Act 1
A1, S1
Iago's cunning nature is clear from the start: he must make amends to Roderigo for failing to arouse Desdemona's interest in him because he has his eyes on Roderigo’s money "as if the strings were thine". Iago has no respect for Roderigo's intelligence, openly admitting to him: "I am not what I am". Despite this statement, Roderigo trusts this man, showing that Roderigo is a weak figure.
Iago also shows his deep hatred of Othello. One reason is that Iago had expected to be promoted to the rank of Othello's first lieutenant but Othello chose Cassio, a man, Iago tells Roderigo, whose military uselessness is an insult to Iago's proven superiority on the battlefield. It is possible that Iago was never in contention for the position and that he makes all this up to give a reason to Roderigo for his resentment toward Othello. Later he claims that Othello has slept with his wife (Emilia), which is most likely untrue. The most likely reason is pure racism, which is clear in his language and the imagery he uses. Despite this, he will continue to appear to "serve" Othello so that eventually he can "serve [his] turn upon him" (i.e. get his revenge).
Roderigo is the first to show a racist attitude when he refers to Othello as "the thick-lips"; then, Iago, unsatisfied with Roderigo's ability to incense Brabantio, refers to Othello as "an old black ram" who "is tupping your white ewe" (Desdemona), "a Barbary horse" and "the lascivious Moor". And finally, in this scene, after having told Roderigo that he is not a suitable match for Desdemona, Brabantio learns that his daughter has eloped with Othello and says to Roderigo, "O, that you had had her!" Brabantio's sudden preference for Roderigo implies racism.
As Brabantio moves into action, calling for more lights and arousing members of his household, Iago steals away, but not before explaining his reasons for doing so: It must not be public knowledge that Iago himself is an enemy of Othello; if Iago's plans are to be successful, he must outwardly "show out a flag and sign of love, / Which is indeed but sign". Again, this shows how manipulative he is and illustrates the theme of appearance versus reality.
Although we don’t encounter Othello in this scene, we see how significant he is to Venice as a public figure who will soon be summoned to end the war in Cyprus against the Turks and a man upon whom the Venetian state depends for its safety. Even Iago admits that "another of his fathom they have none / To lead their business". Othello is a man of high position, as well as one of high honor and one who is, therefore, worthy of being considered a tragic hero.
A1, S2
Othello's first appearance on stage is as a man confident and in control of his life, calmly and deftly putting Brabantio's anger aside, as well as being confident that his military standing will protect him from Brabantio's anger: "Let him do his spite. / My services which I have done the Signiory / Shall out-tongue his complaints". He is a proud man, aware of his royal ancestry and his importance to Venice.
When Brabantio threatens him with his sword, Othello deflects him with a show of courtesy and respect. In contrast, Brabantio's accusations are raw and direct: "Oh thou foul thief, where hast thou stowed my daughter?" Othello shows his nobility from the start (an important aspect of being a tragic hero in the early stages of a tragedy).
This scene shows two strands of Shakespeare's plot developing at the same time: Othello's private life, where his marriage is soon to become public knowledge, and the political crisis with the threatened attack by the Turks, where he anticipates being sent to war in a commanding position. Othello is the powerful key figure in both stories, and a man to be admired. However, Othello is a black man surrounded by white faces, some of which are characters known to have it in for him. Although we, as an audience, admire him, we also wonder whether he can manage to survive.
A1, S3
When the military command (re. Cyprus) is conferred on Othello, the Duke is making a public statement that Venice relies on him completely. Othello rightly feels confident; whatever his marriage arrangements, he knows that the Senators will back him because they need him.
By the time Brabantio arrives at the emergency meeting, his rage has turned to grief. He believes that Desdemona has so gone against nature that witchcraft must be to blame. Witchcraft was a capital crime, where a witch would be tortured and eventually executed. Yet the Duke's promise to avenge the wrongdoing done to Brabantio rebounds when it is clear that Othello (the commander appointed to save Venice) is under risk of execution.
