Othello,

Act Five
Flash mob will appear at 5.15.
 No pictures today!
Can you visualize when reading the lines?

‘O fool, fool, fool!’

(imagine you’re in the exam…)

Act 5, Scene 1: situation
Roderigo (under Iago’s instruction) lies in wait for Cassio as he
comes from Bianca’s house. Then Roderigo attacks Cassio.
Cassio defends himself, wounding Roderigo, and Iago sneaks
up in the dark and wounds Cassio.
Act 5, Scene 1: situation

The screams arouse Othello, who assumes that

Iago has murdered Cassio – as he promised to do,
and he is inspired by Iago’s ‘loyalty’ to kill
Desdemona.
Act 5, Scene 1: situation

Lodovico, Gratiano and Othello all arrive on the

scene. Iago kills Roderigo.
Act 1, Scene 1: Shakespeare’s language art

Now we look closely at how Shakespeare’s poetry and

dramatic art gives us feelings and ideas:

connotation, metaphor, plot, setting, character

>>>

feelings and ideas

 Roderigo allows himself to be persuaded to
kill Cassio
IAGO Here, stand behind this bulk; straight will he come:
Wear thy good rapier bare, and put it home:
Quick, quick; fear nothing; I'll be at thy elbow:
It makes us, or it mars us; think on that,
And fix most firm thy resolution.
RODERIGO Be near at hand; I may miscarry in't.
IAGO Here, at thy hand: be bold, and take thy stand.
Retires
RODERIGOI have no great devotion to the deed;
And yet he hath given me satisfying reasons:
'Tis but a man gone. Forth, my sword: he dies.
(5.1.1-10)

Idea: we may do terrible things even though we do not really want to…
Iago’s reasons for creating this situation: he
thinks he wins whatever happens
IAGO Now, whether he kill Cassio,
Or Cassio him, or each do kill the other,
Every way makes my gain: live Roderigo,
He calls me to a restitution large
Of gold and jewels that I bobb'd from him,
As gifts to Desdemona;
It must not be: if Cassio do remain,
He hath a daily beauty in his life
That makes me ugly; and, besides, the Moor
May unfold me to him; there stand I in much peril:
No, he must die.
(5.1.12-22)

Soliloquy: Iago reveals his two motives: greed for wealth; and jealousy of
Cassio’s ‘beauty’ of character
Roderigo and Cassio wound each other
RODERIGO …lunges at Cassio
CASSIO …wounds RODERIGO
RODERIGO O, I am slain!
IAGO wounds CASSIO in the leg, and exit
CASSIO I am maim'd for ever. Help, ho! murder! murder!
Falls
(5.1.24-27)
Othello is inspired by Iago’s violence on his
behalf to go through with killing Desdemona
Enter OTHELLO
OTHELLO The voice of Cassio: Iago keeps his word.
RODERIGO O, villain that I am!
OTHELLO It is even so.
CASSIO O, help, ho! light! a surgeon!
OTHELLO 'Tis he:--O brave Iago, honest and just,
That hast such noble sense of thy friend's wrong!
Thou teachest me. Minion, your dear lies dead,
And your unblest fate hies: strumpet, I come.
Forth of my heart those charms, thine eyes, are blotted;
Thy bed, lust-stain'd, shall with lust's blood be spotted.
(5.1.28-36)

Irony: Othello is not witnessing an inspiring action, but a treacherous one.

Confusion in the dark: Iago kills Roderigo
IAGO Who's there? whose noise is this that cries on murder?
LODOVICO We do not know.
IAGO Did not you hear a cry?
CASSIO Here, here! for heaven's sake, help me!
IAGO What's the matter?

