OTHELLO: ACT IV COMMENTARY

Scene 1



This scene illustrates how strong a hold irrational jealousy has on Othello. Iago pushes Othello so far that the general "falls in a trance" (IV.i.43, stage direction) or epileptic fit. Cassio comes in at this point, but Iago sends him away. When Othello recovers, Iago tells him that Cassio came by, and that, while Othello observes, Iago will question the young man.






Iago then engages Cassio in conversation about Bianca, while Othello watches, thinking Desdemona is the topic. When Bianca arrives with the handkerchief, Othello realizes it must be the one he gave Desdemona. Cassio goes after Bianca and Iago goes after Othello. Othello means to kill both Desdemona and Cassio.






Desdemona arrives with Lodovico, who has a letter from Venice. As Desdemona tells Lodovico of the rift between Cassio and Othello, Othello strikes her. Lodovico cannot believe that such behavior has happened publicly right before his eyes. Othello further humiliates Desdemona and leaves in a rage. Left alone with Iago, Lodovico is told that Othello is not in his right mind. Lodovico takes "honest" Iago's word for the truth, commenting, "I am sorry that I am deceived in him" (IV.i.282).






The entire scene clearly illustrates Othello's inexperience with women. He too quickly ascribes the qualities of a loose woman to an innocent woman. Rather than confront Desdemona with Iago's accusations, Othello chooses to believe his "friend." This may seem strange to us, but when we consider that the army has been Othello's life, it becomes easier to understand. On the battlefield, Othello is only as good as the troops under his command. Within a military structure, discipline is handled by a strict, universally observed, code, which may include striking a soldier. Because of the ever-present threat of death, soldiers learn quickly to be co-dependent on each other. Therefore, Othello has no valid reason to doubt a man with whom he would entrust his life, however obvious Iago's lies may seem to us.






Scene 2


Othello opens the scene by questioning Emilia about her observation of Cassio and Desdemona. It may seem a small glimmer of hope, but when Emilia leaves to fetch Desdemona, Othello completely discounts Emilia's story. His mind is made up.






He calls Desdemona "whore," "public commoner," and "impudent strumpet," terms that would never have crossed his mind had they stayed in Venice, and words which were tantamount to curses for Elizabethan audiences. No matter what Desdemona says or does, she cannot prove her innocence to her husband. She also cannot understand why Othello is behaving this way.






When Emilia returns, she interrupts Othello's stream of verbal abuse. Of course, Emilia's first concern is for the dazed Desdemona:






Do not talk to me, Emilia;


I cannot weep, nor answers have I none


But what should go by water.


(IV.ii.104-106)






Desdemona sends Emilia to get Iago, and when he enters, he asks Desdemona what is wrong. Emilia answers for her mistress who cannot even bring herself to repeat the word "whore." Emilia knows that






some eternal villain,


Some busy and insinuating rogue,


Some cogging, cozening slave, to get some office,


(IV.ii.132-134)






has spread this tale(s) about Desdemona.






Iago hears his wife speak the truth and instantly denies that such a man exists. But Emilia persists. Finally, Iago calls her a fool. The distraught Desdemona asks her betrayer for advice on how to win Othello back. Iago assures her that Othello is simply under pressure from state business, and Desdemona and Emilia go in to supper as Roderigo arrives.






Roderigo is very annoyed with Iago because Iago has failed to deliver Desdemona to him. Iago turns Roderigo's wrath to purposeful anger by asking him to kill Cassio so that Othello and Desdemona cannot return to Venice. Iago tells Roderigo that Cassio is having supper with a prostitute. Iago will also help Roderigo kill Cassio.






This scene is loaded with dramatic irony. Othello, who did not ask for it, received advice from Iago that leads him to believe Desdemona is a shameful adulteress. Desdemona, who asks for Iago's advice, is told nothing is wrong with her husband and that all will be well. In the meantime, Iago, the villain, further deceives the innocent Roderigo, who seems intent on his own destruction. Single-handedly, Iago has taken him beyond bankruptcy to murder. There seems to be no limit to Iago's evil ventures. But just as Emilia interrupts Othello's tirade, she will interrupt her husband's plan. She has unwittingly spoken the truth, but next time, she will be acutely aware of the truth. For Iago, the limits are soon to be reached.






Scene 3


This scene is often cut in performances, but its inclusion is essential to the unrelenting tension building to the climax of Act V.






Othello, Lodovico, Desdemona, and Emilia leave the state banquet, and Othello orders Desdemona to go to bed alone. But before Emilia leaves, she and Desdemona have a revealing conversation about the relationship between men and women.






Desdemona speaks of dying for love as Emilia prepares her for bed. Desdemona has noted that Lodovico is "a proper man. / A very handsome man" (IV.iii.34-35), indicating two things: (1) that she can note these qualities in a man other than her husband; (2) that she had recognized those qualities in Othello. This second point clearly demonstrates her internal confusion about the sudden change in his behavior toward her. Desdemona begins to sing a sad song that ends "If I court moe women, you'll couch with moe men" (IV.iii.56). In his moments of darkest despair, Othello will repeat this same sentiment almost verbatim.






But for now, Desdemona asks her maid id there are women who will cheat on their husbands. Emilia says that there are, and that if she were offered "the whole wide world" (IV.iii.74), she would too. Desdemona refuses to believe her. Emilia tells her that if wives stray, it is the fault of their husbands, because men sleep with other women when they are abroad, they get jealous over petty things, they restrict their wives' liberty, beat them or reduce them to less than when they were married. According to Emilia, husbands should treat wives as equals and recognize that women's feelings are just as intense as men's.






The placement of this scene before Act V shows us just how well Emilia knows Iago and what her life with him has meant. Thus, the playwright underlines Desdemona's lack of knowledge about sexual politics. Not only is Desdemona naive, but she also refuses to heed Emilia's worldly advice.






It must be remembered that Desdemona was raised in the world of courtly love. Putting the wedding sheets on the bed, asking Emilia to wrap her body in them should she die, and singing "The Willow Song," are all conventions of how a lover should behave, a philosophy to which Emilia does not subscribe. The contrast between the two women is the contrast between illusion and reality, being in love with love and being in love, young idealism and old practicality, inexperience and experience.