OTHELLO

Act II Notes

Act II Scene 1

A terrible storm has struck Cyprus, just as the Turks were about to approach.

This might mean that the Turkish attack will not happen; but it also bodes badly for Othello's ship.

A messenger enters, and confirms that the Turkish fleet was broken apart by the storm, and that Cassio has arrived, though Othello is still at sea.

They spot a ship coming forth; but Iago, Desdemona, and Emilia are on it, not Othello.

Cassio greets them all, especially praising Desdemona; somehow, Iago and Desdemona enter into an argument about what women are

Iago shows how little praise he believes women deserve.

Othello arrives at last, and is very glad to see his wife arrived

Act II Scene 1

Read II.2.1123-1124

He and Desdemona make public signs of their love, and then depart.

Iago speaks to Roderigo, convincing him that Desdemona will stray from Othello, as she has already done with Cassio.

He convinces Roderigo to attack Cassio that night, as he plans to visit mischief on both Othello and Cassio.

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Analysis: Storms

Storms are always of greater significance in Shakespeare: the storm is a symbol of unrest

The storm marks the end of the peaceful part of the play, and is an act of fate

it is a signal that Iago's mischief is about to begin.

Shakespeare's characters that comment on the storm are mariners, alluding to Ursa Minor and stars used for navigation

This is a testament to Shakespeare's incredible ability to form credible language for a great diversity and range of characters.

Analysis: Cassio

Just as every character has their own manner of speech and expression, Cassio has a very polished, courtly way of speaking, especially of ladies.

He describes Desdemona as one who "excels the quirks of blazoning pens"; he calls her "divine Desdemona"

As Iago finds out later, he has no love for her, though much respect; so it is with much irony that Cassio is charged as being Desdemona's lover

Othello sees Cassio as a model Venetian, all poise and polish, which is something Othello wants to be, but thinks he is not.

Othello's insecurities mean that Cassio is promoted over Iago, but also lead Othello to hold Cassio at a distance.

Analysis: Misrepresentation

Misrepresentation is a theme that surfaces often through Iago's villainy

He makes Desdemona seem like a fickle, lusty woman, which he will soon try to convince Othello of as well.

Iago's speech plays on Othello's insecurities perfectly

He speaks of Othello's age, race, and manners as reasons why Desdemona will grow tired of him, which are also reaons why Othello fears he might lose her.

Iago is also a master of temptation, another theme in the story

He is able to figure out exactly what people want, and then drive them to it.

Analysis: Motives

Though Iago seems grieved by Cassio's promotion over him, this does not seem to be his main motive.

Iago also cites his suspicions that Emilia and Othello have had an affair as another reason for his enmity.

Iago is not a man to be consumed with sexual jealousy; though rumors about his wife may hurt his pride, they seem but an excuse for the misery he is about to cause.

Shakespeare leaves the root of Iago's malignancy unexplained, while showing the fruits of his evil in full.

Act II Scene 2

Othello's herald enters, to proclaim that

the Turks are not going to attack

All should be joyful, and Othello is

celebrating the happiness of his recent

marriage.

Act II Scene 3

Iago gets Cassio to drink a bit, knowing that he cannot hold his liquor at all.

Iago also tries to get Cassio's feelings about Desdemona, but his intentions are innocent

Iago hopes to cause a quarrel between Cassio and Roderigo

Iago wants to see Cassio discredited through this, so that he might take Cassio's place.

Cassio fights with Roderigo

Montano tries to hinder Cassio, but Cassio ends up injuring him.

The noise wakes Othello, who comes down to figure out what has happened.

Montano tells what he knows of it all, and Iago fills in the rest making sure to fictionalize his part in it all.

Cassio is stripped of his rank, and all leave Cassio and Iago alone.

Act II Scene 3

Read II.3.1127-1128

Iago tries to convince Cassio that a

reputation means little

Iago suggests talking to Desdemona, maybe

he can get her to vouch for him with Othello.

This will help Iago get the impression across

that Desdemona and Cassio are together

Iago then gives a soliloquy about knowing

that Desdemona will speak for Cassio, and

that he will be able to turn that against them

both.

Analysis: Honesty

"Honest" emerges as a key word in this scene

It is a term laden with irony, and a constant reminder of the dramatic irony inherent in Iago's dealings.

None of the characters in the play have any idea of Iago's plans and evil intentions:

Othello and Cassio are especially innocent of this knowledge.

The audience knows exactly what Iago is up to, and is able to see his deceptions for what they are

Iago's words interest the audience because of how much dramatic irony they are laden with

Curiosity to find out whether Cassio and Othello will come to know as much as the audience does about Iago's deviance.

