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In order to get Othello convinced, Iago sets him up to eavesdrop on a conversation between himself and
Cassio.
Iago and Cassio will, however, be speaking about the courtesan, Bianca, whereas Othello believes they
are talking about Desdemona. When Desdemona appears, Othello strikes her in anger.
THE EVOLUTION OF ETIQUETTE
Etiquette -- i.e. how to behave when in company -- is a relatively new thing dating back to the 15th and
16th centuries, the time of the Renaissance.
In the medieval world -- that era which preceded the Renaissance -- etiquette virtually did not exist.
People behaved instinctively, as children do. They belched if they felt like belching. They farted if they
desired to relieve themselves.
There were no rules for how to treat a lady. Men sulked publicly if they felt offended, or would launch into
fist fights at the drop of a hat. The stories of knights rescuing damsels in distress? It is far more likely
that
the knights would put an unprotected damsel into distress!
This all changed during the Renaissance -- or, for England, the Elizabethan Age -- when suddenly men
became concerned about how they should be behaving when in public. To give them guidance, manuals
began to drafted on what manners were good and what was to be avoided.
The manuals examined almost every facet of life: from eating to drinking, how to speak, how to walk and
dress, how to behave in the presence of women. Men in high society now had something to guide them,
rules which they could follow meticulously.
The rules were first formulated in Northern Italy, in Venice and Milan. From there, Renaissance etiquette
slowly filtered across the length and breadth of Europe. It would take time, however, and sometimes even
centuries for the upper classes to change.
Indeed, during the Elizabethan Age, the English were generally regarded as uncouth, while the English
in
turn viewed the Italians as fops.
Notice how Iago is highly critical of the way in which Cassio continually kisses his fingers when he speaks
to Desdemona. Iago thinks it stupid, and his viewpoint probably echoed that of the average Englishman.
Etiquette would also take ages to filter down to the lower classes of society, with the working classes not
being affected until the 19th century, perhaps even later. Indeed, even today, people of the lower socio-
economic class battle with the elementary rules of behaviour at formal gatherings like weddings, where
they still like to drown out anyone making a speech.
One finds this differentiation of manners very obvious in Othello. Desdemona and the Duke are
perhaps the most sophisticated. Brabantio's behaviour, on the other hand, was at times questionable in
that he allowed his instincts to lean towards revenge. Cassio knew the rules but possibly applied them
slavishly, while at times overdoing it.
Iago? Well, he was very much a law unto himself, although he appeared to know how to behave in the
presence of a lady. Note, for example, how he treated Desdemona with the utmost respect but, on the
other hand, treated his own wife in the most uncouth way. And Iago was a person who took revenge to
an extreme.
Emilia is almost typical of the lower cast, so much so that she is often referred to almost as if she were
a
prostitute. At the same time, however, she was able to recognise poor behaviour in others, and especially
noted the intense jealousy which Othello exhibited.
Othello himself found it a problem to balance his own behaviour. When he was in Venice and everyone
about him was behaving to the book, he followed suit. When in Cyprus, on the other hand, and there were
few people to guide him, his etiquette slipped badly.
Notice his outbursts of jealousy even when there was little to provoke it -- typical of pre-Renaissance
behaviour. Observe his crassness when addressing his innocent wife about her apparently missing
handkerchief. And, of course, his unprovoked striking of Desdemona in full view of the gathered
dignitaries.
In many ways, therefore, the play is all about Othello's descent from the status of a dignified man who
portrays all the expected etiquette of Venice. By the end of the play, however, he is behaving like an
uncouth medieval barbarian.
With the various levels of etiquette -- or lack thereof -- all around them, the sophisticated Elizabethan
audiences would have noticed immediately Othello's slide into pre-Renaissance depravity.
Have you looked at the questions
in the right column?
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TEST YOURSELF!
Read the left column and then answer
the following questions:
"Or to be naked with her friend in bed
An hour or more, not meaning any harm?"
- Iago and Othello appear on stage deep in conversation. What do you think they are talking
about? (4)
[Need help?]
Iago is probably NOT talking about Desdemona and Cassio. He is far too cunning for that.
Indeed, he is probably talking generally about Venetian customs, about which Othello was most clueless.
He is claiming that adultery was actually a very common practice in Venice.
It is not considered to be in any way wrong, Iago says, for a woman to be in bed naked with a friend.
Although Iago is talking generally, his purpose is nevertheless clear. Othello will interpret him as meaning
that Desdemona and Cassio are doing all these things in bed, and he will get more and more angry as
a result.
