I am perpetually intrigued by the common threads that Shakespeare weaves throughout his plays. They tend to be thematic or self-referential, historic or allusionary. Othello can easily be linked or paralleled with Hamlet for its revenge motifs, or with The Tempest and Julius Caesar for its portentous storms and isolated islands. Most obviously, it is kin to The Merchant of Venice for its forbidden cross-cultural loves and racist characters. But the thing that seized me was a tangible object: the strawberry handkerchief. It is the ultimate anti-McGuffin for its dire importance to the plot. In Iago's hands, however, it revels its layered meaning.
"Strawberries" are only mentioned four times in all of Shakespeare, and in only three plays: Richard III, Henry V, and Othello. The first instance in Richard III, Act III, Sc. IV, Richard himself, when he attends a meeting at the Tower of London with some counselors to determine the date of dead Edward's son's ascendancy, immediately sends the Bishop of Ely to fetch some strawberries from his garden. While the Bishop (who favors the young prince's coronation) is gone, Richard whispers to Buckingham, his buddy, about executing anyone who stands in the way of his own ascendancy. Sending the Bishop away on such a frivolous errand discloses Richard's contempt for the Church in matters of state and royal policy, and it is an example of how easily he can impose his will on him. On top of that is the "juicy" theory that Richard uses the strawberries Ely brings to induce an allergic reaction in himself so he can prove his arm is so "wither'd up" with a rash through the "witchcraft" of Edward's widowed wife Elizabeth. Even if the strawberries themselves are not the cause of his skin condition, Richard's false witness follows hard upon the mention of them, much like the appearance of oranges in The Godfather presages death.
In Henry V, the Bishop of Ely (not the same Ely as in Richard III, but it's an interesting and purposeful overlap in itself) mentions to the Archbishop of Canterbury that the young Hal they thought was a debauched knave has turned out to be a mature and thoughtful King Henry indeed. He compares Prince Hal to the fruit:
The strawberry grows underneath the nettle
And wholesome berries thrive and ripen best
Neighbour'd by fruit of baser quality:
And so the prince obscured his contemplation
Under the veil of wildness; which, no doubt,
Grew like the summer grass, fastest by night,
Unseen, yet crescive in his faculty.
In both of these cases, strawberries appear to bode deceptive practices. When we come to Othello, it is clear that Iago's intention upon snatching the strawberry handkerchief is to write the plot of the play himself, and the strawberry is cemented as a motif of manipulation. A more obvious metaphorical attribute to the strawberry is fecundity and virginity, and is easily employed as symbolizing such in Othello. Othello himself, on his wedding night, just before heading to bed with Desdemona, announces "The purchase made, the fruits are to ensue." The fact that the handkerchief is the center of the debate regarding Desdemona's virginity is just too perfect.
For extra credit, yet another fruit, the fig, is conjured by Iago (and only Iago) twice within, both used as a derogatory term for a woman's nether regions, and both times, it is mentioned in conjunction with rants about people's variable truthfulness to themselves and others. *mic drop*
I love this shit. Let's get into it, shall we?
ACT I
We're back in Venice, that city like a fallen Eden, full of beauty and wonder and money and corruption. Iago and Roderigo walk the dark streets at night and (perhaps drunkenly?) gossip about Othello. Iago hates on Othello (or at least that's what he says out loud to his gullible buddy) for selecting Cassio as his lieutenant, passing over Iago, even though they're supposedly best bros. Cassio, he says, is not worthy, as he's never led soldiers in the field, whereas Iago has proven himself over and over in battle. Iago openly admits that he acts as Othello's friend, but is not what he seems:
For when my outward action doth demonstrate
The native act and figure of my heart
In compliment extern, 'tis not long after
But I will wear my heart upon my sleeve
For daws to peck at: I am not what I am.
They come upon Brabantio's house, and Iago encourages Roderigo to yell at his window that he is being "robbed." Brabantio awakes and they warn him that "an old black ram is tupping your white ewe" and that his "daughter [Desdemona] and the Moor are now making the beast with two backs." Such profanity for so late an hour! Brabantio thinks Roderigo has come to declare his intentions as suitor to Desdemona once again but Iago insists they are merely doing him service in alerting him to the Moor's actions. After much banter and even more lewd references to Othello's race, Brabantio investiagtes Desdemona's room. Iago sneaks off, telling Roderigo that he must keep up the appearance of being Othello's friend. Brabantio comes out, scandalized that what Roderigo has said appears to be true. Roderigo says he believes Othello and Desdemona got married and Brabantio rants and rails about her deceit. Roderigo volunteers to help Brabantio find her.
Iago finds Othello, warns him that Brabantio is coming after him, and asks if the marriage is true. Othello confirms this and says that he is not concerned, for he is of good reputation and he loves Desdemona more than all the treasures of the sea. Cassio arrives with the Duke's officers, searching for Othello, who is happy to meet with the Duke. Brabantio, Roderigo and a bunch of officers show up, however, and accost Othello. Brabantio damns Othello for stealing his daughter away in the night and tying her in "chains of magic" and using drugs to convince her to his bed, for she denied all the other worthy suitors of Venice and he cannot stand that she was drawn to Othello's "sooty bosom." Othello calmly explains that he has business with the Duke right now and cannot be diverted. Brabantio says they will all go to the Duke and present his case.
