Othello Act 3-Important themes: Third act of the play Othello focuses on the dangers of jealousy. It is a study of how jealousy can be fueled by mere circumstantial evidence and can destroy lives. It is interesting that Iago uses jealousy against Othello, yet jealousy is likely the source of Iago's hatred in the first place. Othello easily falls prey to Iago’s plotting and scheming. His mind is poisoned by the jealousy, and it leads, both directly and indirectly, to the deaths of Desdemona, Rodrigo, Emilia, and Othello. Jealousy is truly the fatal flaw of the protagonist, and this theme is highlighted in this act more than any other act. Iago: O, beware, my lord, of jealousy; It is the green-eyed monster which doth mock The meat it feeds on; (Act 3. scene 3) Here, he pretends to warn Othello not to be a jealous man, pointing out that jealousy ends up destroying the heart of the man who falls prey to it.
Transcript
Othello Act 3-Important themes:
Third act of the play Othello focuses on the dangers of jealousy. It is a study of how jealousy
can be fueled by mere circumstantial evidence and can destroy lives. It is interesting that Iago
uses jealousy against Othello, yet jealousy is likely the source of Iago's hatred in the first
place. Othello easily falls prey to Iago’s plotting and scheming. His mind is poisoned by the
jealousy, and it leads, both directly and indirectly, to the deaths of Desdemona, Rodrigo, Emilia,
and Othello. Jealousy is truly the fatal flaw of the protagonist, and this theme is highlighted in
this act more than any other act.
Iago:
O, beware, my lord, of jealousy;
It is the green-eyed monster which doth mock
The meat it feeds on; (Act 3. scene 3)
Here, he pretends to warn Othello not to be a jealous man, pointing out that jealousy ends up
destroying the heart of the man who falls prey to it.
Othello:
Why, why is this?
Think'st thou I’d make a life 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! (Act 3 scene 3).
Here, Othello claims that he won't be destroyed by jealousy. But, then, Othello lets slip that he
may in fact be a bit more jealous and suspicious of his wife than he lets on – he says he wants
some "proof" of Desdemona's infidelity. Looks like Iago's master plan may work out after all.
Iago:
Trifles light as air
Are to the jealous confirmations strong
As proofs of holy writ: this may do something. (Act 3 scene 3)
Iago realizes that real proof of Desdemona's supposed infidelity is not necessary because mere
suspicion is enough to feed Othello's jealousy. In the case of Othello, Iago will use the
handkerchief Othello gave Desdemona in order to convince Othello that Desdemona's been
cheating. (Remember, when Desdemona dropped her handkerchief by accident, Emilia picked it
up and gave it to Iago. Iago says he's going to drop it for Cassio to find.) Even though the
handkerchief is a mere "trifle, light as air," once Othello sees it in another man's possession,
he'll think he has solid proof that Desdemona is unfaithful. When Iago says the handkerchief
will be "as proofs of holy writ" to Othello, he means that Othello will see the handkerchief as
the gospel truth that Desdemona's a cheater.
Iago realizes the unbelievable power of jealousy. He claims that he has poisoned Othello's mind
by suggesting Desdemona may be up to something naughty. Because Iago has succeeded in
making Othello suspicious, Othello will never, ever have a good night of sleep again, not even if
he used the best sleeping medicine in the world. In Othello, jealousy takes many forms, from
sexual suspicion to professional competition, but it is, in all cases, destructive.
This act also explores some common sixteenth century anxieties about miscegenation
(interracial sex and marriage) by examining the relationship between a black man who marries
a white woman, accuses her of being unfaithful, and then strangles her on her wedding sheets.
In Othello, most male characters assume that women are inherently promiscuous, which
explains why all three women characters in the play are accused of sexual infidelity. It also
explains, in part, why it's possible for Iago to so easily manipulate Othello into believing his wife
is having an affair. Othello is also notable for its portrayal of homoerotic desire, which seems to
be a factor in Iago's plot to destroy Othello and Desdemona.
Othello:
My name, that was as fresh
As Dian's visage, is now begrimed and black
As mine own face. (Act 3 scene 3)
When Othello suspects that Desdemona is cheating on him with Cassio, he suggests that his
"name," or his reputation, is now soiled and "begrimed" because of his wife's supposed
infidelity. This idea, that a wife's fidelity to her husband can make or break a man's good
reputation is pretty common in Shakespeare's plays. See, for example, The Comedy of Errors,
where the fidelity of Antipholus of Ephesus's wife plays such an important role in her husband's
good name around town.
