Othello summary

Act 1 scene 3

The Duke and assorted senators of Venice are dealing with the impending war with the Turks over Cyprus, an island in the Mediterranean. The men compare conflicting reports of a Turkish fleet approaching the island, but are interrupted by a messenger, who says that, actually, the Turkish fleet is headed to Rhodes (yet another island, this one in between Greece and Cyprus). After much quibbling, the men realize that the Turkish fleet sent to Rhodes was only a decoy, as Cyprus is more strategically important to the enemy. The governor of Cyprus, Montano, has sent a message from his location in Florence to confirm that his city is soon to be under siege: the Turks, with a fleet of thirty ships, really are headed for Cyprus, and he needs help from Venice—right now. Brabantio enters the scene with Othello, Cassio, Iago, Roderigo, and a bevy of other officers. The Duke is quick to dispatch Othello to fight the Ottomans, but Brabantio pipes up. He says he hasn't come about matters of state, but rather because his daughter's been stolen. The Duke says this is awful news, ignoring that this is probably not as awful as the fact that Cyprus is about to be pulverized by the Turks. Still, the Duke promises that whoever the man is that has enchanted Brabantio's daughter, even if it's the Duke's own son, he will get what's coming to him. Brabantio's quick to point out that the man is actually the Duke's current hero, the Moor Othello. The Duke asks Othello what he has to say for himself. Actually, Othello has quite a bit to say: his only offense is to have married Brabantio's daughter. Othello says he's a man of action, so his speech will be a poor defense, but he'll give them the whole story of how he won Brabantio's daughter, and they can then judge whether he's guilty or not. Brabantio pipes up and insists that his daughter is as pure as the snow, so there's no way she could come to love the Moor except via his trickery. Othello begs to differ. In fact, he says, they can bring Brabantio's daughter, his new wife, to confirm the story right here and now, if they wish. If Othello is in the wrong, the senators may take away his title and order him to be killed. Othello sends Iago, in whom he trusts, to fetch the girl while he tells the story of his courtship. Othello explains that Brabantio himself used to invite him over all the time so he (Brabantio) could listen to the fantastic tales of Othello's life, including, but not limited to: daring escapes within a hair's breadth of death; being sold into slavery and getting his freedom back; and traveling over the world's caves, deserts, quarries, and hills. Also, there were cannibals. When Othello shared his stories, he noticed that Brabantio's daughter, Desdemona, was always eager to listen in. When she had housework to do, she'd take care of it quickly and sneak back to eavesdrop. So...one day Othello made a point of relaxing around Brabantio's house, making himself available for Desdemona to approach. (Kind of like hanging around near her locker.) When she did, she asked him to tell her all of his tales in full because she'd only heard bits and pieces. Othello consented and, upon hearing them, Desdemona swooned over Othello's daring. She then flirted with Othello, saying if he had a friend who could tell his stories (and had his bravery), she'd love that guy. Othello takes the hint and says something like, "Well, I tell my stories pretty well, so maybe we should be friends." Othello claims Desdemona loves him for the dangers he had escaped, and he loves her for the pity with which she appreciates his dangerous escapes. Just then Iago enters with Desdemona, the lady in question. Brabantio says he'd like to hear from his daughter whether she was willingly part of the courtship. He asks her where she thinks her loyalty should lie. Desdemona says she loves her father, but just like her mother, she must love her husband more than her father. Brabantio is not pleased. He says he'll give Desdemona over to Othello, but still, Brabantio is an unhappy man. The Duke says Brabantio would only waste his time being sad about what's already over. Besides, his bitterness would likely only bring more trouble. Instead, he should just be happy because he doesn't have a choice but to be happy; he doesn't have a say in the affairs of his daughter anymore. After Brabantio laments some more, the Duke gets back to the situation in Cyprus. Though they've already got some guys on the ground there, everyone would feel better if Othello went, as he's competent and knowledgeable about the area. The Duke says he's sorry, but Othello will have to spend his wedding night preparing for battle not knowing he's speaking metaphorically and prophetically). Othello says he's happy to go—he's used to military life and rushing off to fight at short notice. But someone needs to provide Desdemona with a suitable place to sleep while he's gone, something worthy of her. His hard army cot won't do, and he hasn't had time to set up a nice home with her. The Duke suggests that perhaps Desdemona should stay at her father's house, but everyone agrees this is a bad idea. Instead, Desdemona suggests she'd like to go with her new husband. She suggests that her love is only complete if she can live with him. Desdemona says she fell in love with Othello's character and profession, and if she's left behind while he's in war, the very qualities she loves will be absent from her. The Duke thinks they can settle these domestic disputes on their own. Whether Desdemona is to stay or go, Othello needs to leave for battle now. Othello agrees to this, and leaves his trusted friend Iago to follow, bringing Desdemona and anything else Othello might need. As everyone is parting, the Duke tries to cheer Brabantio, saying Othello is "more fair than black." Brabantio won't have any of it, and warns Othello that he should watch the girl: she's likely to deceive him the way she deceived her own father. Othello, in a moment of foreshadowing, responds that his life rests upon Desdemona's faithfulness. Othello instructs Iago to take Desdemona along with Iago's wife, Emilia, on the journey to the battle area. After Othello and Desdemona have left, Iago remains with Roderigo. Roderigo announces he will drown himself out of lovesickness (for Desdemona), and Iago chides him for his foolishness. If he's going to be damned for some sin (like suicide), it would be better to be damned for a more practical one, like making money. Iago (who has been spending Roderigo's money like there's no tomorrow) instructs Roderigo to cool his passion with his reason. He then literally tells him nine times that he'd be better off focusing on making money than having true love. Iago promises that Desdemona's passions for Othello will eventually cool. Othello will soon surely find he's had enough of Desdemona too, as Moors are known for their changing tastes. Then Roderigo will have a chance to win Desdemona for himself. Iago promises he'll join with the tribes of Hell to make trouble for the marriage of Othello and Desdemona, if Roderigo will only keep making money. Iago reminds Roderigo again that he hates the Moor, and promises to meet Roderigo in the morning if he hasn't killed himself. Roderigo promises to sell all his land for money instead of killing himself. He then exits. Once Roderigo's gone, Iago fills us in on his nasty plan. He's only sporting with Roderigo for fun and profit, but has a bone to pick with Othello, as it's rumored that Othello was sleeping with Iago's wife. Iago then figures he'll take Cassio (his competitor) out, too. He hatches a plan to suggest to Othello that Cassio, who has the making of a ladies' man, is having an affair with Desdemona. Iago thinks the Moor is easily influenced, and his suspicion of Cassio will ruin both the great arithmetician's military career and Othello's marriage. Iago declares that Hell and night will be his companions in this mischief, and he exits.