The Duke is with his senators, mulling over naval intelligence on the whereabouts of the Turkish forces. A messenger says that the Turks are going to Rhodes, but the senators say this must be "a pageant to keep us in false gaze" for Cyprus is far more valuable to them. Another messenger arrives and says the Turks are indeed sneaking back to Cyprus. Brabantio and Othello and everyone show up just then. Brabantio claims to the Duke that Othello has corrupted his Desdemona with witchcraft. Othello defends himself most reverently and eloquently. Brabantio insists that Desdemona, who has always been so chaste, could not have possibly given herself to "fall in love with what she fear'd to look on" without some booze or drugs. Othello requests that they send for Desdemona and ask her for themselves, and if she says he has done her wrong, he will forfeit his life.
While they go find her, Othello tells the story of how they fell in love. After spending much time with Brabantio, discussing his past adventures, Desdemona did once listen to sad stories of his childhood, and she wept for him, wishing that "heaven had made her such a man." Othello admits that they connected thusly, with this deep emotional tie, and "this only is the witchcraft I have us'd." Desdemona comes in with Iago and the Duke is moved to say that "I think this tale would win my daughter too." Desdemona then says she has a "divided duty" to both her father and her Lord and husband. Brabantio relents and kind of apologizes with an oddly formal back-and-forth with the Duke that's entirely in rhyming couplets, essentially saying let's change the subject then. They begin discussing the war with the Turks, and the Duke assigns Othello to lead the charge. Othello gladly accepts, as long as his new wife is allowed to come with him to Cyprus. The Duke and Brabantio are not convinced yet, but Desdemona insists most lovingly:
That I did love the Moor to live with him,
My downright violence and storm of fortunes
May trumpet to the world: my heart's subdued
Even to the very quality of my lord:
I saw Othello's visage in his mind,
And to his honour and his valiant parts
Did I my soul and fortunes consecrate.
So that, dear lords, if I be left behind,
A moth of peace, and he go to the war,
The rites for which I love him are bereft me,
And I a heavy interim shall support
By his dear absence. Let me go with him.
They finally agree and the Duke says to Brabantio that "If virtue no delighted beauty lack,
Your son-in-law is far more fair than black." Brabantio then presciently warns Othello: "Look to her, Moor, if thou hast eyes to see: She has deceived her father, and may thee."
Othello asks Iago to escort Desdemona and have Emilia (Iago's wife) be her attending maid on the ship that brings her (separately) to Cyprus. He leaves with her and Roderigo speaks with Iago and says he will kill himself over this turn of events. Iago chastises him for being so lovesick and dumb. Roderigo says he hates himself for having not the virtue to amend himself. Iago rolls his eyes and says:
Virtue! a fig! 'tis in ourselves that we are thus
or thus. Our bodies are our gardens, to the which
our wills are gardeners: so that if we will plant
nettles, or sow lettuce, set hyssop and weed up
thyme, supply it with one gender of herbs, or
distract it with many, either to have it sterile
with idleness, or manured with industry, why, the
power and corrigible authority of this lies in our
wills. If the balance of our lives had not one
scale of reason to poise another of sensuality, the
blood and baseness of our natures would conduct us
to most preposterous conclusions: but we have
reason to cool our raging motions, our carnal
stings, our unbitted lusts, whereof I take this that
you call love to be a sect or scion.
"Carnal Sting" makes a good cocktail name. So does "Beast With Two Backs" and "Old Black Ram" if we're gonna keep track, which we most certainly are. I know "Fig of Spain" came out of Pistol's mouth in Henry V but Iago keeps mentioning figs so that works too.
Iago goes on to pour toxic masculinity all over Roderigo, saying that he's a moron for being suicidal over this, for Desdemona will probably fall out of love with Othello soon enough anyway. Iago keeps harping on about how Roderigo should "put money in thy purse" (aka sell his lands for cash and follow the fleet to Cyprus). Roderigo agrees to gather up his money and meet Iago the next morning at his house. It is here that the "Honest Iago" gives his first soliloquy planting the seeds of his evil plans:
Thus do I ever make my fool my purse:
For I mine own gain'd knowledge should profane,
If I would time expend with such a snipe.
But for my sport and profit. I hate the Moor:
And it is thought abroad, that 'twixt my sheets
He has done my office: I know not if't be true;
But I, for mere suspicion in that kind,
Will do as if for surety. He holds me well;
The better shall my purpose work on him.
Cassio's a proper man: let me see now:
To get his place and to plume up my will
In double knavery--How, how? Let's see:--
After some time, to abuse Othello's ear
That he is too familiar with his wife.
He hath a person and a smooth dispose
To be suspected, framed to make women false.
The Moor is of a free and open nature,
That thinks men honest that but seem to be so,
And will as tenderly be led by the nose
As asses are.
I have't. It is engender'd. Hell and night
Must bring this monstrous birth to the world's light.
Ohh, what a fucking snake! In all of Shakespeare's works up until now, we've had many horribly dirty bastards entertain us with their machinations. But Iago, who is as infamous out of context as Mr. Spock is famous outside of Star Trek, trounces even Richard III for the crown of Machiavellian master. Iago owes a lot to his predecessors (they all feel like half-formed blobs of clay in comparison), for Shakespeare clearly perfected his craft over some time in order to present the pièce de résistance of devilish imps that is Iago.
