Act 3 Othello

Iago stokes Othello's fury and disgust

He encourages Othello to visualize Desdemona and Cassio having sex: 'Would you, the supervisor, grossly gape on? / Behold her topped?' Iago then employs gross bestial imagery to further Othello's revulsion: 'Were they as prime as goats, as hot as monkeys, / As salt as wolves in pride'

Emilia does not tell Desdemona the truth about the handkerchief

This is done either out of a sense of self-preservation or out of loyalty to her husband Iago

Character of Othello Act 3, Scene 3

This scene allows for much criticism of Othello. Most significantly is the quick change in loyalty to Desdemona, who he considers unfaithful without any proof and simply due to Iago suggesting that her faithfulness can be doubted. This suggests that he has trust issues, which means that he will never be able to have a suitable marriage as such a relationship requires blind trust; with this in mind it appears as the marriage came about due to Desdemona's appreciation of Othello's lifestory and thus was an ego trip of sorts. Now, when there is the suggestion that his wife is not faithful Othello believes it an attack on his lifestory, character and reputation which he prizes above all due to his self-obsessive nature; this can cited as the reason for his fierce response to Iago's supposed revelations. This is why he does not confront Desdemona; it is not out of cowardice or convenience, but rather as such is the level of Othello's self-obsession that any doubt in his wife's faith is as bad as adultery, hence his reaction without Iago initially providing any concrete evidence (indeed such is the level that Othello believes Iago is presenting him with a censored version due to his love for him). However when he is met with further evidence of his wife's betrayal his ego goes into overdrive and ignores all alternatives other than to defend itself. This scene is pivotal in the course of the play as a whole as Othello aligns himself with Iago rather than Desdemona, which is confirmed with a marriage ceremony of sorts to Iago; their kneeling resembles a position of both members during their marriage ceremony. Convinced of his wife's betrayal Othello enters into a union with another, however the irony is that what he believes he is departing from is actually what he is embracing (emphasized with Iago's declaration of 'I am your own forever'); Othello believes his wife is betraying, deceptive and distorts reality, whereas he is joining forces with the individual who is central to these forces in the world of the text, who will deceive and betray him further, while not allowing him any semblance of truth. The reason for this choice can be located in Iago's speech about the 'green-eyed monster'; this conventionally refers to jealousy, which in turn reflects insecurity. Othello's insecurity now manifests, believing in his own worthlessness due to Desdemona's supposed betrayal of him which also challenges the impressiveness of his life story, which caused her to fall in love with him. Of note is that Othello loses control of his language from this moment on, with Iago relied upon in this area; as said Othello used language earlier to create an aura around himself, which he can no longer do as his insecurity has created self-doubt.

Points to note from act 3 scene 1

This scene provides some comic relief for the audience after the violence and tension of the previous scene. The clown's crude puns and the jokes he makes at the musicians' expense are unsophisticated but still humorous. Cassio is clearly desperate to be reinstated as Othello's lieutenant. He hires musicians to play outside Othello's lodgings and bribes the clown to depart in case he causes offence. Having not slept since the brawl, he attempts to secure a meeting with Desdemona, thus playing into the hands of Iago. Emilia is kind and tries to oblige Cassio. However, without realising it, she too is helping Iago achieve his sinister goal of driving Othello into a jealous rage.

