Act 4, Scenes 1–3 Summary and Analysis
Scene 1
Othello and Iago are speaking, and Iago goads Othello by telling him that the handkerchief is Desdemona’s to do with as she wishes. Iago then says that some men are prone to brag about the women they have slept with, and Cassio has mentioned being with Desdemona. Othello sputters as he speaks about the handkerchief, confessions, and killing Cassio; he then “falls in a trance.”
Iago, in an aside, celebrates the success of his plan, and Cassio enters. He tells Cassio that Othello is having an epileptic fit. He sends Cassio away but tells him to come back later. Othello’s trance ends, and Iago tells Othello that it is better to know the truth about one’s wife than to have her adultery be secret. He then tells Othello that Cassio should be coming back soon and asks Othello to hide while Iago has Cassio recount his story of sleeping with Desdemona. Othello promises to stay calm while he hides. With Othello gone, Iago tells the audience that he is going to ask Cassio about Bianca instead of Desdemona.
Cassio enters. Iago greets him and tells him that if Bianca had any say in the matter, he would already have been reinstated as lieutenant. Cassio, laughing and speaking of Bianca, says that she seems to be in love with him but that he would never marry a whore. He talks about how she hangs on him regularly and pulls him along when they are together. Othello, who can only hear the laughter, believes his gestures refers to Desdemona pulling him to bed.
Bianca enters and gives him back the handkerchief, telling him that she will not be made to copy the embroidery of some love token he received from another woman. Othello recognizes it as the handkerchief he gave to Desdemona. She insists that Cassio come to dinner with her or she will not see him again. She storms off, and Cassio follows her to prevent her from making a larger scene. Othello comes out of hiding, wishing to kill Cassio and lamenting the loss of his wife’s virtue. He asks Iago to get poison so that he can kill his wife, but Iago suggests strangling her in the bed that she has contaminated.
A trumpet sounds, and Lodovico, Desdemona, and an entourage enter. After exchanging pleasantries, Lodovico hands Othello a message, which says that he is to return to Venice and make Cassio governor of Cyprus. Desdemona is happy to hear this, but Othello strikes her. Lodovico is shocked by Othello’s actions and insists that he apologize to Desdemona, but Othello implies that her tears are just a performance. Othello says that Cassio can have the job, welcomes Lodovico and company to Cyprus, and insults them before leaving. Lodovico asks Iago if Othello is normally so emotional and cruel, but Iago invites Lodovico to watch Othello and see for himself.
Scene 2
Scene 2 opens with Othello interrogating Emilia about Desdemona and Cassio. Emilia defends Desdemona, saying that she is the purest wife one could ask for. He sends Emilia away and calls for Desdemona. Desdemona enters and pleads with Othello to explain what he has been thinking. He cryptically accuses her of being unfaithful, but she cannot understand why he believes this. He continues to accuse her of infidelity and insult her. She attempts to defend herself, but Othello throws money at her and tells her to leave him alone. He exits as Emilia enters.
Emilia asks Desdemona what she and her husband were talking about, but Desdemona is in shock and cannot answer. Iago enters and...
(This entire section contains 1446 words.)
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inquires about Desdemona’s emotional state. Emilia explains that Othello repeatedly called her a whore, and Iago feigns shock, wondering how Othello would get such an idea. Emilia suggests that someone must have started the rumor to secure a political position, and curses whichever villain might be bold enough to try this. Desdemona asks Iago if he knows how she might win her husband back and again asserts her innocence. Iago tells her that politics have likely put Othello in a bad mood. Trumpets call them all to dinner.
Desdemona and Emilia leave, and Roderigo enters to speak with Iago. He is angry that he has made no progress with Desdemona, and we learn that he has given jewels to Iago to woo her. Roderigo is planning to tell Desdemona his true feelings, but Iago tells him that Cassio is now governor of Cyprus and then lies by telling him that Desdemona and Othello are soon leaving for Mauritania. The best way to keep Desdemona close by, he claims, is to murder Cassio, as this will force Othello to stay in Cyprus. Iago and Roderigo begin hashing out a plot to kill him.
Scene 3
Othello, Lodovico, Desdemona, and Emilia enter, accompanied by attendants. Othello asks Lodovico to walk with him and sends Desdemona to bed. Othello and company exit, and the scene shifts to Desdemona and Emilia in the bedchamber. Desdemona acknowledges that she still loves her husband despite his treatment and asks Emilia for help undressing. Desdemona then talks about a maid that she used to have named Barbary who would sing a song called “Willow.” Barbary died while singing it.
Desdemona now begins singing, and it is a song about a forsaken lover. She interrupts herself several times while singing it, thinking that she hears knocking and wondering if her itchy eyes are an omen. When she is finished, she asks Emilia if she would ever cheat on Iago for the entire world. While Desdemona denies that she would do such a thing, Emilia says that she would, because if it were for the whole world, she could then control the world and undo the transgression. Emilia then reminds Desdemona that men and women cheat on each other regularly, and that women have just as many needs as men do, but Desdemona sends her away.
