Tuesday 31 May

A-D. In 4.1, what exactly does Iago say that causes Othello to "fall in a trance"?  Why?

Act four scene 1 consists of Iago insinuating that Desdemona has been unfaithful to Othello with his lieutenant, Cassio. Naturally that would send anyone a shock learning that all their previous suspicions are verified, so Othello’s reaction of falling into a trance is completely fair.

  As for the arising suspicions Othello had regarding his wife’s faith, they were all planted by Iago. Somehow Othello managed to not catch Iago’s falsehood on being “honest Iago” (2.3.177). Iago’s constant state of causing Othello to question Desdemona’s actions builds up until Iago finally comes out and says that he thinks Desdemona is cheating on Othello.

  The exact lines that cause Othello to fall into a trance are Iago answering to Othello’s questions about Cassio and Desdemona. Iago answers to Othello asking if Cassio had lay with Desdemona, “With her, on her, what you will” (4.1.36). It is the word play that truly sets Othello off, had Iago answered simply that Cassio had lay with her instead of observing the actual act of sex Othello perhaps wouldn’t have taken it so hard. Believing that a lieutenant of his had performed dirty acts with his wife and knowing that would make him a cuckold turned Othello into less of a man in his eyes thus causing him to fall into a trance.

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By the end of act 4 scene 1, Iago has convinced Othello that Cassio and Desdemona are having an affair fully wanted and appreciated by both people so well that Othello actually falls into a trance after Iago states that Cassio lies “With her, on her, what you will” (4, 1, 32). Only after Othello meditates on the meaning of this answer does he fall into a trance.

     Iago discreetly persuades Othello that Desdemona is having an affair with Cassio with her consent and active participation. If Iago had only said “on her”, Othello could have taken it as meaning that Cassio had overpowered Desdemona. Iago’s line, however, starts off reading as “With her” (4, 1, 32). Othello catches this significance immediately: “We say “lie on her” when they belie her. Lie with her? That’s fulsome!” (4, 1, 33-34). Perhaps before Iago said that specific line, Othello could have believed that Cassio was the only evil perpetrator; in other words, he could imagine that Cassio was seducing his wife, yet Desdemona did not want his advances at all. In that case, Othello would have seen Desdemona as a victim of rape, not a fellow perpetrator that he would also have to punish if he wanted revenge.

     Othello ponders aloud how Iago reminded him about the missing handkerchief, perhaps to persuade him further of Desdemona’s guilt (4, 1, 17). Throughout his last speech before falling into the trance, Othello repeats the word “handkerchief” three times; therefore, it is no question that Othello was thinking about it in addition to Iago’s claim of her affair with Cassio (4, 1, 33-40). A handkerchief given to a lady was a sign of affection. Having Desdemona take the sign of Othello’s affection and make it her own for another man is incredibly insulting, especially in a new marriage. This supposed action would show that Desdemona has feelings for Cassio and is more likely to have lied “With him” as Iago had told him (4, 1, 32).

     Othello states that “It is not words that shakes me thus—pish! Noses, ears, and lips!” (4, 1, 38-39). He does not become angry because of the fact that there is an affair, but because Desdemona is apparently a willing participant: there are two noses, two sets of ears, two lips. When Othello falls into his trance, Iago sees that he has successfully lied to Othello about Desdemona and Cassio.

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Act four scene 1 consists of Iago insinuating that Desdemona has been unfaithful to Othello with his lieutenant, Cassio. Naturally that would send anyone a shock learning that all their previous suspicions are verified, so Othello’s reaction of falling into a trance is completely fair.

​   As for the arising suspicions Othello had regarding his wife’s faith, they were all planted by Iago. Somehow Othello managed to not catch Iago’s falsehood on being “honest Iago” (2.3.177). Iago’s constant state of causing Othello to question Desdemona’s actions builds up until Iago finally comes out and says that he thinks Desdemona is cheating on Othello.