When Othello asks for "living reason" (proof) that Desdemona's been "disloyal," Iago tells him
about a sexy dream that Cassio supposedly had one night while he was lying in bed next to Iago
(presumably, at an army camp). According to Iago, Cassio talked in his sleep while having a
naughty dream about Desdemona. Not only that, but Cassio also grabbed Iago, wrapped his leg
over his thigh, and made out with him (all while dreaming about Desdemona).
"Proof" is a key word in this scene; Othello demands that Iago prove Desdemona unfaithful by
actually seeing evidence of her guilt. But Iago, ever clever and persuasive, manages to work
around this completely; he plays off of Othello's jealousy, telling him stories that damn Cassio
and mention the handkerchief, which make Othello angry and distract him from the fact that he
has seen no proofs at all. Othello trusts Iago's words to convey proof, and is thwarted by Iago's
dishonesty; yet, Othello only realizes later that he has been tricked and has seen no proof,
when it is too late for him to take his actions back.
An important theme presented in this act is “the marriage of two minds" as embodied in
Othello and Desdemona Shakespeare's portrayal of marriage is pretty bleak in Othello. The play
begins with a conflict between two Desdemona's husband and her father, who sees his
daughter's elopement as a kind of theft of his personal property. The play's two wives
(Desdemona and Emilia) are both unfairly accused of infidelity, and both wives are murdered by
their abusive husbands. More famously, perhaps, is the way Shakespeare examines sixteenth-
century anxieties about interracial couplings – in Othello, the marriage of a black man and a
white woman allows Shakespeare to explore attitudes about race and gender.
Othello:
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. Yet, 'tis the plague of great ones;
Prerogatived are they less than the base;
'Tis destiny unshunnable, like death:
Even then this forked plague is fated to us
When we do quicken. (Act 3 scene 3)
When Othello is convinced (by Iago) that Desdemona has cheated on him, he reveals something
pretty interesting about himself. It seems that Othello believes all men, both "great" and
"base," are "destin[ed]" to be cuckolds.
Race is an extremely important theme; it has a great amount of influence on how people regard
Othello for those who distrust black people merely on looks never like Othello, like Iago.
Though Othello verily said that Desdemona "had eyes, and chose [him]" despite, presumably,
the fact that he is black, racial difference is something that comes between both of them. Race
also determines how Othello perceives himself as a rough outsider, though he is nothing of the
sort. Othello's race sets him apart, and makes him very self-conscious; it makes him work hard
and look carefully after his reputation, so he is regarded as equal to the white people that
surround him.
Another theme revolves around appearance vs. reality. Iago has an honest face, which helps
hide his deceitful soul. Othello appears to be strong and courageous, a leading general, but he
is easily tricked into fearing that his wife is unfaithful. It appears that Desdemona has left her
treasured handkerchief with Cassio; in reality, Emilia has taken it and Iago has planted in on
Cassio. Because of Iago’s trickery, it appears to Othello that Desdemona is involved with Cassio;
in truth, she is innocent, loving her husband dearly. Throughout the play, Iago is instrumental in
making sure that reality is disguised by appearances, which he manipulates.
Criticism on Othello:
G. K. Hunter investigates the role of race and racism in Othello. Hunter reviews the notions
Elizabethans held about foreigners in general and Blacks in particular, finding that there existed
a widespread association of Blacks with sin, wickedness, and the devil. According to the critic,
Shakespeare did not present Othello as a stereotypical Black and contends that it is the
darkness of Iago's soul that ruins Othello. However it can be argued that Shakespeare has
presented Othello as a proud man who eventually becomes a beast, a murderer and hence in a
way fulfills the prejudices with which his enemies brand him. Shakespeare seems to promote
racial stereotypes. In the beginning of the play, Othello’s character is an elevated one and his
speeches are poetic which reflect his refined and sophisticated mind. But as the play
progresses, Othello develops jealousy, suspicion and savagery in his character. Shakespeare
implies that in the course of the plot, Othello begins to reveal his real character and the stuff of
which he is made begins to deteriorate and show itself unfit. Othello is portrayed as a
shortsighted character that can easily be manipulated due to his naivety. He is unable to pierce
through the mask of honesty and sincerity worn by Iago who easily traps him by a few words of
opinion. He thinks Iago to be an “honest man” and opines about him as “This fellow is of
exceeding honesty, and knows all qualities, with a learned spirit, of human dealing.” (Act 3
scene 4).