Analysis
Othello has, until this act, been relatively measured and articulate. However, when Iago tells him that Cassio has boasted about sleeping with Desdemona, Othello’s words fail him, and he can no longer speak. He exclaims,
Lie with her! That’s fulsome.—Handkerchief—confessions—handkerchief! [. . .] It is not words that shake me thus. Pish! Noses, ears, and lips. Is’t possible? Confess!—Handkerchief!—Oh, devil!
He makes these utterances before becoming catatonic. It is not words that shake Othello but the ideas that he conjures in association with those words. In fact, it seems that he cannot articulate the words that he needs to express his feelings, instead repeating the same words over again and eventually falling into complete silence, turning his attention inward. This serves to show how effectively Iago has manipulated Othello through subtle suggestions.
Once a man of words (compare this Othello to the Othello of act 1, who calms an angry mob), Othello is unable to articulate anything coherently, similar to Cassio in act 2, who “cannot speak” when he is overcome with shame and drunkenness. Similarly, in scene 2, Desdemona, who was formerly able to verbally spar with the likes of Iago, cannot answer Emilia when questioned about her relationships with her husband. Instead, she states, “I cannot weep, nor answers have I none.” She, like her husband, has been reduced to a mute state, incapable even of crying.
In the final scene of act 4, Emilia develops as a character and presents a view of gender that is progressive relative to the Elizabeth-era context of Othello’s publication. In this scene, Emilia suggests that perhaps men and women are not so different, both having sexual appetites and being capable of using sex as a weapon. In Elizabethan England, women were encouraged to be chaste, and by law, women were prohibited from playing roles on the stage, as acting was seen as an unsavory profession. Instead, young boys were hired to play female roles. In this way, this message of gender equality was originally conveyed from the lips of a man playing a woman.
Emilia’s statements also show that she is not completely submissive to her husband, despite the way he demeans her throughout the play—and despite her usual compliance. She believes that women should be free to pursue their own happiness, even if it sometimes means lying to their husbands. Moreover, it is difficult to imagine that she would take her husband’s mean-spirited comments in act 1 about women seriously. Rather than agree in silence, it seems that she maintains a measure of freedom and power, with the knowledge that at any point she might leave her husband to pursue her own appetites.
Expert Q&A
What does Othello's expression "goats and monkeys!" mean in 4.1.243 of Othello?
Othello's exclamation "goats and monkeys!" in 4.1.243 reflects his deteriorating mental state and his belief in Desdemona's infidelity, influenced by Iago's manipulation. The phrase, likened to an idiom, carries a double meaning. It represents promiscuous animals, reflecting Othello's imagined image of Desdemona and Cassio together. This expression showcases Othello's anger and frustration, driven by Iago's deceitful plot, leading him to act out of character.
What is the significance of the following quotes from Act 4, Scene 3 in Othello?
Why the wrong is but a wrong i' the world: and
having the world for your labour, tis a wrong in your
own world, and you might quickly make it right.DESDEMONA
I do not think there is any such woman.
EMILIA
Yes, a dozen; and as many to the vantage as would
store the world they played for.
But I do think it is their husbands' faults
If wives do fall: say that they slack their duties,
And pour our treasures into foreign laps,
Or else break out in peevish jealousies,
Throwing restraint upon us; or say they strike us,
Or scant our former having in despite;
Why, we have galls, and though we have some grace,
Yet have we some revenge. Let husbands know
Their wives have sense like them: they see and smell
And have their palates both for sweet and sour,
As husbands have. What is it that they do
When they change us for others? Is it sport?
I think it is: and doth affection breed it?
I think it doth: is't frailty that thus errs?
It is so too: and have not we affections,
Desires for sport, and frailty, as men have?
Then let them use us well: else let them know,
The ills we do, their ills instruct us so.
The significance of this passage in Act 4, Scene 3 of Othello lies in Emilia's argument that wives' infidelities are often responses to their husbands' mistreatment. Emilia contrasts her worldly wisdom with Desdemona's innocence, highlighting that men and women share similar desires and frailties. This foreshadows Desdemona's tragic fate due to Othello's jealousy and explains Emilia's eventual revelation of Iago's deceit, driven by her self-respect and recognition of his wrongdoings.
What is the irony in Othello's Act 4, Scene 2, lines 131-145, that Emilia doesn't know?
The irony in Act 4, Scene 2, lines 131-145 of Othello is that Emilia is unaware that the "eternal villain" she curses is her own husband, Iago. Emilia naively believes Iago is loyal and has no idea he masterminded Othello's jealousy. Additionally, she unwittingly contributed to the plot by stealing Desdemona's handkerchief for Iago, which Othello used as proof of infidelity.
Why is Bianca angry with Cassio in Act 4 of Othello?