Analysis if Act 3, Scene 3

This scene, often called the "temptation scene," is the most important scene in the entire play and one of the most well-known scenes in all drama. In it, Iago speaks carefully and at length with Othello and plants the seeds of suspicion and jealousy which eventually bring about the tragic events of the play. Ironically, it is Desdemona's innocent attempt to reconcile Othello with Cassio that gives Iago the opportunity to wreak vengeance upon Othello, thereby causing the murder and suicide that bring this tragedy to its violent conclusion. Ironically also, when the curtains for this act part, they reveal the loveliest scene in the entire play: the garden of the Cyprian castle. Desdemona, the well-meaning bride, has been talking with Cassio and tells him that she is sure that she can influence her husband in Cassio's behalf. Emilia is present and adds her own good wishes for Cassio; she too hopes that Desdemona will be successful. But when Emilia adds that her husband, Iago, grieves "as if the cause [for Cassio's demotion] were his" and that his friendship with the Moor has been severed, even the most casual listener in the audience would probably gasp in disbelief. Emilia's comment is followed by another comment that is equally startling: Desdemona, speaking of Iago, says, "O, that's an honest fellow" . The dramatic irony is especially seen here as Desdemona tells Cassio that she is convinced that she "will have [her] lord and [him] again / As friendly as [they] were". Cassio expresses his gratitude, but he urges Desdemona not to delay, for if Othello waits too long to appoint a new lieutenant, he may "forget my love and service". Again, Desdemona is most reassuring, stating that it is not in her character to violate a vow of friendship. (Later, Othello will believe not only that she has violated a vow of friendship, but that she has violated their vows of marriage.) Desdemona jests to Cassio that she will "talk him [Othello] out of patience; / His bed shall seem a school . . . I'll intermingle everything he does / With Cassio's suit". (This too is ironically ominous; within an hour, Othello's notion of his marriage bed will be filled with false visions of Cassio.) Desdemona's final lines here are prophetic: As Cassio's solicitor, she would "rather die / Than give [his] cause away". Emilia then notes that Othello and Iago are approaching. When the Moor and Iago enter, Cassio excuses himself hurriedly, saying that he is too ill at ease to speak with the general at this time. And it is at this point that Iago, who is ready to make the most of every incident and occasion, begins to taint Othello's belief in Desdemona's fidelity. Iago represents himself as an honest, but reluctant, witness. His "Ha! I like not that!" is a blatant lie, nothing could satisfy his perversity more. But because Othello sees nothing amiss, Iago must make a show of not wanting to speak of it, or of Cassio, while all the time insinuating that Cassio was not just leaving, but that he was "steal[ing] away so guilty-like". Iago's words here are filled with forceful innuendo, and as he pretends to be a man who cannot believe what he sees, he reintroduces jealousy into Othello's subconscious. Desdemona greets her husband and, without guilt, introduces Cassio's name into their conversation. Here, fate plays a major role in this tragedy; not even Iago wholly arranged this swift, coincidental confrontation of Othello, Desdemona, and Cassio, and certainly the pathos of Desdemona's position here is largely due to no other factor than fate. Desdemona could not purposely have chosen a worse time to mention Cassio's name to her husband. In addition, she innocently refers to Cassio as a "suitor." All these coincidences will fester later in Othello's subconscious as Iago continues to fire the Moor's jealousy. But for now, Othello is without suspicion, even as his wife speaks openly of Cassio's wish to be reinstated as his lieutenant and of her own wish for their reconciliation. She sees no villainy in Cassio's face, she says; Cassio "errs in ignorance and not in cunning". As another example of dramatic irony, note how clearly the audience can see the contrast between Cassio and Iago, a man who certainly errs — at least morally — in his own "cunning." The characters in the play, however, with the exception of Iago, are blind to Iago's duplicitous nature. Othello seems to be concerned with other matters. Obviously, he will do what his wife asks, but his thoughts are on other things. He does not wish to call Cassio back at the moment, but Desdemona is insistent. Perhaps she is merely young and eager to have her requests granted, or perhaps she is too eager to prove to herself that her new husband is obedient; whatever the reason, she harries Othello about when he will reinstate Cassio as his lieutenant: " . . . to-night at supper? . . . / To-morrow dinner then? . . . / to-morrow night; on Tuesday morn; / On Tuesday noon, or night; on Wednesday morn. / I prithee, name the time, but let it not / Exceed three days . . . . When shall he come? / Tell me, Othello". Even though she did promise Cassio not to delay speaking to Othello about the matter, such annoying insistence seems unnecessary, and it leads to Othello's becoming mildly vexed with his wife's childish pestering: "Prithee, no more; let him come when he will, / I will deny thee nothing". Desdemona realizes that Othello's answer is curt, and she emphasizes that this is an important matter and not a trifle that she is asking. To this, Othello stresses again that he will deny her nothing, but, in return, he asks for a bit of time so that he can be alone; he will join her shortly. As Desdemona leaves, Othello chides himself for being irritated by his wife. Lovingly he sighs, "Excellent wretch! Perdition catch my soul, / But I do love thee! and when I love thee not, / Chaos is come again". There is an element of prophecy here not only in Desdemona's and Othello's farewells to one another, but also in their lines and in the remainder of the Moor's first speech after Desdemona leaves. In a metaphorical sense, perdition will soon catch Othello's soul, and chaos will soon replace order in his life. When Iago is alone with Othello, he resumes his attack on his general's soul. Out of seemingly idle curiosity, he asks if Desdemona was correct when she referred to the days when Othello was courting her; did Cassio indeed "know of your love?". Here he prods Othello's memory to recall that Desdemona and Cassio have known each other for some time. Then again playing the reluctant confidant, he begs, as it were, not to be pressed about certain of his dark thoughts. One can see how skillfully Iago makes use of his public reputation for honesty. It is necessary to remember throughout the play and especially in this scene that Iago has a reputation for complete honesty. It is for this reason that Othello is alarmed by Iago's hesitations and "pursed brow"; Othello knows that Iago is not a "false disloyal knave" and that he is "full of love and honesty" . If Iago fears something, it must be a concern "working from the heart" . Othello is convinced that Iago is withholding something and asks for his ruminations, the "worst of thoughts / The worst of words" . What Iago is doing, of course, is making Othello believe that Iago's honor is at stake if he confesses his fears. Thus he lies to Othello again, saying that he is unwilling to speak further because he may be "vicious in [his] guess" . One should never doubt that Iago will speak the "worst of thoughts" , although at first he does not answer directly. First, he speaks only the word "jealousy" aloud, fixing it in Othello's imagination; then, sanctimoniously, he warns his general against this evil, this "green ey'd monster" and refers to the "wisdom" of Othello, implying that the general is not one to be trapped by his emotions. Filled with what appears to be moral fervor, Iago then proceeds to a glorification of reputation. One might profitably recall Iago's antithetical views on the same subject when he was talking with Cassio earlier. In Act II, Scene 3, Iago told Cassio that "reputation is an idle and most false imposition; oft got without merit, and lost without deserving" . Othello hears, and his "O misery!" tells us that already he has begun to suffer aching pangs of jealousy, even though he has vowed not to be of a jealous nature. He swears that he will "see before I doubt; when I doubt, prove" . Iago approves of such a stance; he, of course, is in a position to let human nature run its course and "prove" what it wishes — irrationally. He knows that man, being human, is flawed and subject to fears and irrational suspicions. He then asks the Moor to use his "free and noble nature" to determine for himself the truth of the behavior between Desdemona and Cassio. But he reminds Othello that Desdemona is a Venetian lady and "in Venice they [wives] do not let [even God] see the pranks / They dare not show their husbands" . In other words, the faithless wife is a well-known member of Venetian society. Here the reader should recall Othello's words to the Duke of Venice; he confessed that he knew very little of the world except for that pertaining to warfare. Othello is a master of games on the battlefield, but he is innocent of social games. Iago also urges Othello to recall that Desdemona deceived her own father by marrying Othello. To Brabantio, Desdemona pretended to be afraid of Othello's dark looks; she pretended to shake and tremble at Othello's exotic demeanor, yet "she lov'd them [Othello's features] most". The implication is clear; Iago does not have to state it: If Desdemona deceived her own flesh and blood, she might just as naturally deceive her husband. The logic of these lines is forceful, and Iago is astute enough to pause now and then, begging his superior's forgiveness, and, at the same time, attributing his own frankness to his devotion and regard for Othello. When we hear the Moor say, "I am bound to thee for ever" , we feel that indeed he has been irrevocably trapped. Before the two men part, Iago goes to further pains to make Othello believe in his honesty and also to insure that Othello's jealousy has been sufficiently