The word "honest" draws attention to how Iago's motives are hidden from the characters onstage

Analysis: Juxtaposition

Iago and Cassio are juxtaposed in this scene to bring out Cassio's flawed honor and courtliness and Iago's manipulativeness and deceptiveness.

Cassio stands in especially sharp contrast to Iago when Iago speaks lustfully of Desdemona

Cassio is full of honor when it comes to women, and the ideals of a courtier as well.

"He's a soldier fit to stand by Caesar," Iago says, the allusion to Caesar stating the fact that he knows Cassio's true quality.

Iago strikes gold when he figures out Cassio's weakness for drink

"He'll be as full of quarrel and offense as my young mistress' dog,"

Iago’ metaphor shows that he knows how liquor can separate even the best man from himself

Iago's metaphor reinforces his perceptiveness, and the light/dark imagery

Analysis: Know the

Audience

Iago's homage to "sweet England" in his

song of this act:

though this play does not take place in

England

features no English characters

Shakespeare throws this in to amuse his

audience.

He does the same in plays like Hamlet, in

which a little nod to England is thrown in

for comic effect, and as an audience

pleaser.

Analysis: Reputation

Reputation is a theme in the book that obviously

holds some resonance for Cassio

Iago also knows the importance of reputation,

which is why he makes sure that people see him

as "honest" before anything.

"Reputation is a most idle and false imposition,"

Iago says:

this statement is meant as false consolation to

Cassio, and is filled with great irony.

Reputation is always of concern when

individuals are involved

Analysis: Devil

Cassio is so grieved that his reputation has been hurt that he sees fit to find a villain in all that has happened

Ironically, Cassio misses the identity of the real devil in this situation, Iago.

"Devil" becomes a key word in this play, as people try to seek out what is poisoning everyone

Good vs. evil is a major theme in the play

There is a great deal of gray area: Iago is the villain

Everyone else has some blemish of their natures

No one entirely deserving of the label "good".

Iago’s Vision of

Womanhood

Does he have a fear of womanhood?

Does he have a fear of a woman’s

promiscuity?

“You rise to play and go to bed to work.”

(II.i.115)

(II.i.109-112)

(II.i.148-160)

Iago’s Vision of

Womanhood

Suggests that any woman (attractive or

unattractive, intelligent or unintelligent)

will control a man because of her

sexual powers.

Iago seems to be envious of women’s

sexual charms

Are there elements of sexism and

misogyny within Iago?

Iago’s Views on Women’s

Speech

“She puts her tongue a little in her heart”

(II.i.106)

According to Iago, women talk too much

Iago’s Views on Women’s

Speech

Negative Statement

“Somewhat” exterior (tongue) is placed in the interior (heart)

When the exterior is placed in the interior or the interior is placed on the exterior, vulnerability/danger is present

“But I will wear my heart upon my sleeve/ For daws to peck at…”(I.i.63-64)

Analysis: Women

Though Iago is married, he does not have as favorable an impression of women as Cassio does.

Women are "wildcats in your kitchens, saints in your injuries, devils being offended“

Iago's perception of women as deceptive, dominating, and lusty colors the way he portrays both Emilia and Desdemona; both are good women

Desdemona exceedingly so, yet he is able to convince other men that they are anything but what they are.

Does Iago really

believe what he is

saying?

Why should we believe

Iago?

Othello and

Desdemona’s

Small Argument(II.i.181-198)

Othello’s Philosophy of

Love

Love is stagnant

Right now, he is content

Right now, his love is at its pinnacle

Othello’s Philosophy of

Love

Extremes—Binary Logic

Either things are perfect or they are completely destroyed

Original Latin definition of perfect—put together without any cracks.

Therefore any small crack causes it to not be perfect and, in Othello’s mind, a small crack will mean complete destruction

Othello’s Philosophy of

Love

Why does Othello adopt this illogical

philosophy?

Victim of racism?

Hinting at a tragic flaw?

Emphasizes his focus on the exterior

Deeds=Reputation=Definition of self

Desdemona’s Philosophy

of Love

Love is dynamic

Love is never stagnant

Opposite of Othello’s philosophy

Iago & the Value of

Reputation

(II.iii.251-265)

According to Iago, reputation is

meaningless

You can always regain or reestablish

your reputation

Iago’s Rhetoric

His opinion of the value of reputation will change dramatically based on who makes up his audience.

With Othello, who focuses completely on the exterior, Iago will suggest reputation defines who you are—therefore, reputation is extremely important

Know your audience!