Othello begins his defence by claiming that he is a soldier with no skill in making speeches: "Rude am I in my speech / And little blessed with the soft phrase of peace". This is not true, however, as Othello does indeed know how to express himself eloquently. Later, he admits that it was because of his eloquence that both Brabantio and his daughter appreciated him in the first place. The ability to compose himself and to give a speech under pressure is an important quality in a military leader. Othello uses that military ability here in defence of his private life.
Brabantio has an unrealistic view of his daughter and is shocked that she found a husband that does not meet his expectations. He assumes with no evidence that a black face is "what she feared to look on". He is blinded by his own prejudices, preferring to believe that she was forced into this relationship with Othello by witchcraft, despite having no proof.
Othello tells the story of his life ("taken by the insolent foe / And sold to slavery") that is rich in visual detail. Slave trading was part of general trade along the shipping routes of East and North Africa, and many slaves were sold in markets in the cities of the Middle East. Othello was redeemed from slavery, becoming a professional soldier, where he had many adventures fighting on sea and land. Othello's speech makes us understand why Desdemona fell in love with him.
His description of Desdemona, as a young woman who knows exactly what she wants and reaches out for it, contrasts with Brabantio's image of a passive, quiet daughter. Desdemona's defence of her actions is straightforward and courageous. She remains bound to her noble father for her "life and education"; he remains her "lord of duty," and she will always honor him as such. Now, however, she has a husband, and she will give all her loyalty to her husband, just as her mother gave her loyalty to Brabantio.
Desdemona's argument wins the debate, and Brabantio abandons his accusation: "I have done", abandoning Desdemona and the whole idea of fatherhood. Brabantio is not a fool, however he is a man who is losing power.
Desdemona longs to be with her husband in Cyprus, for the rites of marriage, for sexual intimacy, and she finishes with a direct request: let me go with him. The directness of this request takes even Othello by surprise. Of course he wants his wife with him, and for the same reasons, and he supports her request, as he loves her "with all [his] heart". Tragically (and ironically), Othello chooses the very man whom he can trust least in all the world - "honest Iago".
Brabantio is crushed, and he leaves with a parting warning to Othello: "Look to her, Moor, have a quick eye to see: / She has deceiv'd her father, may do thee." These last words to Othello in this scene are important. They are packed with irony and provide, in part, an example of foreshadowing. Othello's reply to Brabantio is also ironic: He vows, "my life upon her faith!"
In a soliloquy that ends the act, Iago comes across as a man whose mind is poisoned. There is not the slightest bit of evidence anywhere in this play to indicate that Othello has had an affair with Emilia. Iago also reveals his evil plan of action. Aware that Othello trusts him, he will convince the Moor that Cassio is "too familiar" with Desdemona. Iago believes that Othello is an "ass" (i.e. naïve). The final couplet contains a reference to "hell and night" and to "monstrous birth", which show the unnaturalness and the diabolical elements of Iago’s plans to destroy the union of Othello and Desdemona.
Act 2
A2, S1
An undefined length of time has elapsed since the scenes in Act I, during which Othello has set sail for Cyprus in one ship, Cassio in another, and Iago, Emilia, and Desdemona in a third. The ships arrive one by one, allowing the arriving members to talk about Othello while waiting for his arrival. Cassio describes to Montano Othello's new wife, Desdemona, with respect and a little awe as "our great captain's captain". His elaborate tones underline both his education and the high expectations many have of benefits on all sides from Othello: "That he may bless this bay with his tall ship, / Make love's quick pants in Desdemona's arms, / Give renewed fire to our extincted spirits".
Desdemona, Emilia, and Iago play word games, which show Iago's cynical view of women: "you are pictures out of doors, / Bells in your parlours, wild-cats in your kitchens, / Saints in your injuries, devils being offended, / Players in your housewifery, and housewives in your beds". That is, women behave themselves modestly when they go out, are sweet conversationalists with guests, and angry towards their servants. They claim to always be the injured party, fly into a rage at an adverse comment and are idle in matters of housework and penny-pinching with their sexual favors. Iago speaks bluntly in how he puts down women, and Desdemona, along with everyone else, laughs off the rough speech of "honest" Iago.
