Act 5, Scenes 1–2 Summary and Analysis

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Scene 1

Act 5 opens with Roderigo and Iago. Iago tells Roderigo to lie in wait for Cassio and be ready to kill him. In an aside, Iago tells the audience that no matter whether Cassio kills Roderigo or Roderigo Cassio, he will come out on top. Ideally, they will kill each other. Cassio enters, and Roderigo stabs at him, but Cassio is wearing armor. Cassio retaliates, wounding Roderigo. Iago comes behind Cassio and stabs him in the leg before running away. Cassio cries out, and Othello enters and comments on how loyal a friend Iago is. Believing that Cassio has been killed, Othello retreats to his bedchamber, claiming that Desdemona is next. 

After Othello leaves, Lodovico and Gratiano enter, hearing the cries. Iago also enters, in bedclothes, pretending to have been roused by the sounds. Cassio again cries for help, saying that villains have attacked him. Roderigo also cries for help, but Iago stabs him, claiming he is one of the villains that has attacked Cassio. Ludovico and Gratiano move in to help Iago, who binds Cassio’s leg wound with his shirt. Cassio faints as Bianca enters. Iago claims that Bianca must be to blame for the attack and places Cassio on a chair to transport him. As Roderigo’s body and Cassio are carried away, Iago interrogates Bianca and accuses her of plotting against Cassio. Emilia enters, and Iago sends her to tell Othello and Desdemona about the fight. 

Scene 2

The final scene of the play opens on Othello standing over Desdemona in their bed. He delivers a lengthy soliloquy about how he does not want to kill her but must do so. He leans over to kiss her one last time, but she wakes up. He tells her to pray, because he does not want her to go to hell before he kills her. She asks what she has done to deserve death, and he explains that she has given her handkerchief to Cassio. He tells her that there is no use in lying, as she is on her deathbed, and nothing will change his mind. When she protests, Othello tells her that Cassio confessed. When she wishes to hear it from Cassio, Othello tells her that Iago has already killed him. She pleads to live just a bit longer, but Othello smothers her.

After the deed is done, Emilia calls for Othello from offstage. Othello believes the sound to be coming from his wife, so he continues to smother her. Othello eventually comes to his senses and realizes that Emilia is calling him, and he debates whether or not he should let her in. He draws the bed curtains and opens the door, and Emilia tells him that Cassio has killed a young Venetian named Roderigo. She also tells him that Cassio is still alive. At that moment, Desdemona wakes up and with her last breaths exclaims that she has been killed; she then dies. Othello admits that he killed her because she was unfaithful, but Emilia curses him and tells him that Desdemona was faithful until the end. Othello implicates Iago as the one who caught Cassio and Desdemona together, and Emilia curses her husband as well, calling him a liar.

Emilia calls for help, and Montano, Gratiano, and Iago enter. Emilia demands that Iago tell her if he spread such rumors, and she accuses him of causing murder. The others are shocked, and Emilia threatens to kill herself out of grief. Othello attempts to defend his actions, claiming that Desdemona “was foul.” Gratiano exclaims that Brabantio has recently died and that he is glad Desdemona’s father is not alive to witness such an end for his daughter. 

Othello explains that Desdemona had been sleeping with Cassio and cites the handkerchief as evidence, but Emilia explains that she had stolen it for Iago. Othello, realizing that he has been tricked, rushes toward Iago, but Iago stabs Emilia for uncovering the truth and runs away. Montano tells Gratiano to guard the door so that Othello does not escape and chases after Iago. Othello asks Gratiano to come back in. Othello takes a sword from hiding but tells Gratiano not to worry, as he does not intend to fight. Lodovico and Montano enter, carrying Cassio in his chair, and holding Iago prisoner. 

Othello stabs Iago but does not kill him. Othello asks for Cassio’s forgiveness in plotting his death, and he asks Iago to explain why he manipulated Othello. Iago refuses to speak, but Lodovico produces letters from Roderigo that help to explain the plot. Cassio also explains that he simply found Desdemona’s handkerchief and that Iago had placed it there for him to find. Lodovico explains that they are going to torture Iago for his crimes and attempts to take Othello prisoner. Othello tells the men to remember him as he is, as one who loved foolishly but with honor, and he stabs himself. He falls and kisses Desdemona before he dies. Lodovico turns Iago over to Cassio, giving Cassio permission to torture Iago, and leaves to tell Venice the story of Othello.

