Summary:
Several reports have come in from Cyprus, all calling attention to a Turkish fleet that is
expected to attack.
Brabantio shares his anger with the Duke at the marriage of Desdemona and Othello. At first
he is sympathetic, but after Othello describes his courtship of Desdemona in a dignified and
persuasive speech, the Duke speaks in his favour. He also needs Othello as a military leader
in the war.
Desdemona also gives a speech explaining the truth in her love to Othello. She is presented
as a confident, transgressive woman.
Othello must go immediately to Cyprus to command its defense, and Desdemona requests
to go as well. They leave the stage.
Iago and Roderigo are left on stage alone.
Roderigo is downcast and talks of drowning himself as Desdemona will never love him. Iago
replies with scorn that such misery is silliness and convinces Roderigo to go to Cyprus and
wait for Desdemona to come to him, as she will surely soon become bored with Othello.
Alone at the end of the scene, Iago delivers a soliloquy in which he says again that he hates
the Moor. He notes that there are rumors that Othello has slept with his wife, and he plans
to birth the plan from hell against the Moor.
What else do the audience learn about the political situation at this point in the play? What
impact does this have on the audience and the more personal plot points?
Several reports have come in from Cyprus, all calling attention to a Turkish fleet that is
expected to attack. The reports differ in the size of the fleet, but all speak of the danger as
the combined force has turned back toward Cyprus. ‘They all confirm a Turkish fleet, and
bearing up to Cyrus.’
During the military discussion, the audience discovers that Cyprus is of supreme value to the
Venetians, and it is vital that it remain under Venetian control for protection of sea trade.
Therefore, when command 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. His
prowess on the battlefield is crucial for them.
Games of illusion and appearance play a serious role in politics and war as well as in jealousy
and love.
Political situation suddenly becomes much more urgent, and seems convenient as it brings
support for Othello and moves on from the domestic tension with Brabantio, which is now
of secondary importance. The political situation stops the marriage from being dissolved, as
the Venetians now rely on Othello’s military leadership.
Initially, the duke is sympathetic to Brabantio and listens to his concerns about his daughter,
but once he realizes he is talking about Othello, this changes, as it would be a politically bad
decision to turn against him in this time of war when they need his skill and leadership.
What is the audience’s impression of Brabantio and his relationship with his daughter in this
scene? How might the reactions of the Early Modern Audience differ from a 21st century
audience?
, Brabantio seems to be more concerned with his private affairs than the political and public
threat to the venetian state- this might cause the audience to question his priorities.
Very protective of his daughter: ‘she is abused, stolen from me and corrupted By spells of
mountebanks…’ Sees her as a possession that he should hold control over. He cannot
comprehend that Desdemona had agency in her own marriage, hence blaming it on
witchcraft, or drugs.
‘A maiden never bold, Of spirit so still and quiet that her motion Blushed at herself. And
she, in spite of nature, Of years, of country, credit, everything, To fall in love with what she
feared to look on?’- Brabantio perceives her as having a shy and retiring nature and
Shakespeare deliberately contrasts his view of her with the reality when she speaks later in
the scene. He seems to have a backwards perception on femininity, and here he says he
could not believe she would marry a man that she would be afraid to look at. Brabantio sees
her as a weak woman who needs her father’s protection and security.
‘My particular grief Is of so flood-gate and o'erbearing nature That it engluts and swallows
other sorrows And it is still itself.’ - hyperbolic language is used here and his sorrow is
presented as prey which feeds on any other sorrows. He seems to be mourning his daughter,
perhaps because marriage often symbolised the loss of innocence.
Shakespeare also uses a backstory here to suggest that like his daughter, Brabantio was also
fascinated by Othello’s stories: ‘Her father loved me, oft invited me, Still questioned me the
story of my life From year to year, the battles, sieges, fortunes, That I have passed.’
How and why does Shakespeare present Desdemona as a transgressive woman in this scene?
Shakespeare presents her as being a confident speaker who is strong-willed, very different
from the image that Brabantio presented previously. She strongly asserts her will in a highly
public forum among men.
Desdemona speaks up, and tells her father that she truly loves Othello- ‘I am hitherto your
daughter. But here’s my husband. And so much duty as my mother showed To you,
preferring you before her father, So much I challenge that I may profess Due to the Moor
my lord.’ She asserts independence from her father, and obedience to Othello, ultimately
saying that fathers must make way to husbands. Contextually links to how women were
expected to be obedient to some man at all times. Desdemona seems to accept male
authority at the same time she subverts it.
Considering that the play is set approximately in the late sixteenth century, Desdemona's
defense of her actions is remarkably forthright, spirited, and courageous. Her ten brief lines
are models of concise rationale.
Desdemona challenges the idea that a war should separate a wife from her husband: ‘let me
go with him’. The directness of this request takes even Othello by surprise, and it is clear
that Desdemona feels strong enough that she does not need to be protected from the harsh
realities of war.
She is the antithesis of Brabantio’s account of her as ‘A maiden never bold, Of spirit so still
and quiet that her motion / Blushed at herself?’
Desdemona herself appears remarkably forward and aggressive in Othello’s account,
particularly in relation to Renaissance expectations of female behavior. She “devour[s] up”
his discourse with a “greedy ear,” and is the first of the two to hint at the possibility of their
loving one another. Perhaps in presenting her as a transgressive character, the idea of her
Several reports have come in from Cyprus, all calling attention to a Turkish fleet that is
expected to attack.