inflamed. He must also measure how well he has succeeded thus far. Iago stresses that Cassio is his "worthy friend"; in other words, one does not lie about one's friends and, therefore, the Moor must not exaggerate in his imagination what he hears. Yet Iago is certain that Othello has already exaggerated to himself everything he has just heard. For that reason, Iago's remark to Othello that all this has "a little dash'd your spirits" is a gross understatement. Othello is no longer as sure as he was of Desdemona's fidelity, for he ponders on the possibility of " . . . nature erring from itself — " . This thought is similar to his father-in-law's observation in Act I, Scene 3, when Brabantio spoke of "nature erring" — when Desdemona "unnaturally" chose Othello, a man not of her own race or culture. Othello turns and asks that Iago's wife, Emilia, watch Desdemona closely. Then he bids Iago farewell, painfully asking himself why he married at all; it is obvious to him that "this honest creature [Iago] doubtless / Sees and knows more, much more, than he unfolds" . Now we hear Othello in a soliloquy , and the range of the imagery he uses underscores the appalling change in his character. There is only one thing now of which Othello is certain — the "exceeding honesty" of Iago. The Moor is obsessed with the need to prove or disprove Desdemona's fidelity. If he indeed finds her false, he'll "whistle her off and let her down the wind / To prey at fortune" — that is, he will turn her out and make her shift for herself. And here he begins to look for reasons for her unfaithfulness. Convulsed with introspection, he curses his black skin and his lack of social graces and also the fact that he is "into the vale of years" (he is much older than Desdemona) — all these things, he fears, could turn a woman from her husband's bed. Othello's mental agony approaches the emotional climax of the play; here is the first turning point of the drama. Othello's mind and soul are torn with irrational images of Desdemona's infidelity and of his own unworthiness. Othello sees himself as an old man, an old cuckold, one who has treasured Desdemona blindly, beyond reason. Hours ago, he was filled with the spirit of a young bridegroom; now he is reduced to ignominy. Once he felt he was one of the "great ones" ; now his pride in himself and in Desdemona's love for him is destroyed. Othello is ravaged by self-loathing, reduced to comparing himself to a dungeoned toad; he is cursed by a "destiny unshunnable". And yet, as Desdemona and Emilia enter, he is able to move from this state of abject hopelessness to a momentary appeal to heaven when he declares that he will not believe that his wife is false to him. In his few words with Desdemona, he speaks faintly, pleading that he has a headache. When Desdemona offers to bind his aching head with her handkerchief, he declines because the handkerchief is too small. He pushes it from him and it falls unnoticed to the floor. This dropped, unnoticed handkerchief should not escape our notice. Desdemona carries it because she treasures it deeply. It was one of her first gifts from Othello, and he has asked her to keep it with her always, and she has; in fact, Emilia has seen Desdemona, on occasion, kiss the handkerchief and talk to it. Later, this handkerchief in Cassio's possession will be sufficient "proof" for Othello to abandon all faith in Desdemona. Alone, Emilia picks up the handkerchief. She knows how deeply Desdemona treasures it, but she recalls that Iago has asked her many times to "steal" it. She is puzzled by his request, but now she has an opportunity to have the embroidery pattern copied, and she can give it to her whimsical husband. Here it is significant that twice Emilia uses the verb steal and also the verb filch when she refers to Iago's request. Iago enters and, after a brief exchange with his wife, learns that she has the very handkerchief that he has longed for. He snatches it from her and refuses to tell her why he wants it. After Emilia leaves, he reveals the next step in his plan: he will go to Cassio's lodgings, leave the handkerchief there, and let Cassio find it. Cassio will keep it and then Othello will see it in the ex-lieutenant's possession. By this time, Othello's suspicions will be ripe with Iago's "poison", for "trifles light as air / Are to the jealous confirmations strong / As proofs of holy writ" . Othello will then conclude that Desdemona either gave the handkerchief to Cassio as a token of their love or left it at Cassio's lodgings after a rendezvous. In fact, a conclusion is hardly necessary; for a mind as inflamed with jealousy as Othello's, the handkerchief itself is metaphor enough. Even now Othello's blood "burn[s] like the mines of sulphur" . This suggestion of hellfire by Iago is a reflection of his own diabolical role in this villainy. When Othello enters, it is evident to Iago, and to us, that he is a fallen man. Never more shall he find repose. Neither the opium of poppies nor the distillation of the mandrake root will help him find sleep. Momentarily, Othello seems to revive his senses, snarling at Iago's villainy and sending him away, then he slumps into despair. Iago's evil has "set [the Moor] on the rack" , and Othello wishes in vain that he had remained blind to his wife's alleged infidelity. In his imagination, he has seen "her stol'n hours of lust . . . [and tasted] Cassio's kisses on her lips" . He would have been happier, he cries, if his entire company of soldiers had "tasted her sweet body" and he had remained ignorant of the entire episode. But now this mental torment of suspicion gnaws at him until he knows no peace. The superb "farewell speech" that follows emphasizes how much Othello has lost — he, the model commander, the premier soldier — his "occupation's gone!" . Iago appears incredulous, and it is then that Othello turns on him with words that make Iago only too aware of the danger that faces him. At last Othello utters a true appraisal of Iago: "villain, be sure thou prove my love a *****" . But schemer that Iago is, he knows what must be done to protect himself; he must feign another vow of honesty and concern for Othello's welfare. The Moor, he says, has taught him a valuable lesson. "I'll love no friend, sith love breeds such offence" . Othello promptly concedes that Iago is honest, and the villain knows that for the time being he is safe. He turns to his general and fawns over his master's distress, noting that Othello is "eaten up with passion" . In unusually coarse imagery, Iago then introduces the subject of what kind of evidence would resolve Othello's doubts. The bestial images that Iago conjures up reek of base sexuality, for now Iago no longer needs to rely on innuendo. Now he tells Othello a bold lie, claiming that he himself slept beside Cassio recently; kept awake by a raging toothache that night, Iago says that Cassio moaned in his sleep for "Sweet Desdemona" and cautioned her to hide their love. Then Cassio seized Iago's hand, kissed him hard on the mouth, and threw his leg over Iago's thigh, kissing him all the while, and cursing fate, which "gave [Desdemona] to the Moor!" . This is Iago's "proof" that makes it perfectly clear to him that Cassio has had illicit relations with Desdemona. Othello is beside himself. "O monstrous! monstrous!" he cries. But again the ingenious Iago is quick to remind his master that, in reality, this was no more than Cassio's dream. Othello, however, thinks otherwise — as Iago was certain he would. In his rage, the Moor declares that he will tear Desdemona to pieces. Here, compare this madman, incensed by Iago's poison, with the noble Moor who, only a few hours ago, repeatedly demonstrated such complete command of himself. Yet Iago must be sure that Othello is sufficiently mad; therefore, he makes reference to Desdemona's handkerchief with its intricate strawberry embroidery; Othello immediately remembers it as the very one he gave to his wife. Iago tells the Moor that only today he saw Cassio "wipe his beard" with it. Othello is enraged to the point where he is convinced that absolutely all of his suspicions are true. "All my fond love thus do I blow to heaven. / 'Tis gone," he exclaims , and in highly rhetorical lines, he dwells upon "black vengeance" and "tyrannous hate". Iago urges Othello to be patient, arguing that he may change his mind, and there follows the well-known Pontic Sea (i.e., the Black Sea) simile, in which Othello compares his "bloody thoughts" to the sea's compulsive current, one which never ebbs but keeps on its course until it reaches its destination, the junction of the Propontic and the Hellespont. In this simile, Othello stresses his high status (as we might expect a tragic hero to do), identifying himself with large and mighty elements of nature. Equally important, this simile makes clear the absoluteness in Othello's character; once he has decided which course to take, he cannot turn back, and this decision does much to make plausible the almost incredible actions that follow. Othello solemnly vows to execute "a capable and wide revenge" and then he kneels. He uses such words as heaven, reverence, and sacred, and it is as though he sees himself as a rightful scourge of evil, as executing public justice and not merely doing personal revenge. Iago bids the Moor not to rise yet, and he himself kneels and dedicates himself to "wrong'd Othello's service" . Then as both rise, Othello "greets" Iago's love and delegates a test of Iago's loyalty: See to it that Cassio is dead within three days. One cannot imagine more welcome words to Iago. As for Desdemona's fate, Othello says that he will withdraw and find "some swift means of death" . Othello's soul is so hopelessly ensnared in Iago's web of treachery that he proclaims Iago as his new lieutenant and states tragically, "I am your own for ever" . By the end of Act III, Scene 3, Iago has secured a shaky dominance over Othello. He is within reach of his original objective of driving Othello to despair, but his victory is not secure, as Othello may yet think to blame Iago again for his suffering and turn against him. While Cassio and Desdemona live, Iago has gained only a little time in which to secure his position.

