Lecture 10 Othello Critical Focus on Act 4

Lecture 10: Othello Critical Focus on Act 4 Scenes 1, and 2

Lecture Focus Act 4 Scene 1: a) Presenting Othello as a figure of pity and sympathy b) Debate between Fate/ Determinism and Choice/ Free Will c) To show the depths of jealousy and violence to which Othello has descended Act 4 Scene 2: d) The complete corruption of Othello

Act 4 Sc 1: Plot summary of this scene § Opening of this scene shows Iago working Othello up to a further peak of jealous rage § Begins with suggestions of an illicit love affair between Cassio and Desdemona § Then comes Cassio’s ‘confession’ of his conquest of Desdemona § Another of Iago’s fabrications (like Cassio’s dream in Act 3 Scene 3, p 141) § Iago supplies sufficient details engineered to cause Othello to collapse into incoherence

Plot summary cont (note symbolic significance of this conversation) § Upon Othello’s recovery Iago has a further daring scheme ready, intended to finally satisfy Othello § that Cassio and Desdemona really are lovers § Othello is to stand by, unseen, while Iago engages Cassio in conversation § Note: Othello can see Cassio’s gestures but he cannot hear exactly what is being said

Plot summary cont (note symbolic significance of this conversation) § Othello therefore misinterprets the conversation, as Iago intends him to do § Othello comes to believe that Iago and Cassio are discussing Desdemona § But they are in fact talking about Bianca in grossly unflattering terms Dramatic Effect? § How all this appears to Othello works him up into an anguished rage § Definite dramatic irony

Plot summary cont § Lodovico, a kinsman of Brabantio, arrives from Venice, bringing news that Othello is to be recalled from Cyprus § And that Cassio is to replace him as Governor § Desdemona recounts to Lodovico what has happened between Cassio & Othello § And innocently mentions the ‘love’ she has for Cassio § At which point Othello strikes her publicly; § Lodovico recalls the noble Moor of earlier days § And laments the transformation he witnesses in him § And turns to Iago (of all people) for an explanation

Dramatic purpose of Act 4 Scene 1 §To win pity and sympathy for the hero §To show the depths of jealousy and violence to which Othello has descended §To highlight the outrage upon Desdemona §To highlight Iago’s malice

Note Symbolism of Light and Darkness §Acts 1, 2, and 5 are set in the darkness of the night §Acts 3 and 4 are set in broad daylight §Note: In the scenes of Act 3 and Act 4, Iago’s deceptions take place. §Symbolically suggests that Othello is unable to see through matters clearly §Dramatic Effect: This intensifies the irony

Lecture Focus Act 4 Sc 1: a) Presenting Othello as a figure of pity and sympathy b) Debate between Fate/ Determinism and Choice/ Free Will c) To show the depths of jealousy and violence to which Othello has descended Act 4 Sc 2: d) The complete corruption of Othello

How does the idea of not being able to see despite the light win our sympathy and pity for Othello? § We have seen Othello grow in jealousy in the belief that his wife is guilty of adultery. § Act 4 Scene 1 begins with the entry of Othello and Iago in the middle of a conversation [Recall Scene 1 of Act 1] § Dramatic technique: As a stage device to concentrate attention upon crucial dialogue in a realistic way

Iago’s malice continues… § From the first uneasiness at Iago’s hints to the savage insistence on the handkerchief § But the growth has not been steady § Othello has had moments of return to near sanity § And until the end there will be other moments when he remembers the purity and love which Desdemona once represented to him. § Dramatic Effect? § Builds suspense through to Act 5

The reason why Othello looks but cannot see… ‘For this cause when the heart is wounded with griefe by any one, it desireth to returne the like to him that hurt it, and to rebite him of whom it is bitten. This affection is a desire of revenge, which being him that hath offended us to suffer that punishment, which in our judgement he hath deserved… Every offence therefore that ingendreth hatred, anger, envy or indignation bringeth with it a desire of revenge, which is to render evill for evill, and to requite griefe received with the like againe. ’ (The French Academie, 1594)

The reason why Othello looks but cannot see… § La Jalousie is a 1957 novel by Alain Robbe-Grillet. The title of its English editions is Jealousy, but this fails to capture the ambiguity of the French title: "la jalousie" can be translated as "jealousy", but also as "the jalousie window". And the jealous husband in the novel spies on his wife through the Venetian blind-like slats of the jalousie windows of their home.