Analysis

Throughout act 5, the idea of deflowering is linked to death. For instance, Othello states that “Thy bed, lust-stained, shall with lust’s blood be spotted.” Although the blood he is referring to is the blood of his murder victim, it also seems to describe the blood of a virgin. We have already seen similar imagery with the handkerchief, which is a white cloth spotted with virgin blood. While the handkerchief may indeed represent Desdemona’s innocence (now being toyed with as others possess it), for Othello it is indicative of a rotting or dead relationship. Throughout the actual murder scene, Othello is oddly gentle, attempting to kiss his wife before the act and careful to “not shed her blood.” Later in the scene, he also insists that he “would not have [her] linger in [her] pain.” All of these seem to point to the innocence that Othello is destroying by killing Desdemona. Her innocence is further highlighted by the fact that Othello, at several moments, describes how White she is, almost as white as the unsullied sheets upon which she is murdered. It remains unclear if Othello and Desdemona ever consummated their marriage, and it is through this murder that Othello seems to be doing his husbandly duty. During his soliloquy, he does not seem particularly angry or vengeful. Instead, he repeats, “it is the cause,” as though there is a higher purpose in his action—a duty that, as Desdemona’s husband, he must perform.

Othello has been referred to as a claustrophobic play because of how quickly the situations and settings seem to enclose the characters. The play begins in the open streets of Venice, a large city, then moves to the smaller island of Cyprus. As the play progresses, more time is spent indoors, until the play ends within a closed bedchamber, where one of the characters is literally smothered. This sense of physical claustrophobia accompanies Othello’s discomfort and frustration with his wife. The more evidence Iago is able to produce, the less choice Othello feels he has when he decides that “the cause” is to kill his wife. The shrinking environment is one way that the audience might be able to experience Othello’s mounting unease.

Expert Q&A

What is the significance of Iago's final line in Othello?

The significance of Iago's final line in Othello, "Demand me nothing; what you know, you know. From this time forth I never will speak word" (5.2.347-348), lies in his resolute silence and refusal to explain his actions, despite the chaos he has caused. This silence maintains his control over the narrative and leaves others to grapple with the unresolved questions about his motives. Throughout the play, Iago manipulates and destroys lives without revealing his true intentions, and his final words encapsulate his ultimate control and detachment from the devastation he orchestrated.

What does the quote "He hath a daily beauty in his life" from Othello, Act 5, Scene 1 mean?

The quote "He hath a daily beauty in his life" from Act 5, Scene 1 of Othello refers to Cassio's inherent attractiveness in both character and personality. It highlights Iago's insecurity by contrasting his own need for artifice with Cassio's natural appeal. Cassio's qualities, like education and courtesy, make him seem superior to Iago, who relies on manipulation. This line reveals Iago's self-awareness of his own comparative ugliness.

In Othello, what is the significance of the bedroom in the ending scene?

The bedroom in the ending scene of Othello signifies Iago's mastery over Othello in matters of love and personal conflict. Unlike the battlefield, where Othello excels, the bedroom becomes a battleground of intimate betrayal, highlighting Othello's vulnerability and failure. This setting underscores the sexual jealousy and manipulation that drive the tragedy, culminating in Othello's ultimate downfall.

How do Othello and others learn about Iago's truth? Why does Othello look at Iago's feet in Act 5?

Othello and others learn the truth about Iago's deceit from Emilia, who reveals she gave Desdemona's handkerchief to Iago, unknowingly aiding his plot. Emilia's dying words confirm Desdemona's fidelity. Othello, horrified by Iago's treachery, looks at Iago's feet, recalling the fable of devils having cloven feet, to see if Iago is a demon. He realizes Iago is not a supernatural being, as he can still kill him.

Can you paraphrase Othello's final speech from Act 5, Scene 2 in Othello?

Soft you; a word or two before you go.
I have done the state some service, and they know't.
No more of that. I pray you, in your letters,
When you shall these unlucky deeds relate,
Speak of me as I am; nothing extenuate,
Nor set down aught in malice: then must you speak
Of one that loved not wisely but too well;
Of one not easily jealous, but being wrought
Perplex'd in the extreme; of one whose hand,
Like the base Indian, threw a pearl away
Richer than all his tribe; of one whose subdued eyes,
Albeit unused to the melting mood,
Drop tears as fast as the Arabian trees
Their medicinal gum. Set you down this;
And say besides, that in Aleppo once,
Where a malignant and a turban'd Turk
Beat a Venetian and traduced the state,
I took by the throat the circumcised dog,
And smote him, thus.