Act 3 scene 4

Desdemona chats with the clown and asks him to bring a message to Cassio that he should come visit her. She wants the clown to make it clear that she's been good to her word about asking Othello for Cassio's reinstatement. She hopes all will be well. The clown exits, and Desdemona is left with Emilia. She asks Emilia where on earth her handkerchief could've gone. Obviously upset to have lost it, Desdemona says that if Othello were the kind of guy to be jealous—which, of course, he isn't—her loss of the handkerchief would make him suspicious. She claims Othello has no such jealousy because the sun of his native land sapped it up from him. As Othello approaches the two women, Desdemona declares that she won't leave Othello alone until he's agreed to see Cassio. Othello then enters the scene, clearly failing at his attempt to pretend that nothing's wrong. Othello asks Desdemona for her hand, and notes that it is moist, which was thought to be a sure mark of a lascivious person. Othello waxes on about Desdemona's hand; he says it's a hot hand, which means it should turn to prayer and fasting and other chaste pursuits so it doesn't fall victim to the passions. He then declares her hand is a frank one, which she interprets to mean generous (for she says it's the hand that gave away her heart). Othello continues to riff on her perverted sexuality, as "frank" also meant "lusty" or "unable to conceal secrets." Othello laments that in the old days, when one gave up their hand in marriage, they gave up their heart. This lengthy interlude is fun with wordplay, but it's also a scene that shows that Othello is suspicious but not yet furious at Desdemona, who will walk into her own damnation. To make matters worse, Desdemona changes the subject by reminding Othello that he promised to see Cassio (about getting his job back). This, of course, only inflames Othello's suspicions. He declares that his eyes are watering strangely, and asks if perhaps Desdemona has her handkerchief about her. As Desdemona hands him a normal handkerchief, Othello asks her where her special handkerchief is. Desdemona simply says she doesn't have it with her, likely because she doesn't want to upset him by saying that it's lost. So instead, she inadvertently upsets him by seeming to confirm that her handkerchief is with her secret lover. Othello then tells her the story of the handkerchief. It's a family heirloom and totally sacred. A psychic informed his mom that, as long as she had the handkerchief, Othello's dad would love her. But, if she lost it or gave it away, Othello's dad would hate her and go back on the prowl. Othello's mom gave the handkerchief to her son on her deathbed, telling him to give it to the woman he'd have for his wife. Othello explains this is why he told Desdemona to take care of the handkerchief, as losing it would be bad. Naturally, this worries Desdemona. Othello asks point-blank if the handkerchief is lost. Desdemona hesitates, and then tells something of a lie. "It is not lost," she says (3.4.81.3). Okay, so maybe an outright lie. The discussion over the handkerchief escalates into a huge fight. Othello keeps demanding to see it and Desdemona keeps refusing and telling him that he needs to forgive Cassio (which is really not helping her case about not being Cassio's secret lover). Eventually, Othello storms out, all for the want of a handkerchief. Desdemona is shocked. She's never seen this side of her husband, and she doesn't know what's going on. Emilia declares this is no big deal, since women are like food to men. Cassio and Iago choose this moment to show up, with Iago encouraging Cassio to make his case to Desdemona. She explains that now is not a great time for them to talk to Othello, since he's in bad spirits, and a little watery-eyed since he's lacking a handkerchief. Iago, all innocence, says that Othello's behavior sounds really strange, but being the good guy that he is, he'll try to find out what's wrong. Desdemona slowly convinces herself that she shouldn't be angry at Othello for his behavior. Surely, she reasons, there must be some cause for it beyond the handkerchief, and it's probably something to do with Othello's work in Venice or Cyprus. She decides that sometimes men, worried about big things, take it out on women, over little things. Desdemona declares that she is to blame for getting upset at Othello over nothing. Classic enabling. Emilia, who, by the way, is totally at fault, says she hopes that Othello is just upset over things related to work, because it sure seems like he's jealous. "Heaven keep that monster from Othello's mind!" Desdemona prays (3.4.159), which means Shakespeare is repeating metaphors. Desdemona promises Cassio that she'll try again when Othello calms down, and she and Emilia exit, leaving Cassio alone in the scene. Then Bianca, Cassio's lover, comes in and yells at Cassio for not coming to see her often enough. Cassio apologizes and says he's had a lot on his mind. Cassio hands Bianca Desdemona's handkerchief, asking her to copy the pattern. Bianca gets all worried that Cassio has a new woman who's given him this as a token of affection, but Cassio explains that he found the handkerchief in his bedroom (thanks to Iago, unbeknownst to Cassio). Cassio thinks surely someone will ask for the lovely handkerchief back, in which case he'd like to have his own copy, so could Bianca please take a break from nagging him and start embroidering? Also go away as quickly as possible?! After all, the last thing he needs is for Othello to see him with his lover. He doesn't want his general to think he's less than serious about his job.

Act 4 scene 3

After dinner, Othello suggests a walk with Lodovico and orders Desdemona to get ready for bed. He promises to meet her there soon, and demands that she send Emilia away. The men exit, leaving the women to chat and get ready for bed. Emilia notes that Othello looked to be in better spirits, but she's shocked that he told Desdemona to get rid of her. Desdemona just shrugs it off—she can't risk upsetting Othello now. Emilia says she wishes Desdemona had never seen the man. But Desdemona responds that she loves Othello, so much that she would rather be with him, even when he's being totally strange, than live without him. Desdemona is in a strange mood that foreshadows her coming death. When Emilia says, "Hey, I put those sheets on the bed for you," Desdemona replies with, "If I die before you do, will you wrap my dead body in them?" Emilia's a little creeped out by the death talk, but Desdemona's got a one track mind tonight. She follows that comment up with a story of her mom's maid, Barbary. Apparently Barbary fell in love with a man who left her, and was fond of singing a song that reminded her of her sorrow. She died singing it. (Nice.) Desdemona abruptly changes the subject to Lodovico and what a nice guy he is. He did defend her against Othello, so perhaps she's thinking about what it would be like to have a husband who didn't seem to hate her. This line of thought is short lived, though, as Desdemona launches into the song her mom's maid died singing. The song is about a willow, which is bad news, as willows are symbolic of disappointed love. (Remember in Hamlet, Ophelia allegedly drowned after falling out of a willow tree on the riverbank.) Desdemona stops singing when she thinks she hears a knock at the door, but Emilia tells her it's just the wind. She finishes singing the song, and then says her eyes itch. She asks Emilia if that means she's going to cry soon, but Emilia says it doesn't mean anything. She and Emilia then converse about whether women are ever as awful to their men as men are to their women. Emilia is certain this is the case, especially when it comes to cheating. Desdemona asks whether Emilia would ever cheat on Iago, and Emilia, much older and more cynical, tells her that plenty of women cheat. She says you could justify cheating in lots of different ways. Desdemona declares again that she can't believe there's a single woman in the world who would cheat on her husband. This leads Emilia into a bit of a rant. Emilia says there are plenty of women who cheat and argues that when women do cheat, it's their husbands's fault. They've either shirked their duties or spent too much time lavishing attention on others. Or maybe they've been hitting their wives. Women are full of grace, but they can be pushed too far. And besides, women have the same sexual needs as men. Since men change their women sportingly, women should have the same option. Desdemona's only response is to say she hopes she can use others' bad behavior as a guide of what not to do, instead of an excuse to behave badly.

