Significance of Act IV Scene I [Cassio and
Iago's conversation]
Significance of Act IV Scene I
Iago as the playwright.
Cassioʼs juxtaposing treatment of Bianca in contrast to Desdemona.
The very significant symbol of the handkerchief
How far Othello has fallen as a tragic hero.
The extract comes from Act IV Scene I moments after Iago has told Othello of Cassio and
Desdemonaʼs lying together after which Othello falls into the perplexed state he is in, during this
scene. The extract presents Othello with the “ocular proof” as Iago and Cassio laugh at Bianca
while Othello believes it to be about Desdemona, with Bianca finally entering holding the
handkerchief – the final piece of evidence to awake the “green eyed monster within Othello”.
The scene is therefore pivotal and presents an immediate sense of the end with its importance
being seen in the exploration of the tragic themes of the extent of Othelloʼs peripetia, tragic
villain Iago, the tragic victim Cassio, and the contradictory treatment of women in 16th century
society.
Many critics have stated that “Iago is the playwright” (Leavis) and this becomes clear in this
extract. Iago not only directly creates a conversation which fuels the plot of the play but also
positions characters on the stage. He moves Othello to the side so that he can see Cassio and
“as he shall smile, Othello shall go mad”, yet Othello cannot hear Cassio. Through this Iago gives
Othello the position on stage of the commoner play goer, likely a hint back to his previous class
frustration at not being given the position of lieutenant. Cassio and Iago on the other hand
represent the upper-class noble play goers based on their positions on the stage. Through this
Iago presents to the audience the immense control he has over other characters as he not only
psychology manipulates them but manipulates Othello physically by controlling his placement
on stage. Iagoʼs skills as a dramatist are therefore further explored reminding audiences of his
numerous previous hints to how even he knows that he control the characters like a “master
puppeteer” and references to playing specific characters; “who says that I play the villain”, “play
the God to his weak function”. As Oʼ Toole stated “there is no Othello without Iago” and in this
extract this is further explored through Iagoʼs immense control of the scene.
Furthermore, we see the extent of Othelloʼs peripetia. Once a man of a “free and noble nature”
is now a fracture of who he once was. The openness and confidence in which he directly
confronted Brabantio in Act I Scene I is directly juxtaposed with his numerous ‘asidesʼ
throughout the extract. He now appears a weak character whose one strength and integrity in
response to a threat; “lift up your bright swords for the dew will rust them” has become twisted
into insecurity and internalised malice; “[Aside] Do you triumph, Roman? Do you triumph?”.
Iago's conversation]
Significance of Act IV Scene I
Iago as the playwright.
Cassioʼs juxtaposing treatment of Bianca in contrast to Desdemona.
The very significant symbol of the handkerchief
How far Othello has fallen as a tragic hero.
The extract comes from Act IV Scene I moments after Iago has told Othello of Cassio and
Desdemonaʼs lying together after which Othello falls into the perplexed state he is in, during this
scene. The extract presents Othello with the “ocular proof” as Iago and Cassio laugh at Bianca
while Othello believes it to be about Desdemona, with Bianca finally entering holding the
handkerchief – the final piece of evidence to awake the “green eyed monster within Othello”.
The scene is therefore pivotal and presents an immediate sense of the end with its importance
being seen in the exploration of the tragic themes of the extent of Othelloʼs peripetia, tragic
villain Iago, the tragic victim Cassio, and the contradictory treatment of women in 16th century
society.
Many critics have stated that “Iago is the playwright” (Leavis) and this becomes clear in this
extract. Iago not only directly creates a conversation which fuels the plot of the play but also
positions characters on the stage. He moves Othello to the side so that he can see Cassio and
“as he shall smile, Othello shall go mad”, yet Othello cannot hear Cassio. Through this Iago gives
Othello the position on stage of the commoner play goer, likely a hint back to his previous class
frustration at not being given the position of lieutenant. Cassio and Iago on the other hand
represent the upper-class noble play goers based on their positions on the stage. Through this
Iago presents to the audience the immense control he has over other characters as he not only
psychology manipulates them but manipulates Othello physically by controlling his placement
on stage. Iagoʼs skills as a dramatist are therefore further explored reminding audiences of his
numerous previous hints to how even he knows that he control the characters like a “master
puppeteer” and references to playing specific characters; “who says that I play the villain”, “play
the God to his weak function”. As Oʼ Toole stated “there is no Othello without Iago” and in this
extract this is further explored through Iagoʼs immense control of the scene.
Furthermore, we see the extent of Othelloʼs peripetia. Once a man of a “free and noble nature”
is now a fracture of who he once was. The openness and confidence in which he directly
confronted Brabantio in Act I Scene I is directly juxtaposed with his numerous ‘asidesʼ
throughout the extract. He now appears a weak character whose one strength and integrity in
response to a threat; “lift up your bright swords for the dew will rust them” has become twisted
into insecurity and internalised malice; “[Aside] Do you triumph, Roman? Do you triumph?”.
