Conflict in Othello’s opening speech:
This acts as a soliloquy in many ways, but Desdemona’s presence is important as it adds to
the drama/tension.
He is no longer the angry, vengeful husband. His soliloquy is quiet, and he seems to be more
an agent of justice than the jealous cuckold.
Othello enters ‘[with a light]’- ironically makes him seem like a priest officiating at a
religious ritual. Othello then speaks of the ‘heavenly’ sorrow he feels, suggesting he is
reluctant to begin the ceremony of death. RELIGIOUS IMAGERY USED THROUGHOUT THIS
SCENE!
Othello is presented as calm and controlled at times, with the focus being on justice and
honour- eg repetition of ‘cause’ within the speech. There remains a passionate conviction of
righteousness in his words- signifying the extent to which Iago has made him believe this.
He speaks repeatedly of "the cause . . . the cause" - that is, Desdemona's infidelity, and he
even hesitates to speak aloud the name of Desdemona's crime before the "chaste stars". At
last, Othello assumes the posture of the tragic hero, grossly wrong in his determination, yet
steeling himself to do what he must.
There is a sense that a decision is made and this is conveyed through the confident tone that
‘she must die’- use of the modal verb to convey a real sense of certainty.
Still wants to maintain her beauty however: ‘Yet I’ll not shed her blood, Nor scar that whiter
skin of hers than snow And smooth as monumental alabaster. Yet she must die, else she’ll
betray more men.’ Sense again of vengeance- he sees himself as a hero by stopping her
causing any further harm. He is also convinced that he is being merciful in performing the
deed that does not shed her blood.
Devastating irony as he says, "Put out the light, and then put out the light"; Desdemona was
once the "light" of his life and, also, light is often equated in Elizabethan dramas with
reason, especially right reason, the aim of all men. The light Othello carries in this scene
becomes a metaphor for Desdemona’s life as he almost seems detached from the decision
he must make at first.
His character understands the finality of this, and that he cannot undo the murder: ‘when I
have plucked the rose I cannot give it vital growth again’- natural imagery. Floral imagery
perhaps highlights Desdemona’s beauty, but a rose also has its thorns- could link to the
danger that has come with loving Desdemona as in his mind she has been unfaithful.
Shakespeare uses the stage direction- ‘he smells then kisses her’ as an indicator of doubt.
This sensual contact of touch and smell reconnects him with Desdemona. His impulses and
reactions are more emotional just after this stage direction: ‘tears’ and ‘sorrows.’
For a moment, her beauty deters him, but then he regains composure as he realises it only
masks her corruption.
He is torn between his love for her (evidenced by his kiss) and his resolve to accomplish
justice. Desdemona is a "pattern of excelling nature", yet she is also "cunning".
Othello regains composure once Desdemona wakes up- knows what he must do.
A05- Philosopher Stanley Cavell asserts that Othello’s opening speech is ‘part of a ritual of
denial.’
, The dramatic impact of the exchange between Othello and Desdemona:
By refusing to even listen to Desdemona's denials of her suspected infidelity, Othello reveals
how fully he has lost his independent perspective and succumbed to Iago's web of illusions.
In fact, he refuses even to let her live a bit longer so she can prove her innocence. He is not
interested in her innocence, in her pleas to be given a chance to explain the truth behind
appearances, because he is so consumed by the "monster" of jealousy that he is certain that
she is guilty.
Desdemona does everything she can to deny Othello’s beliefs: ‘I never gave him token.’
Is it notable that even while Desdemona is weeping and insisting her innocence, Othello's
language is controlled and elevated. As Desdemona cries out, first for heaven to have mercy
on her and later for God Himself to have mercy on her, Othello voices a solemn "amen" to
her prayers and addresses her as a "sweet soul". Even now he refuses to see her as anything
but a "perjur'd woman" (a lying woman), one who forces him "to do A murder" (64-65). At
this moment, the motive of personal revenge surfaces again within him and replaces
controlled justice.