Iago meanwhile watches Cassio, seeking a weakness that he can exploit. He decides to focus on his courteous manners and attentions to Desdemona. "With as little web as this will I ensnare as great a fly as Cassio. Ay, smile upon her, do. I will gyve thee in thine own courtship".
The reunion of Othello and Desdemona is a happy celebration of their love. Othello greets Desdemona as his equal, his "fair warrior". He has gone through Hell in the tempest and is now in Heaven with his wife and realizes that this is the happiest moment of his life: "If it were now to die, / 'Twere now to be most happy; for I fear / My soul hath her content so absolute / That not another comfort like to this / Succeeds in unknown fate". There is also a dark side to his happiness, for he feels that the future cannot match it. Desdemona, however, looks forward to it: "our loves and comforts should increase, / Even as our days do grow".
In an aside, Iago remarks that Othello is now "well tuned" like a guitar and sings sweetly, but Iago will "set down the pegs", loosening the strings and spoiling the music, "As honest as I am." Others, especially Othello, use the word "honest" in a sincere way when talking of Iago; Iago, however, uses it ironically.
Iago pushes Roderigo in an emotional stampede, overwhelming his idealized view of Desdemona with a flood of disapproving words, abusing her virtue, and damaging her reputation. He sweeps aside Roderigo's declarations of her virtue: "Blest fig's end! (an obscene oath, a "fig" is the head of a penis) / The wine she drinks is made of grapes", meaning she is just the same as ordinary women. He claims Cassio is already courting her: "They met so near with their lips that their breaths embraced together". Iago batters Roderigo with the sheer volume of his abuse until the weak gentleman agrees to do as he is told in the plot to disgrace Cassio. Then Iago, alone on stage, speaks his thoughts.
Iago's second soliloquy is very revealing. It shows him shaping a plan out of the confusion of his thoughts. Iago examines his own thoughts, especially his hatred for Othello: "The Moor, howbeit that I endure him not" and finds a common thread in the "poisonous mineral" of jealousy because of the rumour that Othello has slept with his wife, Emilia. Iago could get his revenge by seducing Desdemona: "Now I do love her too . . . / But partly led to diet my revenge, / For that I do suspect the lusty Moor / Hath leaped into my seat, the thought whereof / Doth like a poisonous mineral gnaw my inwards". Iago uses the word "love" here in a very cynical way, making it a combination of lust and power seeking. At first he sees his seduction of Desdemona as his revenge: "Till I am evened with him, wife for wife". Then Iago realizes that the unsubstantiated jealousy that torments him is the very weapon he can use against Othello, who will be even more vulnerable. Iago will lead Othello, via jealousy, to madness: "Make the Moor thank me, love me, and reward me, / For making him egregiously an ass, / And practicing upon his peace and quiet / Even to madness".
A2, S2
This short scene is used to indicate the passing of time. We know that the Turkish fleet has suffered "perdition" (ruin), largely due to the "noble" and "valiant" efforts of Othello, and that the rejoicing celebrates the military victory and also the general's recent marriage. In short, the Moor has proclaimed a holiday to be held from five o'clock until eleven, during which the soldiers and citizens can dance, make bonfires, or make "revels [however] his [addiction] leads him".
Dramatically, this mood of merrymaking and celebration is a strong contrast to the tragedy that is about to follow and, in addition, the chaos gives Iago sufficient time and opportunity to set his traps for the unsuspecting Othello. Also, this feasting and dancing takes place at night, and earlier Iago proclaimed that "hell and night / Must bring this monstrous birth [of his evil design] to the world's light". This scene foreshadows that horror.
A2, S3 (The Brawl Scene)
This is a scene of mixed speech and action with the comedy of drunkenness, the visual action of the brawl, and the to-and-fro of arrangements between individuals at the end of the act. Iago is constantly praised by Othello: "Iago is most honest"; and Cassio: "Not tonight, good Iago.".
