OTHELLO ACT 3
SCENE 1
Summary:
The clown sends away musicians hired by Cassio to play for Othello.
Iago fetches Emilia for Cassio. She promises that she will arrange a meeting for
him with Desdemona.
This scene is often cut from modern productions as it doesn’t add much to the plot;
indeed the use of music in this scene would have a stronger effect on a 17th century
audience, as the appreciation of music would have symbolised high class status, or make
a person appear civilised. Therefore, Othello’s disliking of the music could suggest that
he is less civilised because he is black.
CASSIO’S MUSICIANS
The use of musicians is the first way in which Cassio attempts to win Othello back,
however through the Clown, we learn that Othello has a distaste for this music ‘the
general so likes your music that he desires you, for love’s sake, to make no more noise
with it’, in which this comedic statement upturns the notion of ‘love’ as a state of
exasperation. In this sense, we get the impression that Othello either dislikes the music
because:
He is still mad at Cassio so rejects his attempts to win his affections
He is not ‘civilised’ like a Venetian, so does not have an appreciation for good
music
IAGO AND CASSIO
Shakespeare uses the character’s language in order to allow the audience to understand
the exact timescale of the play, as Iago asks Cassio ‘You have not been abed then?’
However the movement of time is a flaw within this play as the action often appears to
jump forward in time, often without clear markers of such a shift.
Iago lays out his plan to Cassio; his wife will talk to Cassio, who will entreat Desdemona
to talk to Cassio. In doing this, Iago is able to so easily set out his plan for revenge.
Cassio states ‘I never knew a Florentine more kind and honest’ which conveys a sense of
superiority and entitlement through use of the backhanded compliment, as he
compliments Cassio’s apparent kindness and honesty, and yet refers to his own people
‘Florentine’ when he knows that Cassio is a Venetian; the audience know this hence this
is a form of dramatic irony. In this sense, we become aware of Iago’s prejudices in
relation to different nationalities.
Emilia states that ‘He you hurt is of great fame in Cyprus and great affinity’, suggesting
that Othello is unable to forgive Cassio because of his political position and the
embarrassment surrounding the situation; this is a diplomatic (social problem) not a
domestic or personal one.
, KEY QUOTES
‘Enter Cassio, with musicians’
‘The general so likes your music that he desires for you, for love’s sake, to make no more
noise with it’ (Clown)
‘You have not been abed then’ (Iago)
‘I never knew a Florentine more kind and honest’
‘He you hurt is of great fame in Cyprus and great affinity’
SCENE 2
Summary:
Othello gives Iago some letters to send to the Senate in Venice, he leaves to inspect the
fortress’s defences.
This short scene is important as Othello gives Iago a job he might have otherwise given
to Cassio, which shows the way in which Iago has already accumulated power in order to
essentially take the role he believes he was entitled to. Iago is dangerous because
everyone trusts him; he is able to quickly gain people’s trust and get them to follow him.
KEY QUOTES
‘These letters give, Iago, to the pilot- And by him do my duties to the senate’ (Othello)
SCENE 3
Summary:
Desdemona begs Othello to take Cassio back as his lieutenant.
Iago arouses Othello’s suspicions about Desdemona and Cassio’s relationship.
When Desdemona loses her handkerchief, Emilia gives it to Iago, who plans to
drop it in Cassio’s lodgings.
Iago tells Othello that Cassio called out Desdemona’s name in his sleep, and that
he has her handkerchief.
Iago swears to help Othello in his jealous revenge and promises to kill Cassio.
Othello makes Iago his lieutenant.
This is the longest scene in the play, and the most important as from the start to the end
there is a huge transition in Othello’s attitude towards Desdemona and Cassio; he starts
this scene very much in love with her, and by the end is so taken with jealousy that he
wants to kill her and Cassio both. This scene highlights Iago’s power and his ability to
manipulate to such an extent that he can make a good man want to kill his wife, but also
the way in which Othello’s fatal flaw (hamartia) is the way he is ruled by his emotions;
it is the cause of his ultimate downfall
CASSIO AND DESDEMONA
SCENE 1
Summary:
The clown sends away musicians hired by Cassio to play for Othello.
