1.) Presentation of Othello (start of the scene compared with the end):
Start
Refers to Cassio by his first name ‘Michael’ which is unusual and deliberate – conveys trust
and friendship between the two characters.
Othello is keen to keep the celebrations in check and does not want the revelling to become
too much: ‘teach ourselves the honourable stop’.
End
The key emotion here is anger - ‘Are we turned Turks?’ ‘Barbarous brawl’. He accuses them
of uncivilized behaviour here.
Othello is still presented as fairly measured on the whole, but there are hints of anger here.
It is important to consider that he states that he loves Cassio, but there is also an emphasis
on the idea of making an example of him: ‘I’ll make thee an example’.
2.) Iago’s description of Desdemona and how it contrasts with Cassio’s
Iago says that she is ‘full of game’ and is ‘sport for Jove’- Jove was a notorious womanizer in
classical myths.
Iago seems to view her only as a sexual being, an object. He makes multiple references to
sex.
Cassio in contrast describes her as a ‘most exquisite lady’ - superlatives are used here.
Iago repeatedly tries to get Cassio to make base and sexual comments about Desdemona
but Shakespeare makes it clear that Cassio will not lower himself in this way. Despite the
influence of Iago, he does not break and maintains his respect for Desdemona, calling her a
‘fresh and delicate creature’.
The key contrast is that Iago speaks of her sexual defiance, through the phrase ‘parley to
provocation’ (saying she is like a sexual invitation), whereas as Cassio describes her as
‘modest’.
Iago tries to convince Cassio to actually take a shot at seducing Desdemona by alluding to
the idea that demure women are probably just hiding their inner whore. Cassio seems to
disagree.
Shakespeare presents these two versions of Desdemona to foreshadow the choice Othello
will have to make. He will have to choose whether to believe she is either a faithful wife or a
whore.
3.) Iago’s management and manipulation of events (manipulator and pacifier):
Firstly, Iago seems to manipulate Cassio with ease, other than when he tries to get him to
engage in the sexualised banter relating to Desdemona.
Iago’s repeats the idea of ‘one more cup’ and there a sense of almost peer pressure here
when he speaks of the ‘gallants’ desiring it (saying that the other men are waiting for him,
encouraging him to have fun.)
Iago’s asides make this very clear: ‘…he’ll be as full of quarrel and offence as my young
mistress’ dog’- he foresees that Cassio will become aggressive when he is drunk. As the
scene unravels we see just how accurate Iago is in his predictions- seems he is able to find
Start
Refers to Cassio by his first name ‘Michael’ which is unusual and deliberate – conveys trust
and friendship between the two characters.
Othello is keen to keep the celebrations in check and does not want the revelling to become
too much: ‘teach ourselves the honourable stop’.
End
The key emotion here is anger - ‘Are we turned Turks?’ ‘Barbarous brawl’. He accuses them
of uncivilized behaviour here.
Othello is still presented as fairly measured on the whole, but there are hints of anger here.
It is important to consider that he states that he loves Cassio, but there is also an emphasis
on the idea of making an example of him: ‘I’ll make thee an example’.
2.) Iago’s description of Desdemona and how it contrasts with Cassio’s
Iago says that she is ‘full of game’ and is ‘sport for Jove’- Jove was a notorious womanizer in
classical myths.
Iago seems to view her only as a sexual being, an object. He makes multiple references to
sex.
Cassio in contrast describes her as a ‘most exquisite lady’ - superlatives are used here.
Iago repeatedly tries to get Cassio to make base and sexual comments about Desdemona
but Shakespeare makes it clear that Cassio will not lower himself in this way. Despite the
influence of Iago, he does not break and maintains his respect for Desdemona, calling her a
‘fresh and delicate creature’.
The key contrast is that Iago speaks of her sexual defiance, through the phrase ‘parley to
provocation’ (saying she is like a sexual invitation), whereas as Cassio describes her as
‘modest’.
Iago tries to convince Cassio to actually take a shot at seducing Desdemona by alluding to
the idea that demure women are probably just hiding their inner whore. Cassio seems to
disagree.
Shakespeare presents these two versions of Desdemona to foreshadow the choice Othello
will have to make. He will have to choose whether to believe she is either a faithful wife or a
whore.
3.) Iago’s management and manipulation of events (manipulator and pacifier):
Firstly, Iago seems to manipulate Cassio with ease, other than when he tries to get him to
engage in the sexualised banter relating to Desdemona.
Iago’s repeats the idea of ‘one more cup’ and there a sense of almost peer pressure here
when he speaks of the ‘gallants’ desiring it (saying that the other men are waiting for him,
encouraging him to have fun.)
Iago’s asides make this very clear: ‘…he’ll be as full of quarrel and offence as my young
mistress’ dog’- he foresees that Cassio will become aggressive when he is drunk. As the
scene unravels we see just how accurate Iago is in his predictions- seems he is able to find