​   The exact lines that cause Othello to fall into a trance are Iago answering to Othello’s questions about Cassio and Desdemona. Iago answers to Othello asking if Cassio had lay with Desdemona, “With her, on her, what you will” (4.1.36). It is the word play that truly sets Othello off, had Iago answered simply that Cassio had lay with her instead of observing the actual act of sex Othello perhaps wouldn’t have taken it so hard. Believing that a lieutenant of his had performed dirty acts with his wife and knowing that would make him a cuckold turned Othello into less of a man in his eyes thus causing him to fall into a trance. '

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“With her, on her, what you will” (4, 1, 32-33) in my opinion, are the lines carefully chosen by Iago which causes Othello’s mind to spin into such a frenzy that he falls into a trance. By this point in the play, we have seen Iago play puppet master to all of the core and secondary characters. But those particular lines by Iago strike a chord with Othello. Iago knows this and uses it to his advantage.

    There are numerous times throughout the play where the reader/viewer learns the importance of reputation to Othello. He loves Desdemona, but his reputation is of utmost importance to him. And who knows this better than anyone else? Iago. Iago says to Othello, “Her honor is an essence that is not seen/They have it very oft that have it not. But for the handkerchief” (4, 1, 16-18). He is saying to Othello that one cannot simply “see” a reputation. However, he throws the notion of the handkerchief back into the conversation as a means to make Othello “see” that the handkerchief is a physical symbol of Desdemona’s faithfulness to Othello.

Iago’s plan is working, so he decides to take it another step further by intentionally hesitating to tell Othello any further details on what he “knows” about the intimate details he has concocted about Desdemona and Cassio. By saying that he not only lie “on” her, but also “with” her (4, 1, 32) is a way to make Othello believe that she not only cheated on her husband, but that she has affection for him that is beyond physical lust. Once Othello processes this, he falls into a trance.

Though it were those lines that caused him to fall into the trance, the conversation prior leading up to this in conjunction with his absolute trust in what Iago’s speaks is divine truth equally contributed to Othello losing his mind. Later on in the play, Iago states how he only led Othello to believe what Othello was already questioning within himself. And this proves to be Othello’s greatest flaw and his demise.

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By the end of act 4 scene 1, Iago has convinced Othello that Cassio and Desdemona are having an affair fully wanted and appreciated by both people so well that Othello actually falls into a trance after Iago states that Cassio lies “With her, on her, what you will” (4, 1, 32). Only after Othello meditates on the meaning of this answer does he fall into a trance.

            Iago discreetly persuades Othello that Desdemona is having an affair with Cassio with her consent and active participation. If Iago had only said “on her”, Othello could have taken it as meaning that Cassio had overpowered Desdemona. Iago’s line, however, starts off reading as “With her” (4, 1, 32). Othello catches this significance immediately: “We say “lie on her” when they belie her. Lie with her? That’s fulsome!” (4, 1, 33-34). Perhaps before Iago said that specific line, Othello could have believed that Cassio was the only evil perpetrator; in other words, he could imagine that Cassio was seducing his wife, yet Desdemona did not want his advances at all. In that case, Othello would have seen Desdemona as a victim of rape, not a fellow perpetrator that he would also have to punish if he wanted revenge.

            Othello ponders aloud how Iago reminded him about the missing handkerchief, perhaps to persuade him further of Desdemona’s guilt (4, 1, 17). Throughout his last speech before falling into the trance, Othello repeats the word “handkerchief” three times; therefore, it is no question that Othello was thinking about it in addition to Iago’s claim of her affair with Cassio (4, 1, 33-40). A handkerchief given to a lady was a sign of affection. Having Desdemona take the sign of Othello’s affection and make it her own for another man is incredibly insulting, especially in a new marriage. This supposed action would show that Desdemona has feelings for Cassio and is more likely to have lied “With him” as Iago had told him (4, 1, 32).