Othello encourages Desdemona to pray for pardon, ‘solicit for it straight’ if she is guilty of
any ‘crime’. Sense that he wants to give her the opportunity to be cleansed of what he
thinks her sins before she is murdered. It is suggested by Shakespeare that Othello does not
want Desdemona’s soul to be punished- is there still a sense of care here remaining? He
does not want her to go to hell- ‘I would not kill thy soul’ and later ‘think on thy sins’. Still
obsessed with his masculine reputation, Othello wants to be an ‘honourable murderer.’ (line
291)
Othello’s resolve of self-control breaks when Desdemona calls out for Cassio; he is convinced
that he indeed heard Cassio laughing about a sexual liaison with Desdemona and calls her a
‘strumpet.’ When Desdemona hears that Iago has killed Cassio, her self-control likewise
vanishes. She pleads for her life, asking for banishment, asking for at least a day's stay in her
execution, at least half a day, but she is overpowered by the Moor.
‘And yet I fear you, for you’re fatal then When your eyes roll so. Why I should fear I know
not, Since guiltiness I know not. But yet I feel I fear.’ Sympathy for Desdemona as she cries
out for her life.
‘Alas, why gnaw you so your nether lip? Some bloody passion shakes your very frame.
These are portents, but yet I hope, I hope They do not point on me.’ Reference to bad
omens with the phrase ‘there are portents…’ ‘I hope they do not point on me’ when
Desdemona is reacting to the fact that Othello’s body language is indicative of anxiety- he
bites his lip. Desdemona is right to perceive these non-verbal cues as bad omens.
In a way, the reference to the handkerchief, with its fluid symbolism, has also become a bad
omen.
Horrible moment of domestic violence which foreshadows what is to come- ‘he smothers
her’. Audience likely to have anticipated this moment.
Othello’s emotions in his second speech (88-99)
From his words, we realize that he is convinced that he is being merciful, if cruel, and that he
intends to be sure that his wife is dead. The monstrosity of what he has done overwhelms
him.
Lots of questions and exclamation marks, out of control of emotions, shocked. Sense that
the monstrosity of what he has just done has overwhelmed him.
This acts as a soliloquy in many ways, but Desdemona’s presence is important as it adds to
the drama/tension.
He is no longer the angry, vengeful husband. His soliloquy is quiet, and he seems to be more
an agent of justice than the jealous cuckold.
Othello enters ‘[with a light]’- ironically makes him seem like a priest officiating at a
religious ritual. Othello then speaks of the ‘heavenly’ sorrow he feels, suggesting he is
reluctant to begin the ceremony of death. RELIGIOUS IMAGERY USED THROUGHOUT THIS
SCENE!
Othello is presented as calm and controlled at times, with the focus being on justice and
honour- eg repetition of ‘cause’ within the speech. There remains a passionate conviction of
righteousness in his words- signifying the extent to which Iago has made him believe this.
He speaks repeatedly of "the cause . . . the cause" - that is, Desdemona's infidelity, and he
even hesitates to speak aloud the name of Desdemona's crime before the "chaste stars". At
last, Othello assumes the posture of the tragic hero, grossly wrong in his determination, yet
steeling himself to do what he must.
There is a sense that a decision is made and this is conveyed through the confident tone that
‘she must die’- use of the modal verb to convey a real sense of certainty.
Still wants to maintain her beauty however: ‘Yet I’ll not shed her blood, Nor scar that whiter
skin of hers than snow And smooth as monumental alabaster. Yet she must die, else she’ll
betray more men.’ Sense again of vengeance- he sees himself as a hero by stopping her
causing any further harm. He is also convinced that he is being merciful in performing the
deed that does not shed her blood.
Devastating irony as he says, "Put out the light, and then put out the light"; Desdemona was
once the "light" of his life and, also, light is often equated in Elizabethan dramas with
reason, especially right reason, the aim of all men. The light Othello carries in this scene
becomes a metaphor for Desdemona’s life as he almost seems detached from the decision
he must make at first.