In his conversation with Cassio, Iago begins by speaking of Desdemona in a sexually suggestive manner, "she is sport for Jove" and "I'll warrant her full of game", but Cassio refuses to be drawn in. Iago then tries to get Cassio to drink, but Cassio refuses politely and with reason: "I have very poor and unhappy brains for drinking. I could well wish courtesy would invent some other custom of entertainment". Relying on Cassio's good manners to outweigh his determination, Iago continues to press, and Cassio eventually gives in.
When Cassio protests with elaborate carefulness that he is not drunk, he is simultaneously a figure of comedy and dreadful anticipation: "Do not think, gentlemen, I am drunk; this is my ancient, this is my right hand, and this is my left hand. I am not drunk now, I can stand well enough, and I speak well enough". His every word calls attention to his drunken state and his loss of good judgment.
Iago tells Montano that Cassio is a habitual drunkard and that Othello has misjudged in promoting such an unreliable person. When Cassio appears, Montano scolds him for being drunk, and Cassio turns on him, wounding Montano with his sword. This scene is often played with much noise and running about the stage, through patches of light and dark. Any number of actors could join in, and the more chaotic it appears, the better. However, it is a serious plot development scene and cannot be played for comedy.
Othello has been roused from his marriage bed, and his anger is intense. He sees the matter immediately as one of incompetence in his men. He accuses them of uncivilized behavior, doing the enemy's work by destroying the army: "For Christian shame, put by this barbarous brawl", and he threatens the next person to move with execution. There are potential political consequences: if the people of Cyprus think there is a rebellion, they may rise also, so Othello orders, "Silence that dreadful bell: it frights the isle / From her propriety". His anger will fall on the man who began the brawl, and, slipping back into his old habit of relying on his ancient (Iago) rather than seeking out his new lieutenant (Cassio), Othello calls directly on Iago to tell him who it is. Iago replies: "I had rather have this tongue cut from my mouth / Than it should do offence to Michael Cassio", a blatantly obvious betrayal built into a semblance of reluctance. Othello, trusting Iago, is completely taken in: "I know, Iago, Thy honesty and love doth mince this matter, making in light to Cassio". In this scene, Iago displaces Cassio, regaining his place nearest to Othello.
Cassio, sobered, grieves for his lost reputation: "I have lost the immortal part of myself, and what remains is bestial", and Iago replies: "Reputation is an idle and most false imposition, often got without merit, and lost without deserving". Later, in discussion with Othello, Iago will argue the opposite view. As a two-faced follower of Janus, he can take either side of an argument when needed to serve his own ends. Iago plays a different personality to each companion in this scene, urging Cassio to drink up and join the celebration, standing back with Montano as an observer of unwise behavior, describing the quarrel to Othello in such a way as to show Cassio as drunken and incompetent, and finally being the helpful friend to Cassio, suggesting a course of action for his reinstatement.
Cassio is overwhelmed with guilt and remorse, and, eagerly accepting Iago's offer of a course of action, walks straight into his trap. Iago's soliloquy of self-justification contains a twisted echo of Cassio's "Do not think I am drunk" speech. Whereas Cassio spoke from foolishness, Iago speaks from wickedness: "And what's he then that says I play the villain, when this advice is free I give, and honest?". He has now refined his plan and outlines the diabolical details: Cassio will plead with Desdemona, who will plead with Othello. Iago will tell Othello that Desdemona wants Cassio back for sexual purposes. "I'll pour this pestilence into his ear". Iago will whisper poisonous words into Othello's ear, killing Othello from the inside by filling his mind with unbearable jealousy.
A1, S1
- Themes: Jealousy, Racism, Appearance versus Reality
- Character: Iago’s manipulative character is introduced
- Imagery /Motifs / Symbols: Animals, Webs, Heaven and Hell
- Othello’s good reputation in Venice is established
Iago's cunning nature is clear from the start: he must make amends to Roderigo for failing to arouse Desdemona's interest in him because he has his eyes on Roderigo’s money "as if the strings were thine". Iago has no respect for Roderigo's intelligence, openly admitting to him: "I am not what I am". Despite this statement, Roderigo trusts this man, showing that Roderigo is a weak figure.