Bianca is angry with Cassio in Act 4 because she suspects him of infidelity. Cassio gives her Desdemona's handkerchief, unaware of its true ownership. Bianca believes it is a token from another woman, which insults her and suggests Cassio is unfaithful. She accuses him of asking her to remove the embroidery to hide its origin, reinforcing her belief in his inconstancy.
Where does Iago claim to be Satan in Shakespeare's Othello?
Iago never directly claims to be Satan in Othello, but he is often associated with evil. In Act IV, scene i, he calls himself a villain, implying devilish traits. He also aligns himself with "all the tribe of hell" and "Hell and night" in Act I, scene iii, suggesting a connection to demonic forces. These references underscore his role as a symbol of deceit and malice throughout the play.
In Act 4, Scene 2, why is Desdemona's reaction mild when Othello accuses her of infidelity?
Desdemona's mild reaction to Othello's accusations of infidelity in Act 4, Scene 2, stems from her innocence and devotion to him. She is shocked and confused by Othello's anger, as she believes in the truth and is unaware of his suspicions about Cassio. Her nature prevents her from responding with anger, and she hopes Othello's rage is temporary. Desdemona remains loyal, not realizing the depth of Othello's transformation and intentions.
What is the wordplay and dramatic purpose of this imagery in Othello, Act 4, Scene 1?
You did wish that I would make her turn... You are welcome, sir to Cyprus. - goats and monkeys!
In Act 4, Scene 1 of Othello, Othello's imagery of "goats and monkeys" reflects his mental unraveling and belief in Desdemona's infidelity. This animalistic imagery, influenced by Iago, suggests crude, lustful behavior, aligning with Iago's portrayal of their relationship. The reference indicates Othello's emotional turmoil and inability to think clearly, as he views Desdemona through a distorted lens of betrayal and licentiousness, influenced by societal and personal biases towards women.
How does Othello abuse Desdemona and what is her response?
Othello abuses Desdemona both verbally and physically after being manipulated by Iago into believing she is unfaithful. He calls her derogatory names and hits her, driven by jealousy and insecurity. Despite this, Desdemona remains calm and confused, unable to defend herself as she has done nothing wrong. Ultimately, Othello's misguided conviction leads him to murder Desdemona, and upon realizing his mistake, he takes his own life.
Why is the first part of Act 4, Scene 2 in Othello sometimes called the "brothel" scene?
The beginning of act 4, scene 2 could be given the title of “the brothel scene” due to the accusations of adultery Othello imposes on his wife, Desdemona. Additionally, Othello calls Desdemona both “strumpet” and “whore” repeatedly throughout their brief interaction.
How does the handkerchief function in act 4 of Othello?
Who taught Desdemona the "Willow" song and how does it connect to Othello's events?
Desdemona learned the "Willow" song from her mother's maid, Barbary, who was heartbroken and abandoned by a lover driven mad by jealousy. The song reflects Desdemona's own situation, as Othello's jealousy leads to her tragic fate. The "weeping willow" symbolizes mourning and loss, paralleling Desdemona's doomed love. Her addition to the song's lyrics reveals her acceptance of blame, mirroring her unjust fate at Othello's hands.
What is the turning point in Shakespeare's Othello?
How does the scene where Othello slaps Desdemona in Othello reflect societal institutions like "the state"?
The scene where Othello slaps Desdemona reflects societal institutions like "the state" by symbolizing the collapse of Othello's personal and professional status. Initially, Othello's marriage and military appointment represented his integration into Venetian society. However, his decommissioning and violent act against Desdemona mark a loss of both his public and private roles, exacerbated by Iago's manipulation. This downfall aligns with societal structures where personal failures reflect broader institutional failures.
According to Othello in Act 4, Scene 2, what's the worst part of being a cuckold?
In Act 4, Scene 2 of Othello, the worst part of being a cuckold for Othello is the betrayal by his wife, Desdemona. He feels that she was meant to be solely his, to bear his children. Othello expresses that he would prefer physical afflictions, like those suffered by Job, or public ridicule, rather than endure the emotional pain of her infidelity.
Can you explain these lines from Othello: 'To confess, and be hanged for his labour! First to be hanged, and then to confess: I tremble at it.' (4.1.38-39)?
In these lines from Act 4, Scene 1 of Othello, Othello, in a rage, expresses his intent to murder Cassio, whom he believes is having an affair with his wife, Desdemona. He sarcastically suggests Cassio should confess after being hanged, highlighting his anger and disbelief at the betrayal. Othello's trembling reflects his intense emotional turmoil and the adrenaline-driven fury he feels due to Iago's manipulation.
Considering act 4, scenes 1 and 2, is Iago a sadist in his treatment of Othello, Desdemona, and Roderigo?
Iago takes pleasure in psychologically torturing and lying to people he hates, including Othello, Desdemona, and Roderigo in act 4, scenes 1 and 2. He drives Othello into a tormented, jealous frenzy, leaves Desdemona in confused despair, and continues to play Roderigo for a fool. He is deliberately cruel to all three of these characters.
