Iago says that Cassio has no battle experience and has no right to be in the position that he has been granted. This does not make sense because Cassio was put in his position for a reason. What two kinds of followers are there according to Iago?
There are followers who are devoted and there are followers who seem devoted but are really just looking out for themselves. Shortly after this, Iago speaks about appearance and reality. Before this line, Iago explains that is is better to hide who he really is because Othello would not be pleased. How do Iago and Roderigo stir up trouble? What type of language to they employ? They make it seem as if something has been stolen. Initially, he is furious and in denial. Then, he becomes upset and embarrassed.
What does Brabantio say that this situation reminds him of? Iago then wounds Cassio in the leg…. Desdemona is asleep in bed when Othello enters. He kisses her and wakes her and once again charges her with…. You can get your own copy of this text to keep. Download it to get the same great text as on this site, or purchase a full copy to get the text, plus explanatory notes, illustrations, and more.
Synopsis: Iago gets Cassio drunk, making it easy for Roderigo to provoke Cassio into a brawl, first with Roderigo, then with Montano, whom he wounds. Contents Characters in the Play. Act 1, scene 1 In the streets of Venice, Iago tells Roderigo of his hatred for Othello, who has given Cassio the lieutenancy that…. Act 1, scene 3 The duke and the senators discuss the movements of the Turkish fleet and conclude that its target is, indeed, Cyprus….
Truly, as the Duke notes to Brabantio, Othello "is far more fair than black" Immediately, there remains only for the Moor to leave some trusted officer behind, one who will see that Desdemona is brought to Cyprus safely. Tragically, Othello chooses the very man whom he can trust least in all the world — "honest Iago" Brabantio is crushed; he is a defeated man who realizes that the Moor neither stole nor bewitched his daughter.
However, he will never understand how his "jewel" renounced all his paternal guidance and secretly married a man of a different race and nation. These last words to Othello in this scene are important.
They are packed with irony and provide, in part, an example of dramatic presaging. Desdemona does not deceive Othello, but before long Othello will be so convinced that she has deceived him that he will murder her. Othello's reply to Brabantio is likewise ironic: He vows, "my life upon her faith!
Shortly, he will take his own life because of his lack of faith in her faith — in her innocent, chaste fidelity. In a soliloquy that ends the act, Iago introduces a second motive for his hatred of Othello; he says that it is common gossip that the Moor "'twixt my sheets. It need hardly be pointed out here that we are listening to 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 next malicious plan of action. Aware that Othello trusts him, he will convince the Moor that Cassio is "too familiar" with Desdemona. Othello, he says, "is of a free and open nature" ; precisely, in Iago's words, Othello is an "ass" — naive, in other words, and we recall that Othello himself has already admitted that he knows "little of this great world.
In the final couplet, which contains the reference to "hell and night" and to "monstrous birth" , we sense Iago rubbing his hands in glee; we see all too clearly the unnaturalness and the diabolical elements of his plans to destroy the union of Othello and Desdemona. The witchcraft accusation raises the question, What constitutes evidence and proof of wrongdoing and what does not?
Othello survived an accusation made by a man who believed the facts supported his accusation, simply because his inflamed prejudices allowed him no other possible explanation. Brabantio made the accusation of witchcraft against Othello with no solid evidence, and on the basis of Desdemona's testimony the charge was dismissed.
Later in the play, Othello will commit the same error incited much for the same reasons by making a baseless accusation with equal conviction that he is right. Othello defends himself against Brabantio's accusation by personal statement and by calling Desdemona to testify.
This strategy saves him from the false condemnation. Yet later in the play, as he accuses Desdemona without specifying the accusation until too late, he will deny her the opportunity to speak to defend herself or to call on Cassio to testify.
Othello, blinded by emotion, has not learned from his own experience, and the consequences will be disastrous. Act I, Scene 3 is the first of the very long scenes, where much detailed development happens. Event after event is presented in quick succession, giving the impression of accelerated movement and excitement. Time in Othello is presented as passing very quickly, but a careful examination shows almost no markers to indicate what day it is or how each scene relates to the others in terms of time.
Their emotional intensity structurally unites the drama. In Europe between the fourteenth and the end of the eighteenth centuries, three unity issues for drama were developed and debated, based on Aristotle's "Unity of Action" theory: 1 unity of time, meaning that all the episodes or actions happen within very close time frame of a day or so; 2 unity of place, meaning the episodes or actions happen near or in close proximity to each other; and 3 unity of action, meaning each episode or action relates to episodes and actions preceding and following it.
These unity issues never became rules or standards that playwrights had to or did particularly follow, but they were known and may help the reader understand the relationship of the scenes in Othello.
Previous Scene 2. Once Cassio has chased him across the stage and stabbed Montano, no one gives a second thought to the man who may or may not have begun the fight. No one seems to have any idea who Roderigo is even though he is always onstage, even in the court scene of Act I, scene iii , and Cassio cannot even remember what they -quarreled about.
Othello has just stopped the brawl, punished Cassio, and taken care of Montano; he is now ready to return home with his wife. This is the last time we will see the couple so happy. The next time Othello sends Desdemona to bed is at the beginning of Act IV, scene ii, when he is preparing to kill her. For instance, when Othello bursts onto the scene and demands to know what is going on, Iago answers by comparing the party to a bride and groom undressing for bed II.
He seems to take great pleasure in preventing Othello from enjoying marital happiness. It is that potential which Iago will continually exploit. Ace your assignments with our guide to Othello! SparkTeach Teacher's Handbook. Why does Iago hate Othello? How does Emilia help Iago?
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