Theme of Deception Act 3, Scene 3

Again Iago manages to deceive another without concrete evidence or proof of what he is saying. This is in part due to his technique; much like with Cassio earlier his demeanour makes him plausible, as Othello returns angry but is calmed and appeased due to Iago's declared allegiance to him. Such deception also serves to provide a commentary on Othello; he must take some part in the blame if he is willing to accuse his wife of unfaithfulness despite no concrete proof. Or, it may be taken that this is illustration of human character in general, which is naturally affected by insecurity and doubt.

Othello's pride is revealed as a flaw in his character.

As he comes to believe that Desdemona has been unfaithful, he cries out in pain. He no longer feels he is worthy of respect and bids farewell to his military career. As Othello's pride is wounded he succumbs to rage and jealousy

Emilia's virtues (her kindness and loyalty) are exploited by Iago.

By kindly facilitating the meeting between Desdemona and Cassio and by loyally giving Iago the handkerchief, Emilia unwittingly helps her husband ruin Othello and Desdemona.

Iago's deviously arouses Othello's suspicions.

By pretending to be reluctant to speak, Iago strengthens Othello's belief in his suggestions. Othello becomes desperate to hear 'The worst of words' believing that Iago is withholding some horrible information: 'This honest creature doubtless/ Sees and knows more , much more, than he unfolds.' The more reluctant Iago is to speak, the greater weight his words have.

Othello acknowledges Desdemona's strengths as a character. Othello states that he will not come to a conclusion based on suspicions, he needs proof that Desdemona has had an affair, and until then will continue with their loving relationship

"'Tis not to make me jealous/ To say my wife is fair, feeds well, loves company, / Is free of speech, sings, plays and dances well. " "Nor from mine own weak merits will I draw/ The smallest fear or doubt of her revolt- / For she had eyes, and chose me"

Desdemona showing her persistent nature

"Be thou assured, good Cassio, I will do/ All my abilities in thy behalf" Othello will see this as something else. He will misjudge the situation as Desdemona longing to see Cassio and spend time with him. By saying that she cares for him, in Othello's eyes looks like she is in love with him, which is not the case at all. Desdemona is just a very caring character. "My lord shall never rest" "I'll intermingle every thing he does / With Cassio's suit" "Thy solicitor shall rather die / Than give thy cause away" Desdemona is saying she will do everything she can. Desdemona's intimate goodness is evident. This is dramatically ironic as the audience know what Othello will think of this and it causes frustration on behalf of the audience. Othello will misinterpret Desdemona's persistent behavior to rehire Cassio as lieutenant as an act to mask her longing to be with Cassio.

Desdemona expresses the depth of her love for Othello

"Believe me, I had rather lose my purse/ Full of crusadoes." Desdemona says she would rather lose all her money that lose Othello's lover for her.

Emilia again states that men are jealous creatures and Othello's jealousy is just part of his nature. Desdemona doesn't agree.

"But jealous souls will not be answered so. They are not ever jealous for the cause, / But jealous for they're jealous. 'Tis a monster/ Begot upon itself, born on itself"

Iago is playing very coy and pretending he does not want to reveal the information or suspicions he has, when really he is dying to. This adds suspense and significance to the information he is withholding from Othello. Othello shouts "By heaven, he echoes me, /As if there were some monster in his thought/ Too hideous to be shown!" Othello is starting to become agitated by Iago and says "If thou love me, /Show me thy thought". Iago's interpretation of Cassio's exist, combined with Desdemona's vigorous advocating on Cassio's behalf, creates suspicion in Othello's mind even before Iago prompts Othello. Iago repeatedly says he will not tell Othello his deepest thoughts as they could be wrong. Iago's reluctance to tell Othello builds up the belief in Othello's mind that Iago's thoughts may be true. Othello asks Iago whether he believes Cassio to be honest, and Iago feigns reluctance to answer. Iago plants in Othello's mind thoughts of adultery, cuckoldry, and hypocrisy, until Othello screams at the ensign to speak his mind

"By heaven, he echoes me, /As if there were some monster in his thought/ Too hideous to be shown!" "If thou love me, /Show me thy thought"

Iago talking about bad suspicions

"Dangerous conceits are in their natures poisons, Which as the first are scarce found to distaste, But, with a little act upon the blood, Burn like the mines of sulphur"

Iago manipulating Othello

"I cannot think it, / That he would steal away so guilty-like, /Seeing you coming" Putting ideas into Othello's head, making Othello second-guess the situation. Despite the fact, that Iago knows that Cassio was only talking to Desdemona so he could seek council from her in retaining his job back as lieutenant, Iago does not tell Othello this and instead manipulates him into thinking an affair is occurring between the two.

Othello always states his love and affection for Desdemona when she is not amongst him.

"I do love thee! And when I love thee not, /Chaos is come again" This foreshadows the end of the play. Othello is saying when he does not love her darkness and confusion will result in the world, meaning that he will only ever stop loving her if and when something terrible happens (Desdemona had an affair).

Cassio

"I never knew/ A Florentine more kind and honest" -> talking about Iago

It takes very little evidence to convince Othello of Desdemona's unfaithfulness. All Iago has to do is make Othello doubt Desdemona and jealousy spreads like a virus from there. It takes only the slightest prompting on Iago's part to put Othello into the proper frame of mind to be consumed by jealousy.

"I'll tear her all to pieces!" "Arise, black vengeance, from thy hollow hell! Yield up, O love, thy crown and hearted throne To tyrannous hate! Swell, bosom, with thy fraught, For 'tis of aspics' tongues!" Othello is becoming very enraged "My bloody thoughts, with violent pace, Shall ne'er look back, ne'er ebb to humble love, Till that a capable and wide revenge Swallow them up. Now, by yond marble heaven, In the due reverence of a sacred vow I here engage my words" (My thoughts of revenge are flowing through me like a violent river, never turning back to love, only flowing toward full revenge)

Desdemona

"My noble Moor/ Is true of mind and made of no such baseness/ As jealous creatures are" Showing her love of Othello and how highly regarded she thinks of him

Othello is starting to become convinced by Iago's manipulative behavior, and his thoughts are flooded with emotions

"O curse of marriage, / That we can call these delicate creatures ours, / And not their appetites! I had rather be a toad, / And live upon the vapour of a dungeon, / Than keep a corner in the thing I love/ For others' uses" Othello says that marriage is a curse and we think our beautiful wives belong to us, but their desires are free! He'd rather be a toad in a moldy basement than to have only a part of someone he loves, sharing the rest of her with others. Basically Othello states that he'd rather be dead than to find out Desdemona is having an affair with Cassio.

Iago warns Othello not to be jealous

"O, beware, my lord of jealousy! / it is the green-eyed monster which doth mock / The meat it feeds on" (Jealousy is a green-eyed beast which teases that which it consumes)

Desdemona instead of answering Othello in regards to the handkerchief , pleads Cassio's case and repeatedly says how good of a man Cassio is. Desdemona is digging a deeper hole for herself, without even realizing this "hole" that she is in. We as the audience pity her and are becoming more infuriated by this situation. This is a strong example of dramatic irony.

"Pray you, let Cassio be received again" "You'll never meet a more sufficient man"

Othello states that if Desdemona lost his handkerchief that would be the worst thing she could ever do to him

"To lose't or give't away were such perdition/ As nothing else could match"

As Othello accepts that Desdemona is unfaithful he becomes unwavering in his desire for revenge:

'My bloody thoughts, with violent pace, Shall ne'er look back, ne'er ebb to humble love, Till that a capable and wide revenge Swallow them up' As a tragic hero Othello has chosen a path that will lead towards disaster.

