Source: https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/4-1-2-scene-three [Revision notes](https://senecalearning.com/en-gb/revision-notes.md) › [A Level](https://senecalearning.com/en-gb/revision-notes/a-level.md) › [English Lit](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature.md) › [AQA](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa.md) › [English Lit: AQA A Level Othello](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello.md) › Scene Three # Scene Three English Lit: AQA A Level Othello, topic 4.1.2 ## Othello's State of Mind Act 3 Scene 3 takes place in a confined room in Othello and Desdemona’s residence on Cyprus and is one of the longest scenes in the whole play, with many highly significant character developments and plot points. ### Othello's suspicions ![Othello's suspicions](https://image-v2.cdn.app.senecalearning.com/2018-09/856b5dd4-80c8-4d98-9672-9dff37149e8e/pray-want-desire-.jpg) - Desdemona doggedly attempts to convince Othello to see Cassio, yet Othello is dismissive and more concerned with Iago’s suggestions of Desdemona’s possible infidelity with Cassio. - Despite initially being confident in his wife’s loyalty, by the end of the scene Othello is convinced of the affair and Emilia has stolen a handkerchief given to Desdemona by Othello as part of Iago’s devious plan. ### Desdemona and Cassio ![Desdemona and Cassio](https://image-v2.cdn.app.senecalearning.com/2018-09/ad804050-9284-4177-8311-bb11c420496b/pinky-swear-329329_1920.jpg) - The scene opens with Desdemona assuring Cassio that she will try to encourage Othello to change his mind so they are __‘as friendly’__ as before; she perhaps somewhat naively believes she has control over Othello as she tells him to __‘not doubt’.__ ### Othello’s motivations ![Othello’s motivations](https://image-v2.cdn.app.senecalearning.com/2018-09/dc92f682-af99-48da-877d-ea09d9707164/pray-hands-2539580__480.jpg) - However, Desdemona does perceptively understand Othello’s motivations and that he needed to dismiss Cassio more for __‘politic distance’__ rather than genuine dislike. - She gives him a __‘vow’__ upon their __‘friendship’__ - again, Shakespeare emphasises clearly for the audience here the solely platonic nature of their relationship - that Othello will __‘never rest’__ until __‘Cassio’s suit’__ is dealt with. ### Iago's scheme ![Iago's scheme](https://image-v2.cdn.app.senecalearning.com/2018-08/ed08fac5-38a7-40c6-9184-f07eeb3a743e/leaving-exit-door.jpg) - Upon Othello’s entrance into the room Cassio is quick to exit as he is __‘ill at ease’__, a dramatic exit which Iago comments upon - __‘Ha! I like not that’__ - to manipulate Othello into believing Cassio is __‘guilty-like’.__ - Desdemona’s pleading for a __‘suitor’__ - a word usually loaded, unfortunately, with romantic connotations - works beautifully for Iago’s scheme, as her incessant demands for Othello to __‘call him back’__ represents her as suspiciously eager to win favour for Cassio. ### Othello's distrust ![Othello's distrust](https://image-v2.cdn.app.senecalearning.com/2018-08/9b70fbd2-e272-4ea1-bd0b-5ae9776e4eb7/rage-punch.jpg) - Following Desdemona’s exit, Othello’s cry of __‘Excellent wretch!’__ to refer to Desdemona represents the first point in the play we see him negatively refer to Desdemona in any type of way, and cleverly signals to the audience Othello’s increasingly distrustful state of mind. ## Iago's Manipulation of Othello Iago utilises Othello's growing distrust towards Desdemona immediately with his first manipulation of Othello. ### Manipulation ![Manipulation](https://image-v2.cdn.app.senecalearning.com/courseImages/chemistry/2.3.4%20Nanotechnology/question-mark-2492009_640-min.jpg) - Iago appears hesitant to suggest anything explicitly, instead asking Othello the seemingly simple question of whether Cassio knew of Othello and Desdemona’s love. - Iago’s use of questioning allows him to cast seeds of doubt into Othello as he pretends to be reluctant to discuss the matter further for __‘no further harm’.