Act 3 scene 3

Cassio has explained the whole situation to Desdemona, and she promises to not rest until she's convinced Othello to reinstate Cassio as his lieutenant and renew their friendship. Cassio declares he's forever indebted to her, and Desdemona again emphasizes that she'll do everything she can. She even says, "Thy solicitor shall rather die/ Than give thy cause away" (3.3.27-28). Definition: foreshadowing. Seeing Othello coming, Cassio decides it's time to leave. Desdemona tells him to stay, but Cassio feels too weird and hurries out. Thus, Iago begins his make-Othello-jealous campaign by commenting on how weird it is that Cassio hurried off so quickly, like a thief stealing away in the night. Desdemona jumps right into sweet-talking Othello and campaigning for Cassio. She claims that Cassio is really sorry, and suggests Othello call Cassio back to plead his case. Othello says "not now," and Desdemona says something like, "well, maybe tomorrow, or Tuesday morning, or Tuesday night, or Wednesday morning, or how about Wednesday night?" When Othello keeps putting her off, Desdemona claims she would never deny him anything, so why won't he listen to her? Besides, she has his best interests in mind. Othello responds that he will deny her nothing, but in the meantime could she please leave him alone. Iago asks fake-casual questions about Cassio, whom Othello says was often a go-between when he courted Desdemona. Iago keeps dropping uncomfortable hints, and finally, Othello demands to know what's bothering him. Iago says he'd rather not say, and then Othello presses him, and then Iago says he'd rather not say, and Othello presses. Eventually, after Iago has cast doubt on Cassio's honesty, suggested he is disloyal, and hinted that Desdemona is unfaithful, Iago tells Othello, "O beware, my lord, of jealousy; It is the green-eyed monster which doth mock / the meat it feeds on" (3.3.163.2-165). That's great, except that by "beware" he really means "I hope you become jealous and kill your wife, because that would be ironic." Othello says that he's not the type to get jealous—he builds his conclusions upon having suspicions, but only after he investigates them. If something seems wrong, he'll find out what's happening right away and resolve the situation. Othello knows Desdemona is desirable, and that he himself isn't, but that doesn't bother him. "She had eyes and chose me," Othello tells himself (3.3.187). Further, Othello promises he has to see something to raise his suspicion before he'd have doubts about his wife's loyalty, and if he were to see and have doubts, he'd prove whether they were justified right away. This strategy helps him avoid being too influenced in his reason by love or jealousy. It's a good plan, except if it does exist, he doesn't use it. Iago essentially says, "Okay, if you promise you won't be jealous, you should watch Desdemona with Cassio, but objectively, and not out of jealousy." Iago says he knows well the ways of the women of Venice: they are promiscuous, and though heaven knows their little exploits, their men don't. Iago adds helpfully (to help with the objectivity bit) that Desdemona did deceive her father in order to marry Othello. He's implying, as Brabantio earlier did, that Desdemona is not to be trusted, as she is a woman, and thus a liar. Basically, Hamlet could get together with these guys and have a big anti-women party. (Frailty, thy name is lying scheming woman!) Othello is persuaded by what Iago has said, and it's clear the seed of suspicion has been planted. Iago tells Othello that he hopes he hasn't ruined his day. This is the trickiest, most dastardly bit of all, because he totally hopes he has ruined Othello's day. Who's a liar now? Othello assures Iago that he's a-okay, and Iago insists all of his speculations come from a place of love. Further, he tells Othello not to stretch out these suspicions into anything more serious or dangerous. Othello promises he isn't much moved, and also, he may still think Desdemona is honest. "Still," Othello falters, "sometimes nature wrongs itself..." Iago seizes on this thought, playing painfully on Othello's insecurity. Iago claims it was against Desdemona's God-given nature to reject all of the suitors who came from her country, had her complexion, and her status. Iago contends that Desdemona's unnatural choice against these suitors suggests that other "foul disproportions [and] thoughts unnatural" (3.3.231) might dwell in Desdemona's breast. Iago says he only brings this up to point out that one day, Desdemona might come back to her natural senses, repent her choice to marry Othello, and give him up for someone else less... well... black. (Note that Iago very carefully avoids explicitly saying that marriage to Othello in particular was an unnatural choice, but he exploits the heck out of the suggestion.) On this despicable note, Iago leaves Othello to brood over the possibility that Desdemona is cheating on him, an undesirable black man. As Othello's busy wondering why he ever got married, Iago comes back to twist the knife a little more. Acting regretful, Iago tells Othello not to think about it too much—it's probably nothing, he's probably overreacting, but just in case, Othello should keep an eye out for anything sketchy, especially anything like Desdemona seeming really keen on Cassio getting his position back. Iago once again leaves Othello to his thoughts. Now alone, Othello praises Iago for being an honest man, a man insightful about matters of the heart. He then reflects on his relationship with Desdemona, using terminology from the gentleman's sport of falconry: in a rare moment of exquisite vulnerability, Othello compares Desdemona to his falcon. He says if he does find that she is wild (haggard), then, though the leather straps that would tie her to his wrists (jesses) are actually his heart-strings, he would release her to fly on the wind at fortune, both "at random" and "to her fate," though he'd not know if she would ever return to him. Othello undercuts this beautifully noble sentiment by thinking of other reasons Desdemona might be unfaithful to him. Whatever it is, Othello concludes Desdemona is lost to him; his only relief from his grief will now be to hate her. (A far cry from the falconry metaphor, we might note!) Othello laments his position: men may say their women belong to them, yet they can never own their women's appetites for love and lust. Still, Othello admits he could not bear to let others have even a little of his love's love. He decides this is the inevitable fate of important men: they are destined to be betrayed, even from the moment they're born. Emilia and Desdemona come in, and for a moment Othello's mind reverses almost immediately; he can't believe that his wife would betray him. Desdemona has come to bring him to supper, along with the native Cypriots he's invited to dine. But he's not so ready for the partying; Othello's jealousy has already made him physically ill. Desdemona notices that her husband seems unwell, and she tries to soothe him, offering to bind up his head with her handkerchief. Othello declares her handkerchief to be too little, and pushes it away from him. The two exit, leaving Emilia alone in the room. Emilia's got her eyes on Desdemona's handkerchief, which Othello dropped during his angry moment. Emilia reveals that this was Othello's first love token to his wife, and her husband, Iago, has often asked her to steal it. She hasn't been able to do so yet, as Desdemona loves it like a security blanket. Emilia decides to have the embroidery pattern copied, and then she'll give it to her husband, Iago. (Either handkerchiefs are pretty popular, or women must not have a lot of stuff do, because as you'll soon see, copying patterns of handkerchiefs is all the rage.) She doesn't know what plans he has for it, but like a good wife, she'll make him happy, in the hopes that he'll love her in return. Iago comes in and casually mocks his wife, as he usually does. Emilia, proud, produces the handkerchief. She admits she didn't steal it, but that Desdemona let it drop by negligence. Iago is pleased. He gives his wife a quick "good girl" before reverting to his usual rude self and telling her to hand it over. She asks what he intends to do with it before she hands it over, and Iago declares that's none of her business. Emilia says that, her business or not, it had better be a good reason, as Desdemona will go mad once she realizes her favorite love token is gone. Iago instructs his wife to forget the whole incident. After he's grabbed the handkerchief, he orders her to leave. Iago decides to put the handkerchief (which he also calls a napkin) in Cassio's room, in order to fuel Othello's suspicions. Though the token is only a little thing, it's enough of a confirmation to set off Othello's jealous fantasies about what Cassio might be doing with the handkerchief (and his wife). Watching Othello enter again, Iago gloats that none of the drugs in the world could make the man rest easy, now that he's worried about his wife. Othello takes his own turn to curse; he declares it's better to be greatly wronged and know about it than to have just a bit of suspicion that one is wronged. Iago acts confused, as though he doesn't understand that Othello is angry at him for planting the seed of suspicion. Othello declares that he would never have suspected Desdemona before, since a man who's robbed of something and doesn't know it is as good as not having been robbed at all. Basically, even if Desdemona is sleeping all over Cyprus, Othello would be better off not knowing about it. As it stands, knowing of Desdemona's potential unfaithfulness has destroyed Othello's own identity. His peaceful mind, his happiness, and even his standing as a soldier (especially his joy in the glory of war) are all tainted by this knowledge. Desdemona has unmanned him, and even Othello's proud victories on the battlefield now seem out of reach. He demands that Iago give him proof of Desdemona's cheating on him. If Iago is just playing with him, he's going to really regret it. Iago acts all insulted that Othello doesn't trust him, and cries out that it's an awful world where one can be punished so much for their well-intentioned honesty. Othello agrees Iago should be honest, and again demands that he bring him proof of Desdemona's infidelity. Iago describes how difficult it would be to prove infidelity; would Othello like to see Desdemona and Cassio caught in the throes of passion? Iago then painstakingly conjures an image of Desdemona and Cassio being passionate together, and says Othello wouldn't like to see that, now would he? The power of the mental image is key here. After this vivid description, Othello again presses Iago for some good reason why he should suspect Desdemona. Iago describes how at one time he did "lay with Cassio" (as manly bunkmates). Iago was kept up by a toothache, and he was awake to hear, he claims, Cassio mumbling in his sleep. Iago recounts that Cassio supposedly called out to Desdemona in his sleep, telling her to be cautious and hide their love. Then Cassio started writhing around in the bed and kissing Iago's hand as if it were Desdemona. At this point, we're kind of confused as to why Iago wouldn't wake Cassio up and say, "Excuse me, please stop making out with my hand." Anyway, the still-asleep-and-dreaming Cassio then supposedly threw his legs over Iago's thighs, kissed some more, and finally declared, "Cursed fate that gave thee to the Moor!" (3.3.423), in case Iago had left any doubt. Othello, not surprisingly, is furious, but Iago is quick to note that this was all just Cassio dreaming, a highly incriminating dream, no doubt, but a dream nonetheless. Regardless, Othello is totally convinced by this story about Cassio in bed. With great timing, Iago puts the final nail in the coffin. Still playing innocent, and instructing Othello to be calm (which only fires his fury), he tells Othello he saw Cassio with Desdemona's special handkerchief. Hearing this, Othello announces all his love for Desdemona is gone. He's now out for blood and revenge, hopefully in one convenient package. Iago, hearing this, makes some paltry attempts to remind Othello that they've only got suspicions, but again, this only sharpens Othello's desire for revenge. Othello then kneels and swears that his former love for Desdemona will not stop him from bloodily avenging her betrayal. Iago kneels with him and vows to do whatever it takes to help regain honor. Othello asks him to kill Cassio. Iago agrees and slyly adds, "but let her live" (3.3.471), speaking of Desdemona. "Damn her, lewd minx!" Othello curses. Othello's decided that she has to die. To close the scene, Iago declares, "I am your own for ever" (3.3.479), actually meaning that he's totally owned Othello.

Act 3 scene 1

Cassio, eager to please, has sent some musicians to play, badly, in hopes of winning back Othello's good favor. Othello's clown comes out and asks the players why their instruments sound so nasal. Next, the Clown insults the musicians by comparing the noise from their instruments to...well, farts. Get it? Wind instruments, breaking wind? Then he tells them that Othello likes their music so much he wants them to stop making noise with it. Of course, if they have any music that can't be heard (ahem, silence), they're welcome to play it. The musicians say they don't have any music like that, so he sends them away. Cassio asks him if Emilia is up yet. Just then, Iago enters and is shocked to see Cassio hasn't yet gone to bed. (Cassio is eager to make his case to Othello...by way of Desdemona, by way of Emilia.) Cassio says he's already sent for Emilia, and Iago promises to send her to Cassio post-haste, so she can hear his plea and make it to Desdemona. In the meantime, Iago promises to lure Othello away from Desdemona, so Cassio can speak with her freely. Iago exits to do more evil master-planning. After Cassio praises Iago for his kindness and honesty, Emilia enters and reports that Desdemona is already pleading to Othello on Cassio's behalf. Othello worries that Montano, Cassio's victim, is kind of a big deal in Cyprus, though Othello has decided that his liking for Cassio should be enough to overcome the fact that Cassio has wronged the wrong guy. (There are guys you hit, and there are guys you don't hit. Montano is a guy you don't hit, and Othello is the guy who tells you that.) Cassio asks Emilia if perhaps he might speak to Desdemona alone. Emilia goes to see if she can arrange such a meeting.

Act 3 scene 2

Cut to Othello and Iago in the citadel. Othello bids Iago to give his regards to the Senate, and instructs him to meet later at the fortifications that are being built. Meanwhile, he's off to inspect said fortifications, which conveniently gets him out of the way for Cassio to have some private, incriminating time with Desdemona.