Emilia shows her view of men being women's objectifiers and says they don't mean anything they say. When they have had enough of us they leave.

'Tis not a year or two shows us a man. They are all but stomachs, and we are all but food: To eat us hungerly, and when they are full. They belch us'

Summary of Act 3 Scene 1 (Short)

Cassio hires musicians to play for Othello. The clown sends them away. Iago sends Emilia to speak with Cassio. She promises to arrange a meeting between Cassio and Desdemona.

Summary of Act 3, Scene 3

Cassio speaks to Desdemona, asking her to intercede with Othello on his behalf. Desdemona willingly agrees, knowing that Cassio is an old friend of Othello's. She promises to speak of him with her husband repeatedly until the quarrel is patched up and Cassio is recalled. When Othello and Iago enter, Cassio, who is embarrassed because of his antics the previous night, embraces Desdemona and departs. Iago seizes the opportunity to make an undermining comment — "Ha, I like not that" — that rankles in Othello's mind. Desdemona speaks of Cassio, and Othello, to please her, agrees to see him, but he is distracted by his private thoughts. In a conversation with Iago, in which Iago continues to imply that he knows something that he refuses to divulge, Othello denies that he would give himself over to jealousy. In his denial, he shows himself most vulnerable. He is consumed with doubt and suspicion. Othello voices his old fears that Brabantio was right, that it was unnatural for Desdemona to love him, that he was too horrible to be loved, and that it could not last. Iago leaves, and Othello contemplates his situation: He could be tricked, married to a woman who is already looking at other men, and he fears that he must wipe her out of his heart. He tries to tell himself that it is not true. When Desdemona re-enters, Othello's aspect is changed; he watches her intently, looking for signs, and brushes away her handkerchief when she seeks to sooth him. They go in to dinner, and Emilia picks up the fallen handkerchief, one that her husband, Iago, often urged her to steal from Desdemona. Emilia decides to have a copy made to give to Iago, but he enters, sees the handkerchief, and snatches it from her. When Othello enters, Iago sees that Othello cannot regain his peace of mind. His speech is fevered, sweeping and frantic; he believes that his wife has been unfaithful to him. Othello then turns on Iago with savage intensity and demands to see the proof of Desdemona's infidelity. Cornered, Iago produces the dream story: Cassio spoke in his sleep, embraced him, called him Desdemona, and cursed the Moor. Iago tells Othello that he has seen Cassio wipe his brow with a handkerchief embroidered with strawberries; Othello recognizes this handkerchief as the one he gave to Desdemona. Othello dismisses love and calls for vengeance. Certainty has freed his mind from doubt and confusion. Now he swears action, and Iago swears to help him. Othello wants Cassio dead, Iago agrees to do it, and then Othello wonders how to kill Desdemona.

Summary of Act 3, scene 3

Desdemona assures Cassio that she will do everything possible to regain favor with Othello. He soon enters, and Cassio departs as he is too nervous to argue his case suitably. Iago declares that Cassio would not act akin to one who is guilty, while Desdemona once more argues Cassio's case, which causes Othello to agree to meet with him at an unspecified time. Desdemona criticizes such procrastination but he assures her he will do anything she wishes, and that he wishes to be left alone. Left alone, Iago suggests that Cassio and Desdemona had an affair while Cassio acted as a messenger for the two during the time Othello courted his wife. Iago suggests hypocrisy and adultery on Cassio's part when he is asked if he believes Cassio to be honest, and when pressed warns Othello to watch his wife closely when Cassio is in her presence. In response Othello commands Iago to have Emilia keep watch on Desdemona and despite Iago's attempts to lessen the weight of his accusations Othello believes he has lost his wife due to his age, race and lack of manners, lamenting 'Haply for I am black/ And have not those soft parts of conversation/ That chamberers have; or for I am declined/ Into the vale of years - yet that's not much -/ She's gone'. Desdemona and Emilia then enter to go to dinner but Othello announces he has a pain in his head; when Desdemona attempts to put a handkerchief to his forehead he pushes it away and it drops to the ground. As the two leave Emilia notes that it is the handkerchief her husband wanted her to steal, 'This was her first remembrance from the Moor,/ My wayward husband hat a hundred times/ Wooed me to steal it' which Iago is delighted by. Iago then plans to frame Cassio by planting the handkerchief in his room but is interrupted in this thought by a returning Othello, who is angered by the previous accustations and demands proof of Desdemona and Cassio engaging in sexual activity. Iago says this is impossible but reveals that while sharing a bed with Cassio that he kissed Iago, called out Desdemona's name and warpped his leg around Iago's thigh. Despite asserting that this was only a dream, Iago then remarks that he saw Cassio wiping his beard with a handkerchief which was Othello's first gift to Desdemona; this enrages Othello who vows to heaven that he will enact revenge on Cassio and his wife. Iago kneels with him and as he pledges allegiance to this cause is appointed lieutenant by Othello.

Summary of Act 3, Scene 4 (Long)

Desdemona orders the clown to find Cassio and bring him the message that she has made her suit to Othello. As the clown departs, Desdemona wonders to Emilia where her handkerchief might be. Othello enters and tells Desdemona to give him her hand. She does so, and he chastises her for her hand's moistness, which suggests sexual promiscuity. He then asks her to lend him her handkerchief. When Desdemona cannot produce the handkerchief he wants to see, Othello explains the handkerchief's history. An Egyptian sorceress gave it to his mother and told her that it would make her desirable and keep Othello's father loyal, but if she lost it or gave it away, Othello's father would leave her. Othello's mother gave him the magic handkerchief on her deathbed, instructing him to give it to the woman he desired to marry. Desdemona is unsettled by the story and says that she has the handkerchief, but not with her. Othello does not believe her. As he accuses her, demanding "The handkerchief!" with increasing vehemence, she entreats for Cassio as a way of changing the subject. After Othello storms off, Emilia laments the fickleness of men. Cassio and Iago enter, and Cassio immediately continues with his suit to Desdemona for help. Desdemona tells Cassio that his timing is unfortunate, as Othello is in a bad humor, and Iago promises to go soothe his master. Emilia speculates that Othello is jealous, but Desdemona maintains her conviction that Othello is upset by some political matter. She tells Cassio to wait while she goes to find Othello and bring him to talk with his former lieutenant. While Cassio waits, Bianca, a prostitute, enters. She reprimands him for not visiting her more frequently, and he apologizes, saying that he is under stress. He asks her to copy the embroidery of a handkerchief he recently found in his room onto another handkerchief. Bianca accuses him of making her copy the embroidery of a love gift from some other woman, but Cassio tells her she is being silly. They make a plan to meet later that evening.