In act 3 scene 3, he lets Iago know that “I do not think but Desdemona’s honest”. But in the
very next scene, he says in a furious tone “Damn her, lewd minx; damn her…, I will withdraw to
furnish me with some swift means of death for the fair devil”. Othello kills Desdemona in the
most brutal way. The scene is intensely emotional as Desdemona asks for banishment, rather
than death. Then in the most unchristian way, he denies her even a final prayer. This can be
interpreted as that Shakespeare is implying the idea that an “evil Moor”, a Muslim, can never
be a true Christian. The deeply emotional journey that Shakespeare provides the audience with
leading to Desdemona’s death may, it can be argued, entice the audience to hate Othello. In
this way Shakespeare is condoning the stereotype that, eventually what will come out of a
Moor is his violent nature and all compassion for him will be gone.
In the play, Iago has been presented as a self-seeking and self-aggrandizing villain who cares
more for his own benefits than anything else in the world. Dr. A. C. Bradley is of the opinion
that he is “a bad man of supreme intellectual power”. Most of the critics, like Bradley argue
that Iago is a man of intelligence and an excellent planer who can assume dissembling airs to
deceive the people and to turn the events to his advantage .But it can be argued that instead,
most of the times, fate plays an important role in the fulfillment of Iago’s evil plans. On one
occasion in the play, Othello had to go and inspect the fortification of the Island. This incident
draws Othello away from Desdemona and provides Iago an opportunity to act upon his design.
Approaching of Othello and Iago at the time of meeting between Desdemona and Cassio and
dropping of handkerchief by Desdemona in negligence are also such coincidences which have a
major role in the success of Iago’s villainous designs.
Othello proves to be a jealous and suspicious character by nature. Moreover, he is so naïve to
be easily manipulated by treacherous Iago. Iago also has an advantage of having a reputation of
“honest Iago”. In their trust all his acquaintances are united. The qualities they recognize in him
are blunt honesty, trustworthiness and courtesy. Such reputation blinds them all and hinders
them to see the real wicked character of the man. So here it can be stated that the success of
Iago resulting in the tragic end of the play is mainly favored by the fate rather than his own
intelligence and mastery.
Imagery
The most prominent imagery in Act 3 is that of disease and poison. Illness and poison become
symbols of jealousy which spoils away Othello and Desdemona’s peaceful life, and also ruins
the lives of others who are close to them. Iago uses both these images in his speech:
I do beseech you--
Though I perchance am vicious in my guess,
As, I confess, it is my nature's plague
To spy into abuses, and oft my jealousy
Shapes faults that are not--that your wisdom yet,
From one that so imperfectly conceits,
Would take no notice, nor build yourself a trouble
Out of his scattering and unsure observance. (Act 3 scene 3)
Here he uses disease imagery. In a soliloquy, he says:
The Moor already changes with my poison:
Dangerous conceits are, in their natures, poisons.
Which at the first are scarce found to distaste,
But with a little act upon the blood.
Burn like the mines of Sulphur. (Act 3 scene 3)
Thus these two images enhance the theme of jealousy. It also adds to the tragic effect of the
play.
In the act three, images of monsters appear quite frequently. Othello says about Iago in one of
his dialogues:
By heaven, he echoes me,
As if there were some monster in his thought
Too hideous to be shown.
At another place, Iago uses the same imagery:
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!
This imagery is strikes the reader because the word “monster” perfectly describes Iago’s
character. The irony is that he himself is suffering from jealousy, “the green-eyed monster.” It
also enhances the idea of white men about “the moor’s” brutal nature.
Food imagery is also prominent in this act. Emilia and Cassio use this imagery in their speech. In
the scene II, Cassio says:
Ay, but, lady,
That policy may either last so long,
Or feed upon such nice and waterish diet,
Or breed itself so out of circumstance,
That, I being absent and my place supplied,
My general will forget my love and service.