Act 4 scene 1

Enter Iago and Othello. Iago is playing mind games with Othello as usual, forcing him to imagine Desdemona and Cassio in bed together. Iago then brings up the lost handkerchief, saying if he'd given it to a woman, it would be her possession, and she'd be free to give it to anyone she pleased. Othello then asks whether her honor could be given as freely, too. He had forgotten about the handkerchief until Iago graciously reminded him. Iago wheedles a bit more, now making the outright lie that Cassio claims to have slept with Desdemona...or something. Iago isn't totally clear if Cassio said "lie with her" or "lie on her," which is a pretty big difference. Either he slept with her or told a lie about her. Nice. Of course Othello takes the meaning Iago wants him to take. Othello gets so upset he starts mumbling and falls into a trance. As Iago gloats over the effects of his wicked work, Cassio comes in and wonders what's going on with Othello. Iago explains that he's just having a fit—totally normal—in fact, the second one since yesterday. Cassio suggests that perhaps they should try to tend to Othello, but Iago thinks it best to let the man suffer. He tells Cassio to leave them for a minute and come back when Othello has left, so they can have a friendly chat. Othello slowly comes out of his fit. Iago asks if his head still hurts, and Othello, still in a passion, interprets this to mean Iago is thinking any man's head would hurt if it were burdened by cuckold's horns. (Cuckolds are men who are led about by the horns by their wives. Othello, tricked by his own woman, feels he wears such horns.) Iago "comforts" Othello by saying lots of men are deceived by their women; it's like a club of whipped brothers. Othello then declares Iago to be very wise. All is lost. Iago tells Othello to hide a little ways away so that he can overhear a conversation between Iago and Cassio, one where Cassio will clearly incriminate himself by talking loosely about Desdemona. Othello thinks this is a wonderful idea, and says he'll listen with patient and bloody thoughts. (Apparently, finding objective proof has gone out the window.) Iago then announces his plan (to us, not Othello): he'll talk in veiled terms to Cassio about Bianca (the prostitute), whom Cassio takes very lightly. Othello, hearing the conversation, is bound to think Cassio is making light of his wife, Desdemona. Iago underhandedly will have given Othello the shadow of proof. Mwah-hah-hah, yet again. When Cassio comes back, Iago brings up Bianca, in all her pathetic ardor. Cassio, of course, laughs about how much the woman loves him, how desperate she is, and how easily beguiled she has been by his false intentions of marriage. (This conversation is overheard by Othello, who apparently missed the key word "Bianca." Othello indeed thinks they are talking about his wife.) It must be Iago's lucky day, because Bianca herself comes in and throws Desdemona's handkerchief in Cassio's face. Cassio calls her a "fitchew," which is a polecat, known for being lusty and smelly. Bianca is furious that Cassio has given her something that obviously came from another woman, a woman who is indeed a "hobby-horse" (another useful slang term for an Elizabethan harlot). Bianca walks out in a huff and Cassio follows her. Othello is completely convinced by this little scene, and furious that Desdemona would give Cassio their special handkerchief, especially since his mother's dying bequest ended up in the hands of a common prostitute. He rages for a bit, and finally gets to talk of action. Othello first threatens to chop Desdemona up into little bits. Then, he asks Iago to get him some poison, so he might kill her that very night. He won't chat with her about her offenses, as he's sure she'd be able to talk him out of her murder. Othello thinks this murder plan is most just. Iago reveals he still intends to take out Cassio. He assures Othello he'll report back before midnight. The conversation is interrupted by Lodovico, kinsman of Brabantio (Desdemona's father, remember?). Lodovico brings news from the Duke in Venice: Othello has been called back to the city, and Cassio is to replace him as command in Cyprus. While Othello reads the letter from the Duke, Lodovico talks with Desdemona (who showed up in the meantime) and asks her how Cassio is doing. Desdemona explains how Cassio and Othello had a falling out, and declares she hopes they can work it out "for the love I bear to Cassio" (4.1.231), which is not a good move given the fact that Othello was just thinking about Cassio having sex with his wife. Othello, overhearing Desdemona's loving comments toward Cassio, gets enraged and hits Desdemona. Desdemona can't figure out why her husband would strike her—and in public no less—when she's done nothing to deserve it. Lodovico insists Othello make amends with the poor girl, as she's weeping. Othello says she can cry crocodile tears (full of falsehood) and he won't care, as she changes faces so easily . Othello then declares he'll head back to Venice, and Cassio shall have his post (leaving out that he will be too dead to fill it). Desdemona leaves, shell-shocked, and Othello stalks out, muttering "goats and monkeys!" (4.1.265). Lodovico is shocked that Othello would injure his wife and behave so boorishly in public. He wonders whether Othello has been put into a passion by the Duke's letters, but Iago suggests this poor form is Othello's status quo. Iago demurs on giving details about Othello's failings, saying, with seeming humility, that it's not up to him to reveal the evils he's seen. This leaves Lodovico free to imagine worse evils.

Act 5 scene 1

Iago and Roderigo wait in a darkened street for Cassio to come. Iago has given Roderigo a sword. He tries to slip off in the darkness, but Roderigo asks him to stay near, in case he needs any help killing Cassio. Despite the plea, Iago gets away, and Roderigo is left mostly alone and noting to himself that he doesn't really have any ill will toward Cassio. Still, Iago's made a convincing enough argument that the man must die. Iago explains his devious plot (again, to us, not to Roderigo) in the cover of the shadows: If Roderigo lives, he'll demand all the jewels and gifts he gave to Iago, intended for Desdemona. (Of course, these were never delivered.) If Cassio lives, his goodness will only remind everyone that, by contrast, Iago is really evil. Also, Cassio is the only one (besides Desdemona) who has the power to clear up what's really going on to Othello. In short, Iago wants them both dead. Cassio then enters the street and Roderigo, hidden by darkness, tries to stab him. Cassio avoids the thrust, and wounds him back in self-defense. But then Iago arrives unseen and stabs Cassio in the leg. Cassio cries out for help from whatever dark alley they all happen to be in. Othello, apparently nearby in his own dark alley, hears the pitiful pleas. Thinking Iago has done away, as he promised, with Cassio, Othello is now full of the piss and vinegar required to go and murder his innocent, faithful beloved. But first, he makes a rousing speech about lust and blood and all that grave stuff. Then he exits, presumably to kill Desdemona. Lodovico and Gratiano, two Venetian gentlemen, come in when they hear Cassio screaming in the dark. Afraid this may be a trap, they hesitate, leaving Iago some time to enter with a light, the picture of confused innocence. Iago makes a big show of recognizing Cassio as a lieutenant and then vows to seek around in the dark for Cassio's assailant. Of course, Iago discovers Roderigo, and pretends not to know who he is. Then he conveniently and mortally stabs him. Iago, Lodovico, and Gratiano finally identify each other in the dark, and Iago informs the other two that Cassio has been wounded. They all head toward Cassio, and Iago takes off his shirt to bind Cassio's gashed leg. Bianca enters, in hysterics, to find her Cassio wounded. Iago tries to blame the whole messy situation on the poor strumpet, and then pretends to discover the man no one saw him stab. Iago feigns surprise at the fact that Cassio's assailant was none other than Roderigo, who he declares to be his great friend. As they all tend to the wounded Cassio, Iago asks Cassio if there was some beef with Roderigo. Cassio says he doesn't even know the guy, and Iago quickly has the two Venetian gentlemen turn their eyes towards Bianca, who Iago suggests is somehow involved in this whole sordid matter. Emilia comes in, and Iago sums up a version of the story through his lying teeth: Roderigo, who is now dead, joined with some other fellows, who have now escaped, to assault Cassio, who is now wounded. Iago, who is now telling the story, is still lying, so everything's fairly status quo. Iago then instructs Emilia to inform Othello and Desdemona of all of these very surprising events. Left alone, Iago comments that this night will make him or break him. As it's already broken Roderigo, Cassio, Othello, and Desdemona, take a guess where the odds are stacked.