…O treacherous villains!
What are you there? come in, and give some help.
To LODOVICO and GRATIANO
RODERIGO O, help me here!
CASSIO That's one of them.
IAGO O murderous slave! O villain!
Stabs RODERIGO
RODERIGO O damn'd Iago! O inhuman dog!
(5.1.47-62)

Irony: there is darkness and confusion, but Iago is seen and named
clearly for the first time!
Iago tries to blame Bianca, by
misrepresenting her expression
IAGO …
CASSIO and RODERIGO are borne off
Stay you, good gentlemen. Look you pale, mistress [Bianca]?
Do you perceive the gastness of her eye?
Nay, if you stare, we shall hear more anon.
Behold her well; I pray you, look upon her:
Do you see, gentlemen? nay, guiltiness will speak,
Though tongues were out of use.
(5.1.105-10)

Irony: Iago is saying that guilt will always make itself known!
Film – 129 -131
 Act Five, Scene Two: situation

Othello is strongly affected by the sight of

Desdemona sleeping, but this doesn’t stop him
killing her.
Act 5, Scene 2: situation

Emilia discovers the murder and proclaims

Desdemona’s innocence, explaining the truth
about the handkerchief.
Act 5, Scene 2: situation

Iago kills Emilia and Othello apologises to the

wounded Cassio, who is then arrested by
Lodovico.
Act 5, Scene 2: situation

Othello stabs himself and Iago is arrested.

 Othello repeats to himself that there is a good reason
(‘cause’) for killing Desdemona…
a light burning.
Enter OTHELLO
OTHELLO It is the cause, it is the cause, my soul,--
Let me not name it to you, you chaste stars!--
It is the cause.
(5.2.1-3)

Character: Othello not sure, trying to convince himself.

Idea: we create a ‘logic’, a moral justification, for what we do, which
may conflict with, but override, our intuition.
Othello can’t bear the thought of physically
spoiling Desdemona
…
…Yet I'll not shed her blood;
Nor scar that whiter skin of hers than snow,
And smooth as monumental alabaster.
(5.2.3-5)

Character: Othello obsessed with Desdemona’s physical qualities…

Idea: in a patriarchy, men treat women like objects, not full human
beings…
Othello again returns to his ‘logic’ of ‘justice’

…
Yet she must die, else she'll betray more men.
(5.2.6)

Idea: in patriarchy, morality and justice is distorted by men valuing each

other more than women.
Othello in the process of killing Desdemona…
…
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.

Metaphor: Othello compares life to a light, and says that a candle may be re-lit, but
the light of a human life cannot: the death of Desdemona will be forever.
Character: we see that Othello is very afraid of what he is about to do.
…
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.
(5.2.13-15)

Metaphor: now Othello compares life to a rose: once it is picked, it will die.

Character: shows us again that Othello is very afraid of the finality of his action, and
reminds us of how much he admires and cherishes Desdemona – (but only her
beauty?)
 Desdemona wakes up (5.2.22-80)
Othello tells her to prepare her soul for death.

OTHELLOHave you pray'd to-night, Desdemona?

DESDEMONA Ay, my lord.
OTHELLOIf you bethink yourself of any crime
Unreconciled as yet to heaven and grace,
Solicit for it straight.
DESDEMONA Alas, my lord, what do you mean by that?
OTHELLO Well, do it, and be brief; I will walk by:
I would not kill thy unprepared spirit;
No; heaven forfend! I would not kill thy soul.
(5.2.25-32)
 Desdemona wakes up (5.2.22-80)
Desdemona insists she has done nothing wrong.
OTHELLO Think on thy sins.
DESDEMONA They are loves I bear to you.
(5.2.40-41)
 Desdemona wakes up (5.2.22-80)

Othello makes specific accusations (handkerchief, loving Cassio), which

Desdemona denies.
DESDEMONA …What's the matter?
OTHELLO That handkerchief which I so loved and gave thee
Thou gavest to Cassio.
DESDEMONA No, by my life and soul!
(5.2.47-9)
 Desdemona wakes up (5.2.22-80)

Desdemona asks Othello to send for Cassio, exactly as Othello had asked the
Duke to send for Desdemona when he was accused of witchcraft.
OTHELLO By heaven, I saw my handkerchief in's hand.
…
I saw the handkerchief.
DESDEMONA He found it then;
I never gave it him: send for him hither;
Let him confess a truth.
OTHELLO He hath confess'd.
(5.2.61-3)
 Desdemona wakes up (5.2.22-80)

Othello tells Desdemona that Cassio has been killed: she is alarmed,
which Othello interprets as proof of her loving Cassio.
DESDEMONA He will not say so.
OTHELLO No, his mouth is stopp'd;
Honest Iago hath ta'en order for't.
DESDEMONA O! my fear interprets: what, is he dead?
OTHELLO Had all his hairs been lives, my great revenge
Had stomach for them all.
DESDEMONA Alas! he is betray'd and I undone.
Desdemona’s words as Othello smothers her:
Desdemona
O, Lord, Lord, Lord!
(5.2.85)

‘Lord’ – capital ‘L’, so God. Also husband, and owner and boss.

