Change in Othello Act III
Uploaded by ProcrastinationStartsHere on Oct 23, 2007
Throughout Act III, the character of Othello in Shakespeare’s tragedy, Othello, undergoes a huge transformation as he is manipulated by Iago. From the very beginning of the play, Othello is portrayed as a character of great nobility who, despite his race and comparative unfamiliarity with the language, is able to speak in flowing and eloquent speech using exotic and exulted language. Throughout the play however, Othello’s language deteriorates, along with his psychological state, as Iago exploits his insecurities. Iago’s influence on Othello’s state of being is evident in the change in Othello’s character as well as in his deterioration of language.
During Act III, Othello becomes progressively more dependent on Iago and the way in which Iago has manipulated him becomes increasingly evident through Othello’s changing attitude and actions. Othello’s first doubt about his marriage comes as he questions “Why did I marry?” (Act III, Sc iii) and is evidence of his change in beliefs, having earlier being adamant that “Nor for mine own weak merits will I draw / The smallest fear or doubt of her revolt, / For she had eyes and chose me” (Act III Sc iii). The question, posed rhetorically, indicates Othello’s diminishing self-confidence and increasing feeling of regret and doubt. This change and declining confidence Othello has in himself and his marriage is the result of Iago’s constant undermining of Desdemona’s honesty and chastity, evident in his suggestive comments such as “She did deceive her father in marrying you”. This suggestion subtly implies to Othello that Desdemona has no qualms in defying her father and hence too, her husband. Othello’s mind becomes filled with feelings of doubt and jealousy, fuelled by Iago’s ability in exploiting his insecurities of being different and not being accepted because of his race. When Iago tells Othello that “In Venice they do let God see the pranks / They dare no show their husbands…” (Act III, Sc iii), it implies that Othello does not understand Venetian women, alienating him further. Othello’s mistrust of his wife is reflected when he recalls that “Her name, that was as fresh / As Dian’s visage, is now begrimed and black / As mine own face” (Act III, Sc iii). The imagery of his speech is dark, the purity of Desdemona, suggested by the mythological allusion to the goddess of chastity, dirtied by the contrasting blackness of her supposed unfaithfulness. Othello is so convinced that later...