Iago fetches Emilia for Cassio. She promises that she will arrange a meeting for
him with Desdemona.
This scene is often cut from modern productions as it doesn’t add much to the plot;
indeed the use of music in this scene would have a stronger effect on a 17th century
audience, as the appreciation of music would have symbolised high class status, or make
a person appear civilised. Therefore, Othello’s disliking of the music could suggest that
he is less civilised because he is black.
CASSIO’S MUSICIANS
The use of musicians is the first way in which Cassio attempts to win Othello back,
however through the Clown, we learn that Othello has a distaste for this music ‘the
general so likes your music that he desires you, for love’s sake, to make no more noise
with it’, in which this comedic statement upturns the notion of ‘love’ as a state of
exasperation. In this sense, we get the impression that Othello either dislikes the music
because:
He is still mad at Cassio so rejects his attempts to win his affections
He is not ‘civilised’ like a Venetian, so does not have an appreciation for good
music
IAGO AND CASSIO
Shakespeare uses the character’s language in order to allow the audience to understand
the exact timescale of the play, as Iago asks Cassio ‘You have not been abed then?’
However the movement of time is a flaw within this play as the action often appears to
jump forward in time, often without clear markers of such a shift.
Iago lays out his plan to Cassio; his wife will talk to Cassio, who will entreat Desdemona
to talk to Cassio. In doing this, Iago is able to so easily set out his plan for revenge.
Cassio states ‘I never knew a Florentine more kind and honest’ which conveys a sense of
superiority and entitlement through use of the backhanded compliment, as he
compliments Cassio’s apparent kindness and honesty, and yet refers to his own people
‘Florentine’ when he knows that Cassio is a Venetian; the audience know this hence this
is a form of dramatic irony. In this sense, we become aware of Iago’s prejudices in
relation to different nationalities.
Emilia states that ‘He you hurt is of great fame in Cyprus and great affinity’, suggesting
that Othello is unable to forgive Cassio because of his political position and the
embarrassment surrounding the situation; this is a diplomatic (social problem) not a
domestic or personal one.
, KEY QUOTES
‘Enter Cassio, with musicians’
‘The general so likes your music that he desires for you, for love’s sake, to make no more
noise with it’ (Clown)
‘You have not been abed then’ (Iago)
‘I never knew a Florentine more kind and honest’
‘He you hurt is of great fame in Cyprus and great affinity’
SCENE 2
Summary:
Othello gives Iago some letters to send to the Senate in Venice, he leaves to inspect the
fortress’s defences.
This short scene is important as Othello gives Iago a job he might have otherwise given
to Cassio, which shows the way in which Iago has already accumulated power in order to
essentially take the role he believes he was entitled to. Iago is dangerous because
everyone trusts him; he is able to quickly gain people’s trust and get them to follow him.
KEY QUOTES
‘These letters give, Iago, to the pilot- And by him do my duties to the senate’ (Othello)
SCENE 3
Summary:
Desdemona begs Othello to take Cassio back as his lieutenant.
Iago arouses Othello’s suspicions about Desdemona and Cassio’s relationship.
When Desdemona loses her handkerchief, Emilia gives it to Iago, who plans to
drop it in Cassio’s lodgings.
Iago tells Othello that Cassio called out Desdemona’s name in his sleep, and that
he has her handkerchief.
Iago swears to help Othello in his jealous revenge and promises to kill Cassio.
Othello makes Iago his lieutenant.
This is the longest scene in the play, and the most important as from the start to the end
there is a huge transition in Othello’s attitude towards Desdemona and Cassio; he starts
this scene very much in love with her, and by the end is so taken with jealousy that he
wants to kill her and Cassio both. This scene highlights Iago’s power and his ability to
manipulate to such an extent that he can make a good man want to kill his wife, but also
the way in which Othello’s fatal flaw (hamartia) is the way he is ruled by his emotions;
it is the cause of his ultimate downfall
CASSIO AND DESDEMONA