Character of Desdemona

Desdemona's intent to right the previous wrongs only serves to further Othello's false suspicions, which symbolizes the world of the play where truth cannot prosper as when truth is pursued incorrect conclusions and perceptions result. Her attempt to reconcile Othello and Cassio, to 'intermingle everything Othello does with Cassio's suit' only furthers Othello's jealousy and heightens his mistaken belief in her infidelity. There are a number of further reasons why this causes her downfall; Othello does not appreciate her involvement in public affairs which indicates the ambiguity of love, simple unluckiness as Othello misreads her calling Cassio a 'suitor' as a term of affection, while she gambles on Cassio's reputation saying if he is wrong 'I have no judgement in an honest face', when his downfall is inevitable due to Othello's rage and Iago's manipulative powers.

Summary of Act 3, Scene 3

Desdemona, Cassio, and Emilia enter mid-conversation. Desdemona has just vowed to do everything she can on Cassio's behalf when Othello and Iago enter. Cassio quickly departs, protesting to Desdemona that he feels too uneasy to do himself any good. Othello asks whether it was Cassio he saw leaving the room, and Iago responds that surely Cassio would not behave like a guilty man at Othello's approach. Desdemona entreats Othello to forgive Cassio and reinstate him as lieutenant. Othello assures her that he will speak to Cassio, but he answers evasively when she tries to set a meeting time. She criticizes Othello for responding to her request so grudgingly and hesitantly, and he tells her that he will deny her nothing but wishes to be left to himself for a little while. Alone with Othello, Iago begins his insinuations of an affair between Cassio and Desdemona by reminding Othello that Cassio served as Othello and Desdemona's go-between during their courtship. Othello asks Iago whether he believes Cassio to be honest, and Iago feigns reluctance to answer. Iago plants in Othello's mind thoughts of adultery, cuckoldry, and hypocrisy, until Othello screams at the ensign to speak his mind. Iago suggests that Othello observe his wife closely when she is with Cassio. Othello tells Iago to have Emilia watch Desdemona when she is with Cassio. Iago appears to retreat from his accusations and suggests that Othello leave the matter alone. But he has already made his point. By himself, Othello muses that his wife no longer loves him, probably because he is too old for her, because he is black, and because he doesn't have the manners of a courtier. "She's gone," he laments. Desdemona and Emilia enter to inform Othello that he is expected at dinner. Othello says that he has a pain in his forehead, and Desdemona offers to bind his head with her handkerchief. Othello pushes her handkerchief away, telling her that it is too small. The handkerchief drops to the floor, where it remains as Othello and Desdemona exit. Emilia, staying behind, picks up the handkerchief, remarking that her husband has asked her to steal it at least a hundred times. Iago enters, and Emilia teases him with the promise of a surprise. He is ecstatic when she gives it to him, and sends her away. As Iago gleefully plots to plant the handkerchief in Cassio's room, Othello enters and flies into a rage at him. Othello declares that his soul is in torment, and that it would be better to be deceived completely than to suspect without proof. He demands that Iago bring him visual evidence that Desdemona is a *****. Iago protests that it would be impossible to actually witness Desdemona and Cassio having sex, even if the two were as lustful as animals. He promises that he can provide circumstantial evidence, however. First, he tells Othello that while Cassio and Iago were sharing a bed, Cassio called out Desdemona's name in his sleep, wrung Iago's hand, kissed him hard on the lips, and threw his leg over Iago's thigh. This story enrages Othello, and Iago reminds him that it was only Cassio's dream. Iago then claims to have witnessed Cassio wiping his beard with the handkerchief Othello gave Desdemona as her first gift. Furious, Othello cries out for blood. He kneels and vows to heaven that he will take his revenge on Desdemona and Cassio, and Iago kneels with him, vowing to help execute his master's vengeance. Othello promotes Iago to lieutenant.

For Othello, the handkerchief has become a test of Desdemona's fidelity.

Her failure to show it intensifies his belief that she has been unfaithful. This is compounded by her pleading on Cassio's behalf. The handkerchief, which was once a symbol of love, has now come to represent betrayal for Othello.

As Othello's doubts about his wife grow, his language becomes increasingly violent.

His torment gives way to a thirst for revenge: 'Death and damnation!', 'I'll tear her all to pieces!' 'O, blood, blood, blood!' It is interesting that he adopts some of the diabolic imagery that characterizes Iago's soliloquies as if Iago's thoughts have infected his own: 'Arise, black vengeance, from thy hollow hell!'

Othello's open nature leaves him susceptible to Iago's suggestions

Iago plays upon Othello's insecurities about being an outsider to make Desdemona's alleged infidelity seem plausible. He says that it is natural for Desdemona to be attracted to those of 'her own clime, complexion and degree, / Whereto we see in all things nature tends' . This idea seems to arouse self-doubt in Othello who wonders if his race, lack of refinement and age may be driving Desdemona away : 'Haply, for I am black / And have not those soft parts of conversation/ That chamberers have, or for I am declined / Into the vale of years'

Character of Iago

Iago reveals Othello's insecurities through mere conversation and dialogue; this indicates once more that he has a heightened sense of others' conditions as well as his machiavellian ability to have others do his bidding for him, as he allows Othello to feel insecure and grow angry towards Cassio and Desdemona of his own accord. After initially making Othello feel uneasy, remarking of Cassio that 'I cannot think it that he would steal away so guilty-like' and remarking 'I like not that' of his exit, Iago then focuses in on questions that arouse suspicion, such as wondering if Desdemona and Cassio had known each other for a while. Elsewhere he focuses on issues such as Cassio's flaws and the handkerchief, all of which arouse Othello's suspicion further, which he knows the commander's insecurity will increase; indeed, such is Iago's accuracy with this method that Othello declare 'Thou ecoest me, as if there was some monster in thy thought, too hideous to be shown.' The reasoning for this method is to allow Iago to then condemn Desdemona through suspicion alone, as Cassio (the other element in the plan) has already suffered a fall; when Othello's suspicion and insecurity is at a peak even mere doubt is sufficient evidence (this is made possible by Iago presenting himself as loyal with declarations such as 'My lord, you know I love you', which contrast with Desdemona's supposed faithlessness), with the 'occular proof' willingly discarded as Iago asserts it is impossible (when it is not) and the supposed dream and Cassio's possession of the handkerchief considered damning by Othello.

Summary of Act 3 Scene 1 (Long)

In an effort to win Othello's good graces, Cassio sends musicians to play music beneath the general's window. Othello sends his servant, a clown, or peasant, to tell the musicians to go away. Cassio asks the clown to entreat Emilia to come speak with him, so that he can ask her for access to Desdemona. When the clown leaves, Iago enters and tells Cassio that he will send for Emilia straightaway and figure out a way to take Othello aside so that Cassio and Desdemona can confer privately. After Iago exits, Emilia enters and tells Cassio that Othello and Desdemona have been discussing his case. Desdemona has pleaded for Cassio, but Othello worries that Montano's influence and popularity in Cyprus would make Cassio's reappointment impractical, no matter how much Othello cares for his former lieutenant. Emilia allows Cassio to come in and tells him to wait for Desdemona.