Act 5 scene 2

Othello is a wreck. He's watching Desdemona sleep, and telling himself over and over again that he has to go through with this. He promises he won't mar Desdemona's beautiful skin by cutting her up or anything—she'll be pretty in death. Next he notes the single candle he's brought into the bedroom. He plans to put out his candle, and then put out her candle (meaning, kill her). He muses that if he puts out the literal candle, he can easily light it again, but once he kills Desdemona, there is no way of getting her back. During his moment, Othello is almost overwhelmed by his love for Desdemona as he bends to kiss her. He says her beauty is almost enough to stop him from being an agent of justice. Notice how we said "almost" twice? Well, so did Othello, because feelings aside, he promises to kill her and love her after. He weeps over her, lamenting that he must kill what he loves most, alluding to the Biblical passage Hebrews 12:6: "For whom the Lord loveth he chasteneth." All this weeping and kissing and murderous plotting wakes Desdemona. Sleepily, she asks Othello if he's coming to bed. He asks her if she has prayed. "I would not kill thy soul," he says (5.2.32). (Think Hamlet again, like when Claudius almost dies.) Desdemona freaks out about the killing bit, and Othello doesn't deny that, yes, he intends to kill her. He again asks her to think on her sins, so she can be absolved before she dies (and so go to Heaven instead of Hell). Othello then brings up the handkerchief (which we've dubbed the handkerchief of death). He accuses Desdemona of giving it (among other things) to Cassio, and she tries to be very calm in convincing Othello that he has made a mistake. She denies ever having loved Cassio. Othello says that she's lying and that Cassio is already dead. Desdemona mourns Cassio, whom she says has been betrayed. Still, she won't stop fighting for her life. Rather than come out with the story of having simply lost the handkerchief and try to clear up the whole matter, she begs to be banished rather than killed—to be killed tomorrow—to be given just half an hour more to live. But Othello is relentless, and smothers her with a pillow. Emilia knocks at the door and calls out for Othello. Desdemona is still not quite dead, so Othello smothers her a little more. He gets lost in his thoughts about how he has no wife. Finally inside, Emilia reports (wrongly) that Roderigo has been killed by Cassio, and that Cassio is wounded, but not dead. Othello is furious to realize that Cassio is still alive. But so is Desdemona—for at least three more seconds. "O falsely, falsely murdered!" she says weakly (5.2.118.1). Desdemona declares she is guiltless, but when Emilia asks her who murdered her, she refuses to name Othello. "Nobody. I myself," Desdemona says. Desdemona finally dies asking Emilia to give Othello her love (5.2.125). Othello admits he killed Desdemona and tells Emilia she deserved it, and that honest Iago, Emilia's own husband, can tell her all about it. "My husband?" (5.2.141.1) Emilia keeps repeating this, as the truth slowly dawns on her that she married a jerk. Othello tries to get Emilia to calm down, mostly through his threatening looks, but she says she doesn't care about any harm he can do her. She continues to shout about the murder. Soldiers and citizens of Cyprus crowd into the room, along with Iago. Emilia confronts her husband and asks if he told Othello that Desdemona was cheating on him. Iago admits that he suggested this, but then claims that Othello's own suspicion filled in all the blanks. Emilia continues to lament Desdemona, and Othello continues to insist that Desdemona was false to him. Gratiano then announces that it's a good thing Desdemona's dad, Brabantio, died of heartbreak over her wedding to Othello, because he really wouldn't have survived this traumatic event. Othello continues to lay blame on Desdemona's foulness, and Iago keeps trying to silence the lamenting Emilia. Finally, the whole story clears up when Othello says that he saw Desdemona's handkerchief in Cassio's hand, and Emilia tells him that she herself stole the handkerchief and gave it to Iago. With this small fact, Iago's whole story begins to unravel. Othello, furious, tries to stab Iago, but Iago avoids him, and instead stabs his wife to death (seemingly), and runs out. Montano bids someone to follow the villain, but only Othello and the slow, dramatically dying Emilia are left. Emilia wonders aloud about the meaning of Desdemona's final song, and she herself dies singing about willows, charging "the Moor" with some serious cruelty. Emilia dies next to Desdemona and tells Othello with her last breath that his wife was pure and faithful to him. Othello remembers that he has another weapon in his bedroom. He finds a Spanish sword and calls to Gratiano to say he's coming out. Gratiano says no way. Othello will pay dearly if he tries, especially since he's unarmed. (Gratiano doesn't know he has a sword.) "Oh yeah?" says Othello. "Open the door and say that to my face." Gratiano enters the bedroom and Othello shows him his weapon. Othello says he could easily take Gratiano down if he wanted to, but that's not his fate. He tells Gratiano there's no reason for him to be fearful even though Othello is armed, because Othello has reached the end of his journey, a.k.a., his life. He looks at Desdemona lying on the bed and says that when he dies, he'll go to hell for what he's done to her. Lodovico, the wounded Cassio, and Montano enter with a recently captured Iago. Othello pronounces Iago to be a devil (even though he doesn't have cloven feet), and wounds him. Iago lets us know that he's not dead yet. Othello responds that he wouldn't wish such a peaceful fate as death on Iago (as Othello is preparing to meet such a fate). As Lodovico points out that grieving doesn't get you out of a murder charge, Othello says he can be called a murderer, but it's important to note that he did everything out of honor, not hate. He apologizes to Cassio for his bad behavior and then demands to know why Iago chose to torment him and ruin his life. "Demand me nothing. What you know, you know," Iago says. "From this time forth, I will never speak word" (5.2.300-301). Lodovico then brings out the papers that will clear the entire mess up. Roderigo, conveniently, had a bunch of mixed letters on his person that explain, in detail, Iago's complicity in all of these plots. Othello, finally faced with Cassio, learns that Desdemona was innocent and that everything that happened was part of Iago's scheme. And Roderigo lived long enough to reveal that his murderer was actually...Iago. Lodovico orders that Othello be brought back to Venice for his punishment, and announces Cassio is to replace him. Othello wishes to say a word before he goes. He asks that he not be spoken of untruthfully, or in malice, as this tragedy is committed to history. Othello declares himself "one who loved not wisely, but too well," and then sums up the bulk of the play—how he didn't get jealous quickly, but once tricked he was driven to madness. In his final note, he pulls out a hidden weapon and stabs himself, the same way he once stabbed a Turk he saw beating up a Venetian. He has done an evil thing, but by killing himself, he has conquered the villain (himself) and therefore become the hero of his own story. Othello kisses Desdemona's dead lips and then dies himself, a murderer, martyr, and lover to the end. Lodovico tells Iago to look at his work: three innocent people lying next to each other, all destroyed by his scheming. Still, Iago keeps his promise and stays silent. Gratiano is to inherit all of Othello's worldly goods, and Montano is charged with punishing the wicked Iago. Sadly, Lodovico decides that all he can do is go back to Venice to share this tragic tale.

