ACT III, 3 |
ACT IV, 2 |
Othello & Iago kneel – lines 463, 465 |
Desdemona kneels – 155 |
Vow for Vengeance – 462 |
Vow of Innocence – 15665 |
Ever-burning lights – 466 |
Light of heaven – 154 |
Ne’er ebb to humble love – 461 |
Ever .. love him dearly – 162 |
Wit, hands, heart – 469 |
Mine eyes, mine ears, or any sense -- 158 |
In the second scene of Act IV, Desdemona kneels down before Iago and Emilia and declares her innocence. The act of kneeling (getting down on the knees to pray) reminds the audience of a similar action in the third act. Shakespeare uses the action of kneeling as a sign (semiotics) to remind the audience of that scene. The two scenes form a dialogic relationship. The prefix dia means across, and the root logic here indicates meaning or sense. Thus, the meaning or sense of one scene carries back or across to the other scene. The audience members will (at least subconsciously) compare and contrast the two scenes.
The language of the two scenes can also serve as signs to connect them. The word light, for example, connects the two scenes. Thus, the word light is also a sign. Othello swears to the “everburning lights” of the sky. He is swearing to the stars and planets. In a sense, then, he is swearing to the pagan gods (like Saturn and Jupiter). But
Desdemona is swearing to the light of heaven. She is swearing to the Christian God. Othello makes a vow, but it is an evil one, fed by lies and with a promise of future violence. The words concerning love, (ever or never) also mark the contrast. There is no love in Othello’s vow, but there is nothing but love in Desdemona’s vow.
The dialogic relationship of the two scenes subtly underscores the dramatic tension in the play. Shakespeare cleverly positions these two scenes closely together for an ironic contrast. Everything is wrong about what Othello thinks and intends to do. Yet everything about Desdemona is good and innocent. The vow to supernatural forces, though, may get the audience thinking about the role of fate and God. The audience may and, perhaps, should wonder why fate seems to be on the side of Iago and evil. Fate is decidedly against Othello and Desdemona. Goodness will not triumph over evil in this play.
The end of the second scene contains yet another dialogue between Iago and Roderigo. Once again, the reader should note the use of prose in this scene. The scene is full of scheming and lying, so the use of prose is appropriate. But having Iago sink to prose may also indicate the lowliness of his position because of his schemes and plots. Iago is a scoundrel. Regarding the trick that Iago has been playing upon him, Roderigo realizes that he has been “fopped in it” (197). This means that Roderigo realizes he has been a fool. Roderigo had given Iago several valuable jewels that Iago claims he had then passed on to Desdemona (line 190). But now Roderigo believes that Iago has kept the jewels for himself. Roderigo tells Iago that he will go directly to Desdemona himself and ask her to return the jewels. If she does not have the jewels, then Roderigo will get “satisfaction” or revenge upon Iago (line 202).
Once again Iago gets out of this difficulty by twisting the truth to serve his own purposes. He tells Roderigo that Roderigo will be able to have Desdemona the very next night if he will accomplish one brave act. Using the truth, Iago tells him how Othello is commanded to leave Cyprus and how Cassio is to rule in his place. He adds that Desdemona will be going with Othello. Thus, Roderigo’s hopes to be with Desdemona will be crushed unless Othello is forced to stay in Cyprus. And that will happen, Iago tells Roderigo, if Cassio is removed from Cyprus. Furthermore, Iago adds that Roderigo can remove Cassio by “knocking out his brains” (230). The scene ends with Roderigo only partially convinced, but he exits with Iago so that Iago can explain why this will help him win Desdemona. And, as later events reveal, Iago does convince Roderigo to attempt killing Cassio.
Iago has lied to and manipulated Roderigo to get out of a difficult situation. Of course, Iago now realizes that he must take action; but he is hoping that Cassio might accomplish that action for him. When Roderigo attacks Cassio, the possibility exists that Cassio could end up killing Roderigo. Then Iago’s problem is over. But if Roderigo kills Cassio instead, Iago will still be pleased. His revenge against Cassio will be accomplished, and Othello will have to stay in Cyprus (where Iago can continue to manipulate him). Also, Iago worries that Othello might tell Cassio about the lies that Iago has spoken against Cassio. Cassio would then want vengeance against Iago. More importantly, Iago has no intention of allowing Roderigo to survive. Iago tells Roderigo that he (Iago) “will be near, to second your attempt” (23637). He is telling Roderigo that he will help him. But that is not true. If Roderigo kills Cassio, then Iago will kill Roderigo. And Iago can tell Othello that he killed Roderigo in his attempt to arrest the murderer of Cassio. So, one way or another, Roderigo must die. Iago cannot allow him to speak with Desdemona.