Desdemona asking for God’s help and Othello’s mercy? (she gets
neither)

Idea: patriarchy and male headship results in stupidity and brutality.

Film: 131 -139.50
Desdemona revives briefly as Emilia enters
DESDEMONA O, falsely, falsely murder'd!
EMILIA Alas, what cry is that?
OTHELLO That! what?
EMILIA Out, and alas! that was my lady's voice.
Help! help, ho! help! O lady, speak again!
Sweet Desdemona! O sweet mistress, speak!
DESDEMONA A guiltless death I die.
EMILIA O, who hath done this deed?
DESDEMONA Nobody; I myself. Farewell
Commend me to my kind lord: O, farewell!
(5.2.118-26)

Character: Desdemona does not blame Othello, but herself!

Idea: women may internalize men’s false view of them
 Othello insists he did the right thing
OTHELLO
…
O, I were damn'd beneath all depth in hell,
But that I did proceed upon just grounds
To this extremity.
(5.2.138-40)

Dramatic irony: we know that Othello did NOT have ‘just grounds’ and
IS therefore ‘damn’d’
 Emilia also uses racist language…
OTHELLO
…
I say thy husband: dost understand the word?
My friend, thy husband, honest, honest Iago.
EMILIA If he say so, may his pernicious soul
Rot half a grain a day! he lies to the heart:
She was too fond of her most filthy bargain [marriage to a black man]
(5.2.151-156)

Idea: people may be a mix of good and bad ideas at the same time.
 Iago puts the responsibility onto Othello

EMILIA
Disprove this villain, if thou be'st a man:
He says thou told'st him that his wife was false:
I know thou didst not, thou'rt not such a villain:
Speak, for my heart is full.
IAGO
I told him what I thought, and told no more
Than what he found himself was apt and true.
(5.2.171-6)

Idea: how much are our interpretations our responsibility?

 Emilia speaks out about Iago and Othello
EMILIA
…
O villany, villany!
IAGO
What, are you mad? I charge you, get you home.
EMILIA
Good gentlemen, let me have leave to speak:
'Tis proper I obey him, but not now.
Perchance, Iago, I will ne'er go home.
…
'Twill out, 'twill out: I peace!
No, I will speak as liberal as the north:
Let heaven and men and devils, let them all,
All, all, cry shame against me, yet I'll speak.
(5.2.189-220)

Idea: men’s authority must be dismissed when it crosses a moral line.

 Emilia reveals the truth about the handkerchief
EMILIA
O thou dull Moor! that handkerchief thou speak'st of
I found by fortune and did give my husband;
For often, with a solemn earnestness,
More than indeed belong'd to such a trifle,
He begg'd of me to steal it.
IAGO
Villanous whore!
EMILIA
She give it Cassio! no, alas! I found it,
And I did give't my husband.
(5.2.223-8)

Idea: the truth may be very different to what we think it is

 Othello realizes he’s been tricked and attacks
Iago, and Iago kills Emilia
IAGO Filth, thou liest!
EMILIA By heaven, I do not, I do not, gentlemen.
O murderous coxcomb! what should such a fool
Do with so good a woman?
OTHELLO Are there no stones in heaven
But what serve for the thunder?--Precious villain!
He runs at IAGO; IAGO, from behind, stabs EMILIA, and exit
(5.2.229-33)

Idea: relationships may be reversed!