Iago also shows his deep hatred of Othello. One reason is that Iago had expected to be promoted to the rank of Othello's first lieutenant but Othello chose Cassio, a man, Iago tells Roderigo, whose military uselessness is an insult to Iago's proven superiority on the battlefield. It is possible that Iago was never in contention for the position and that he makes all this up to give a reason to Roderigo for his resentment toward Othello. Later he claims that Othello has slept with his wife (Emilia), which is most likely untrue. The most likely reason is pure racism, which is clear in his language and the imagery he uses. Despite this, he will continue to appear to "serve" Othello so that eventually he can "serve [his] turn upon him" (i.e. get his revenge).
Roderigo is the first to show a racist attitude when he refers to Othello as "the thick-lips"; then, Iago, unsatisfied with Roderigo's ability to incense Brabantio, refers to Othello as "an old black ram" who "is tupping your white ewe" (Desdemona), "a Barbary horse" and "the lascivious Moor". And finally, in this scene, after having told Roderigo that he is not a suitable match for Desdemona, Brabantio learns that his daughter has eloped with Othello and says to Roderigo, "O, that you had had her!" Brabantio's sudden preference for Roderigo implies racism.
As Brabantio moves into action, calling for more lights and arousing members of his household, Iago steals away, but not before explaining his reasons for doing so: It must not be public knowledge that Iago himself is an enemy of Othello; if Iago's plans are to be successful, he must outwardly "show out a flag and sign of love, / Which is indeed but sign". Again, this shows how manipulative he is and illustrates the theme of appearance versus reality.
Although we don’t encounter Othello in this scene, we see how significant he is to Venice as a public figure who will soon be summoned to end the war in Cyprus against the Turks and a man upon whom the Venetian state depends for its safety. Even Iago admits that "another of his fathom they have none / To lead their business". Othello is a man of high position, as well as one of high honor and one who is, therefore, worthy of being considered a tragic hero.
A1, S2
- Introduction of Othello as a calm, confident, proud, and respected public figure
- Theme of Racism (Brabantio)
Othello's first appearance on stage is as a man confident and in control of his life, calmly and deftly putting Brabantio's anger aside, as well as being confident that his military standing will protect him from Brabantio's anger: "Let him do his spite. / My services which I have done the Signiory / Shall out-tongue his complaints". He is a proud man, aware of his royal ancestry and his importance to Venice.
When Brabantio threatens him with his sword, Othello deflects him with a show of courtesy and respect. In contrast, Brabantio's accusations are raw and direct: "Oh thou foul thief, where hast thou stowed my daughter?" Othello shows his nobility from the start (an important aspect of being a tragic hero in the early stages of a tragedy).
This scene shows two strands of Shakespeare's plot developing at the same time: Othello's private life, where his marriage is soon to become public knowledge, and the political crisis with the threatened attack by the Turks, where he anticipates being sent to war in a commanding position. Othello is the powerful key figure in both stories, and a man to be admired. However, Othello is a black man surrounded by white faces, some of which are characters known to have it in for him. Although we, as an audience, admire him, we also wonder whether he can manage to survive.
A1, S3
- Othello’s importance to Venice is made clear
- Othello portrayed as an eloquent speaker who loves Desdemona
- Themes of Love, Tragic Irony, Appearance versus Reality, Racial Prejudice
- Introduction of Desdemona as an independent thinker and a courageous individual
- Iago’s manipulative plan to destroy Othello and Desdemona’s marriage
When the military command (re. Cyprus) is conferred on Othello, the Duke is making a public statement that Venice relies on him completely. Othello rightly feels confident; whatever his marriage arrangements, he knows that the Senators will back him because they need him.