His character understands the finality of this, and that he cannot undo the murder: ‘when I
have plucked the rose I cannot give it vital growth again’- natural imagery. Floral imagery
perhaps highlights Desdemona’s beauty, but a rose also has its thorns- could link to the
danger that has come with loving Desdemona as in his mind she has been unfaithful.
Shakespeare uses the stage direction- ‘he smells then kisses her’ as an indicator of doubt.
This sensual contact of touch and smell reconnects him with Desdemona. His impulses and
reactions are more emotional just after this stage direction: ‘tears’ and ‘sorrows.’
For a moment, her beauty deters him, but then he regains composure as he realises it only
masks her corruption.
He is torn between his love for her (evidenced by his kiss) and his resolve to accomplish
justice. Desdemona is a "pattern of excelling nature", yet she is also "cunning".
Othello regains composure once Desdemona wakes up- knows what he must do.
A05- Philosopher Stanley Cavell asserts that Othello’s opening speech is ‘part of a ritual of
denial.’
, The dramatic impact of the exchange between Othello and Desdemona:
By refusing to even listen to Desdemona's denials of her suspected infidelity, Othello reveals
how fully he has lost his independent perspective and succumbed to Iago's web of illusions.
In fact, he refuses even to let her live a bit longer so she can prove her innocence. He is not
interested in her innocence, in her pleas to be given a chance to explain the truth behind
appearances, because he is so consumed by the "monster" of jealousy that he is certain that
she is guilty.
Desdemona does everything she can to deny Othello’s beliefs: ‘I never gave him token.’
Is it notable that even while Desdemona is weeping and insisting her innocence, Othello's
language is controlled and elevated. As Desdemona cries out, first for heaven to have mercy
on her and later for God Himself to have mercy on her, Othello voices a solemn "amen" to
her prayers and addresses her as a "sweet soul". Even now he refuses to see her as anything
but a "perjur'd woman" (a lying woman), one who forces him "to do A murder" (64-65). At
this moment, the motive of personal revenge surfaces again within him and replaces
controlled justice.
Othello encourages Desdemona to pray for pardon, ‘solicit for it straight’ if she is guilty of
any ‘crime’. Sense that he wants to give her the opportunity to be cleansed of what he
thinks her sins before she is murdered. It is suggested by Shakespeare that Othello does not
want Desdemona’s soul to be punished- is there still a sense of care here remaining? He
does not want her to go to hell- ‘I would not kill thy soul’ and later ‘think on thy sins’. Still
obsessed with his masculine reputation, Othello wants to be an ‘honourable murderer.’ (line
291)
Othello’s resolve of self-control breaks when Desdemona calls out for Cassio; he is convinced
that he indeed heard Cassio laughing about a sexual liaison with Desdemona and calls her a
‘strumpet.’ When Desdemona hears that Iago has killed Cassio, her self-control likewise
vanishes. She pleads for her life, asking for banishment, asking for at least a day's stay in her
execution, at least half a day, but she is overpowered by the Moor.
‘And yet I fear you, for you’re fatal then When your eyes roll so. Why I should fear I know
not, Since guiltiness I know not. But yet I feel I fear.’ Sympathy for Desdemona as she cries
out for her life.
‘Alas, why gnaw you so your nether lip? Some bloody passion shakes your very frame.
These are portents, but yet I hope, I hope They do not point on me.’ Reference to bad
omens with the phrase ‘there are portents…’ ‘I hope they do not point on me’ when
Desdemona is reacting to the fact that Othello’s body language is indicative of anxiety- he
bites his lip. Desdemona is right to perceive these non-verbal cues as bad omens.
In a way, the reference to the handkerchief, with its fluid symbolism, has also become a bad
omen.
Horrible moment of domestic violence which foreshadows what is to come- ‘he smothers
her’. Audience likely to have anticipated this moment.
Othello’s emotions in his second speech (88-99)
From his words, we realize that he is convinced that he is being merciful, if cruel, and that he
intends to be sure that his wife is dead. The monstrosity of what he has done overwhelms
him.
Lots of questions and exclamation marks, out of control of emotions, shocked. Sense that
the monstrosity of what he has just done has overwhelmed him.