__ ### Iago's language ![Iago's language](https://image-v2.cdn.app.senecalearning.com/2018-11/a3ba66c4-ddd1-4f6c-b1e6-75c866dc83d3/honesty-.jpg) - Iago begins to repeat Othello’s language - words such as __‘honest’__ and __‘think’__- in order to suggest he seems unwilling to divulge something he does know about Cassio. - Othello ironically believes these hesitations to represent Iago’s honesty, as he thinks he __‘weigh’st thy words before thou giv’st them breath’__ to ensure they are truthful. ### Irony ![Irony](https://image-v2.cdn.app.senecalearning.com/2018-07/87ffde21-97fd-4551-ba97-b47ed350442d/Oath-Swearing-Bible-Book-Hand-.jpg) - Iago develops this irony further by now stating that __‘men should be what they seem’__, which runs in direct contrast to his proclamation in Act 1, Scene 1: __‘I am not what I am’.__ ### False warnings ![False warnings](https://image-v2.cdn.app.senecalearning.com/2019-01/0800f9b9-3746-4849-8e88-f47b6efdcaf9/jealous-husband-.jpg) - Despite Iago’s false warnings to __‘beware’__ of __‘jealousy’__, the __‘green-eyed monster which doth mock / The meat it feeds on’__ and Othello’s initial confidence that he will refuse to believe __‘the smallest fear or doubt of her revolt’__, he very quickly begins to consider whether or not he needs to look for __‘proof’__ of Desdemona’s infidelity, representing a turning point as he takes real notice of Iago’s warnings. - He still keeps some element of denial as he cries __‘away with love or jealousy’__, while being consumed by both. ### Othello’s vulnerability ![Othello’s vulnerability](https://image-v2.cdn.app.senecalearning.com/2018-09/a32e93da-2885-49d5-ae74-fe350943fb35/married-wedding.jpg) - Iago cleverly reminds Othello that Desdemona __‘did deceive her father’__ and declined matches __‘of her own clime, complexion, and degree’__ by marrying Othello, echoing Brabantio’s words in Act 1, Scene 3. - This seems to be all it requires to provoke Othello’s vulnerability and makes him question everything as he bemoans: __‘Why did I marry?’__ ## Othello’s First Soliloquy Here we also see Othello’s first soliloquy, and it clear just how successful Iago has been in disturbing Othello’s mind. ### Othello's language ![Othello's language](https://image-v2.cdn.app.senecalearning.com/2018-08/94ab95b5-6061-4e3c-8838-714059f1ac36/hawk-eye.jpg) - Othello's language begins to echo Iago’s himself, using animal imagery to metaphorically represent Desdemona as a __‘haggard’__ (an untameable hawk), and wonders whether he should __‘let her down the wind’__ and cut her __‘jesses’__ (cut her ties and allow her to be free). ### Confidence ![Confidence](https://image-v2.cdn.app.senecalearning.com/2018-11/0d12854c-64c1-40c9-b07f-db926b7ebe67/women-talking-.jpg) - His demise in confidence is clear, as he questions his judgement and refers to his insecurities—he is __‘black’__ and believes he does not have __‘those soft parts of conversation / That chamberers have’__ even though we have seen this of him previously. ### Fate and destiny ![Fate and destiny](https://image-v2.cdn.app.senecalearning.com/2018-09/bb541ff2-ddb9-4f29-9459-709a3736ecf2/autumn-death-graveyard-die-.jpg) - Othello appears helpless and without agency as he thinks the only solution now __‘Must be to loathe her’__; he sees it as __‘destiny unshunnable, like death’.__ - Shakespeare here focuses on fate and destiny to emphasises Othello’s rash nature. ### Sympathy and frustration ![Sympathy and frustration](https://image-v2.cdn.app.senecalearning.com/2019-01/fe5dfd27-fbfc-40b1-9249-b21c1d4056cb/fork-spoon-sugar-.jpg) - We may feel sympathy for him due to his manipulation by Iago, but perhaps also frustration for the way in which he seems unwilling to ruminate over any other possible scenarios or solutions rather than what sees as his __‘forked plague’__ which is __‘fated’__ to him. ### Doomed marriage ![Doomed marriage](https://image-v2.cdn.app.senecalearning.com/2018-09/d1fb9432-1d6b-45e7-9a3f-4e9556264fb8/schizophrenic-personality-psychosis-.jpg) - As the audience now fully understands Othello’s resentful mindset, this becomes clear in his actions to Desdemona as she enters the scene again. - Shakespeare’s use of short lines for Othello’s language represents his breakdown in ability to communicate with Desdemona, subtly suggesting that their marriage without this fundamental aspect is now doomed. ### The handkerchief ![The handkerchief](https://image-v2.cdn.app.senecalearning.com/2018-03/542819c5-71eb-44d4-96c7-8b368b43f6ca/shutterstock_552448774.jpg) - Now, we also see a first mention of a handkerchief or __‘napkin’__, which Emilia takes interest of as Desdemona’s