By the time Brabantio arrives at the emergency meeting, his rage has turned to grief. He believes that Desdemona has so gone against nature that witchcraft must be to blame. Witchcraft was a capital crime, where a witch would be tortured and eventually executed. Yet the Duke's promise to avenge the wrongdoing done to Brabantio rebounds when it is clear that Othello (the commander appointed to save Venice) is under risk of execution.
Othello begins his defence by claiming that he is a soldier with no skill in making speeches: "Rude am I in my speech / And little blessed with the soft phrase of peace". This is not true, however, as Othello does indeed know how to express himself eloquently. Later, he admits that it was because of his eloquence that both Brabantio and his daughter appreciated him in the first place. The ability to compose himself and to give a speech under pressure is an important quality in a military leader. Othello uses that military ability here in defence of his private life.
Brabantio has an unrealistic view of his daughter and is shocked that she found a husband that does not meet his expectations. He assumes with no evidence that a black face is "what she feared to look on". He is blinded by his own prejudices, preferring to believe that she was forced into this relationship with Othello by witchcraft, despite having no proof.
Othello tells the story of his life ("taken by the insolent foe / And sold to slavery") that is rich in visual detail. Slave trading was part of general trade along the shipping routes of East and North Africa, and many slaves were sold in markets in the cities of the Middle East. Othello was redeemed from slavery, becoming a professional soldier, where he had many adventures fighting on sea and land. Othello's speech makes us understand why Desdemona fell in love with him.
His description of Desdemona, as a young woman who knows exactly what she wants and reaches out for it, contrasts with Brabantio's image of a passive, quiet daughter. Desdemona's defence of her actions is straightforward and courageous. She remains bound to her noble father for her "life and education"; he remains her "lord of duty," and she will always honor him as such. Now, however, she has a husband, and she will give all her loyalty to her husband, just as her mother gave her loyalty to Brabantio.
Desdemona's argument wins the debate, and Brabantio abandons his accusation: "I have done", abandoning Desdemona and the whole idea of fatherhood. Brabantio is not a fool, however he is a man who is losing power.
Desdemona longs to be with her husband in Cyprus, for the rites of marriage, for sexual intimacy, and she finishes with a direct request: let me go with him. The directness of this request takes even Othello by surprise. Of course he wants his wife with him, and for the same reasons, and he supports her request, as he loves her "with all [his] heart". Tragically (and ironically), Othello chooses the very man whom he can trust least in all the world - "honest Iago".
Brabantio is crushed, and he leaves with a parting warning to Othello: "Look to her, Moor, have a quick eye to see: / She has deceiv'd her father, may do thee." These last words to Othello in this scene are important. They are packed with irony and provide, in part, an example of foreshadowing. Othello's reply to Brabantio is also ironic: He vows, "my life upon her faith!"
In a soliloquy that ends the act, Iago comes across as a man whose mind is poisoned. There is not the slightest bit of evidence anywhere in this play to indicate that Othello has had an affair with Emilia. Iago also reveals his evil plan of action. Aware that Othello trusts him, he will convince the Moor that Cassio is "too familiar" with Desdemona. Iago believes that Othello is an "ass" (i.e. naïve). The final couplet contains a reference to "hell and night" and to "monstrous birth", which show the unnaturalness and the diabolical elements of Iago’s plans to destroy the union of Othello and Desdemona.
Act 2
A2, S1
An undefined length of time has elapsed since the scenes in Act I, during which Othello has set sail for Cyprus in one ship, Cassio in another, and Iago, Emilia, and Desdemona in a third. The ships arrive one by one, allowing the arriving members to talk about Othello while waiting for his arrival. Cassio describes to Montano Othello's new wife, Desdemona, with respect and a little awe as "our great captain's captain". His elaborate tones underline both his education and the high expectations many have of benefits on all sides from Othello: "That he may bless this bay with his tall ship, / Make love's quick pants in Desdemona's arms, / Give renewed fire to our extincted spirits".