Brabantio shares his anger with the Duke at the marriage of Desdemona and Othello. At first
he is sympathetic, but after Othello describes his courtship of Desdemona in a dignified and
persuasive speech, the Duke speaks in his favour. He also needs Othello as a military leader
in the war.
Desdemona also gives a speech explaining the truth in her love to Othello. She is presented
as a confident, transgressive woman.
Othello must go immediately to Cyprus to command its defense, and Desdemona requests
to go as well. They leave the stage.
Iago and Roderigo are left on stage alone.
Roderigo is downcast and talks of drowning himself as Desdemona will never love him. Iago
replies with scorn that such misery is silliness and convinces Roderigo to go to Cyprus and
wait for Desdemona to come to him, as she will surely soon become bored with Othello.
Alone at the end of the scene, Iago delivers a soliloquy in which he says again that he hates
the Moor. He notes that there are rumors that Othello has slept with his wife, and he plans
to birth the plan from hell against the Moor.
What else do the audience learn about the political situation at this point in the play? What
impact does this have on the audience and the more personal plot points?
Several reports have come in from Cyprus, all calling attention to a Turkish fleet that is
expected to attack. The reports differ in the size of the fleet, but all speak of the danger as
the combined force has turned back toward Cyprus. ‘They all confirm a Turkish fleet, and
bearing up to Cyrus.’
During the military discussion, the audience discovers that Cyprus is of supreme value to the
Venetians, and it is vital that it remain under Venetian control for protection of sea trade.
Therefore, when command 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. His
prowess on the battlefield is crucial for them.
Games of illusion and appearance play a serious role in politics and war as well as in jealousy
and love.
Political situation suddenly becomes much more urgent, and seems convenient as it brings
support for Othello and moves on from the domestic tension with Brabantio, which is now
of secondary importance. The political situation stops the marriage from being dissolved, as
the Venetians now rely on Othello’s military leadership.
Initially, the duke is sympathetic to Brabantio and listens to his concerns about his daughter,
but once he realizes he is talking about Othello, this changes, as it would be a politically bad
decision to turn against him in this time of war when they need his skill and leadership.
What is the audience’s impression of Brabantio and his relationship with his daughter in this
scene? How might the reactions of the Early Modern Audience differ from a 21st century
audience?
, Brabantio seems to be more concerned with his private affairs than the political and public
threat to the venetian state- this might cause the audience to question his priorities.
Very protective of his daughter: ‘she is abused, stolen from me and corrupted By spells of
mountebanks…’ Sees her as a possession that he should hold control over. He cannot
comprehend that Desdemona had agency in her own marriage, hence blaming it on
witchcraft, or drugs.
‘A maiden never bold, Of spirit so still and quiet that her motion Blushed at herself. And
she, in spite of nature, Of years, of country, credit, everything, To fall in love with what she
feared to look on?’- Brabantio perceives her as having a shy and retiring nature and
Shakespeare deliberately contrasts his view of her with the reality when she speaks later in
the scene. He seems to have a backwards perception on femininity, and here he says he
could not believe she would marry a man that she would be afraid to look at. Brabantio sees
her as a weak woman who needs her father’s protection and security.
‘My particular grief Is of so flood-gate and o'erbearing nature That it engluts and swallows
other sorrows And it is still itself.’ - hyperbolic language is used here and his sorrow is
presented as prey which feeds on any other sorrows. He seems to be mourning his daughter,
perhaps because marriage often symbolised the loss of innocence.
Shakespeare also uses a backstory here to suggest that like his daughter, Brabantio was also
fascinated by Othello’s stories: ‘Her father loved me, oft invited me, Still questioned me the
story of my life From year to year, the battles, sieges, fortunes, That I have passed.’
How and why does Shakespeare present Desdemona as a transgressive woman in this scene?
Shakespeare presents her as being a confident speaker who is strong-willed, very different
from the image that Brabantio presented previously. She strongly asserts her will in a highly
public forum among men.
Desdemona speaks up, and tells her father that she truly loves Othello- ‘I am hitherto your
daughter. But here’s my husband. And so much duty as my mother showed To you,
preferring you before her father, So much I challenge that I may profess Due to the Moor
my lord.’ She asserts independence from her father, and obedience to Othello, ultimately
saying that fathers must make way to husbands. Contextually links to how women were
expected to be obedient to some man at all times. Desdemona seems to accept male
authority at the same time she subverts it.
Considering that the play is set approximately in the late sixteenth century, Desdemona's
defense of her actions is remarkably forthright, spirited, and courageous. Her ten brief lines
are models of concise rationale.
Desdemona challenges the idea that a war should separate a wife from her husband: ‘let me
go with him’. The directness of this request takes even Othello by surprise, and it is clear
that Desdemona feels strong enough that she does not need to be protected from the harsh
realities of war.
She is the antithesis of Brabantio’s account of her as ‘A maiden never bold, Of spirit so still
and quiet that her motion / Blushed at herself?’
Desdemona herself appears remarkably forward and aggressive in Othello’s account,
particularly in relation to Renaissance expectations of female behavior. She “devour[s] up”
his discourse with a “greedy ear,” and is the first of the two to hint at the possibility of their
loving one another. Perhaps in presenting her as a transgressive character, the idea of her