Similarly, Emilia uses food imagery to describe the fickle mindedness of men:
'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. (Act 3 scene 4)
Here this imagery not only lends grandeur to the speeches of both these characters, but it also
provides an insight into the major characters of the play. It also provides a criticism of human
nature at large and also of the Elizabethan society
G. K. Hunter investigates the role of race and racism in Othello. Hunter reviews the notions
Elizabethans held about foreigners in general and Blacks in particular, finding that there existed
a widespread association of Blacks with sin, wickedness, and the devil. According to the critic,
Shakespeare did not present Othello as a stereotypical Black and contends that it is the darkness
of Iago's soul that ruins Othello. However it can be argued that Shakespeare has presented
Othello as a proud man who eventually becomes a beast, a murderer and hence in a way fulfills
the prejudices with which his enemies brand him. Shakespeare seems to promote racial
stereotypes. In the beginning of the play, Othello’s character is an elevated one and his speeches
are poetic which reflect his refined and sophisticated mind. But as the play progresses, Othello
develops jealousy, suspicion and savagery in his character. Shakespeare implies that in the
course of the plot, Othello begins to reveal his real character and the stuff of which he is made
begins to deteriorate and show itself unfit. Othello is portrayed as a shortsighted character that
can easily be manipulated due to his naivety. He is unable to pierce through the mask of honesty
and sincerity worn by Iago who easily traps him by a few words of opinion. He thinks Iago to be
an “honest man” and opines about him as “This fellow is of exceeding honesty, and knows all
qualities, with a learned spirit, of human dealing.”(Act 3 scene 4).
In act 3 scene 3, he lets Iago know that “I do not think but Desdemona’s honest.”But in the very
next scene, he says in a furious tone “Damn her, lewd minx; damn her…, I will withdraw to
furnish me with some swift means of death for the fair devil.”Othello kills Desdemona in the
most brutal way. The scene is intensely emotional as Desdemona asks for banishment, rather
than death. Then in the most unchristian way, he denies her even a final prayer. This can be
interpreted as that Shakespeare is implying the idea that an “evil Moor”, a Muslim, can never be
a true Christian. The deeply emotional journey that Shakespeare provides the audience with
leading to Desdemona’s death may, it can be argued, entice the audience to hate Othello. In this
way Shakespeare is condoning the stereotype that, eventually what will come out of a Moor is
his violent nature and all compassion for him will be gone.
In the play, Iago has been presented as a self-seeking and self-aggrandizing villain who cares
more for his own benefits than anything else in the world. Dr. A. C. Bradley is of the opinion
that he is “a bad man of supreme intellectual power.”Most of the critics, like Bradley argue that
Iago is a man of intelligence and an excellent planer who can assume dissembling airs to deceive
the people and to turn the events to his advantage .But it can be argued that instead, most of the
times, fate plays an important role in the fulfillment of Iago’s evil plans. On one occasion in the
play, Othello had to go and inspect the fortification of the Island. This incident draws Othello
away from Desdemona and provides Iago an opportunity to act upon his design. Approaching of
Othello and Iago at the time of meeting between Desdemona and Cassio and dropping of
handkerchief by Desdemona in negligence are also such coincidences which have a major role in
the success of Iago’s villainous designs.
Othello proves to be a jealous and suspicious character by nature. Moreover, he is so naïve to be
easily manipulated by treacherous Iago. Iago also has an advantage of having a reputation of
“honest Iago.”In their trust all his acquaintances are united. The qualities they recognize in him
are blunt honesty, trustworthiness and courtesy. Such reputation blinds them all and hinders them
to see the real wicked character of the man. So here it can be stated that the success of Iago
resulting in the tragic end of the play is mainly favored by the fate rather than his own
intelligence and mastery.
COMPARISON OF OTHELLO WITH MACBETH AND HAMLET
William Shakespeare is commonly considered the greatest English language dramatist and poet
the world has ever known. He wrote many plays which include four tragedies: Hamlet, King
Lear, Macbeth, and Othello. All these tragedies have some similarities with one another. Here
we may compare Hamlet and Macbeth with Othello.
The story of each tragedy depicts the troubled part of the hero’s life which proceeds and leads up
to his death. In his play Othello, Shakespeare produces a story of how one man’s trust is twisted
and betrayed leading towards a tragic ending. Macbeth, as considered by Societal critics,
scrutinizes the evil dimension of conflicts, offering a dark and gloomy atmosphere of a world
dominated by the power of darkness and this darkness leads the hero up to his tragic end. Hamlet
has similarity with Othello because in both works, there are many forms of evil and corruption
insinuated by the characters. Shakespeare enables the readers to view the actions of the
characters and see how each the corruption leads to death and despair. Shakespeare’s characters,
Iago from Othello and Claudius from both, display many evil actions and are very insidious
throughout each play; although their methods of evil may be different. Claudius is a very jealous
and confused person and this shows many a times in the play. He is unhappy to see his brother
happy and killed him. In Othello, Iago realizes that Othello is a very jealous person and uses this
to psychologically destroy him.