Our favorite asshole, who famously doesn't seem to have any true motivation for fucking up Othello's life, here suggests that he hates Othello for the mere suspicion that he's slept with Emilia. This is weak tea, however, as he admits to himself within the next lines that it's just a convenient reason for his dastardly actions to come. There are many ripe theories regarding Iago's loathing, including, but not limited to: that perceived slight in choosing Cassio for Lieutenant, (hetero)sexual jealousy (for Desdemona), (homo)sexual jealousy (of Desdemona), and even just plain run-of-the-mill racism. It's very likely that Iago plainly materializes as the classical figure of Vice or a modern Devil come only to represent the chaotic nature of Evil, made only more detestable by the complete lack of rationale. Indeed, trying to suss out Iago is one of the dozens of reasons why this play is so compelling.
ACT II
On the island of Cyrus, a legit TEMPEST is lashing the shores, and the two dudes on the battlements can't believe any ship can withstand it, much less the heavens themselves:
A segregation of the Turkish fleet:
For do but stand upon the foaming shore,
The chidden billow seems to pelt the clouds;
The wind-shaked surge, with high and monstrous mane,
seems to cast water on the burning bear,
And quench the guards of the ever-fixed pole:
I never did like molestation view
On the enchafed flood.
This description of Nature's fury harkens back to the stormy streets of Rome in Act I Sc. III of Julius Caesar, which, if we remember correctly, bodes not well, and serves as a portent of evil doings. Storms and islands tend to feature more prominently in these later plays.
A third dude enters with news that Cassio has arrived and he reports that the Turkish fleet has been destroyed and that Othello's ship is approaching. Montano, the governor of Cyprus, knows Cassio and Othello and has only good things to say about them. A sail is spotted and that is Othello, and Cassio informs them that Othello brings "a maid that paragons description and wild fame." Iago, Emilia, Desdemona and other attendants come to shore and they chat with Cassio like old friends. Iago takes the piss out of the ladies, but then he stops kidding around and describes Desdemona:
She that was ever fair and never proud,
Had tongue at will and yet was never loud,
Never lack'd gold and yet went never gay,
Fled from her wish and yet said 'Now I may,'
She that being anger'd, her revenge being nigh,
Bade her wrong stay and her displeasure fly,
She that in wisdom never was so frail
To change the cod's head for the salmon's tail;
She that could think and ne'er disclose her mind,
See suitors following and not look behind,
She was a wight, if ever such wight were,--
To suckle fools and chronicle small beer.
I can just see Desdemona slap him playfully at that.
Othello finally arrives and he and Desdemona fawn over each other. He calls her "fair warrior" and "my soul's joy," and they kiss. Everyone goes to the castle to unpack their shit and celebrate while Iago and Roderigo stay behind and commiserate. Iago tells Roderigo that Desdemona is in love with Cassio and Roderigo scoffs, but Iago weaves some web of lies to convince him:
Her eye must be fed;
and what delight shall she have to look on the
devil? When the blood is made dull with the act of
sport, there should be, again to inflame it and to
give satiety a fresh appetite, loveliness in favour,
sympathy in years, manners and beauties; all which
the Moor is defective in: now, for want of these
required conveniences, her delicate tenderness will
find itself abused, begin to heave the gorge,
disrelish and abhor the Moor; very nature will
instruct her in it and compel her to some second
choice.
Iago goes on to note how familiar she is with Cassio as proof of their secret affections. Iago tells him that in order to get with Desdemona, he's got to get Cassio out of the picture, so he plans to find a way to send Cassio Roderigo's way so he may fight him. Roderigo leaves and Iago admits to himself that Othello is a kind man who would make Desdemona a fine husband and he says that he also loves Desdemona and that's another reason why he may hate Othello so much. Make up your mind, dude!
A Herald announces that everyone needs to start partying to celebrate their victories in battle and Othello's wedding.
Othello assigns Cassio as guard for the night, as Othello and Desdemona have some business to attend to:
Come, my dear love,
The purchase made, the fruits are to ensue;
That profit's yet to come 'tween me and you.
Good night.
Oh my.
Iago comes and convinces Cassio that it's too early in the evening's revels to go to watch yet. He tosses around a lot of innuendo about what Othello and Desdemona are up to in bed and then offers Cassio wine. Cassio declines, as he can't hold his liquor, but Iago prods him into drinking anyway. He is sure of himself that a drunken brawl will ensue. They sing English drinking songs (because the English can drink any nation under the table) and Cassio pretends that he is not drunk, although he clearly is. Cassio goes off to the watch and Iago whispers to Montano some gossip about Cassio being a drunk. Roderigo bursts in, Cassio in pursuit, and they brawl. Iago and Montano try to pry them apart but they keep fighting until Cassio and Montano begin to fight and Montano is injured. Roderigo runs off and Othello arrives, calling them Turks for being so debauched. Iago and Montano explain what happened and Cassio is so ashamed of himself he can barely speak. Iago explains what happened and Othello believes every word, and with a heavy heart, strips Cassio of his rank. Desdemona comes, wondering WTF has happened and Othello guides her back to bed.
Cassio cares not that he is physically hurt:
Reputation, reputation, reputation! O, I have lost
my reputation! I have lost the immortal part of
myself, and what remains is bestial. My reputation,
Iago, my reputation!
Iago rolls his eyes and says it's no big deal and Cassio can get back in Othello's favors in no time, but Cassio is such an actual honest man that he feels shame even thinking of deceiving Othello. Iago advises Cassio to get in good with Desdemona, who will put in a good word with Othello. Cassio agrees and goes off while Iago stays behind, plotting some more:
When devils will the blackest sins put on,
They do suggest at first with heavenly shows,
As I do now: for whiles this honest fool
Plies Desdemona to repair his fortunes
And she for him pleads strongly to the Moor,
I'll pour this pestilence into his ear,
That she repeals him for her body's lust;
And by how much she strives to do him good,
She shall undo her credit with the Moor.
