This is a very different woman from the one described by her father as ‘still and quiet’. Othello promises that he will not neglect his official duties if his wife goes with him. The Duke agrees to let the couple ‘privately determine’ and emphasises the immediate threat to the state that ‘cries haste’. Othello declares that ‘honest’ Iago and his wife Emilia will accompany Desdemona to Cyprus. As Brabantio departs, his final comment foreshadows the play’s tragic outcome. He casts doubt on his daughter’s character, ‘She has deceived her father, and may thee’. Othello’s response is ironic, ‘My life upon her faith!’


I saw Othello’s visage in his mind


Desdemona Act 1 Scene 3, l.269


Cynical opportunist (lines 323–402)


A heartbroken Roderigo threatens suicide because he cannot now marry Desdemona. Iago immediately counsels him to accompany Othello and the Venetian forces against the Turks, ‘Follow these wars’. He reassures him, pointing out that the Moors are ‘changeable’, that Desdemona will seek a younger man, ‘change for youth’, and that the marriage cannot last, ‘she will find the error of her choice’. Iago is dependent on Roderigo’s wealth and repeatedly urges him, ‘Put money in thy purse’. He expresses his cynical view on life – everything has a price, so Desdemona can be bought. Iago also provides a more convincing motive for Roderigo to believe him, ‘I hate the Moor’. He suggests joining forces ‘in our revenge’. The master of improvisation uses everything to his advantage. As always, Roderigo is easily convinced, ‘I am changed’, and immediately resolves to ‘sell all my land’.


A monstrous birth (lines 403–424)


Iago’s soliloquy allows an insight into the workings of his warped mind as he devises his ‘monstrous’ plan of revenge. It is only in his soliloquies that we can be sure that he is speaking the truth. Iago operates on self-interest alone. He has a talent for spotting the weaknesses of other people and coolly lists each character’s flaws. Roderigo is despised as a ‘fool’, a ‘purse’ and a ‘snipe’. Iago acknowledges the Moor’s ‘frank and open nature’, which he intends to use for his own degenerate ‘purpose’. He understands that Othello ‘holds me well’, so he can turn that to his advantage also. He knows Cassio is a ‘proper man’ whose refinement and sophistication, ‘smooth dispose’, would be appealing to women.


There are other reasons for Iago’s obsessive hatred. He believes that his wife Emilia and Othello have been lovers, although he has no proof, only ‘mere suspicion’. He also wishes to oust Cassio from his influential position as lieutenant and destroy the Moor, ‘abuse Othello’s ear’, with insinuations that Cassio is also ‘too familiar with his wife’. Iago is aware that Othello judges on appearance, ‘thinks men honest that but seem to be so’, therefore the Moor can be easily manipulated, ‘led by the nose/ As asses are’. Iago’s vengeful plan is


33


ACT 1


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