Desdemona, Emilia, and Iago play word games, which show Iago's cynical view of women: "you are pictures out of doors, / Bells in your parlours, wild-cats in your kitchens, / Saints in your injuries, devils being offended, / Players in your housewifery, and housewives in your beds". That is, women behave themselves modestly when they go out, are sweet conversationalists with guests, and angry towards their servants. They claim to always be the injured party, fly into a rage at an adverse comment and are idle in matters of housework and penny-pinching with their sexual favors. Iago speaks bluntly in how he puts down women, and Desdemona, along with everyone else, laughs off the rough speech of "honest" Iago.
Iago meanwhile watches Cassio, seeking a weakness that he can exploit. He decides to focus on his courteous manners and attentions to Desdemona. "With as little web as this will I ensnare as great a fly as Cassio. Ay, smile upon her, do. I will gyve thee in thine own courtship".
The reunion of Othello and Desdemona is a happy celebration of their love. Othello greets Desdemona as his equal, his "fair warrior". He has gone through Hell in the tempest and is now in Heaven with his wife and realizes that this is the happiest moment of his life: "If it were now to die, / 'Twere now to be most happy; for I fear / My soul hath her content so absolute / That not another comfort like to this / Succeeds in unknown fate". There is also a dark side to his happiness, for he feels that the future cannot match it. Desdemona, however, looks forward to it: "our loves and comforts should increase, / Even as our days do grow".
In an aside, Iago remarks that Othello is now "well tuned" like a guitar and sings sweetly, but Iago will "set down the pegs", loosening the strings and spoiling the music, "As honest as I am." Others, especially Othello, use the word "honest" in a sincere way when talking of Iago; Iago, however, uses it ironically.
Iago pushes Roderigo in an emotional stampede, overwhelming his idealized view of Desdemona with a flood of disapproving words, abusing her virtue, and damaging her reputation. He sweeps aside Roderigo's declarations of her virtue: "Blest fig's end! (an obscene oath, a "fig" is the head of a penis) / The wine she drinks is made of grapes", meaning she is just the same as ordinary women. He claims Cassio is already courting her: "They met so near with their lips that their breaths embraced together". Iago batters Roderigo with the sheer volume of his abuse until the weak gentleman agrees to do as he is told in the plot to disgrace Cassio. Then Iago, alone on stage, speaks his thoughts.
Iago's second soliloquy is very revealing. It shows him shaping a plan out of the confusion of his thoughts. Iago examines his own thoughts, especially his hatred for Othello: "The Moor, howbeit that I endure him not" and finds a common thread in the "poisonous mineral" of jealousy because of the rumour that Othello has slept with his wife, Emilia. Iago could get his revenge by seducing Desdemona: "Now I do love her too . . . / But partly led to diet my revenge, / For that I do suspect the lusty Moor / Hath leaped into my seat, the thought whereof / Doth like a poisonous mineral gnaw my inwards". Iago uses the word "love" here in a very cynical way, making it a combination of lust and power seeking. At first he sees his seduction of Desdemona as his revenge: "Till I am evened with him, wife for wife". Then Iago realizes that the unsubstantiated jealousy that torments him is the very weapon he can use against Othello, who will be even more vulnerable. Iago will lead Othello, via jealousy, to madness: "Make the Moor thank me, love me, and reward me, / For making him egregiously an ass, / And practicing upon his peace and quiet / Even to madness".
A2, S2
This short scene is used to indicate the passing of time. We know that the Turkish fleet has suffered "perdition" (ruin), largely due to the "noble" and "valiant" efforts of Othello, and that the rejoicing celebrates the military victory and also the general's recent marriage. In short, the Moor has proclaimed a holiday to be held from five o'clock until eleven, during which the soldiers and citizens can dance, make bonfires, or make "revels [however] his [addiction] leads him".
Dramatically, this mood of merrymaking and celebration is a strong contrast to the tragedy that is about to follow and, in addition, the chaos gives Iago sufficient time and opportunity to set his traps for the unsuspecting Othello. Also, this feasting and dancing takes place at night, and earlier Iago proclaimed that "hell and night / Must bring this monstrous birth [of his evil design] to the world's light". This scene foreshadows that horror.