Film: 139 – 145.31
 Othello says that his sense of controlling his
life was an illusion
OTHELLO
I have seen the day,
That, with this little arm and this good sword,
I have made my way through more impediments
Than twenty times your stop: but, O vain boast!
Who can control his fate?
(5.2.259-63)

Idea: the control we feel we have is illusory

 Othello says he will be thrown into hell for
what he has done
OTHELLO
…
O ill-starr'd wench!
Pale as thy smock! when we shall meet at compt [on Judgement Day]
This look of thine will hurl my soul from heaven,
And fiends will snatch at it.
(5.2.270-4)

Idea: punishment, suffering, will follow a harmful act, regardless of

whether human law catches up with you or not.
 Othello wants physical pain
OTHELLO
…
…Whip me, ye devils,
From the possession of this heavenly sight!
Blow me about in winds! roast me in sulphur!
Wash me in steep-down gulfs of liquid fire!
O Desdemona! Desdemona! dead!
Oh! Oh! Oh!
(5.2.275-79)

Irony: Othello seems to immediately receive his

punishment…
Othello sees Iago as the devil, wounds him
OTHELLO
I look down towards his feet; but that's a fable.
If that thou be’st a devil, I cannot kill thee.
Wounds IAGO
LODOVICO
Wrench his sword from him.
IAGO
I bleed, sir; but not kill'd.
(5.2.283-6)

Idea: Iago is like a manifestation of everlasting evil, which cannot be

killed.
 Othello says he did not act out of hatred, but
only out of ‘honour’
LODOVICO
O thou Othello, thou wert once so good,
Fall'n in the practise of a damned slave,
What shall be said to thee?
OTHELLO
Why, any thing:
An honourable murderer, if you will;
For nought I did in hate, but all in honour.

Idea: the patriarchal cultural concept of ‘honour’ may lead to extremely

harmful behaviour, allowing men to fool themselves into believing they
are acting properly, when in fact they are acting out of delusion and
hatred.
Letters are found which reveal Iago’s
planning, and Othello calls himself a fool
OTHELLO
O fool! fool! fool!

Idea: contrasts with Desdemona’s ‘Lord, Lord Lord.’: men do not

necessarily have the wisdom and authority which they claim in a
patriarchal society.
 Othello tries to explain himself…

…then must you speak

Of one that loved not wisely but too well;

Idea: what does Othello mean?

‘well’ = with a very large quantity of love (quantitative)?

‘well’ = with a very high quality of love (qualitative)?

Is Othello implying that ‘love’ is naturally a kind of madness, and his only fault was
to be a little bit too mad. If so, do we recognize that this is a masculine, patriarchal
view of ‘love’ (as ‘passion’), which is a perversion of real, lucid, non-harmful love.
And therefore we may conclude that Othello has not really learnt anything, and is
still justifying his actions, according to a patriarchal concept of love.
Othello ‘not easily jealous…’!!!
OTHELLO
…
Of one not easily jealous, but being wrought
Perplex'd in the extreme…
(5.2.341-2)

Irony: Othello was very easily jealous! There was never any real
evidence.
 Othello kills himself
OTHELLO
…
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.
Stabs himself

Idea: Othello seems to recognise himself as in the wrong, but this

death is still that of a patriarchal man, a warrior (winning a fight against
himself!), which, when combined with his dubious statements about
his love and his jealousy, makes us doubt that he has really recognised
his problems, or understood what happened…
Film: 145 - end
‘Desdemona’ by Paul Kelly
Once I had a life so rare Yes I lost my Desdemona
Beauty lived inside the lair I fell for lies, I fell for lies
Desdemona straight and true
Desdemona gold and blue Never has a man been born
Well I lost my Desdemona Who can take a woman's scorn
With my own hands I did destroy her Nor tasted a more bitter wine
Yes I lost my Desdemona Than the brewing of his mind
I fell for lies, I fell for lies Yes I lost my Desdemona
With my own hands I did destroy her
Poison in my ear at night Yes I lost my Desdemona
Took away my appetite I fell for lies, I fell for lies
I couldn't hold on to the pain
Something broke inside my brain
Yes lost my Desdemona
With my own hands I did dethrone her
Next Week: conclusion
and Farewell!