first __‘remembrance’__ (or love token) from Othello. - She reveals Iago has many times __‘wooed’__ her __‘to steal it’__, and that she does: the audience is left to wonder exactly why Iago desires it and why Emilia remains so subservient to him. ## Test yourself on Scene Three - Where does Act Three Scene Three take place? - Events of Act Three Scene Three - What does Othello cry following Desdemona’s exit at the end of Act Three Scene Three? - What makes Othello believe Iago is being truthful and honest? - How does Shakespeare represent Othello’s inability to communicate with Desdemona? [Practise this topic for free](https://app.senecalearning.com/classroom/course/eaa5fbae-2db3-4bc1-9205-b0228468355d/section/6c417ffa-b374-4318-85c6-e155b25e9511/session) - Previous topic: [4.1.1 Scene One & Two](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/4-1-1-scene-one-and-two.md) - Next topic: [4.1.3 Scene Three: Key Ideas](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/4-1-3-scene-three-key-ideas.md) ## English Lit: AQA A Level Othello contents ### 1 Context - 1.1 Introduction - [1.1.1 Specifications](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/1-1-1-specifications.md) - 1.2 Background - [1.2.1 Shakespeare](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/1-2-1-shakespeare.md) - [1.2.2 Love](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/1-2-2-love.md) - [1.2.3 Tragedy](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/1-2-3-tragedy.md) - [1.2.4 Historical Context](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/1-2-4-historical-context.md) - 1.3 Othello - [1.3.1 Setting](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/1-3-1-setting.md) - [1.3.2 Social Issues](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/1-3-2-social-issues.md) ### 2 Act One: Summaries & Themes - 2.1 Act and Scene Summaries - [2.1.1 Structure](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/2-1-1-structure.md) - [2.1.2 The Exam](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/2-1-2-the-exam.md) - 2.2 Scene One - [2.2.1 Key Events](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/2-2-1-key-events.md) - [2.2.2 Key Themes](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/2-2-2-key-themes.md) - [2.2.3 Key Ideas](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/2-2-3-key-ideas.md) - 2.3 Scene Two - [2.3.1 Key Events](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/2-3-1-key-events.md) - [2.3.2 Key Themes](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/2-3-2-key-themes.md) - [2.3.3 Key Ideas](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/2-3-3-key-ideas.md) - 2.4 Scene Three - [2.4.1 Key Events](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/2-4-1-key-events.md) - [2.4.2 Key Events 2](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/2-4-2-key-events-2.md) - [2.4.3 Key Themes](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/2-4-3-key-themes.md) - [2.4.4 Key Ideas](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/2-4-4-key-ideas.md) ### 3 Act Two: Summaries & Themes - 3.1 Scene One & Two - [3.1.1 Scene One: Events](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/3-1-1-scene-one-events.md) - [3.1.2 Key Events 2](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/3-1-2-key-events-2.md) - [3.1.3 Key Ideas: Love & Tragedy](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/3-1-3-key-ideas-love-and-tragedy.md) - [3.1.4 Scene Two: Events](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/3-1-4-scene-two-events.md) - 3.2 Scene Three - [3.2.1 Key Events](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/3-2-1-key-events.md) - [3.2.2 Key Ideas](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/3-2-2-key-ideas.md) ### 4 Act Three: Summaries & Themes - 4.1 Key Events - [4.1.1 Scene One & Two](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/4-1-1-scene-one-and-two.md) - [4.1.2 Scene Three](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/4-1-2-scene-three.md) - [4.1.3 Scene Three: Key Ideas](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/4-1-3-scene-three-key-ideas.md) - [4.1.4 Scene Four](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/4-1-4-scene-four.md) ### 5 Act Four - 5.1 Scene One - [5.1.1 Key Events](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/5-1-1-key-events.md) - [5.1.2 