So will I turn her virtue into pitch,
And out of her own goodness make the net
That shall enmesh them all.
Roderigo comes to Iago to complain that Iago has bled him dry of cash and he's been beaten up to boot, so he plans to go back to Venice. Iago tells him to stay and be patient about the harvest of their deeds. Iago tells himself that he must move Emilia to her place on this deadly chess board.
ACT III
Some musicians start playing music, but the only Clown in the entire play immediately pays them to politely fuck off, because the General "does not greatly care." This short exchange is significant in its brevity and lightness, as it is the only moment of vague comedy allowed to exist in the entire play. Comedy bubbles up even in the most tragic of tragedies, mostly to let out the steam that builds up around the most earnest of characters. But Old Billy, being in a dour mood, knew that the moment a Clown or similarly clever character had a chance to interact with his ultimate villain, that "touchstone" would reveal his true nature and neutralize his acidic poison and dilute his power. And we can't have a cation Rosalind or a Falstaff or even a Hamlet steal that rogue electron from the anion Iago. No way.
Anyhoo, Cassio asks Emilia if he may have a word with Desdemona. Emilia tells him that Desdemona had been talking with Othello earlier, discussing the shit that went down the night before. Emilia goes to fetch her mistress.
Inside the citadel, Othello and Iago talk shop.
Emilia and Desdemona have a little chat with Cassio. Desdemona assures him that she will sing Cassio's praises to her husband. Othello and Iago walk over and Cassio sneaks off. Iago points out to Othello how "guilty-like" Cassio has stepped away. Desdemona tells Othello that Cassio has been whining about how he "languishes in [Othello's] displeasure." She nags him about when they may talk about poor Cassio and Othello repeatedly waves it off and politely dismisses her so he can have a moment to himself. She goes with Emilia and Iago remains. Othello cries "Excellent wretch! Perdition catch my soul, But I do love thee! and when I love thee not, Chaos is come again."
Iago pretends to drum up some small talk touching Cassio and how Cassio was the go-between during her and Othello's courtship. He casually asks about Cassio's honesty and Othello is suspicious about Iago's questioning. They have an awkward banter where Iago acts as if his thoughts are overly suspicious and should not be noted. Iago says he is concerned that he will ruin someone's reputation if he says any more:
Good name in man and woman, dear my lord,
Is the immediate jewel of their souls:
Who steals my purse steals trash; 'tis something, nothing;
'Twas mine, 'tis his, and has been slave to thousands:
But he that filches from me my good name
Robs me of that which not enriches him
And makes me poor indeed.
Othello just says OUT WITH IT and Iago continues to drag it out with more eminently quotable lines:
O, beware, my lord, of jealousy;
It is the green-eyed monster which doth mock
The meat it feeds on; that cuckold lives in bliss
Who, certain of his fate, loves not his wronger;
But, O, what damned minutes tells he o'er
Who dotes, yet doubts, suspects, yet strongly loves!
Poor and content is rich and rich enough,
But riches fineless is as poor as winter
To him that ever fears he shall be poor.
Damnit, I wish Iago were actually trustworthy because he has such wisdom but his very nature makes me doubt how useful these great quotes are!
Othello insists that he is steadfast in his convictions regarding Desdemona:
Why, why is this?
Think'st thou I'ld make a lie of jealousy,
To follow still the changes of the moon
With fresh suspicions?
No; to be once in doubt
Is once to be resolved: exchange me for a goat,
When I shall turn the business of my soul
To such exsufflicate and blown surmises,
Matching thy inference. 'Tis not to make me jealous
To say my wife is fair, feeds well, loves company,
Is free of speech, sings, plays and dances well;
Where virtue is, these are more virtuous:
Nor from mine own weak merits will I draw
The smallest fear or doubt of her revolt;
For she had eyes, and chose me. No, Iago;
I'll see before I doubt; when I doubt, prove;
And on the proof, there is no more but this,
Away at once with love or jealousy!
That's good. "Exsufflicate and blown surmises" is good. Note what Othello claims! For his doubts will soon become his masters. Iago so delicately and naturally spins this web of words that you almost believe Desdemona is a whore before Othello does. Iago then stings: "Look to your wife, observe her well with Cassio." And that's all it takes. Othello is ensnared. He also reminds him of what her father said. Iago continues, and by constantly reminding him how he himself is excessively jealous and that he shouldn't listen to his crap, he cements Othello's new dark intuitions, even though he insists he has none. Othello asks Iago to take his leave.
Othello mulls over "honest" Iago's words, which soon become a stew of speculation:
O curse of marriage,
That we can call these delicate creatures ours,
And not their appetites! I had rather be a toad,
And live upon the vapour of a dungeon,
Than keep a corner in the thing I love
For others' uses.
But the moment Desdemona returns, he casts those thoughts away, as if her very angelic presence destroys all darkness. She comes to call him to dinner and he says he has a headache (from the cuckold's horns growing there?) and she goes to bind his head with the strawberry handkerchief but he lets it drop away, saying it is too small--too small indeed to fix this brain brimming with Iago's bullshit. They walk off and Emilia picks up the handkerchief, saying Iago has often asked her to steal it for him.