Act 2 scene 3

Othello tells Cassio to keep the party under control. Cassio notes that actually that's Iago's job, but sure, he's willing to help out. After Othello says he trusts Iago (bad move), he tells Desdemona he's paid for her by marrying her, and now it's about time that he gets to collect. Once Othello leaves, Iago meets with Cassio, all ready to start their night-watch together (they're guarding the court while everyone else gets their party on). Iago notes its actually only 10pm, way too early to start. Obviously, Othello only put them on watch because he had some business to attend to. Iago then prods Cassio to talk about how appealing Desdemona is. He tries to get Cassio to call the girl a *****, but Cassio's more of a gentleman than that. When it doesn't work, Iago tries to convince him to drink. He prods Cassio, saying they've got friends coming that would be happy to have a drink in honor of "black Othello." Cassio points out that he's kind of a lightweight, and he's already had his one drink for the night. Iago turns the peer pressure on full blast, and Cassio finally consents to invite the friends in for a drink, even though he doesn't feel good about it. Left alone, Iago reveals his master plan of drunkenness: he hopes to get Cassio hammered, knowing that Roderigo's been drinking all night in the name of his lost love. Once the three drunk Cypriots, who are quick to fight when saucy, are tossed in the mix, a rough and tumble night is guaranteed. As the young gentlemen of Cyprus (the gallants) enter with Montano and Cassio, Cassio declares they've already given him another drink. Iago, thrilled to bits, sings a drinking song and calls the Danish and Dutch people poor comparisons to a British drunk. Iago then sings another song, of a King Stephen who's too distracted by his clothes, and so loses his kingdom. (This is handy if you're reading The Tempest, as Shakespeare alludes to this song again when would-be king Stephano gets distracted by a wardrobe and so sacrifices his dominion over the island.) The point is, everyone's getting sauced. Cassio, lightweight that he is, gets drunker than everybody else, and begins to moralize about how they shouldn't be drunk, as he'd like his soul to be saved when he dies. Iago agrees that he, too, would like his soul saved, but Cassio says Iago should wait to die after him, as lieutenants should have their souls saved before dinky low-ranking flag-boys. Cassio continues undiplomatically that they should all look to their business as though they weren't drunk. He insists that he's not drunk, and he's so not drunk he can even distinguish his right hand from his left hand. Definitely not drunk. Cassio then heads off with the other drunken men to start their night watch, leaving Montano, Governor of Cyprus, alone with Iago. Not shockingly, Iago does his usual thing when left alone with someone: he slanders the person who's just left the room. Iago says that Cassio's virtues are well balanced with his vices, suggesting the lieutenant is extreme in both his good and bad behavior. Iago adds that Cassio drinks himself to sleep when he can. Montano, hearing this, concludes that Othello is too good-natured to recognize Cassio's alcoholism. Roderigo then enters, and Iago sends him off after Cassio. This is a setup for a fight between the two. Iago continues to shoot the breeze with Montano when Roderigo runs in—chased by Cassio. As Cassio hits Roderigo (who literally asked for it), Montano tries to stop him. Naturally, Cassio turns his drunken fury on Montano. Iago instructs Roderigo to run and make a ruckus about the fact that a mutiny has started, and then acts all surprised when, shortly after, the town bell is rung (likely by Roderigo). This makes it a sure bet that Othello will come in and ask just what all the fuss is about. Then... Othello comes in and asks just what all the fuss is about. Iago feigns innocence and says he doesn't know how the brawl started, he just saw everyone fighting like they were suddenly transported to a schoolyard. Othello demands explanations: Cassio says he can't speak, and Montano, claiming to be weak from blood-loss, says he's only guilty if he can be blamed for not being able to protect himself. So Cassio's drunk, Montano's claiming self-defense, and Othello's mad. He says his passion is beginning to overtake his reason, and everyone's going to get a beating unless this gets cleared up immediately. Further, it's for shame that the men make such a ruckus when the poor people of Cyprus feel like they're at war, and their supposed rescuers can't even manage their own domestic disputes. Othello calls on Iago to explain, who claims he would never speak a bad word against Cassio. He says he was chatting with Montano when a fellow ran in crying for help, with Cassio in hot pursuit. Montano, stepping toward Cassio to calm him down, got pulled into the fray. Iago continues: he chased after the yelling fellow to stop him from waking the city (mission not accomplished), and Cassio and Montano were embroiled in a fight by the time he came back. (All in all, Iago claims he wants to protect Cassio, but in actuality, he deliberately makes Cassio seem to be the one at fault.) Othello thinks Iago's meager report of Cassio's wrong is his attempt to cover for Cassio, which lets him imagine that Cassio is even more at fault. Mission accomplished. Furious, Othello fires Cassio from his position as one of his officers. Desdemona comes in, confused. Othello tells her to go back to bed, but says in the meantime that he has to take care of the wounded Montano. After they leave, Iago pretends to make nice with Cassio, asking if he's okay. Cassio replies that he's mortally wounded, and Iago gasps, but it's not a physical injury that's bothering Cassio. Cassio says in this fight, his reputation has suffered irreparable harm. Iago comforts him, stating that reputation is a stupid marker by which to judge people, as it's earned and lost so easily. Iago claims Cassio has no reputation at all, "unless you repute yourself such a loser." Anyway, Iago insists that Cassio can win back Othello's affections, as Othello punished Cassio more because it was immediately necessary than out of any long term hate. Iago asks if Cassio remembers why he chased that one guy (Roderigo), and Cassio says he remembers a lot of stuff, but not any particular offense. He goes on to blame wine for a bit, and generally condemns drinking until Iago cuts this off. Iago suggests that Cassio go to Desdemona and get her on his side. After all, she and Othello might as well share one mind. Desdemona is so nice, Iago claims, that she'll be eager to help Cassio, and certain to persuade Othello to take him back (as an officer). Cassio thinks this is a grand idea, and says he'll go to Desdemona in the morning. Iago is then left alone. As usual, he informs us that he's very pleased with himself. Even if he were an honest guy who was Cassio's friend, he would have given him the same advice: go get help from Desdemona. It just so happens that this "good advice" plays right into Iago's plan to make Othello jealous of Cassio. Gleefully, Iago realizes that Desdemona's kindness to Cassio will be her downfall. Roderigo comes in, fresh from the beating from Cassio, and says he thinks he should give up and go back to Venice, as now he's poor and bruised up. Iago tells him he has to be patient; though Cassio technically won the fight, the injury against Cassio will have longer effects. The fight's gotten him fired, after all, and who knows what it might bring upon him later. Iago dismisses Roderigo and goes back to bad-guy scheming. First, he plans to get his wife (Emilia) to try to plead Cassio's case to Desdemona. Second, he will try to get Othello all to himself, and then conveniently lead him to someplace where he can chance upon Cassio in intimate private speech with Desdemona, in a classic "it's not what it looks like, honey" moment.

Act 1 scene 2

Othello, the Moor, is with Iago on another street in Venice. Iago is going on about how he's murdered a lot of people, but he really doesn't like to do it, because he's such an upstanding guy. Still, he tells Othello, he had a hard time not killing Brabantio, mostly because of the awful things he was saying about Othello. (Iago conveniently leaves out that he's the one who inspired Brabantio to trash-talk Othello in the first place. Oh, the treachery!) Othello is calm, and says it's a good thing Iago didn't kill his father-in-law. Iago prattles on, asking if Othello's marriage is "fast" and "secure." It seems Iago is asking whether Othello's had sex with Desdemona yet, as marriages that had yet to be consummated (or sealed by having sex) could still be annulled. (We can safely assume that Desdemona is Brabantio's daughter.) Iago is wagging in the Moor's ear that Brabantio is a Senator, and one who is so powerfully persuasive that he's almost twice as influential as the Duke of Venice. Iago is sure that Brabantio will try to have his daughter and Othello divorced, or otherwise raise hell for poor Othello. Othello isn't going to stress about it. In fact, he's certain his record as a general and his service to Venice will stand up against any of Brabantio's complaints in Venice's eyes. Further, Othello says he simply loves Desdemona; he wouldn't have given up his freedom as a bachelor for anything less. Their conversation is interrupted by some commotion. Iago assumes it's the warring Brabantio, and he encourages Othello to run off and hide, but Othello decides to stand and face his father-in-law like a man. Actually, the interruption is not the father-in-law mob at all, but Michael Cassio (the great arithmetician, and Othello's second-in-command) with many other officers. Cassio brings the grave news that a dozen messengers have been coming with growing news of a war from Cyprus. The Duke of Venice and the Senate have been searching for Othello, who wasn't at his house. The Duke demands Othello's presence to deal with this matter immediately, even though it's the middle of the night. Othello rushes off, leaving Cassio with Iago and just enough time for Iago to tell Cassio that the reason Othello wasn't around is that he was busy stealing away and getting married. Before Cassio can hear that Othello's new wife is Brabantio's daughter, Desdemona, Othello returns to get Cassio to go with him. Just then, their exit is cut off by Brabantio, who's finally arrived with Roderigo and officers in tow. They're here to raise a riot against Othello. Swords are lifted all around. Othello and Brabantio's men plan to go at it with one another, but Othello stops them to ask what exactly Brabantio thinks he's doing. Brabantio explains that he's just come to clear up the little matter of Othello bewitching and stealing his daughter. Brabantio says his daughter was so anti-marriage prior to meeting Othello that she wouldn't marry even the wealthiest boys in the kingdom. Brabantio is sure his daughter's sudden marriage to Othello is the result of witchcraft, and he'd like to have Othello locked up for practicing black magic. Othello, still calm, says that even if he wanted to go to prison, it would only get Brabantio in trouble. The Duke is waiting to hear from Othello about this business with Cyprus, and he would be none-too-happy if his favorite general was locked up for marriage-related reasons. Brabantio insists that his matter is important, too, regardless of what's keeping the Duke up at this hour. If the Duke or any of the other men of state knew a senator's daughter was out cavorting with a Moor and were comfortable with it, then all of Venice might have "bond-slaves and pagans" for their representatives - which is not a nice thing to say about Othello.

Act 1 Scene 1

We meet Roderigo and Iago, having a spat on a street in Venice, Italy. We, the audience, have just walked in on the conversation, so we're not exactly clear about why they're fighting, yet. We learn that Roderigo has been doling out cash to Iago, and that he's now upset about some news Iago has delivered. Roderigo, referring to this news, says, "I thought you hated him!" and Iago says, "Of course, I hate him!" and we're asking, "Who the heck are you guys talking about?" and Shakespeare says, "In good time, grasshoppers." Iago explains his reason to hate this "him." Iago got three of Venice's VIPs to advocate to "him," asking "him" to make Iago a lieutenant. Iago knows he's worthy of the position, if he does say so himself, but the mystery man apparently rebuffed the VIPs and said he'd already chosen a lieutenant, another guy named Michael Cassio. Iago is displeased, especially because this Cassio is a numbers guy, a great arithmetician who has no knowledge of battle except for what he's read. Iago believes that Cassio will be useless in war. Iago is peeved that he's basically still an ancient (or ensign, meaning the lowly ranked guy who carries the flag of an army in war) instead of second-in-command to the Moor, Othello. So now we've learned that the "him" is a black man who is a general in the Venetian army. Just to be clear, Othello is the one who passed Iago over for the lieutenant position. (FYI: throughout this entire first scene, Othello is only referred to as "the Moor" and never by personal name. In keeping with the original text, we'll refer to Othello as "the Moor" for this first scene.) Iago complains more that people gain advancement because they're smart and loved, instead of reasons of seniority. He's bitter. Still, Iago promises he'll get his revenge: he'll pretend to love the Moor and do service to him, but he plans to betray this Moor the first chance he gets. Iago declares, "I am not what I am," which is a perfect introduction to this treacherous, lying jerk-o-saur. After Roderigo makes some nasty racial comments about the Moor, Iago suggests that they go now to "her father" and make a big scene at his place. Roderigo and Iago thus show up under the sleeping Brabantio's window, making quite the ruckus. They proclaim that Brabantio should watch out for thieves—and for his daughter. Brabantio comes to the window in a fury, ready to shoo off what sounds like drunken idiots making noise under his window while he's trying to sleep. Iago, hidden by the night, proclaims that Brabantio's heart should be broken, as half of his soul is stolen. Iago declares to him that "an old black ram is tupping your white ewe." Roderigo realizes that Brabantio doesn't recognize his voice, so he declares it's him, Roderigo. Brabantio then clues in and tells him to get lost. He's told Roderigo before that his daughter has no interest in marrying him, so would the drunken, fat Roderigo please leave his window and stop stalking his daughter? Roderigo and the hidden Iago continue to mock Brabantio about his daughter. They yell that they might be drunk, but they have news. Even as the men are hollering out of the windows, they say that Brabantio's daughter is being promiscuous with the Moor. Roderigo insists that Brabantio's daughter has run off to the Moor's bed, and he tells Brabantio to check and see whether his daughter is actually in her room, if he doesn't believe him. As Brabantio sets off to see if his daughter is safe in her bed, Iago tells Roderigo that he'll be leaving now. It won't look good if he (Iago) is found with Roderigo, plotting the Moor's demise, when he's supposed to be on the Moor's side. Iago notes that while the state may not like the Moor's behavior, the state can't afford to get rid of him right now. The state has recently entered into war in Cyprus, and no one can rival Othello as a general. Basically, they need him, even if they don't like him personally. Iago tells Roderigo that, at the moment, he's got to see the Moor, but he'll meet Roderigo later at this pub, the Sagitarry, where he'll be with the Moor. After Iago has left, Brabantio returns in a rage. His daughter is indeed gone. Brabantio wonders aloud whether the girl has married the Moor. Roderigo confirms the two are likely married, and Brabantio declares that men should trust their daughters' actions and not what their daughters say. Brabantio then insists that the Moor must've tricked his daughter, enchanting the girl to fall in love with him. In frustration, Brabantio says he wishes Roderigo had married his daughter after all. Roderigo then graciously agrees to go with Brabantio on a hunt to find this wayward girl. They'll even get the whole neighborhood involved.