Key Ideas](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/5-1-2-key-ideas.md) - 5.2 Scene Two - [5.2.1 Key Events](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/5-2-1-key-events.md) - [5.2.2 Key Ideas](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/5-2-2-key-ideas.md) - 5.3 Scene Three - [5.3.1 Key Events](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/5-3-1-key-events.md) - [5.3.2 Key Ideas](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/5-3-2-key-ideas.md) ### 6 Act Five - 6.1 Scene One - [6.1.1 Key Events](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/6-1-1-key-events.md) - [6.1.2 Key Ideas](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/6-1-2-key-ideas.md) - 6.2 Scene Two - [6.2.1 Key Events](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/6-2-1-key-events.md) - [6.2.2 Key Ideas](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/6-2-2-key-ideas.md) ### 7 Character Profiles - 7.1 Major Characters - [7.1.1 Othello](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/7-1-1-othello.md) - [7.1.2 Iago](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/7-1-2-iago.md) - [7.1.3 Desdemona](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/7-1-3-desdemona.md) - [7.1.4 Emilia](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/7-1-4-emilia.md) - [7.1.5 Cassio](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/7-1-5-cassio.md) - 7.2 Minor Characters - [7.2.1 Roderigo & Brabantio](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/7-2-1-roderigo-and-brabantio.md) - [7.2.2 Other Characters](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/7-2-2-other-characters.md) ### 8 Key Themes - 8.1 Love & Tragedy - [8.1.1 Love](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/8-1-1-love.md) - [8.1.2 Love 2](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/8-1-2-love-2.md) - [8.1.3 Tragedy](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/8-1-3-tragedy.md) - [8.1.4 Tragedy 2](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/8-1-4-tragedy-2.md) - 8.2 Other Key Themes - [8.2.1 Public versus Private](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/8-2-1-public-versus-private.md) - [8.2.2 Appearance & Reality](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/8-2-2-appearance-and-reality.md) ### 9 Writing Techniques - 9.1 Writing Techniques - [9.1.1 Structure](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/9-1-1-structure.md) - [9.1.2 Genre](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/9-1-2-genre.md) - [9.1.3 Form & Language](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/9-1-3-form-and-language.md) - [9.1.4 Language & Imagery](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/9-1-4-language-and-imagery.md) ### 10 Critical Debates - 10.1 Criticism & Performance - [10.1.1 Shakespeare's Legacy](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/10-1-1-shakespeares-legacy.md) - [10.1.2 Traditional](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/10-1-2-traditional.md) - [10.1.3 Modern & Contemporary](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/10-1-3-modern-and-contemporary.md) - 10.2 Approaches - [10.2.1 Feminist Approach](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/10-2-1-feminist-approach.md) - [10.2.2 Psychoanalytic Approach](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/10-2-2-psychoanalytic-approach.md) - [10.2.3 Marxist Approach](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/10-2-3-marxist-approach.md) ### 11 Approaching AQA English Literature - 11.1 Specification A - [11.1.1 Specification A](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/11-1-1-specification-a.md) - [11.1.2 Love Through the Ages](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/11-1-2-love-through-the-ages.md) - 11.2 Specification B - [11.2.1 Specification B](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/11-2-1-specification-b.md) - [11.2.2 Aspects of Tragedy](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/11-2-2-aspects-of-tragedy.md) ### 12 Issues of Assessment - 12.1 The Exams - [12.1.1 AOs](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/12-1-1-aos.md) - [12.1.2 Mark Scheme](https://senecalearning.com/en-gb/revision-notes/a-level/english-literature/aqa/othello/12-1-2-mark-scheme.md)