A paraphrase of Othello's final speech could be: Wait a minute. I want to say a few more things. I have been a good soldier, and the people in power know that I helped out Venice and did a good job. But now is not the time to talk about that. When you write letters back to Venice, don't try to excuse me or make me look better than I am; just tell the truth about what happened here. Don't soften anything or make up lies. Just remember me as someone who was too much in love with Desdemona and didn't use good judgment because of it. I'

Identify and explain two metaphors in Othello's soliloquy from act 5, scene 2.

Two metaphors can be found in the first lines Othello's soliloquy in act 5, scene 2. In one, Othello compares his sleeping wife to a light, which can be snuffed out. In the other, he compares her to a rose to be plucked. Both of these metaphors reveal Othello's internal torment as he prepares to murder the unfortunate Desdemona.

Analyze the dramatic techniques in Othello's final speech in Act 5 of Othello.

In Othello's final speech, Shakespeare employs dramatic techniques such as irony, character development, and metaphor. Othello, the tragic hero, reveals his flaws and remorse, speaking in the third person to distance himself from his actions. His speech reflects his downfall and acceptance of his fate, building momentum towards his tragic end. The irony in his self-description as "not easily jealous" highlights his tragic vulnerability to Iago's manipulation, evoking audience sympathy.

What does Othello say before he kills Desdemona?

Before he kills Desdemona, Othello says to himself, "Put out the light, and then put out the light." He also says, "When I have pluck'd the rose, / I cannot give it vital growth again."

How was Iago's plot to destroy Desdemona, Cassio, and Othello discovered?

Iago's plot is uncovered in the final act when Emilia reveals the truth about Desdemona's fidelity after Othello questions her. This contradicts Iago's lies, leading to the unraveling of his scheme. Iago then stabs Emilia, indicating his guilt, and subsequently attempts to flee. Ultimately, he confesses to his deceit, exposing his manipulations against Desdemona, Cassio, and Othello.

What is the significance of the line "Cold, cold, my girl, Even like thy chastity" in Othello, act 5, scene 2?

The line "Cold, cold, my girl, Even like thy chastity" in Othello signifies Othello's realization of Desdemona's innocence and purity after her death. Initially equating her warmth with infidelity, he now sees her literal coldness as a metaphor for her chastity. The contrast between Othello's fiery jealousy and Desdemona's perceived coldness highlights the tragic misunderstanding that leads to her demise.

What is the prevailing philosophical viewpoint at the end of Othello?

The prevailing philosophical viewpoint at the end of Othello is the destructive power of jealousy and insecurity, highlighting the fragility of perceived truths. Shakespeare illustrates how skewed perceptions, driven by personal biases and manipulation, can lead to tragic outcomes. Othello's downfall underscores the danger of misplaced trust and the absence of transcendent truth, as individual perceptions often mask reality, leading to alienation and tragedy. The play warns of the peril in failing to discern genuine intentions.

How does Iago attempt to silence Emilia in Othello?

Iago attempts to silence Emilia primarily through dismissive and commanding language, urging her to "charm your tongue" and "get you home." When Emilia starts to reveal the truth about his schemes, Iago's attempts to silence her become more urgent, culminating in violence. Ultimately, when his verbal commands fail, he resorts to physical violence, drawing his sword and fatally stabbing her to prevent her from speaking further.

Which line in Act 5 of Othello suggests that Iago is the devil incarnate, and who says it?

In Act 5, Scene 2 of Othello, the line suggesting Iago is the devil incarnate is spoken by Othello. He says, "I look down towards his feet; but that's a fable. If that thou be'st a devil, I cannot kill thee," referring to the belief that the devil has cloven feet. Othello also calls Iago a "demi-devil," illustrating his realization of Iago's profound evil and treachery.

What stages comprise the recognition scene in Othello?

The recognition scene in Othello involves several stages. First, Emilia reveals that Iago manipulated the handkerchief incident, leading Othello to realize Desdemona's innocence. Othello's horror at his actions marks the second stage. The final stage occurs when Othello confronts Iago, understanding his deceitful nature. Ultimately, Othello gains insight into his own flaws, acknowledging his excessive love and jealousy, which Iago exploited, before taking his own life.

Where does Iago stab Roderigo in Act 5 of Othello?

Iago stabs Roderigo in the dark during Act 5 of Othello, but the play does not specify the exact location of the stab wound. Initially, Roderigo survives an attack on Cassio, in which Iago wounds Cassio in the leg. Later, as Roderigo lies wounded and calls for help, Iago approaches with a light and fatally stabs him. Roderigo's final words reveal his betrayal by Iago.

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Act 4, Scenes 1–3 Summary and Analysis

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