Act II

Act II Scene 1
 A terrible storm has struck Cyprus, just as the Turks
were about to approach.

 This might mean that the Turkish attack will not
happen; but it also bodes badly for Othello's ship.
 A messenger enters, and confirms that the Turkish fleet
was broken apart by the storm, and that Cassio has
arrived, though Othello is still at sea.
 They spot a ship coming forth; but Iago, Desdemona,
and Emilia are on it, not Othello.
 Cassio greets them all, especially praising Desdemona;
somehow, Iago and Desdemona enter into an argument
about what women are
 Iago shows how little praise he believes women deserve.
 Othello arrives at last, and is very glad to see his wife
arrived

Act II Scene 1

 Othello and Desdemona make public signs of
their love, and then depart.
 Iago speaks to Roderigo, convincing him that
Desdemona will stray from Othello, as she
has already done with Cassio.
 He convinces Roderigo to attack Cassio that
night, as he plans to visit mischief on both
Othello and Cassio.

Analysis: Storms

 Storms are always of greater significance in
Shakespeare:
 the storm is a symbol of unrest
 The storm marks the end of the peaceful part of the
play, and is an act of fate
 it is a signal that Iago's mischief is about to begin.
 Shakespeare's characters that comment on the
storm are mariners, alluding to Ursa Minor and
stars used for navigation
 This is a testament to Shakespeare's incredible
ability to form credible language for a great
diversity and range of characters.

Analysis: Cassio
 Just as every character has their own manner of speech
and expression, Cassio has a very polished, courtly way

of speaking, especially of ladies.
 He describes Desdemona as one who "excels the quirks
of blazoning pens"; he calls her "divine Desdemona"
 As Iago finds out later, he has no love for her, though
much respect; so it is with much irony that Cassio is
charged as being Desdemona's lover
 Othello sees Cassio as a model Venetian, all poise and
polish, which is something Othello wants to be, but
thinks he is not.
 Othello's insecurities mean that Cassio is promoted over
Iago, but also lead Othello to hold Cassio at a distance.

Analysis: Women

 Though Iago is married, he does not have as
favorable an impression of women as Cassio does.
 Women are "wildcats in your kitchens, saints in your
injuries, devils being offended“
 He even declares that they "rise to play, and go to
bed to work“
 Iago's perception of women as deceptive,
dominating, and lusty colors the way he portrays
both Emilia and Desdemona; both are good women
 Desdemona exceedingly so, yet he is able to convince
other men that they are anything but what they are.

Analysis: Misrepresentation
 Misrepresentation is a theme that surfaces often
through Iago's villainy
 He makes Desdemona seem like a fickle, lusty

woman, which he will soon try to convince
Othello of as well.
 Iago's speech plays on Othello's insecurities
perfectly
 He speaks of Othello's age, race, and manners as
reasons why Desdemona will grow tired of him,
which are also reaons why Othello fears he
might lose her.
 Iago is also a master of temptation, another
theme in the story
 He is able to figure out exactly what people
want, and then drive them to it.

Analysis: Motives

 Though Iago seems grieved by Cassio's promotion
over him, this does not seem to be his main motive.
 Iago also cites his suspicions that Emilia and Othello
have had an affair as another reason for his enmity.
 Iago is not a man to be consumed with sexual
jealousy; though rumors about his wife may hurt his
pride, they seem but an excuse for the misery he is
about to cause.
 Shakespeare leaves the root of Iago's malignancy
unexplained, while showing the fruits of his evil in
full.

Act II Scene 2

 Othello's herald enters, to proclaim that the Turks
are not going to attack
 All should be joyful, and Othello is celebrating the
happiness of his recent marriage.

Act II Scene 3
 Iago gets Cassio to drink a bit, knowing that he cannot hold his
liquor at all.
 Iago also tries to get Cassio's feelings about Desdemona, but his

intentions are innocent

Iago hopes to cause a quarrel between Cassio and Roderigo
 Iago wants to see Cassio discredited through this, so that he
might take Cassio's place.
 Cassio fights with Roderigo
 Montano tries to hinder Cassio, but Cassio ends up injuring him.
 The noise wakes Othello, who comes down to figure out what
has happened.
 Montano tells what he knows of it all, and Iago fills in the rest
making sure to fictionalize his part in it all.
 Cassio is stripped of his rank, and all leave Cassio and Iago
alone.

Act II Scene 3
 Iago tries to convince Cassio that a
reputation means little

 Iago suggests talking to Desdemona, maybe
he can get her to vouch for him with Othello.
 This will help Iago get the impression across
that Desdemona and Cassio are together
 Iago then gives a soliloquy about knowing
that Desdemona will speak for Cassio, and
that he will be able to turn that against them
both.

Analysis: Honesty
 "Honest" emerges as a key word in this scene
 It is a term laden with irony, and a constant reminder of the
dramatic irony inherent in Iago's dealings.

 None of the characters in the play have any idea of Iago's
plans and evil intentions:
 Othello and Cassio are especially innocent of this
knowledge.
 The audience knows exactly what Iago is up to, and is able
to see his deceptions for what they are
 Iago's words interest the audience because of how much
dramatic irony they are laden with
 Curiosity to find out whether Cassio and Othello will
come to know as much as the audience does about Iago's
deviance.
 The word "honest" draws attention to how Iago's motives are
hidden from the characters onstage

Analysis: Juxtaposition
 Iago and Cassio are juxtaposed in this scene to bring out
Cassio's flawed honor and courtliness and Iago's
manipulativeness and deceptiveness.

 Cassio stands in especially sharp contrast to Iago when
Iago speaks lustfully of Desdemona
 Cassio is full of honor when it comes to women, and the
ideals of a courtier as well.
 "He's a soldier fit to stand by Caesar," Iago says, the
allusion to Caesar stating the fact that he knows Cassio's
true quality.
 Iago strikes gold when he figures out Cassio's weakness
for drink
 "He'll be as full of quarrel and offense as my young
mistress' dog,"
 Iago’ metaphor shows that he knows how liquor can
separate even the best man from himself
 Iago's metaphor reinforces his perceptiveness, and the
light/dark imagery

Analysis: Know the Audience
 Iago's homage to "sweet England" in his song of this act:
 though this play does not take place in England

 features no English characters
 Shakespeare throws this in to amuse his audience.
 He does the same in plays like Hamlet, in which a little
nod to England is thrown in for comic effect, and as an
audience pleaser.

Analysis: Reputation
 Reputation is a theme in the book that obviously
holds some resonance for Cassio

 Iago also knows the importance of reputation,
which is why he makes sure that people see him
as "honest" before anything.
 "Reputation is a most idle and false imposition,"
Iago says:
 this statement is meant as false consolation to Cassio,
and is filled with great irony.
 Reputation is always of concern when
individuals are involved

Analysis: Devil
 Cassio is so grieved that his reputation has been
hurt that he sees fit to find a villain in all that
has happened 
 Ironically, Cassio misses the identity of the real
devil in this situation, Iago.
 "Devil" becomes a key word in this play, as
people try to seek out what is poisoning
everyone
 Good vs. evil is a major theme in the play
 There is a great deal of gray area:
 Iago is the villain
 Everyone else has some blemish of their natures
 No one entirely deserving of the label "good".


 Adapted from:
 https://hhs-english-iv.wikispaces.com