            Othello states that “It is not words that shakes me thus—pish! Noses, ears, and lips!” (4, 1, 38-39). He does not become angry because of the fact that there is an affair, but because Desdemona is apparently a willing participant: there are two noses, two sets of ears, two lips. When Othello falls into his trance, Iago sees that he has successfully lied to Othello about Desdemona and Cassio.

E-G  Desdemona refers to Lodovico as "a proper man" in 4.3. Is there any significance to this?

Desdemona refers to Lodovico as “a proper man” in 4.3 during a conversation with her lady’s maid, Emilia. This conversation occurs shortly after dinner, when Desdemona leaves Lodovico and Othello to prepare for bed. This scene wasn’t the first time Desdemona had met Lodovico, however.

  Their first encounter in the play occurs in 4.1 when Lodovico brings a letter to Othello from the Duke and senators of Venice. Even here it does not seem as if they were unacquainted. She refers to him as “good cousin Lodovico” in this scene, which hints at a prior association, although they may not have been closely related as our modern use of the word assumes. In Shakespeare’s time, the word “cousin” meant anything from close kinship to any relative beyond immediate family, to virtually anyone of an equal social standing (www.shakespearewords.com/cousin).

    There is another implication of familiarity in 4.1, in that Desdemona is the one bringing Lodovico to Othello. There are two possible reasons that she would be the one bringing him to Othello. The first is that he went to their house and, Othello not being there, she offered to take him to find him. The second is that, assuming they were closer relatives or acquaintances, Lodovico thought to visit Desdemona while he was delivering the letter to Othello, and they were still chatting when they found Othello.

Both of these possibilities are highly dependent on Shakespeare’s use of the word “cousin.” As his meaning could vary so greatly from ours, it’s virtually impossible to prove whether Desdemona and Lodovico were friends or even acquaintances before appearing in the play. Regardless of whether they were or not, Desdemona’s reference to Lodovico as a “proper man” doesn’t mean she had sexual interest in him. It simply means that she thinks he is handsome and recognizes his kindness and gentlemanly character. Emilia affirms this sentiment, showing that Desdemona wasn’t the only married woman to recognize the looks of a man besides her husband.

   As the two women’s conversation continues, though, we see that this recognition of attractiveness is where their morals part. They continue on in this scene to discuss in what circumstances they would or would not be unfaithful to their husbands. Desdemona claims that she would not do it for the world, to which Emilia responds that “the world’s a huge thing; it is a great price / for a small vice” (4.3.65-6). It seems that Emilia would be willing to be unfaithful, depending on whether she would benefit from it. Desdemona, on the other hand, doesn’t believe there is anything that could persuade her to be unfaithful.

     All of this leads us to the conclusion that Desdemona is unfailingly faithful to Othello, despite his belief otherwise. And while she recognizes that Lodovico is “a proper man,” it doesn’t have any significance as far as a relationship with him may go. We could even come to the conclusion that Desdemona’s purpose in saying so is to begin a conversation with Emilia about being unfaithful so she could see what her maid thought of the concept.

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In Act Four Scene Three of Othello, we witness the first real get together after the final details are decided between Iago and Othello of the killing of Roderigo and Desdemona.  Lodovico enters with with Desdemona and they are saying thank you for each others kindness as Desdemona gets orders from Othello to get ready for bed.  Once the men leave and it is just Desdemona and Emilia in the room, Desdemona makes the comment that Lodovico is a proper man after Emilia discusses getting her nightgown.

