Othello Act 3 Scene 3 Focus

The Tragedy of Othello - Focus on Act III Scene iii

Shakespearian tragedy explores the notion that humans are “inevitably doomed through their own failures or errors”. In the Tragedy of Othello, the central motif of jealousy and mistrust are the weaknesses that cause the inevitable destruction of the hero. Othello’s feelings of worthlessness as a “Moor” despite his rank and Desdemona’s love are heightened and masterfully exploited by Iago. Ironically, jealously over misplaced trust ignites Iago’s betrayal and ultimately delivers the tragic ending as Iago provokes such feelings in Othello, cunningly urging Othello to question his own judgement and betray his own goodness.
The Venice of Othello mirrors Shakespeare’s biased London as his protagonist suffers blatant prejudice. Racist language “sooty bossom,” and animal imagery “old black ram,” depict the “Moor” as less human, Bravely, Shakespeare presents the first sympathetic portrayal of a black man in English literature, challenging audiences to re evaluate accepted Elizabethan prejudice. The poet presents the irony of an esteemed general who cannot be trusted with Venice’s daughters but is instrumental in ensuring the State’s safety. He is an alien; isolated from the world he is married to and protects.
Othello internalises the prejudice, viewing himself as a “horned man,” his sense of worthlessness grows and is harnessed by Iago. Act III Scene 3, delivers the pivotal point where Othello abandons all reason and is swayed by Iago’s absolute yet false loyalty in his disclosure of Desdemona’s alleged betrayal. His “loyalty” is given form through the stage directions where he kneels alongside his commander in union. Although Iago warns against “ the green eyed monster which doth mock the meat it feeds on,” he speaks of his own actions towards Othello. Shakespeare cleverly uses these words to share the irony and great divide between words and action. The villain takes on a diplomatic role, constantly using emotive language to appear merciful and aid his deception as Shakespeare unveils Othello’s paradox in character. His insecurities emerge in this climactic scene where Iago adopts a false reason and compassion, “Patience I say; you mind perhaps may change,” effecting Othello to the extent that he possesses no reason. He personifies his rage, “my bloody thoughts with violent pace shall ne’er look back.” Othello is incapable of logical thought driven by passionate jealously. Each character adopts the language and persona of the other. Shakespeare does this to communicate the absolute effectiveness of using one’s insecurities to destroy them.

A single “ handkerchief” is Iago’s weapon as it sets Othello on an impassioned course of revenge. It is a metaphor for the fragility of Othello’s belief in himself and his marriage. Ironically, a “token” of his love becomes the impetus for the end of his happy union and trust. In the excerpt, Act III Scene 3 Ln 434-480 the audience can pin point Othello’s transformation from a trusting, noble man to a jealous, vengeful murderer. Fully convinced of his wife’s unfaithfulness he menacingly proclaims, “One is too poor, too weak for my revenge.” In his single-minded malice, Othello now shares Iago’s malevolent spirit as his “bosom” is metaphorically full of “Aspic snakes.” He comes to resemble the villain in his speech, using repetition “Blood, blood, blood! , broken sentences, and Iago’s violent, sexual animal imagery. Othello summons, “ black vengeance, from thy hollow cell.” This crucial passage prefaces to tragedy that unfolds in the final acts.
As the malcontent figure, Shakespeare uses Iago to drive the action of the play. Iago proclaims“I am your own forever” deceptively presenting as the loyal aide. The audience understands Iago’s deception as it contrasts with his absolute oxymoron, “I follow but myself, “ Act I Scene 1.” The conflicting statements reveal his true motive to the audience without alerting Othello. Iago’s manipulative ways is central to the plot, driven by pure hatred towards Othello, Desdemona and his own insecurities and jealousies. This passage sees his plan come to fruition having finally convinced Othello of Desdemona and Cassio’s betrayal. Iago can effect Othello’s extraordinary response due to Othello’s insecurity and ability to trust, the product of his skin colour. Physically he sends Othello into a trance in Act IV by putting the explicit images of Cassio lying “with her, on her”. This is dramatised in the film as an epileptic fit. It symbolises Othello’s weakness and ability to let Iago in his head, physically draining him. It is in contrast of the balanced Othello of previous Acts. Iago’s role is dimished during the final Act yet his characteristics are clearly visible the transformed Othello as he is described as the ‘devil’ and ‘villain’ by Emilia– all previous names for Iago. Othello completes Iago’s scheme of revenge.
Iago and Desdemona represent internalised features of the hero. He rejects his loving and generous self – that aspect of humanity that makes society possible – in favour of the dark passions of his self-centred ego. While he attempts to hate Desdemona for her betrayal he cannot deny his emotion for her and finally her essential goodness. He admits that Desdemona is his first love, naive and unconfident in their union he fails to see his worth in her eyes. “I do love thee; and when I love thee not, Chaos is come again”Act III Scene 3 foreshadows the ensuing action. Othello’s love for Desdemona is intense, his “Bloody thoughts with violent pace shall ne’er look back, ne’er ebb to humble love.” His path forward is fixated on revenge with no concern for love.
Othello feels unworthy of Desdemona’s love. Unable to trust Desdemona, lacking the basic element of love, Othello disintegrates morally. Iago plays on this self-doubt, implying that Othello’s race and age have made her unfaithful. Finally,, Othello fails Desdemona, no longer trusting her and he implores Iago to assist in the damnation of the “fair Devil.” Before taking his own life, after acknowledging her purity, he humbles himself to Desdemona by recognising their alternate paths in death as he “roasts in sulphur.”
Finally, Othello achieves nobility in his final words, “Speak of me as I am; nothing extenuate, of one that loved not wisely, but too well…” Shakespeare returns Othello to his former state of balanced integrity acknowledging his sins and tragic fate. He no longer be manipulated and faces his destiny with a stronger sense of self.