The other thing, that is similar in Shakespeare’s tragedies, is that his tragic heroes will be men of
high rank, and the calamities that befall them will be unusual and exceptionally disastrous in
themselves. The hero falls unexpectedly from a high place, a place of glory, or honor, or joy. A
tragic hero is a character who suffers a downfall from a tragic flaw in personality. In Othello,
Othello’s character is first shown as a hero of war and a man of great pride and courage.
Chronologically through the play Othello’s character changes from a flawless military leader, is
presented as a murderer. His tragic flaw is jealousy. Macbeth is presented as a mature man of
established character, successful fields of activity and enjoying an enviable reputation. Both
characters are affected by the influence of words and completely changed. In Macbeth, Macbeth
goes from a noble, brave solider to a murderer; he changes because of the prophecies of the
witches and his wife Lady Macbeth. In Othello, Iago’s words and actions lead to Othello’s
downfall but it was really because of Othello’s jealousy. The play, Hamlet, deals with Hamlet’s
suffering and tragic end. Hamlet, like the other tragic heroes of Shakespeare, belongs to upper or
royal class. He follows Aristotle`s definition of tragic hero. He has exceptional qualities like
graceful personality and popularity among his country that is eminent. His tragic flaw is his
delay in action and irresolution that depends on the nature of self analysis. Coleridge words: "His
enormous intellectual activity prevents from instant action and the result is delay and
irresolution."
In Elizabethan age, people greatly believed in the supernatural. The presentation of ghost, fairies,
witches, portents, omen, unknown happenings, and disturbances in nature was common
phenomenon on the Elizabethan stage. According to Moulton, “supernatural agency has a place
in the world of Shakespeare.” The use of supernatural elements is similar in Shakespeare’s plays
although they are different in forms.
The supernatural element in Othello is the handkerchief. The handkerchief, indeed, seems to
have special powers. It is a magical handkerchief. It carries the power of love, but it also carries
a curse. If it is ever lost or given away, disaster will damn its owner. When Desdemona
complains to Emilia about its disappearance, the latter feigns ignorance about its whereabouts.
She is worried, but consoles herself that her husband is not jealous:
“I think the sun where he was born
Drew all such humours from him” (Act 3 scene 4).
It is worth noting that there was a belief among the Elizabethans that body fluids such as blood,
phlegm, choler, and melancholy were assumed to determine a man’s temperament.
Unfortunately, Desdemona does not know much of Othello; his behaviour and actions betray an
imbalance of blood and choler.
Desdemona is stunned to hear the mystery of the handkerchief, and as she struggles to absorb
this startling revelation, Othello gives another harrowing lecture on the handkerchief:
‘Tis true. There’s magic in the web of it’
A sibyl that had numbered in the world
The sun to course two hundred compasses,
In her prophetic fury sewed the work;
The worms hallowed that did breed the silk,
And it was dyed in mummy which the skilful
Conserved of maidens’ hearts. (Act 3 scene 4).
The handkerchief, then, is no mere piece of cloth. It is a part of Othello’s past. It was important to his mother. It helped her subdue her husband’s love. It is a symbol of love of Othello’s parents
and Othello believes that it is a symbol of the purity of Desdemona’s love for him. Desdemona is ready to acknowledge the handkerchief’s magic. Iago is so fascinated by it that he insists his wife to steal it. Cassio, too, finds it irresistible, and it causes even him misfortune.
In Hamlet, the supernatural element appears in the form of ghost. In the 1st act, five hundred and
fifty lines out of the eight hundred and fifty lines are concerned with the ghost. Therefore, it may
be said that if we remove it, the play falls to pieces and without it, there would have been no
tragic suspense or curiosity, no suitable atmosphere and consequently no interest. The
supernatural element in the play, the ghost plays a pivotal role in the underlying story, which
leads Hamlet down an emotional road between unwavering belief in the spirit of his father, to
doubt, and finally to resolve. One could argue that the ghost was a metaphor for the memory of
Hamlet’s father, and a sign of the effects of loss and depression on Hamlet. One could also argue
that the spirits of murder victims cling angrily and spitefully to this world, awaiting their
vengeance as a method of releasing them to the afterlife.
