Significance of Act IV Scene I [Othello and
Iago's decision to kill Desdemona]
Significance of Act IV Scene I
Symbol of the handkerchief.
Othelloʼs change in character.
Decision to strangle Desdemona in her bed.
The extract comes from Act IV Scene I immediately following Cassio and Iagoʼs conversation
where they laughed at Bianca while Othello believed it to be about Desdemona, and in a
demonstration of dramatic irony Bianca enters with the handkerchief presenting Othello with
the “ocular proof” in which Othello decided to murder Desdemona in this scene. The scene is
therefore pivotal and begins with emphasis on the end of the tragedy soon approaching. The
tragic themes of the extent of the peripeteia of the tragic hero, meaningless symbol of the
handkerchief which holds deeper connotations, and the decision to kill Desdemona which will
be the climax of the tragedy.
As Iago asks, “And did you see the handkerchief?” confirming that it is Othelloʼs the ending of
the play begins to be foreshadowed immediately. Critics have stated mockingly that Othello
may be simply referred to as the “tragedy of the handkerchief” (Rymer), however it is important
to realise the very significance of the object and its symbolism which the extract highlights. As
Iago receives the handkerchief and states to the audience “that trifles as light as air Are to the
jealous confirmations strong”, he “as the playwright” (Leavis) begins to manipulate the symbol
of the handkerchief which presents Desdemonaʼs fidelity and Othelloʼs love for her. As the
handkerchief passes from hand to hand from Othello – Desdemona – Emilia – Iago – Cassio –
Bianca, in Othelloʼs mind the arrival of Bianca (a prostitute) holding the handkerchief is the final
diminishment of Desdemonaʼs purity; “she gave it him, and he hath given it his whore”. Biancaʼs
16th century amorality and place as “a strumpet” is reflected onto Desdemona causing Othello
to call her the “cunning whore of Venice who married with Othello”. Through this both Iago and
Shakespeare reflect an element of ridiculous in Othello and arguably in 16th century society.
Much like Posthumous in Cymbeline as Othello gives Desdemona the handkerchief as a love
token similar to Posthumousʼ ‘manacle of loveʼ “upon my fairest prisoner I place thee”, the love
token is set to symbolise the couples love for each other. However, due to the male partners
immense focus on the object, it begins to symbolise the restrictions of the marriage as the male
lover replaces his love in the person with the object. Therefore, when Othello learns that
Desdemona does not have the handkerchief, he views it as being a “nine years a killing”
refectory in the slow painful death he feels his love has experienced. The scene is therefore
significant in emphasising the failure of miscommunication in the coupleʼs marriage and can
even be seen as an anti-capitalist commentary of dangers of focusing too much on product in
marriage.
Iago's decision to kill Desdemona]
Significance of Act IV Scene I
Symbol of the handkerchief.
Othelloʼs change in character.
Decision to strangle Desdemona in her bed.
The extract comes from Act IV Scene I immediately following Cassio and Iagoʼs conversation
where they laughed at Bianca while Othello believed it to be about Desdemona, and in a
demonstration of dramatic irony Bianca enters with the handkerchief presenting Othello with
the “ocular proof” in which Othello decided to murder Desdemona in this scene. The scene is
therefore pivotal and begins with emphasis on the end of the tragedy soon approaching. The
tragic themes of the extent of the peripeteia of the tragic hero, meaningless symbol of the
handkerchief which holds deeper connotations, and the decision to kill Desdemona which will
be the climax of the tragedy.
As Iago asks, “And did you see the handkerchief?” confirming that it is Othelloʼs the ending of
the play begins to be foreshadowed immediately. Critics have stated mockingly that Othello
may be simply referred to as the “tragedy of the handkerchief” (Rymer), however it is important
to realise the very significance of the object and its symbolism which the extract highlights. As
Iago receives the handkerchief and states to the audience “that trifles as light as air Are to the
jealous confirmations strong”, he “as the playwright” (Leavis) begins to manipulate the symbol
of the handkerchief which presents Desdemonaʼs fidelity and Othelloʼs love for her. As the
handkerchief passes from hand to hand from Othello – Desdemona – Emilia – Iago – Cassio –
Bianca, in Othelloʼs mind the arrival of Bianca (a prostitute) holding the handkerchief is the final
diminishment of Desdemonaʼs purity; “she gave it him, and he hath given it his whore”. Biancaʼs
16th century amorality and place as “a strumpet” is reflected onto Desdemona causing Othello
to call her the “cunning whore of Venice who married with Othello”. Through this both Iago and
Shakespeare reflect an element of ridiculous in Othello and arguably in 16th century society.
Much like Posthumous in Cymbeline as Othello gives Desdemona the handkerchief as a love
token similar to Posthumousʼ ‘manacle of loveʼ “upon my fairest prisoner I place thee”, the love
token is set to symbolise the couples love for each other. However, due to the male partners
immense focus on the object, it begins to symbolise the restrictions of the marriage as the male
lover replaces his love in the person with the object. Therefore, when Othello learns that
Desdemona does not have the handkerchief, he views it as being a “nine years a killing”
refectory in the slow painful death he feels his love has experienced. The scene is therefore
significant in emphasising the failure of miscommunication in the coupleʼs marriage and can
even be seen as an anti-capitalist commentary of dangers of focusing too much on product in
marriage.