Iago comes in and Emilia asks him why he wants that damn handkerchief so much. She shows it to him and he snatches it away. Iago sends her away and says he will place the purloined token in Cassio's lodgings so he finds it, for "Trifles light as air Are to the jealous confirmation strong As proofs of holy writ."
This endless scene continues, but really feels like a day later, for when Othello re-enters, he complains that Iago must be crazy because he saw no sign of Desdemona's infidelity around Cassio and now he's lost sleep over these poisonous thoughts:
He that is robb'd, not wanting what is stol'n,
Let him not know't, and he's not robb'd at all...
I had been happy, if the general camp,
Pioners and all, had tasted her sweet body,
So I had nothing known.
Othello rings Iago's neck, insisting on "ocular proof" of Desdemona's adulterous actions. Iago protests and tells the homoerotic story of how Cassio talks and kisses in his sleep and tried to make out with Iago while they were sleeping beside each other in the barracks or wherever. But he says it was just a dream, so they can't be suspected yet. Iago doth protest too much methinks! They both kneel and Othello swears he will get revenge while Iago swears he will help him. Othello tells him to off Cassio while he kills Desdemona. Iago says maybe not kill her but Othello says no I'll definitely kill her.
Elsewhere, Desdemona and Emilia ask the Clown about Cassio. He leaves to find him while Desdemona and Emilia chat about the lost handkerchief until Othello arrives and the moment she brings up Cassio, Othello gets another headache and wonders where the handkerchief is. She says she cannot produce it at the moment and as he perseverates on it, he gets more angry. He tells the story of how his mother received it from a "charmer" in Egypt and how it has some love magic woven into it. When she can't find it, she brings up Cassio again and Othello about loses his shit and leaves. Emilia shakes her head:
'Tis not a year or two shows us a man:
They are all but stomachs, and we all but food;
To eat us hungerly, and when they are full,
They belch us
Cassio comes just then with Iago to ask her to help him and she says now's not a good time because Othello seems not to be himself. Iago goes to see how Othello's doing. Desdemona and Emilia talk about how men are such dumbasses sometimes:
But jealous souls will not be answer'd so;
They are not ever jealous for the cause,
But jealous for they are jealous: 'tis a monster
Begot upon itself, born on itself.
Desdemona and Emilia go to seek Othello when Bianca the Cypriot courtesan finds Cassio and asks why he hasn't been visiting her lately. He says he's been busy with man stuff but gives her a gift: the handkerchief! She asks if it's from another woman and he says take it and piss off for a while until later.
ACT IV
Iago and Othello continue to obsess over details surrounding Cassio's behavior. Iago, like an uber-Claudius, pours a "leperous distillment" of words into Othello's ear and Othello is shortly "apoplex'd" and he "falls into a trance." While Othello is in this state, Cassio arrives and wants to help but Iago sends him away. He returns to Othello and as he rouses from his seizure, he convinces him to stand hidden for a while as Cassio is nearby, and when he returns, Iago will spur him to confession. Othello agrees and Iago calls Cassio back. Iago questions Cassio about Bianca (in a whisper) and Cassio goes on to talk about bawdy things, so Othello thinks he is talking about sleeping with Desdemona. Bianca then enters and accuses Cassio of two-timing, and throws the handkerchief at him, which Othello sees, and instantly seethes. When Cassio and Bianca leave, Othello comes out and says: "How shall I murther him, Iago?" Othello curses Desdemona and says he will certainly kill her as well. Iago suggests Othello strangle her in her bed and Iago promises to be Cassio's "undertaker."
Lodovico (Brabantio's kinsman) enters with Desdemona and gives Othello a message from the Duke. While Othello reads the letter, Desdemona catches Ludovico up on the Cassio debacle while Othello suppresses his hatred--barely. He strikes her for saying nice things about Cassio and she is much amazed. She goes to leave and Ludovico asks she come back and Othello says "She can turn, and turn, and turn." Othello says he will return to Venice as per the Duke's instructions so Cassio may take his place in Cyprus. Othello leaves and Ludovico questions Iago about the General's behavior.
Othello interrogates Emilia about the relationship between Cassio and Desdemona and she denies his every suspicion and says some snake must be putting these ideas in his head. Desdemona comes to him and he dismisses Emilia to outright accuse Desdemona of cheating on him. They argue until he calls Emilia back and he leaves. Emilia asks WTF just happened and Desdemona says he called her a whore and she is totally shook. She asks that the bed be fitted with their wedding sheets and that she call Iago. Desdemona and Emilia explain that Othello thinks she's a slut. It is here, notably, that Iago actually seems to soften at Desdemona's pure heart. He has few words to say in this moment, even as Emilia says some horrible dickhead must have convinced Othello of these awful things. Desdemona kneels and prays that she will do anything to get her old Othello back. Iago comforts her and says they should go to dinner.
Roderigo comes just then and accuses Iago of not keeping his word and fucking around with him. Iago manages to convince Roderigo that if something happens to Cassio, then Othello and Desdemona won't be able to leave Cyprus in his charge, and therefore, Roderigo will still have a chance to win Desdemona. Roderigo agrees to the plan to attack Cassio that night.