In Macbeth, the supernatural element is used to provoke the unknown. Without the witches, the
ghost, the apparitions, and the visions, Macbeth would have been a dull and tiresome play. The
ancient superstition of spirits enhanced the play dramatically.
Another form of superstition in the play is the image of an “air-drawn” dagger. This form of the
supernatural led Macbeth to his victim. Macbeth believes the delusions of his confused brain.
The importance of the blood-covered dagger is that it led Macbeth towards Duncan’s chamber
and symbolized the presence of evil. The dagger is a form of superstition which adds to the
impact of this key scene in which Macbeth slays King Duncan.
This thread of the supernatural would especially interest an Elizabethan audience who believed
in magic, charms, and even witchcraft. This employment of the supernatural element adds an air
of mystery and suspense to the tragedy.
Implementing the Psychoanalytical Theory on Major Characters
With the development of psychoanalysis and its application to literary characters, critics have
expanded on earlier interpretations of the play's major characters and suggested new explanations
and motivations for their actions. In Act III of Othello, the most active characters are Othello,
Desdemona and Iago. In the discussion that follows, these characters will be analyzed by
applying the psychoanalytic theory.
Psychoanalysis of Othello’s Character
Othello is always found struggling to get his self-esteem in a society of white people. The
discrimination in society presses his id and he has a deep sense of self-inferiority. His suppressed
id has an obsession to search self-esteem. It is very important for the protagonist to marry
Desdemona, because it gives an effect to his id. On the other hand, he is also aware of the fact
that his marriage with Desdemona is something unconventional in society and he has to struggle
to win acknowledgment on the marriage. His superego constantly reminds him of this fact. So,
there is a conflict between the id and the superego. But since the id, which wants self-esteem, is
very strong, it corrupts the ego. His ego compels him to marry the white woman by suppressing
his superego, which tries to forbid him from making an unconventional relationship.
In the third act, Othello’s jealousy for Cassio and mistrust in Desdemona’s loyalty
becomes prominent. Othello becomes more and more suspicious, and consequently more
susceptible to Iago’s evil plans. This situation arises out of the above mentioned psychological
conflict. Although his ego dominates his superego, there is a suppressed fear in his unconscious
mind. In Iago’s words, “She did deceive her father, marrying you; / And when she seem’d to
shake and fear your looks, / She loved them most.” It is quite natural for the “moor” to feel
jealous of any white man, who could have been acceptable for the society as a better match for
Desdemona. Thus, there arises another conflict in Othello’s mind, i.e. between trust based on
love and distrust based on jealousy. Othello is passionately in love with Desdemona, which he
expresses thus: “But I do love thee; and when I love thee not / Chaos is come again.” This
statement shows that Desdemona has a very important place in his life. If she is proved to be
unfaithful, Othello will lose the self-esteem which gives satisfaction to his id. In this way, his
love and trust become his weakness. At the same time, he has a deep seated fear that Desdemona
may develop liking for Cassio, who is a white man and also younger than Othello. At this point
where Othello becomes weak due to obsession with love and jealousy, the antagonist takes
advantage of his weakness. Thus, the conflict between id and superego is the main reason of the
tragic hero’s failure.
Psychoanalysis of Desdemona’ character
Opinion on the character of Desdemona has been sharply divided. Some critics have depicted her
as an innocent, passive victim. Others have described her as wanton and dominating, and at least
partially responsible for her fate. In act III, which is the culmination point of the play,
Desdemona appears as a gentle lady who tries to convince her husband to reinstate Cassio. But
Robert Dickes attributes these intense efforts of Desdemona to the basic death-instinct of her id.
According to Robert Dickes, the motivational force behind her actions is Electra complex. She
sees her father’s image in Othello and this is why she falls in love with him. At the same time,
her superego contradicts her id. She then atones for this unconventional choice by trying to act
like a gentle lady. In her effort to do so, she behaves in such a way that makes Othello even more
certain in his jealousy. Robert Dickes’ statement about Desdemona’s basic death-instinct can be
supported by her repeated attempts to persuade her husband to restore Cassio as his lieutenant.
Knowing the fact that her husband does not like to talk about Cassio, she discusses Cassio’s case
each time they meet. Dickes claims that she does so in order to get atonement for her unusual act
of marrying a moor.