Act 4 scene 2

We open with Othello grilling Emilia, trying to get her to confess that Desdemona and Cassio are having an affair. Emilia tells him that he's crazy—she has observed Cassio and Desdemona every minute they were together, and nothing remotely suspicious has happened. She's sure that Desdemona is honest, if ever there were an honest woman. Emilia insists that only some wretch could have put this thought into his head. Othello then sends Emilia to get Desdemona, dismissing her claims as the simple testimony of a simple woman. Othello has convinced himself that Desdemona is cunning in her harlotry, and it's no surprise she wouldn't be found out, even by her woman friend. Apprehensively, Desdemona enters. Othello flies into a passion, falling into tears. He accuses Desdemona of being false (particularly, by cheating on him), but Desdemona denies it and tries to argue otherwise. She then suggests that Othello's rage might be inspired by the letter he received earlier today calling him back to Venice. Desdemona wonders if perhaps Othello thinks the summons to leave Cyprus (and her) were the machinations of her angry father back in Venice. Still, she says if her father had a hand in this, she's not to blame, as she remains staunchly on Othello's side. Still, Othello mourns his mystery loss; he says he could bear any amount of suffering from the world, and proceeds to detail any and all types, including sores, poverty, slavery, and a world of scorn. With any of these, he says, he could have patience—but he cannot bear this abuse of his heart. Desdemona begs him to tell her what she has done wrong, and Othello calls her a ***** and a strumpet. Desdemona swears on her soul that she has never touched anybody but him, but he doesn't believe her. Emilia walks in on this little exchange, so Othello takes to abusing her, too. He praises her for being the gatekeeper to Hell, and tells her that she'd do best to keep the events of this night to herself. Othello then exits, and the ladies are left with raised eyebrows. Emilia questions Desdemona worriedly about Othello's behavior, wondering what's happened to her "lord." She then declares that she has no lord, nor does she have tears to cry, and no answer is appropriate about what is going on with Othello except an answer that could be told in tears. Desdemona bids Emilia to lay her (Desdemona's) wedding sheets on the quarreling lovers' bed tonight, and asks to have Iago come and talk to her. Alone, she resents bearing all this abuse, mostly because she's done nothing wrong. Emilia returns with Iago. Desdemona says she can't even begin to comprehend the things Othello has said to her. She was brought up so gently that she can't make sense of his abuse. Thankfully, Emilia witnessed the whole thing and is happy to dish. She says Othello called Desdemona a ***** and all sorts of other cruel names—things worse than a drunk beggar would have said to a prostitute. Iago pretends not to know why Othello would behave this way and begs Desdemona not to weep. Next, Emilia reminds Desdemona that she turned down all sorts of nice, rich Venetian boys, even her father, and her friends, and her country...all to marry Othello. She also suggests that it could only be some really vile person, seeking his own self interest, that plied Othello with lies about Desdemona's faithfulness in order to make him jealous. She prattles on about this for a while, and Iago tells her to speak quietly, but Emilia notes that it was a very similar scheme, lies from a lying liar, that made Iago believe Othello had been with her too. Iago tells Emilia to shut up already. Desdemona begs Iago to tell her what to do, or go talk to Othello on her behalf, to cure him of his wrong-mindedness. She can't believe this is happening to her—as she truly loves Othello. She can't even imagine going behind his back to be with somebody else. Iago tells Desdemona not to worry—Othello is probably just upset about state business. He points out that the messengers from Venice are waiting to eat with the women, which is clearly more important than Othello's inexplicable and murderous rage. Iago promises "things shall be well" (4.2.170), and Desdemona and Emilia leave Iago alone. Roderigo comes in to yell at Iago for not yet setting him up with Desdemona but still spending all of his (Roderigo's) money. Roderigo's finally starting to wise up to the fact that Iago is just using him for his cash, and in fact never really cared about him. Roderigo, who seems rather broke at the moment, wants to know what happened to all the expensive jewelry he gave Iago to give to Desdemona. Iago kept promising that Desdemona was getting the gifts and wanted to give something up in return, but he has yet to see any special favors of Othello's wife. Roderigo then throws down the gauntlet—he declares that he'll go and see Desdemona himself. If she returns his jewels, he'll repent ever having tried to court a married woman. But if she has no jewels to return, then Roderigo will take it out on Iago. Iago, hearing Roderigo threaten him, declares him a much better man than he'd ever taken him for. Iago insists he's actually been working on the situation and that Roderigo will be all up in Desdemona's jewels come tomorrow night. All Roderigo has to do is listen to Iago's plan. Iago informs Roderigo that Othello's been called back to Venice, and Cassio is to replace him in Cyprus. Iago also casts random lies, claiming Othello is headed to Mauritania (in Africa) with Desdemona. If Roderigo were to get rid of Cassio, then Othello couldn't leave Cyprus. (Presumably, this would give Roderigo access to Desdemona.) Anyway, Iago quite expertly calms Roderigo down and convinces him that he needs to kill Cassio that very night, probably while Cassio is having dinner with his harlot (Bianca) who, it seems, forgave him for the whole handkerchief thing. Iago promises he'll be right behind him to help with the murdering. Iago declares all of this should go down sometime between midnight and one in the morning. Iago is clear: murdering Cassio is the only way to get to Desdemona. Roderigo, ever a wit, points out that this plan really doesn't make any sense. Somehow Roderigo is appeased when Iago promises he'll explain it all later.