Othello chats with Ludovico and sends Desdemona and Emilia to prepare her for bed. Desdemona says she still loves Othello despite this crap he's giving her and Emilia wishes the lovers had never met in the first place. Desdemona tells the story of her mother's maid and how she sang a sad song after her lover "prov'd mad" and had forsaken her. She begins singing as Emilia attends her nightly toilet. They talk about "these men, these men!" and how unbearably weird they are. Their conversation truly proves that Shakespeare thought deeply about women's roles and burdens in relationships and I applaud him for including such truthful insights. Emilia, for example, is full of wisdom:
But I do think it is their husbands' faults
If wives do fall: say that they slack their duties,
And pour our treasures into foreign laps,
Or else break out in peevish jealousies,
Throwing restraint upon us; or say they strike us,
Or scant our former having in despite;
Why, we have galls, and though we have some grace,
Yet have we some revenge. Let husbands know
Their wives have sense like them: they see and smell
And have their palates both for sweet and sour,
As husbands have. What is it that they do
When they change us for others? Is it sport?
I think it is: and doth affection breed it?
I think it doth: is't frailty that thus errs?
It is so too: and have not we affections,
Desires for sport, and frailty, as men have?
Then let them use us well: else let them know,
The ills we do, their ills instruct us so.
Desdemona wishes Emilia good night.
ACT V
Iago tells Roderigo to attack Cassio when he comes. Roderigo goes for it, but gets stabbed by Cassio just as Iago slashes at Cassio's leg. Othello overhears the fray and is glad that the deed is done. Lodovico and Gratiano come to see what the F is happening and Iago enters as if he's only just arrived and helps Cassio, then goes to stab Roderigo in the dark. Iago goes back to Cassio to wrap his wound with his shirt and Bianca comes to cry over Cassio. Gratiano and Lodovico help carry the two wounded men away. Emilia comes and Iago explains what happened and tells her to go tell Othello and Desdemona.
Meanwhile, Othello approaches the sleeping Desdemona in the candlelight:
It is the cause, it is the cause, my soul,--
Let me not name it to you, you chaste stars!--
It is the cause. Yet I'll not shed her blood;
Nor scar that whiter skin of hers than snow,
And smooth as monumental alabaster.
Yet she must die, else she'll betray more men.
Put out the light, and then put out the light:
If I quench thee, thou flaming minister,
I can again thy former light restore,
Should I repent me: but once put out thy light,
Thou cunning'st pattern of excelling nature,
I know not where is that Promethean heat
That can thy light relume. When I have pluck'd the rose,
I cannot give it vital growth again.
It must needs wither: I'll smell it on the tree.
When he kisses her, she wakes and he asks if she's prayed, for he won't send her to death without her spirit being prepared. She is rightfully disturbed by this line of talk from him and pleads with him for her life even though she has no clue why this is happening. He accuses her of giving the handkerchief to Cassio and she denies it, which just makes him more angry at her for "lying." They go back and forth about Othello's reasons for murdering her, proving that even as "convinced" as he is that Iago revealed the "truth" to him, he still has deep reservations about the act because she loves her so deeply. He smothers her, and Emilia knocks on the door. Othello believes his wife is dead as he lets Emilia in and she runs to her mistress. He thinks she has come with news of the dead Cassio. She says he's still alive but Roderigo is dead, to which Othello replies "then murder's out of tune," which is definitely the understatement of the year.
Just then, Desdemona's voice rises up with a few dying words:
O falsely, falsely murdered! ... A guiltless death I die.
When Emilia asks her who killed her, she says
Nobody; I myself. farewell!
Commend me to my kind lord. O Farewell! [Dies.]
That's the only time anyone's been smothered to death and spoken about it afterward. Her choice of "lord" on a dying person's lips would normally be attributed to Jesus or God, but it is not capitalized so she probably means her husband. Even after saying she was murdered falsely, she still adores Othello with her last breath. No wonder scholars call "Desdemona" Shakespeare's word for "love."
Othello calls Desdemona a liar, because he admits that he murdered her. Emilia is deeply offended, saying "O more the angel was she, And you the blacker devil!" He says Desdemona was a whore. Emilia tries to disabuse him of that notion, defending her mistress' chastity. Othello says Iago proved that she slept with Cassio and Emilia says he is "ignorant as dirt" for believing that BS. She calls out "Murther!" and Montano, Gratiano, and Iago arrive. Emilia accuses her husband of lying to Othello and Iago tells her to "charm they tongue." Emilia keeps talking and Othello says Iago had proof of Desdemona's secret trysts with Cassio: the handkerchief. Emilia's eyes go wide and she says it was she who took the handkerchief and gave it to Iago. Iago tries to stab her not once but twice and calls her a liar. Iago finally kills her just as Othello goes to kill him, but Montano disarms him first. Emilia goes to lay by her mistress and Iago runs off and everyone follows, leaving Othello and Emilia behind.
Emilia sings a snatch of that maid's song to Desdemona's dead body, then dies herself. Gratiano comes back to see Othello has found another weapon. Othello begs to be killed and punished after death for what he has done. Montano comes back with Iago and the wounded Cassio, who says he never gave Othello a reason to murder him, and Othello asks his forgiveness. Othello stabs Iago, only wounding him before they take his sword away, then Othello addresses Iago thusly:
OTHELLO: ... Will you, I pray, demand that demi-devil
Why he hath thus ensnared my soul and body?
IAGO: Demand me nothing; what you know, you know:
From this time forth I will never speak word.