This is true that Desdemona makes a desperate attempt to restore Cassio, but this attempt
cannot be attributed to death-instinct. In psychoanalysis, id has two basic instincts: life-instinct
and death-instinct. When we see her in act III, there is no reason for Desdemona to wish for
death. She has married her beloved and she also enjoys a respectable position in society. So
death –instinct cannot be the driving force behind her efforts to reinstate the lieutenant. Similarly
there is no evidence to prove that she is suffering from Electra complex. Her actions can only be
attributed to her good-will. She is so innocent that she does not understand that her husband is
jealous of Cassio. She is a victim of her husband’s jealousy and mistrust.
Psychoanalysis of Iago’s Character
Iago’s character is the most perplexing one in this play, for there is no clear motivational
force behind his actions. His enmity with Othello is understandable, but his intentions to harm
Cassio and Desdemona are not reasonable. Iago has been termed by critics as an incarnation of
evil. Some critics have tried to explore his psyche to find an answer to the question of
motivational force behind his actions. Fred West, for instance, has suggested that Shakespeare
created a profound and accurate portrait of a psychopath in Iago. As such, West continued,
"Iago's only motivation is an immature urge toward instant pleasure." This theory can be
supported on the basis of incidents that happen in the third act. Iago does not have a good
relationship with Emilia as is apparent from their discussion in the handkerchief scene. He chides
Emilia for standing alone in the chamber. He snatches the handkerchief from her and asks her to
go away. He does not trust her wife. Othello’s preference of Cassio as his lieutenant has also
made him furious and unhappy. Now his id, which craves for pleasure, compels his ego to fulfill
this desire for pleasure by harming those who have become a hurdle in his way to success and
happiness. That is why he tries to harm Cassio and Othello, and also Desdemona because he
knows that “the moor” is proud of having won the love of “fair Desdemona”. By creating a sense
of doubt and jealousy in Othello’s mind, he is able to satisfy his id’s desire to get instant
pleasure.
Another thing that is worth noting is that there is lack of trust in Iago’s relationship with
his wife. Othello and Desdemona, on the other hand, trust each other. Similarly, what Iago
desires to achieve, Cassio has easily won. Therefore, it can be said that he is hopeless along with
being jealous of Othello, Desdemona and Cassio. He becomes a sadist and he has an unconscious
desire to project his feeling of despair in others. This can only be done by destroying their sense
of peace.
In this way, Iago’s motivation can be defined in terms of his id’s desire to get instant
pleasure and his unconscious wish to disturb other people’s peaceful life.
Feminist Study of Act III of Othello
In the third act of the play, Shakespeare has highlighted some issues which are of great interest
for Feminists, such as gender discrimination, stereotyping, objectification (especially sexual
objectification) and oppression of women. Emilia and Desdemona are the stereotype women of
Elizabethan society. They are submissive and the main purpose of their lives is to please their
husbands. Desdemona herself declares that ‘I am obedient’ (Act 3 scene 3), continuing to obey
Othello’s orders from the early ‘happy’ phase of their relationship through to the later stages of
his jealous ravings. In a monologue, Emilia says: “I am glad I have found this napkin: / … My
wayward husband hath a hundred times / Woo'd me to steal it; / … I'll have the work ta'en out, /
And give't Iago: what he will do with it / Heaven knows, not I; / I nothing but to please his
fantasy.”(Act 3 scene 3) Emilia gives the napkin to Iago because she has been commanded by
him to steal it. She is unaware of her husband’s plans and curious to know what he wants to do
with it. But she knows that he will not tell her about his plans. She does ask Iago what he wants
to do with the handkerchief, but does not get an answer. The society expects her to be submissive
to her husband. Men are dominating and women are not supposed to question their dominance.
Desdemona and Emilia thus become stereotypical characters.
There is also a criticism of objectification of women in the third act. They are not
supposed to participate in intellectual activities and men regard them as possessions. When
Othello chides Desdemona for having lost her handkerchief, Emilia tries to console her and says
“'Tis not a year or two shows us a man: / They are all but stomachs, and we all but food; / To eat
us hungrily, and when they are full, / They belch us.” (Act 3 scene 4) On one hand, men are
possessive about their wives, on the other hand they are inconsistent and fickle minded. The
handkerchief given to Desdemona by Othello is charmed to subdue the husband of the woman