Whole play summary

We start out in Venice, Italy, land of love and water. We meet two guys early on: Iago and Roderigo. Iago, who's been taking money from Roderigo in some sort of "arrangement," is upset at "the Moor," a.k.a. Othello, our tragic hero. Othello is a general in the Venetian army, and he just chose another man, Cassio, to be his lieutenant. This angers Iago, who wanted the position for himself. Iago and Roderigo decide to get back at Othello by making a nighttime visit to Brabantio, the father of Desdemona (a.k.a. the woman Othello has recently eloped with). When Iago and Roderigo tattle on Othello for marrying Desdemona without her father's permission, Brabantio rushes to his daughter's room and discovers that she is missing. According to the angry father, this must mean that "the Moor" somehow "tricked" his daughter into whatever the two of them are doing together. Cut to Othello in the next day or so, who's hanging out with Iago and talking about his new wife, Desdemona. Trouble is brewing since Brabantio is a senator and therefore pretty influential. It's clear that he'll try to split the pair up. But Othello isn't worried. Since he's legendary in the Venetian military, he believes his service record will get him through just fine. He adds that he really loves Desdemona, too. The conversation is interrupted by Michael Cassio (the guy who got the lieutenant position over Iago), who says the Duke of Venice needs to see Othello right away, because there's some military action going down in Cyprus. Before everyone can peacefully exit, Brabantio shows up with Roderigo and various henchmen, ready to kill Othello or at least maim him severely for having the audacity to marry his daughter. Looks like everyone is off to see the Duke and settle the matter. Once we get to the Duke, Othello speaks in his defense: he says Desdemona was an equal participant in their courting, and there was no trickery involved. They're now very much in love and married. Our woman in question, i.e. Desdemona, finally arrives and confirms the whole story. At this, the Duke tells Brabantio to stop whining and sends Othello to fight the battle in Cyprus. Desdemona states that she'll come along, as do Iago, his wife Emilia, Cassio, and Roderigo. Iago and Roderigo have a little conversation during which Roderigo complains about being lovesick for Desdemona, and Iago says he'll get them together as soon as they bring down Othello. Once alone, Iago reveals a rumor that Othello was having sex with Iago's wife, Emilia. (The rumor is totally untrue and it's not even clear that Iago believes it.) To get revenge, he'll take out Cassio and Othello by convincing Othello that Cassio is having sex with Othello's wife, Desdemona. So our cast of characters gets transported to Cyprus, where instead of battle there's just a big party (long story, read your play for the details). We note that Cassio is a ladies' man, especially around Emilia. While on watch together, Iago gets Cassio drunk and orchestrates a fight between him and Roderigo. Othello intervenes and fires Cassio for being belligerently drunk instead of doing his job. Iago then convinces Cassio that he should ask Desdemona to tell Othello to give him back his job. Once alone, Iago schemes more about how he's going to convince Othello that Desdemona is having an affair with Cassio. Cassio talks to Desdemona and she agrees to try to convince her husband to give Cassio his job back. As Othello is seen approaching, Cassio slinks off, not wanting to have an awkward moment with the guy that just fired him. Iago (entering with Othello) notes how suspicious it is that Cassio hurried off like that. Once the two men are alone, Iago plants (and massively fertilizes) the seed of suspicion. Cassio, he hints, is having an affair with Desdemona. He warns Othello to keep his eye out for anything suspicious, like Desdemona talking about Cassio all the time and pleading for his job back. Othello is so upset he gets physically ill. Once Desdemona is back, she tries to bandage his head playfully with the "special handkerchief" Othello once gave her, a symbol of their undying love, an heirloom from his dead mother, and eventually the cause of a whole lot of trouble—which is why we later call it "the handkerchief of death." To make a long story short, Emilia steals the handkerchief for her husband Iago, whom we learn has asked for it repeatedly in the past. Iago plants the handkerchief of death in Cassio's room. Othello enters, and Iago furthers Othello's suspicions with the aid of various outright lies. When Othello learns about the handkerchief, he decides that Desdemona is cheating on him, and because of that, she has to die. The next scene brings us to Othello arguing with Desdemona while Emilia watches. He wants to know where the handkerchief is and Desdemona, oblivious, wants to talk about Cassio. Fighting ensues. Shortly afterwards, we meet Bianca, a prostitute who's in love with Cassio. Cassio gives her the handkerchief he got from Iago, and swears it's not a love token from another woman. Some time later, Iago sets up a conversation between himself and Cassio, in which he gets Cassio to speak provocatively about Bianca. According to Iago's plan, somehow Othello, hiding and listening in, will think Cassio's speaking of Desdemona. So while Cassio is saying, "Yeah, I gave it to her good," Othello is thinking, "I'm going to kill that guy." To make matters even worse, Bianca storms in and throws the special handkerchief in Cassio's face, having discovered that it indeed belonged to another woman. She storms out, with Cassio following behind her. Othello rages for a bit, and Iago advises that he strangle Desdemona. The next time the couple interacts, Othello hits her in the face (in front of a messenger from Venice telling him he has to go back home). Shortly after that, Othello yells at his wife, calling her a "*****," a "strumpet," and lots of other hurtful names. Filled with jealousy and indignation, he eventually resolves to kill his wife. Back on the other manipulation front, Roderigo is getting tired of Iago taking all his money and not delivering the goods (i.e., Desdemona), as promised. Iago tells him to cool his jets, and also to kill Cassio when the opportunity arises, which, according to Iago, will happen that night between midnight and 1:00 AM. Meanwhile, Desdemona and Emilia are talking together, and Desdemona begins to act strangely, foreshadowing her own death. She sings of it, too. Emilia, meanwhile, defends the act of cheating on one's spouse, especially if there's a good reason for it. Iago and Roderigo hang out, waiting for Cassio. Roderigo tries to stab Cassio, fails, gets stabbed himself, and looks to be in trouble until Iago sneaks up and stabs Cassio in the leg. Two Venetian gentlemen run in at the sound of Cassio's screaming. Iago pretends he just stumbled in himself, declares Roderigo to be the assailant, and stabs Roderigo to death before the man can claim otherwise. Bianca runs in and screams a bit, and Iago tries to pin the mess on her. Emilia enters and Iago weaves her a lying tale. He instructs her to tell Othello and his wife about the news. Othello, meanwhile, kills Desdemona, just as Emilia enters the room. In this moment of confusion, Emilia reports (incorrectly) to Othello that Cassio killed Roderigo. Othello is furious to find that Cassio is still alive, as that was definitely not the plan. Emilia finally puts two and two together and realizes her own husband is the cause of everyone's tragedy. As people pour into the room, Emilia outs Iago for being a rat. Iago promptly stabs his wife, but not so promptly that the truth can't come out first. Othello demands to know why Iago ruined his entire life, but Iago refuses to give him (and us) a good reason. The Venetian gentlemen decide to take Othello back to Venice to face his punishment for killing his wife, and Cassio inherits Othello's post in Cyprus. Othello, overwhelmed by grief, decides to end his life rather than live without Desdemona.

Act 2 scene 2

We're now back on the streets of Cyprus to hear Othello's herald make a public announcement: in celebration of the Turkish fleet's destruction, Othello has declared that tonight will be a party night in Cyprus. Every man can do what pleases him best.

Act 2 scene 1

You thought there was going to be a battle scene. Instead, it turns out that a really big storm knocked out the entire Turkish fleet, so now Othello will have nothing to do except honeymoon in Cyprus. Cassio has arrived before Othello and now converses with the Governor of Cyprus, Montano, about how wonderful Othello and his new wife are. As they await everyone else's arrival, the people onshore in Cyprus are nervous about whether Othello and Desdemona made it through the storm. Cassio hopes they'll both get to Cyprus safely and quickly. Desdemona makes it to Cyprus first, along with Iago and his wife, Emilia, who is going to be Desdemona's lady attendant. Cassio welcomes Desdemona and Emilia—flirtatiously kissing Emilia. Iago quips that if Emilia would kiss Cassio's lips as deftly as she whips him (Iago) with her tongue, Cassio would be over her quickly. As Iago mocks his wife for being a nag, Desdemona tries to defend her. Desdemona then asks Iago his opinion of women. Iago goes through a series of rhyming racist and sexist jokes. At least we see where Iago stands. Iago makes a snide aside to himself, noting how freely Cassio flirts with the women, kissing them and taking their hands to his lips. Iago will gladly make Cassio's hand-kissing his undoing. Iago then says after he's done his part, Cassio will wish his fingers were "clyster pipes" or enema tubes. (Gross!) Finally, Othello shows up. He and Desdemona embrace and put on a big show of PDA (public display of affection). Othello says he could die now, as he's so happy to see Desdemona. "God forbid," Desdemona says. They engage in more PDA. After instructing Iago to get his trunks and take the ship's captain to the castle, Othello leaves with Desdemona. With everyone else gone, Iago and Roderigo (who have traveled there together) are left to start scheming again. Iago says men in love are known to be more beastly than their natures usually allow, and he plans to take advantage of this. Iago tells Roderigo that Desdemona is already over Othello and interested in Cassio. He then gives his longwinded speech, again, about how passions tend to cool. He says that as Desdemona got over Othello, Cassio stepped right in, since he's handsome and charming and valiant. Iago offers as proof the fact that Desdemona held Cassio's hand while they greeted each other, which is no evidence at all, unless you're a jealous, murder-plotting lover. Conveniently, Cassio will be on the night-watch this evening, so Iago suggests that perhaps Roderigo would like to pick a fight with him, get him demoted, and then have less competition for Desdemona. Roderigo agrees. After he exits, Iago gloats to the audience about the success of his scheming. He has actually convinced himself that it's perfectly possible that Desdemona and Cassio might have an affair. Iago admits that Othello is a loving husband to Desdemona, but says that he, too, loves Desdemona. Don't forget, the revenge bit seems to stem from Iago thinking Othello had sex with his wife Emilia. He doesn't know for sure, but he's going to assume it's true, as that makes life and crime easier. The thought (of Othello with Emilia) plagues Iago, and he won't be content until he's even, "wife for wife." (This might suggest that Iago wants to defile Desdemona by sleeping with her, or some other means. If he can't explicitly ruin Desdemona, Iago will be contented by making Othello so jealous he can't think straight. If Roderigo does his job right (and picks a fight with Cassio), then Iago can use Cassio as a means to exploit Othello's jealousy. Iago plans to trash-talk Cassio to Othello, planting suspicion about Cassio's alleged relationship with Desdemona. Iago also clarifies that part of his hatred for Cassio is a suspicion that Cassio, too, has slept with Iago's wife. Iago gloats that, despite all this wickedness, Othello will praise him and not realize he is the one orchestrating Othello's madness and downfall. Iago admits his plan isn't perfected yet, but evil never is—until the time comes for it to be done.