Now that is some ambiguously cryptic shit right there. This final line of Iago's has been fodder for theories about why Iago is so hell-bent on fucking up his friend's life. One could interpret this as Iago's ultimate act of love. What if in all their years of soldiering together, they became secret lovers, and Othello marrying Desdemona came as a horrible blow to Iago's heart? Or they may have developed that most admired "Platonic" love that only men were thought able to share and Iago was horribly jealous of Othello's new object of affection? Why not? It's a more satisfying reason than "Iago is just pure evil." It may not be as philosophical as some readers may want, but this play was never written as a parable of morals; it is a raw and earthly exploration of base humanity and psychology. It's a warning that things are not what they seem on the surface and may only be skin-deep, at least until action reveals the depth of outward flourishes.
So then Iago is silent, not even to pray, to the confusion of the other men. No, Iago wouldn't pray because Othello was his God, now fallen. Cassio defends Othello, saying that Iago most definitely spurred him to this murder. Lodovico pronounces that Cassio is now governor of Cyprus and Othello is to be taken away as prisoner until Venice figures out what to do with him. Othello begs to speak before he is hauled off:
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 Judean, 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.
At that, Othello magically produces another knife and stabs himself and falls upon the bed beside his dear wife, kissing her as he dies. Lodovico curses Iago and orders him tortured and they go off to let everyone know what the hell has happened.
There is some debate about whether Othello said "Indian" or "Judean," and depending on whether you prefer the First Quarto (the first) or the First Folio (the latter), brings slightly different meanings. "Indian" obviously refers to the stereotype that Indians don't realize the value of things, and "Judean" refers to the Bible, and that could either be evoking Judas or even Herod the Great, who killed his beloved wife in a fit of jealousy. Othello was a Muslim who converted to Christianity, so it would make sense that he'd reference this very specific Bible story in this way. But also, since he was a well-travelled soldier, it's just as likely that he'd make such a comparison according to the foreign peoples he has encountered.
I have not engaged with the obvious racial issues that surround this play until the end because I feel that all of the films I watched this week each have something different to contribute, so it'll come out now. There is SO MUCH. We'll go chronologically, as film productions of Othello are very much a product of their time.
Othello (1951), Orson Welles
This one is my favorite. Despite the blackface. For reasons. Mostly that I wish Orson had lived forever just to produce a film of every Shakespeare play. He's a visionary genius and every single shot in this film reminds me of why I also enjoyed Welles' Chimes At Midnight so much. It's a brisk and nimble Cliff's Notes of the original text, clocking in at just under 90 minutes. Orson is Othello of course, blacked up because that's what was traditionally done in Shakespeare's day, right? Ugh. Anyway, because he's Orson Welles, he still delivers a solid performance. Iago, played by Orson's bestie (Micheál Mac Liammóir) at the time, is sufficiently creepy, and Desdemona (Suzanne Cloutier) is the most beautiful and believably innocent Desdemona of all the films I've seen. But the real star of the show is the signature Welles film noir expressionistic imagery, which often evokes an almost M.C. Escher sensibility, adding a delicious sense of disorientation and magnificent mystery.
As is usual with Welles' European films, he ran into a lot of funding issues, but boy did he still manage to wring a gorgeous film out of his troubled project. I especially love the spidery Iago in the web-like shadows, and the deep focus amongst the imposing pillars and stairwells of the citadel that gives me total "Relativity" (Escher) vibes. Escher did spend a lot of time in Moorish locales, studying the art and architecture there, so no wonder both of these artists came up with similar motifs. It's really something.
Othello (1981), Johnathan Miller, produced by the BBC as part of their "Complete Works of Shakespeare" collection
This one has a disclaimer at the start for us "modern viewers," apologizing for the white actor playing Othello, saying it was a work of its time and censoring it in any way would be tantamount to pretending it didn't exist. Which is a very British way of saying "mea culpa for the blackface." Anthony Hopkins (ANTHONY HOPKINS) nonetheless plays a very swarthy gentleman, bringing all his powers of elegance and articulate speech to the character. It's still difficult to get used to, after all the work I've seen him in previously, to see him all brown in a role that clearly should have gone to a black actor. I mean, it's not like it was the 30s or even the 60s (here's lookin' at you, Laurence Olivier). It was the fuckin' 80s and actors were still doing this. And some Americans still don't understand what the whole Black Lives Matter crew is complaining about.
Why the FUCK, in this modern era, would a white actor want to play Othello when they could just play IAGO? I know what most serious actors would say: Othello is one of the most human and interesting characters in all of Shakespeare, and if a lady can play Hamlet, why not black ourselves up? Anything goes with Shakespeare.
To that I say: *heavy sigh*
Anyway, Bob Hoskins does a mean Iago in this. He's a giggling, randy bastard, and worth looking past the "Moor" just to see a cockney "demi-devil" pull out all the stops. Also, Penelope Wilton (Isobel Crawley on Downton Abbey) plays a mature (i.e. not 18-year-old) Desdemona. I didn't know she was married to Ian Holm at one point, did you? Small world.
Othello (1995), Oliver Parker
Sir Ken as Iago because why not. He didn't direct this one (probably because he was too busy directing and acting in his film of Hamlet at the time) but at least they got a legit actor for Othello. Laurence Fishburne is every bit the ideal Othello--intelligent, dashing, handsome, passionate. Sir Ken delivers a silver-tongued, vaguely homosexual Iago, which, for my money, was a refreshing twist. As I said earlier, the subtext is there, and he has no qualms about suggesting a special relationship with his co-star.
It was fun seeing Michael Maloney as Roderigo (Laertes in Branagh's Hamlet) and of course my old pal Nicholas Farrell (my favorite Horatio!) as Montano. In a weird insertion, Michael Sheen takes the tiny part of a very feygeleh Lodovico. It's a solid film version. The actors are all bringing their best. It's not particularly memorable for its production values but it gets the job done.