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"But if I give my wife a handkerchief, --
Why, then, 'tis hers, my lord; and, being hers,
She may, I think, bestow't on any man."
- Why does Iago mention the handkerchief? (4)
[Need help?]
Othello has given Desdemona a handkerchief as a betrothal present and has told her to keep it safe.
Desdemona, however, has accidentally dropped it. Iago has found it and given it to Amelia with
instructions that she pass it onto Cassio.
If Othello should see the handkerchief in Cassio's hands, he will be convinced that Desdemona has given
it to him and conclude that she is having an affair with him.
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- When Iago says that the wife is free to give the handkerchief away, is he right? Why then does Othello
become angry at the idea? (4)
[Need help?]
Generally speaking, Iago is correct. A gift, once given, becomes the property of the person to whom it is
given. She is therefore entitled to give it away if she so pleases.
This handkerchief, on the other hand, was Othello's gift to Desdemona upon their engagement. It is the
equivalent then of an engagement ring. Desdemona is therefore not free to give it away.
Would Iago know the actual circumstances of this present? Perhaps, perhaps not. It had been a present
made in secret but perhaps its meaning is clear to Iago. (Read the notes in the left column.)
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"He hath [said something], my lord; but be you well assured,
No more than he'll unswear."
- Why does Iago counter his statement with the fact that Cassio will "unswear" anything he
says? (4)
[Need help?]
It's a clever ploy by Iago. He is about to tell Othello a blatant lie about Cassio but, knowing that Cassio
would obviously deny it if he is challenged, Iago warns Othello that this will indeed happen.
This adds more truth to the lie that Iago is about to tell Othello. When Cassio denies it, Othello will nod
sagely and say, "Iago said he would deny it" -- and he will be even more convinced then that Iago
is telling the truth.
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"Lie with her, on her; what you will."
- To what is Iago alluding? (1)
[Need help?]
Iago is alluding to the idea that Cassio has slept with Desdemona.
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- Why does he add the words, "What you will"? (4)
[Need help?]
Iago is playing around with words. The expression "to lie" has several meanings and Iago is using
them all:
- "To lie with her, on her" could mean that Cassio has had sex with Desdemona;
- "To lie" could also mean that Iago is lying about Desdemona, i.e. telling an untruth.
Iago says therefore that Othello is free to interpret his words in any way he wishes, knowing that Othello
will assume it means that Cassio has had sex with Desdemona.
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"To confess, and be hanged for his labour; -- first, to be hanged, and then to confess."
- Othello is speaking openly here of the revenge he intends to take on Cassio. What is wrong with his
taking such revenge? (6)
[Need help?]
First, it is against Christian ethics to seek revenge. The Bible strictly prohibits it. "Vengeance is mine,
says the Lord. I will repay."
Second, it is tradition within Christian society that a person who is about to be executed must be given the
opportunity to confess his sins. In that way, he will have a chance of entering heaven with a clean slate.
Failure to confess will ensure he goes to hell for all eternity.
Othello, however, is determined to execute Cassio without giving him the chance to confess: "First,
to be hanged, and then to confess.". This will then condemn him to an eternity of punishment in hell.
Such vengeance is very much contrary to Christian ethics.
Is Shakespeare not hinting here that Othello is not fully Christian? It was believed that Moors, although
converted to Christianity, nevertheless still harboured their former Moslem traditions. (N.B. Othello is not
necessarily proclaiming a Moslem idea but Shakespeare's audience wouldn't know that.)
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"Othello falls into an epileptic trance."
- What is the significance of Othello suffering from epilepsy? (4)
[Need help?]
Epilepsy was viewed until very recently as an affliction caused by the devil. A leader who suffered from
epilepsy would therefore keep his condition an absolute secret.
For Othello to collapse on stage in an epileptic trance, therefore, would terrify the audience and probably
put them against him. It's a technique to further separate Othello from all society, even from the audience
watching this play.
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- How would Iago feel about this trance? (2)
[Need help?]
Iago would have been most satisfied that he has driven Othello into total ignominy. "Work on,
my medicine, work!" In other words, Iago's plot is succeeding magnificently.
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- In a 1964 West End production of the play, Iago is seen putting the point of his dagger into Othello's
mouth during the trance. What would be the significance of that? (4)
[Need help?]
Othello, when undergoing his epileptic fit, is in danger of biting his tongue. It is recommended, therefore,
that a solid object (like a piece of wood) be placed in the mouth to prevent this from happening.
Iago, however, inserts the tip of his dagger. Not only does this prevent Othello biting his tongue (and is
therefore a praiseworthy action) but it also signifies that Iago wields the power of life and death over
Othello.
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