A2, S3 (The Brawl Scene)
This is a scene of mixed speech and action with the comedy of drunkenness, the visual action of the brawl, and the to-and-fro of arrangements between individuals at the end of the act. Iago is constantly praised by Othello: "Iago is most honest"; and Cassio: "Not tonight, good Iago.".
In his conversation with Cassio, Iago begins by speaking of Desdemona in a sexually suggestive manner, "she is sport for Jove" and "I'll warrant her full of game", but Cassio refuses to be drawn in. Iago then tries to get Cassio to drink, but Cassio refuses politely and with reason: "I have very poor and unhappy brains for drinking. I could well wish courtesy would invent some other custom of entertainment". Relying on Cassio's good manners to outweigh his determination, Iago continues to press, and Cassio eventually gives in.
When Cassio protests with elaborate carefulness that he is not drunk, he is simultaneously a figure of comedy and dreadful anticipation: "Do not think, gentlemen, I am drunk; this is my ancient, this is my right hand, and this is my left hand. I am not drunk now, I can stand well enough, and I speak well enough". His every word calls attention to his drunken state and his loss of good judgment.
Iago tells Montano that Cassio is a habitual drunkard and that Othello has misjudged in promoting such an unreliable person. When Cassio appears, Montano scolds him for being drunk, and Cassio turns on him, wounding Montano with his sword. This scene is often played with much noise and running about the stage, through patches of light and dark. Any number of actors could join in, and the more chaotic it appears, the better. However, it is a serious plot development scene and cannot be played for comedy.
Othello has been roused from his marriage bed, and his anger is intense. He sees the matter immediately as one of incompetence in his men. He accuses them of uncivilized behavior, doing the enemy's work by destroying the army: "For Christian shame, put by this barbarous brawl", and he threatens the next person to move with execution. There are potential political consequences: if the people of Cyprus think there is a rebellion, they may rise also, so Othello orders, "Silence that dreadful bell: it frights the isle / From her propriety". His anger will fall on the man who began the brawl, and, slipping back into his old habit of relying on his ancient (Iago) rather than seeking out his new lieutenant (Cassio), Othello calls directly on Iago to tell him who it is. Iago replies: "I had rather have this tongue cut from my mouth / Than it should do offence to Michael Cassio", a blatantly obvious betrayal built into a semblance of reluctance. Othello, trusting Iago, is completely taken in: "I know, Iago, Thy honesty and love doth mince this matter, making in light to Cassio". In this scene, Iago displaces Cassio, regaining his place nearest to Othello.
Cassio, sobered, grieves for his lost reputation: "I have lost the immortal part of myself, and what remains is bestial", and Iago replies: "Reputation is an idle and most false imposition, often got without merit, and lost without deserving". Later, in discussion with Othello, Iago will argue the opposite view. As a two-faced follower of Janus, he can take either side of an argument when needed to serve his own ends. Iago plays a different personality to each companion in this scene, urging Cassio to drink up and join the celebration, standing back with Montano as an observer of unwise behavior, describing the quarrel to Othello in such a way as to show Cassio as drunken and incompetent, and finally being the helpful friend to Cassio, suggesting a course of action for his reinstatement.
Cassio is overwhelmed with guilt and remorse, and, eagerly accepting Iago's offer of a course of action, walks straight into his trap. Iago's soliloquy of self-justification contains a twisted echo of Cassio's "Do not think I am drunk" speech. Whereas Cassio spoke from foolishness, Iago speaks from wickedness: "And what's he then that says I play the villain, when this advice is free I give, and honest?". He has now refined his plan and outlines the diabolical details: Cassio will plead with Desdemona, who will plead with Othello. Iago will tell Othello that Desdemona wants Cassio back for sexual purposes. "I'll pour this pestilence into his ear". Iago will whisper poisonous words into Othello's ear, killing Othello from the inside by filling his mind with unbearable jealousy.