O (2001), Tim Blake Nelson
The director acted in the Coen Bros' O Brother Where Are Thou the year before so maybe he's fond of "Os." Sorry, that was dumb. This one is actually very faithfully adapted to the high school setting in the early aughts. It doesn't use Shakespeare's language like Romeo + Juliet did, but it's got jealous boys and virginal girls and team sports with a lot of direct references to the original text. It totally works. I'd love to see how this would turn out in the post F.B. era (let's not pretend that we don't have a new timeline designation to go with B.C.E. and C.E.). Instead of a handkerchief or scarf, they'd use the timestamp on an Snapchat screenshot. Or a TikTok.
Mekhi Phifer (what ever happened to him?) plays Odin, the beloved star basketball player at his high school in South Carolina. He's also the only black kid, which makes no sense. But then it appears to be some kind of fancy boarding-type prep school, so then unfortunately it makes more sense. Josh Hartnett is a sly and calculating Hugo, dating Emily played by young RAIN PHOENIX. I met her once after she sang her set with her band Papercranes at a dive in downtown Gainesville. She signed the CD I bought and told me and my friend Elissa to steal some more.
Anyway, we also run into Julia Stiles (as Desi) and Andrew Keegan (Michael Cassio) again, both of whom we last saw in Ten Things I Hate About You. Throw Romeo + Juliet in there for good measure and Shakespeare was a movie thing for us elder Millennials going through middle/high school at the time.
Othello (2001), Geoffrey Sax, for the BBC
Watch this if only to see Chris Eccelston in his pre-Doctor-Who years acting absolutely batshit. He brings a manic and closeted racist "Ben Jago" who feels genuinely deadly. It's set in modern-day London, and due to a uncomfortably unconscious effort by Scotland Yard to promote black people up the ladder, John Othello has been assigned Commissioner after he quells a riot in the city. He's married to Dessie, a rich white woman, and after neo-Nazis threaten her life for marrying a black man, he assigns Michael Cass to watch her all day long.
Jago does his thing, getting under Othello's skin, and the handkerchief is replaced by forensic evidence that Jago manipulates to make it seem like Cass has slept in Othello's bed. From the very start, Jago narrates, saying that this story is not about race, it's all about love, and he bookends the film with this claim. But of course, this particular version of the story is very much about race relations and brings to the fore systemic racist issues in London's police force at the turn of this century. I bet it's just as bad now as it was nineteen years ago.
Omkara (2006), Vishal Bhardwaj
I still can't get over that his last name has "Bhard"(Bard) in it. I love it. It's perfect.
Anyway, from the director of Haider (Hamlet) comes another modern-day Hindi language Shakespeare film, this time set in Uttar Pradesh. On his wedding day, Rajjan finds out from Langda that his betrothed, Desi, has decided to marry Omkara instead. Omkara is a leader of a political criminal gang who are trying to get their parliamentary candidate elected. Omkara is a half-caste and Desi is particularly light-skinned, and this "awkward" match comes up a lot. Langda is married to Omkara's sister, Indu, and when Omkara brings Desi to his family home to prepare for the wedding set to occur in several weeks, Langa spends this time trying his damndest to fuck around with Rajju and Kesu (Omkara's lieutenant) to convince Omkara that Desi is cheating on him. The handkerchief in this case is an heirloom kamarbandh (a jeweled waistband--origin of the word "cummerbund") that Kesu gives to his bellydancing girlfriend Bipasha.
Saif Ali Khan, who I'm used to seeing as a charming love interest in most of the movies I've seen, flexes his acting muscles with an effective and sleazy Iago character. Kareena Kapoor, also a Bollywood superstar, easily emanates the innocence of Desdemona. Emphasizing Omkara's dual parenthood is an interesting way to place the story in the present, as the caste system still haunts India to this day. As is the tradition, there are plenty of opportunities for "item song" numbers that are either romantic or catchy dance tunes, all played over beautiful shots of landscapes or lively colorful parties. Pushing the wedding to the end of the story is classic Bollywood; weddings are almost always a centerpiece of the action. I'm most impressed by how closely Bhardwaj keeps to the original material, and so many of the translated lines are almost exact quotes from Othello. He's truly a fan of the Bard.
Other productions worth mentioning:
Othello (1965), Stuart Burge
Obviously. A problem. And why didn't Sir Laurence direct it? Probably because he was too busy putting on loads of facial prosthetics and paint to "Africanize'" himself. He was always a fan of too much makeup. He wasn't bad though. It's just cringey AF.
Othello (2007), London stage production, starring Chiwetel Ejiofor and Ewan McGregor. DAMN I wish I could have seen this. Did they film this because I'd pay to see that shit so hard. Great casting all the way.
The "photo negative" Othello (1997) starring a race-reversed cast, with Sir Patrick Stewart as "the Moor." Um. I have extremely mixed feelings. Did they purposefully switch the race roles *just* so they could get Sir Patty Stew to play the lead without raising eyebrows this late in the game, or was this a genuine experimental production meant to highlight, in a roundabout way, just how racist society continues to be by flipping the script? I'd totally watch a filmed version of this if it exists.
Well, THAT was a week, tell you what. Despite its length, Othello was the most taut of the plays so far. So jam-packed with important action and tense emotion. We're not letting up next week either, because King Lear is on the docket. *Deep breath* I am prepared.
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