            I feel this has some significance because Desdemona is still thinking about Lodovico after her husband tells her to change and get ready for bed.  Instead of thinking about all she has to do before she is ready for bed, she has Lodovico on her mind and their recent conversation that obviously went very well.  Desdemona is use to not having the best conversations with men and always being the one that is ignored because her sister usually gains all of the attention.  Desdemona has always received little to no attention from men, and she jumped at the love of Othello, although they do seem to make a decent couple.  Desdemona had a pleasant discussion and encounter with Lodovico and we witness him on her mind by this comment.  Desdemona could have realized that Lodovico is a good man and she begins to compare his treatment to that of Othello’s. I find it interesting that she was discussing her mother and the love her mother had and then Lodovico was on her mind.  I am unsure if there is a significant connection between this or not, but it is something worth noticing.  Emilia seems to attempt to discuss Lodovico more but we see Desdemona changing their discussion topic.  Emilia states that Lodovico is admired by other women, in which Desdemona ignores the comment and begins singing.  Due to this, I am unsure where Desdemona stands with her opinion of Lodovico and why she brought him up in the first place.

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The dramatic purpose of Desdemona’s “Willow” song is based on foreshadowing. The lines that Desdemona speaks when she decides to bring up the history of the song to Emilia set the tone for both the current mood of the scene and a foretelling of what is to come. “She had a song of “Willow.” / An old thing ’twas, but it expressed her fortune / And she died singing it. That song tonight / Will not go from my mind” (4.3.30-33). This explanation of the song shows that its singing will associate Desdemona’s own unfortunate circumstances and most likely her death if she were to sing it. It is also significant that the song will not leave her head no matter what she does. This omen of death has firmly attached itself to her.

            Could she have prevented her demise if she refrained from singing the “Willow” song? We will never know because she barely hesitates before singing a portion. It does not seem like she is singing it for Emilia, but more for herself and her own sorrow. The discussion of this song seems to seal her fate. She even starts to express attraction to another man, Lodovico, putting herself into the role that Othello so firmly believes is the real her. She begins to sing the song, further cementing her oncoming death. While she sings, she becomes lost in her own situation and sings the lyrics incorrectly. “Let nobody blame him, his scorn I approve— / Nay, that’s not next” (4.3.54-55). This entire section has shown, dramatically, that Desdemona is pretty aware of her impending demise and, sadly, is starting to wonder if she deserves it.

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According to a comment in Norton’s Digital Edition of Shakespeare’s The Tragedy of Othello, the Moor of Venice, Desdemona’s reference to Lodovico as a “proper man” in 4.3 hints at her character’s largely-veiled sensuality. The evidence given for this is the “Willow, willow” ballad—which is clearly about unrequited lust/love—Desdemona sings right after making this reference about Lodovico to Emilia. The Norton editors also cite the suggestion that Desdemona and Othello have not yet consummated their marriage as a possible motivation for her sensual display during this scene.

Furthermore, I think that Desdemona’s likely attraction to Lodovico sets up a symmetrical parallelism between Lodovico and Cassio, a character who is also referred to as “a proper man” (Iago, 1.3. 370) and whom Othello and Rodrigo believe is Desdemona’s object of affection. This dichotomy emphasizes how much Desdemona is misunderstood throughout the play by several of the male characters, such as Othello, Brabanzio, and Rodrigo, despite the fact that they are so concerned with what is going on in her mind. For example, Brabanzio, who is Desdemona’s father, is so certain that his daughter could never love Othello that he is very wrongly convinced she has been tricked by the Moor’s magic. And of course, Othello eventually comes to the false conclusion that his wife is unfaithful. Even Cassio, only ever extolls on Desdemona vague platitudes that do not say anything deep or meaningful about her character: an example from Act II, “…a maid / That paragons description and wild fame, / One that excels the quirks of blazoning pens / And in th’essential vesture of creation / Does tire the engineer.”

The parallelism between these two “proper” men also displays contradiction between the two speakers who use this reference. For instance, Iago, who calls Cassio “a proper man” is clearly the most dishonest character in the play, and perhaps in the history of literature, in spite of the fact that he is constantly described otherwise. On the other hand, Desdemona is perhaps the most honest character in the play, though she is accused several times of lying.