Othello finds uncertainty particularly torturous

In his overwhelming desire for certainty, Othello abandons reason. This causes him to be consumed by jealous emotions and a desire for revenge

Analysis of Scene 4

In this scene, the time scheme of the play begins to unravel. When Bianca talks to Cassio, she says, "What, keep a week away," suggesting that Cassio has been on the island for at least a week . But the play has only represented three days thus far: the first day in Venice, the day of the arrival and revels in Cyprus, and the day that begins at the beginning of Act III and continues until the end of the play. Critics and editors have named this problem the "double time scheme": two separate time frames operate simultaneously. This inconsistency is somewhat disorienting—like Othello, the audience feels stuck in a chaotic world. The events onstage are not only beyond our control, they defy logical understanding. For instance, it is difficult to understand how Desdemona could have had time to commit adultery. From the moment it is introduced into the plot, the handkerchief given to Desdemona by Othello becomes the play's most important symbol. As a charmed gift given to Othello by his mother, the handkerchief represents Othello's mysterious and exotic heritage, a heritage that he has repudiated as a Christian and Venetian citizen. More immediately, to Othello the handkerchief represents Desdemona's chastity, and her giving it away is a sign that she has given her body away. In Act III, scene iii, Iago mentions that the handkerchief's much-discussed embroidery is a design of strawberries. The image of strawberries on a white background recalls the bloodstains on a wedding sheet that prove a bride's virginity; moreover, the dye used to color the strawberry pattern actually consists of the preserved blood of dead virgins. Thus, the handkerchief suggests a number of different interpretations. By positioning the handkerchief in Cassio's lodging, Iago as good as convicts Desdemona of unfaithfulness. And when, in the following scene, Bianca is found to be in possession of the handkerchief, instructed to copy the embroidery, Desdemona seems no better than a prostitute herself, carelessly allowing what was once a symbol of Othello's uniqueness to be passed around and replicated. Othello has convinced himself that Desdemona has lost her virtue because she has lost a symbol of that virtue. Emilia, who betrays her privileged position as Desdemona's attendant by giving Iago the handkerchief, is an elusive character. Emilia seems to become loyal to her husband in a way she hasn't been in the past: she decides to give Iago the handkerchief after having denied his request "a hundred times," and she lies to Desdemona about not knowing the handkerchief's whereabouts. Yet later, in Act IV, scene ii, Emilia will attempt to convince Othello of Desdemona's loyalty. She seems deeply skeptical of and knowledgeable about men in general. She immediately recognizes that Othello is jealous, despite Desdemona's protests, and her comment that jealousy "is a monster / Begot upon itself, born on itself" echoes Iago's earlier remark that jealousy "is the green-eyed monster which doth mock / The meat it feeds on" . Iago mentions at the beginning of the play that he suspects his wife of unfaithfulness, and on one level Iago and Emilia seem to work out their conflict vicariously through Othello and Desdemona. But Emilia also comments that men "are all but stomachs, and we are all but food. / They eat us hungrily, and when they are full, / They belch us". This comment supports a reading of Othello's jealousy as a way of justifying his rejection of Desdemona. Act III, scene iv assumes the bizarre shape of a perverted trial. From the moment he enters, Othello plays the role of the prosecutor, demanding that Desdemona produce the handkerchief and accusing her of being a *****. Instead of defending herself against her husband's accusations, Desdemona responds by advocating Cassio's case, appealing to Othello as a judge of Cassio's character. The result is a shouting match, wherein husband and wife completely fail to communicate, Othello repeatedly screaming "The handkerchief!" while Desdemona enumerates Cassio's noble qualities, all of which Othello takes as testimony against her. He points to her moist hand as evidence of her inherently lascivious nature. Finally, the handkerchief itself is the strong circumstantial proof that Iago promised him. By this point, the plot unfolds without any further assistance from Iago, although he is still involved in manipulating it in some way. He has thus far been so careful to inform the audience of his every plan that it seems like he must have anticipated every turn in the road. As with the characters onstage, Iago's power with the audience lies in his ability to make them believe he knows more than he does.

Bianca's jealousy is an echo of Othello's jealousy.

Many of the characters in 'Othello' harbour jealous suspicions: Bianca about Cassio, Othello about Desdemona, and Iago about Emilia. All of these jealous suspicions are unfounded.

Othello and trust

Most relationships must be accepted based on faith or trust, a quality that Othello is unwilling to extend to his own wife. All Iago really must do to provoke Othello is remind him that he doesn't know for certain what his wife is doing or feeling

Act 3, Scene 4 Summary

Othello asks Desdemona for the handkerchief. He becomes angry when she can't produce it. Emilia thinks Othello is jealous but Desdemona doesn't agree. Bianca accuses Cassio of avoiding her. Cassio asks Bianca to copy the embroidery of the handkerchief. She agrees.

Desdemona proclaims that Othello has never been jealous and she states that "the sun where he was born / Drew all such humours from him"

Othello develops jealousy. This is important to note as jealousy succumbs Othello's character and plays a major part in Othello's decision-making as the play progresses.

Summary of act 3 scene 2

Othello gives Iago letters to be sent to the Venetian senate

Othello and Desdemona's relationship is starting to disintegrate

Othello no longer addresses his wife in a loving manner but is instead curt and formal: 'Well, my good lady.' They speak at cross-purposes: while Othello repeatedly asks for the handkerchief, Desdemona continues to plead on Cassio's behalf. Communication between them is starting to break down.

Othello drops the handkerchief

Othello's rejection of Desdemona's offer of her handkerchief is an emphatic rejection of Desdemona herself. He tells her he has a pain "upon" his forehead and dismisses her handkerchief as "too little" to bind his head with, implying that invisible horns are growing out of his head. Horns are the traditional symbol of the cuckhold, a husband who's wife is unfaithful to him. Othello'd indirect allusion to these horns suggests that the thought of being a cuckold causes him pain but that he is not willing to confront his wife directly with his suspicions. Othello leaves the stage briefly after the episode in which he rejects Desdemona's handkerchief, at which point he seems resolved that his wife no longer loves him

Iago's cynical view of women in Act 2 is paralleled by Emilia's view of men here

She believe men use women and then discard them: ''Tis not a year or two shows us a man. They are all but stomachs, and we are all but food: To eat us hungerly, and when they are full, They belch us.' The image of being consumed and then belched is gross but captures the extent of her disillusionment.

Desdemona's intimate goodness is evident

She promises to do all she can for Cassio. She says that she will pester Othello on Cassio's behalf. However, her reference to her marriage bed ('His bed shall seem a school, his board a shrift; / I'll interminable every thing he does/ With Cassio's suit') is dramatically ironic as Othello fears his bed has been tainted by Cassio. Similarly, out of a sense of kindness, she says to Cassio that "thy solicitor shall rather die/ Than give thy cause away' thus foreshadowing what is to come in the final act of the play.