The reason why Othello looks but cannot see… l. Othello is not allowed to forget, but is continually fed with Iago’s observations and suspicions so much so that it becomes impossible to distinguish moments that are observed from those that are merely suspected. l. Jealousy = jalousie = blind-like slates that cover windows

Dramatic effect? ? Theatrical effect? ? §Pity and sympathy for Othello §Othello is undergoing the most horrible torture. §Of what kind? Form? §Mental torture; psychological

Tragic Hero? § INSECURITY – His regard for opinions of others’ of him as proof and corroboration of his own sense of his worth § Far less secure and ‘stoutly-timber’d’ in his private feelings than in his professional identity § PRIDE (Hubris) – His obsession with reputation and being an honourable, ideal and valiant soldier § ‘… Not I; I must be found. My parts, my title, and my perfect soul Shall manifest me rightly. ’ (I, ii, 30 -32)

Tragic flaw § INSECURITY + PRIDE made manifest in the jealousy he feels towards Cassio & the need to be assured of Desdemona’s devotion §In stripping off his illusions of himself, he gives himself over to cruelty § ‘And let her rot, and perish, and be damned tonight… I will chop her into messes!’ (IV, i, 17897) §Is he, therefore, culpable of bringing about his own downfall?

Overview l. Insecurity l. Pride l. Valour l. Reputation l. Eloquence

Lecture Focus Act 4 Scene 1: a) Presenting Othello as a figure of pity and sympathy b) Debate between Fate/ Determinism and Choice/ Free Will c) To show the depths of jealousy and violence to which Othello has descended Act 4 Scene 2: d) The complete corruption of Othello

The Individual, humanity and society § Shakespeare shows how a marginalized individual like the Moor, Othello, comes to believe he is somewhat less than human § And in striving to embody the dominant notion of humanity in Venetian society § He comes to lose his way in the world § Despite initially seeming different from other Moors, Othello ultimately fits the stereotype of Moorish lust and violence

‘Are you a man? ’ § Othello becomes a jealous, murderous husband of a Christian high society lady, the daughter of a senator no less; § Is Othello returning to his essential nature? § Is he hard-wired, fated and hence predestined to play out the script of wife-murderer? Or asked in more modern terms— § Is he genetically programmed as a man, or as a Moor? Iago asks him, ‘Are you a man? ’

Fate or Choice? Determinism or Free Will? § That he has achieved much in military affairs § That essentially he is of noble character § And so? Any big ‘BUTS’? § But he has allowed himself to be debased by a humiliating passion; How much debased? § To a level not far above that of the animal § In fearing for him, we also even fear for ourselves. Do you know why this may be so?

Fate or Choice? Determinism or Free Will? § Being a tragedy, it is meant to involve us § And excite emotions of fear and pity [Effects] § Othello seems to suffer for the virtues he has: § His nobility of mind § Defect? Too self-centred? § With his jealousy aroused, do you not think he dwells too long on his own lost pride? § Thus excluding other considerations such as? The possibility of his wife’s innocence.

Fate or Choice? Determinism or Free Will? § Othello has a choice? § The choice of believing in Desdemona’s innocence, § but Iago…? § Thus for Othello, is choice therefore impossible? § Could we then say therein lies the essence of this tragedy?

Fate or Choice? Determinism or Free Will? § Note Othello’s preparedness to faithfully follow all Iago’s instructions § To become an eavesdropper Critical thinking question: § Does he come across as a tragic figure? § We see him hide, crane his neck, and strain his ear to listen to talk between Iago and Cassio

Determinism or free will that moves him towards his end? Critical significance of his dramatic actions? § Recall Othello was so frank, open and honest in all his dealings with Brabantio in Act 1? § But Othello is now prepared to be “most cunning in my patience” [L-91] so that he can hear all. § Emerging from his hiding place with one thought? § “How shall I murder him, Iago? ” L-167 § “I would have him nine years a-killing” L-175

Lecture Focus Act 4 Scene 1: a) Presenting Othello as a figure of pity and sympathy b) Debate between Fate/ Determinism and Choice/ Free Will c) To show the depths of jealousy and violence to which Othello has descended Act 4 Scene 2: d) The complete corruption of Othello

In what state is heart now? § Turned to stone, convinced of Desdemona’s unfaithfulness § When shall her murder take place? § At once: “…let her rot and perish, and be damned tonight, for she shall not live” L 178179 § Othello at this point is out of his mind with these torturous thoughts § He is now so corrupt and debased in mind, descends to accept Iago’s plan § Iago: “Do it not with poison, strangle her in her bed, even the/ bed she hath contaminated” L 204 -205, p 181 l. Reason § Sees himself as Justice. (dramatic irony) l. Emotion “the justice of it pleases, very good. ”

Symbolical significance of the slap? § By calling her “devil” ‘O devil, devil!/ If that the earth could teem with woman’s tears, / Each drop she falls would prove a crocodile. / Out of my sight! § Discuss what is Othello’s opinion towards Desdemona?

