Act 3 Flashcards
I never knew a Florentine more kind and more honest.
The hyperbolic reference develops the theme of blindness/misjudgement regarding Iago the antagonist which serves to speed up the plot and build dramatic irony.
No, sure I cannot think it that he would steal away so guilty-like.
The use of negative language ‘no’ and ‘cannot’ serve to emphasise Iago’s supposed doubt/shock at Cassio’s behaviour. He further ‘villainises’ him by using the negative terms ‘steal’ and ‘guilt’ playing on Cassio’s shame/loss of reputation.
If I have any grace or power to move you.
The theme of natural disorder/reversal of gender roles is developed here as Desdemona is strong-willed and insistent with Othello. This foreshadows the frighteningly quick breakdown in their communication and relationship.
I will deny thee nothing. Grant me this, to leave me but a little to myself.
Othello’s repetition of ‘deny thee nothing’ suggests his response is dutiful rather than genuine-suggesting that the reversal of roles/power combined with Iago’s manipulation is already impacting on his mental state and marriage. The tragedy is heightened through his desire for isolation/escape.
Be as your fancies teach you: whate’er you be I am obedient.
Shakespeare furthers Desdemona’s characterisation as a victim here. In spite of her earlier assertion of will/power now we see her obedience to Othello. The use of ‘fancies’ means his desires but could also perhaps link to his changeable/inconstant will which will contribute to their shared downfall and deaths.
Certain, men should be what they seem.
Othello echoes Iago’s words to show the power shift between antagonist and tragic hero. The use of the generalised term ‘men’ allows Iago to set seeds of doubt about Cassio’s behaviour and sets him up as wise/knowledgeable. This also adds to the theme of blindness and sight as the term ‘seem’ not only refers to Cassio but also Iago’s own performance of ‘heavenly shows’.
No, to be once in doubt is once to be resolved.
Shakespeare further characterises our tragic hero as flawed due to his rash/impetuous behaviour-already seen in his dismissal of Cassio. This also adds to his pride and certainty that he would act immediately if he has proof of Desdemona’s infidelity.
I am bound to thee for ever.
Othello’s isolation and downfall continues here with the shift of power from hero to antagonist. His poetic and hyperbolic language is reminiscent of marriage vows and sets up the subversion of his own marriage which leads to the ceremony later in the scene. There is also an inevitable and melancholic tone as Othello unwittingly predicts his own fate.
She’s gone, I am abused and my relief must be to loathe her.
Language choices contrast extremely with his previous choices for Desdemona and are emphatic. Othello is past the point of redemption now.
If she be false, O then heaven mocks itself.
Religious reference is hyperbolic and is more typical of Othello’s speech which once again focuses on the innocence of Desdemona. This reminds the audience of their genuine love for one another and creates sympathy for both characters. However, unwittingly he echoes Iago’s soliloquy where he contrasted ‘heavenly shows’ with the ‘divinity of hell’.
I’ll tear her all to pieces!
Shakespeare’s use of exclamation here shows Othello’s loss of control and violent tendencies. The verb ‘tear’ is graphically vicious and serves to dehumanise him-almost conforming to Iago’s negative characterisation of him in the opening act.
Arise, black vengeance, from they hollow cell! Yield up, O love, thy crown and hearted throne to tyrannous hate!
Othello’s descent into a violent madness is furthered here as he appears to repeat a black magic incantation or spell. The speech explores the extremes of turning love into hatred. The absolute nature of his language here creates fear and sympathy for Desdemona as she will be the victim of his ‘tyrannical violence’.