Emilia is worldly enough to recognize that Othello is jealous

She sees that jealousy is often unfounded and fuels itself: 'But jealous souls with not be answered so. They are not ever jealous for the cause, But jealous for they're jealous. 'Tis a monster Begot upon itself, born on itself' The comparison with a monster is fitting in Othello's case and echoes Iago's description of jealousy as a 'green-eyed monster'

Theme of Love Act 3 Scene 3

The scene suggests that the love between Desdemona and Othello is not steadfast as was suggested earlier. Here there is the first true conversation Desdemona and Othello have; previously Desdemona has interjected into events and discussions without having much influence, whereas here she asserts her presence. However, Othello does not respect his wife for having independence or strength in her convictions; rather he is troubled by her requests, which seem a chore to fulfil. Later, when there is the slightest suggestion of her being unfaithful Othello immediately seizes on this; he admits that he is only given doubt by Iago, 'be once in doubt/ Is once to be resolved' but this is enough to create a divide. Othello needs to be able to trust Desdemona, which he no longer can as she has lost the handkerchief which he believes is indicative of her lack of love. The ease at which Othello finds difficulty in their marriage contrasts sorely with earlier declarations of the strength of his love, such as when he declares 'Perdition catch my soul/ But I do love thee, and when I love thee not,/ Chaos is come again'; this serves to show how the marriage is not as strong as Othello presents it.

Note Act 3 scene 3

The timing of events is very important in Act 3 scene 3 Start of Iago's plan taking place Handkerchief

Analysis of Act 3, Scene 3

The timing of events is very important in Act III. Iago anticipates and manipulates the other characters so skillfully that they seem to be acting simultaneously of their own free will and as Iago's puppets. For example, it takes only the slightest prompting on Iago's part to put Othello into the proper frame of mind to be consumed by jealousy—Iago exploits Cassio's discomfort upon seeing Othello by interpreting it as a sign of guilt. Iago's interpretation of Cassio's exit, combined with Desdemona's vigorous advocating on Cassio's behalf, creates suspicion in Othello's mind even before Iago prompts Othello. Othello manifests his confusion about his wife by telling her that he wishes to be left alone, and by spurning her offer of help when he tells her that he feels unwell. When Desdemona advocates on Cassio's behalf, she initiates the first real onstage conversation she has had with her husband throughout the play. She also displays her strong, generous, and independent personality. In addition to his burgeoning suspicion, Othello's moodiness may also result from his dislike of Desdemona herself. Only once Desdemona has left does Othello recover somewhat: "Excellent wretch!" he says affectionately. "Perdition catch my soul / But I do love thee, and when I love thee not, / Chaos is come again". Othello seems far more comfortable expressing his love for Desdemona when she is absent. Perhaps this is because her presence makes him conscious of her claim upon him and of his obligation to honor her requests, or perhaps this is because he is more in love with some idea or image of Desdemona than he is with Desdemona herself. The lines just quoted indicate how much his image of her means to him: if he stops loving her, the entire universe stops making sense for him, and the world is reduced to "Chaos." Given how much is at stake for Othello in his idea of Desdemona, it is remarkable how he becomes completely consumed by jealousy in such a short time. Moreover, it takes very little evidence to convince him of her unfaithfulness. All Iago has to do to Othello is make him doubt Desdemona, and jealousy spreads like a virus until he rejects her absolutely. Notably, Iago, too, has no evidence that Othello has slept with Emilia, but the suspicion or doubt seems to have been sufficient to make him spurn Emilia and persecute Othello. As Othello says, "[T]o be once in doubt / Is once to be resolved". Othello soon learns, however, that to be once in doubt is to be never resolved. He leaves the stage briefly after the episode in which he rejects Desdemona's handkerchief, at which point he seems resolved that his wife no longer loves him. A mere forty lines later, he returns, and all he can think about is garnering proof of her infidelity. The paradox in Othello's situation is that there are few things—the nature of friends, enemies, and wives included—that a human being can know with certainty. Most relationships must be accepted based on faith or trust, a quality that Othello is unwilling to extend to his own wife. All Iago really has to do to provoke Othello is to remind him that he doesn't know for certain what his wife is doing or feeling. Iago's advice that Othello "[l]ook to [his] wife. Observe her well. . . ." appears harmless at first, until one considers how out of the ordinary it is for a husband to "observe" his wife as if she were a specimen under a microscope. For a man to treat his wife as a problem to be solved or a thing to be known, rather than as a person with a claim upon him, is simply incompatible with the day-to-day business of being married. Othello's rejection of his wife's offering of physical solace (via the handkerchief), and his termination of the exchange in which Desdemona argues for Cassio, thereby asserting a marital right, clearly demonstrate this incompatibility. Ironically, Iago doesn't have to prove his own fidelity to Othello for Othello to take everything Iago suggests on faith. On the contrary, Othello actually infers that Iago holds back more damning knowledge of Desdemona's offenses out of his great love for Othello. Again and again, Iago insists that he speaks out only because of this love. His claim, "My lord, you know I love you" even echoes Peter's insistent words to Christ, "Lord, thou knowest that I love thee". Othello's rejection of Desdemona's offer of her handkerchief is an emphatic rejection of Desdemona herself. He tells her he has a pain "upon" his forehead and dismisses her handkerchief as "too little" to bind his head with, implying that invisible horns are growing out of his head. Horns are the traditional symbol of the cuckold, a husband whose wife is unfaithful to him. Othello's indirect allusion to these horns suggests that the thought of being a cuckold causes him pain but that he is not willing to confront his wife directly with his suspicions. The end of Act III, scene iii, is the climax of Othello. Convinced of his wife's corruption, Othello makes a sacred oath never to change his mind about her or to soften his feelings toward her until he enacts a violent revenge. At this point, Othello is fixed in his course, and the disastrous ending of the play is unavoidable. Othello engages Iago in a perverse marriage ceremony, in which each kneels and solemnly pledges to the other to take vengeance on Desdemona and Cassio. Just as the play replaces the security of peace with the anxiety of domestic strife, Othello replaces the security of his marriage with the hateful paranoia of an alliance with Iago. Iago's final words in this scene chillingly mock the language of love and marriage: "I am your own forever".

Points to note from act 3 scene 2

This short scene illustrates how Othello is reliant on Iago. Othello's official letters to the senate are entrusted to Iago. Othello is blind to the danger Iago poses. It is ironic that Othello is seen inspecting Cyprus's military defenses but fails to recognise that his most deadly enemy is beside him

Desdemona admits that she'd criticize Othello to Cassio, but Cassio would always fight his case and defend Othello

This shows that Desdemona confided in Cassio which doesn't help the situation of Othello thinking she's had an affair with him. Desdemona was simply trying to emphasize that Cassio always sticks up for Othello and is a good friend to him, so Othello should be the same and rehire Cassio.

Iago shows his opportunistic nature in this scene

When Cassio rushes off in embarrassment at Othello's arrival, Iago's quick thinking puts a sinister interpretation on the manner of his departure: 'I cannot think it, / That he would steal away so guilty-like, / Seeing you coming' Similarly, when Iago learns that Emilia has Desdemona's handkerchief he immediately sees an opportunity to deepen Othello's suspicions and plans to hide the handkerchief in Cassio's room. Iago's success depends largely on an ability to seize on opportunities such as these.

Theme of Appearance and Reality Act 3, Scene 3

While Othello believes Cassio's possession of the handkerchief is 'occular proof' of Desdemona's betrayal, this is not the case. Once again appearance does not reflect reality and when this is viewed by someone as single-minded as Othello, it is even more effective; this is an important part of how the play will progress towards its conclusion.