Dramatic Effects § Othello is in the labyrinth of the monster Iago § And now, he has become similar to the demi-devil who ensnared him § Othello’s degradation, his debasement is complete § The audience’s sense of pity for Othello deepens

Lecture Focus Act 4 Scene 1: a) Presenting Othello as a figure of pity and sympathy b) Debate between Fate/ Determinism and Choice/ Free Will c) To show the depths of jealousy and violence to which Othello has descended Act 4 Scene 2: d) The complete corruption of Othello

Act 4 scene 2 a room in the castle The Brothel Scene § To introduce the Brothel Scene; (So called because Othello questions Emilia as though she were the keeper of a brothel) § To accentuate the nobility of Desdemona § To link up the machinery of the plot [this scene functions to tie up loose ends of the plot thus far] § To prepare the audience for the downfall of Iago § To show the progress of Othello’s degradation § To show Othello is more anxious to obtain evidence of Desdemona’s guilt than her innocence § To highlight the character and function of Emilia

Othello’s ideas and language (Entry point through language) § This scene marks an even more extreme stage in the degradation of Othello who is by now thoroughly corrupted § His corruption is underlined by his use of ideas and language previously characteristic of Iago (note the language of corruption) § Othello has taken over Iago’s role as he blackens Desdemona’s character

Desdemona perceived as a prostitute § Othello treats Desdemona as a harlot; § She cannot comprehend the reason for his attitude or his anger § Then Othello indulges in self-dramatization and self-pity seeing himself as the very pattern of the betrayed husband;

Diction: repetition of the word ‘whore’ the language of corruption § Emilia: ‘…the purest of their wives. ’ § Othello: This is a subtle whore. § Are you not a strumpet? § Was this fair paper, this most goodly book Made to write ‘whore’ upon? § Damn thyself; false as hell § Impudent strumpet

Cold Irony § It is this monstrous ‘fact’ which § In this last full conversation with his wife before her murder in Act 5 § That finally drives Othello from heart-break, through disgust and anger, to the cold irony when he declares § I cry you mercy then. / I took you for that cunning whore of Venice / That married Othello.

Recall Iago on Reputation 3. 3 Good name in man and woman, dear my lord, Is the immediate jewel of their souls, Who steals my purse, steals trash; ’tis something, nothing; . ’Twas mine, ’tis his, and has been slave to thousands; But he that filches from me my good name Robs me of that which not enriches him, And makes me poor indeed.

Desdemona about Othello in 3. 4 Noble Moor; and Base Moor Believe me, I had rather have lost my purse Full of crusadoes. And, but my noble Moor Is true of mind, and made of no such baseness As jealous creatures are, it were enough To put him to ill-thinking. p 147

Why do crocodiles shed tears?

Desdemona (earlier and now) Making cross connections Roderigo (to Brabantio, about Desdemona) in 1. 1. 132 -136 p 11 Your daughter, if you have not given her leave, I say again, hath made a gross revolt, Tying her duty, beauty, wit, and fortunes In an extravagant and wheeling stranger Of here and everywhere. The Individual in conflict with Society

Emilia’s critical question Hath she forsook so many noble matches, Her father, and his country, all her friends, To be called whore? Would it not make one weep? [Issues related to the Individual and Society- Note the use of enumeration – counting what Desdemona lost in contrast to what she gains. Imagery of the tipping scales? ] Those who exert their free wills would ultimately be crushed by society, because it is not ready for such people? What is Emilia’s opinion of Desdemona here? Pities her mistress, could have made a more deserving match and lead a better life than now.

Parallelism § Desdemona is reduced to a pitiful wreck through the vile abuse of her character by the only person she really and deeply loves § (We recall) in the previous scene, [4. 1] Iago has enjoyed his cruel triumph over a helpless, suffering Othello § In this scene Othello enjoys a similar triumph over a helpless Desdemona § Both episodes dramatically parallel each other, to what dramatic effect? Deep sense of tragedy? Pay misery forward and make everyone unhappy?

Parallelism (making connections) § Desdemona pleads with Iago to help her to win back her husband’s love § But she is met only with the same cold merciless response (line 131, p 195) as greeted Othello when he cried out for understanding from Iago (A 3 S 3 lines 448, 450, p 143) § Her kneeling to heaven at this point to confess her fidelity parallels Othello’s similar action in Act 3, Scene 3 when his motive was to seek divine sanction for his revenge

Irony of this scene oft times intense § Of all people, Desdemona turns to Iago for assistance. (Implications? ) § For help to win back Othello’s love § Bitter irony § Iago enters to observe the suffering Desdemona I know not how I lost him. Here I knee

Emilia stumbles on the truth of Othello’s bitterness § Emilia is now convinced that Othello’s jealousy has been inspired by some self-seeking knave— § “some eternal villain / Some busy and insinuating rogue” has “abused” Othello with foul slander of Desdemona pg 197 § What is the dramatic irony? The rogue in dramatic ironical terms stands beside her in the form of her husband.

Cruel epithets, foul imagery Recall the noteworthy choice of imagery of § “foul toads” (line 60, p 191) § “o, ay, as summer’s flies” and “o thou weed” that accompanies Othello’s words (p 191) § The scene in powerful dramatic terms shows the depth of Othello’s downward spiral into degradation

Change; Transformation Emilia: Here’s a change indeed. [p 193] Recall the words of Iago at the end of 1. 3 ‘It is engendered. Hell and night/ Must bring this monstrous birth to the world’s light. ’ Othello is in Iago’s complete control. (cr p 185 and 139)

The wisdom of the prudent is to give thought to their ways, But the folly of fools is deception. Proverbs 14: 8