2.3.2
Key Themes
Iago’s Manipulative Language
Iago’s Manipulative Language
Central to this scene is Iago’s manipulative language use contrasted with Othello’s eloquent, dignified language. Events in this scene serve to build tension and conflict quickly.
Dramatic irony
Dramatic irony
- Shakespeare creates dramatic irony here through Iago’s untruthful portrayal of his conversation with Roderigo.
- He claims he was angered through Roderigo’s use of ‘scurvy and provoking terms’ against Othello’s ‘honour’, providing a sense of irony, as it was Iago who himself did exactly that.
Duplicity
Duplicity
- Iago swears ‘By Janus’, an allusion to the Roman god who was represented by a double-faced head, symbolising duality.
- This implies Iago’s duplicitous, devious nature.
Iago transition
Iago transition
- Iago’s warning to Othello that Brabantio comes with ‘bad intent’ again creates irony, as it was Iago himself that provoked such intent.
- Iago’s transition from resentful provocateur to faithful and loyal servant appears almost effortless for him yet is highly dramatic to incite shock in the audience.
Othello’s Eloquent Language
Othello’s Eloquent Language
Central to this scene is Iago’s manipulative language use contrasted with Othello’s eloquent, dignified language. Events in this scene serve to build tension and conflict quickly.
Othello
Othello
- Othello’s first appearance on stage and introduction to the audience establishes him as a calm, eloquent, assured and dignified character – one quite disparate from the animalistic, barbaric monster Iago and Roderigo presented him as previously.
Love
Love
- He is the first character in the play to speak of love, as he confidently asserts that he loves the ‘gentle Desdemona’ and speaks proudly of his ‘title’ as her husband, contrasting with other characters' views that women are for possession, not for love.
- He compares his love for her to the treasures of the ‘sea’s worth’.
Authority
Authority
- He authoritatively attempts to minimise conflict and violence as Brabantio accuses him, commanding Brabantio and his men to ‘keep up your bright swords, for the dew will rust them’; here, he confidently and somewhat sarcastically implies to his adversaries that they are quite powerless against Othello and his formidable soldiers, whilst also establishing peace and calm amidst the rising tension.
Pity
Pity
- Everything we have just covered creates the sense that Othello is a man to be admired and respected.
- We may also feel some pity for him as he seems to be treated like an outsider by the other characters, despite his admirable qualities, and is seemingly devalued because of his race, implied by comments made by other characters.
Arrogance
Arrogance
- However, his pride and self-confidence in his ‘parts’, ‘title’ and ‘perfect soul’ perhaps also suggests early on a deep flaw in Othello’s character – an arrogance in which he believes men can be judged solely for their actions and reputation.
Building Conflict and Action
Building Conflict and Action
Central to this scene is Iago’s manipulative language use contrasted with Othello’s eloquent, dignified language. Events in this scene serve to build tension and conflict quickly.
Private v public
Private v public
- Whilst conflict and tension in Othello’s private sphere builds as Brabantio threatens and accuses him, Michael Cassio also introduces the more public threat of military conflict in Cyprus.
- This is due to the Turkish invasion as ‘business of some heat’ for which Othello is required ‘haste-post-haste’.
Chaos
Chaos
- This creates a sense of some chaos as Othello is forced to confront both urgent situations simultaneously.
- This suggests that Othello’s private and public roles as husband and military general will be inextricably connected and divisive throughout the rest of the play.
1Context
1.1Introduction
1.3Othello
2Act One: Summaries & Themes
2.1Act and Scene Summaries
2.2Scene One
2.3Scene Two
3Act Two: Summaries & Themes
3.1Scene One & Two
3.2Scene Three
4Act Three: Summaries & Themes
5Act Four
5.1Scene One
5.2Scene Two
5.3Scene Three
6Act Five
6.1Scene One
6.2Scene Two
7Character Profiles
7.1Major Characters
7.2Minor Characters
8Key Themes
8.1Love & Tragedy
8.2Other Key Themes
9Writing Techniques
9.1Writing Techniques
10Critical Debates
10.1Criticism & Performance
11Approaching AQA English Literature
11.1Specification A
11.2Specification B
12Issues of Assessment
12.1The Exams
Jump to other topics
1Context
1.1Introduction
1.3Othello
2Act One: Summaries & Themes
2.1Act and Scene Summaries
2.2Scene One
2.3Scene Two
3Act Two: Summaries & Themes
3.1Scene One & Two
3.2Scene Three
4Act Three: Summaries & Themes
5Act Four
5.1Scene One
5.2Scene Two
5.3Scene Three
6Act Five
6.1Scene One
6.2Scene Two
7Character Profiles
7.1Major Characters
7.2Minor Characters
8Key Themes
8.1Love & Tragedy
8.2Other Key Themes
9Writing Techniques
9.1Writing Techniques
10Critical Debates
10.1Criticism & Performance
11Approaching AQA English Literature
11.1Specification A
11.2Specification B
12Issues of Assessment
12.1The Exams
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