Desdemona’s display of sensuality in this scene is also important because of the possible hints Shakespeare gives that Othello seems to have a distaste for sexual urges of any kind. For example, Othello mentions twice the possibility that sex could have a negative effect on his disposition (1.3.257-272; 4.1.192-4). Othello also chooses to personally attend to Montano after he is stabbed by Cassio in scene three of Act II instead of sleeping with his wife and consummating their marriage. There is also the fact that Othello smothers his wife instead of stabbing her with his very phallic sword. It could be that Othello’s inexperience with sex has made him suspicious of those free to display their urges, which is why the thought of Desdemona sleeping with the attractive and experienced Cassio was especially hurtful to him.

H-O What is the dramatic purpose of Desdemona's "Willow" song in 4.3?

The dramatic purpose of Desdemona’s “Willow” song is based on foreshadowing. The lines that Desdemona speaks when she decides to bring up the history of the song to Emilia set the tone for both the current mood of the scene and a foretelling of what is to come. “She had a song of “Willow.” / An old thing ’twas, but it expressed her fortune / And she died singing it. That song tonight / Will not go from my mind” (4.3.30-33). This explanation of the song shows that its singing will associate Desdemona’s own unfortunate circumstances and most likely her death if she were to sing it. It is also significant that the song will not leave her head no matter what she does. This omen of death has firmly attached itself to her.

            Could she have prevented her demise if she refrained from singing the “Willow” song? We will never know because she barely hesitates before singing a portion. It does not seem like she is singing it for Emilia, but more for herself and her own sorrow. The discussion of this song seems to seal her fate. She even starts to express attraction to another man, Lodovico, putting herself into the role that Othello so firmly believes is the real her. She begins to sing the song, further cementing her oncoming death. While she sings, she becomes lost in her own situation and sings the lyrics incorrectly. “Let nobody blame him, his scorn I approve— / Nay, that’s not next” (4.3.54-55). This entire section has shown, dramatically, that Desdemona is pretty aware of her impending demise and, sadly, is starting to wonder if she deserves it.

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The “Willow” song Desdemona speaks of is a forshadowing of her own death. The mention of it is made directly after Othello orders her to go to her bed and dismiss her maid. Emilia shows her own surprise at such an order when she exclaims, “Dismiss me!” (4.3.13). Her surprise at the order shows that this is an unusual circumstance, yet Desdemona shows no surprise- just obeidence. Her own obedience to follow his demands shows a certain sense of knowing and not knowing how to get out of it, she seems to accept this fate. She explains the story she heard of Barbary and said she was going to “sing it like poor Barbary” (4.3.32). Considering that Barbary died after she had sung her “willow” song, and Desdemona said she would do the song like her, it is easy to see she expected to die as well.

            The song does not come to Desdemona's mind out of chance. She thinks of it because the words are fitting to her situation. The song speaks about how the singer approves of his scorn (4.3.48), which is evidence to Desdemona's own acceptance of her death, but she also shows that she believes herself to blame. Her mind is so preoccupied with her thoughts on her own dark future that she messes up the song's lyric order (4.3.49). Her nerves are clearly rattled by her sense of fear, yet she does nothing to prevent it.

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Desdemona sings a song called the willow song in act 4 scene 3 that seems to have little if any relevance to her situation with Othello, to her eyes. This is due to the dramatic irony of the situation, since she does not realize the parallels between her future with her husband, and the events her mother’s maid experienced. The passage that comes before the song foreshadows this quite well as can be seen here “She was in love, and he she loved proved mad And did forsake her, she had a song of ‘willow’: An old thing ‘twas, but it expressed her fortune, And she died singing it”. (4.3.26-29) As this passage speaks of the woman like Desdemona fell in love with a man who went mad, and in this madness both women will be forsaken. Desdemona is also like the maid, bound by love that she can not stop feeling even if she wished to, her love is the trap that holds her as her peril approaches. The song she speaks of about willows which are a symbol of women whose love is unrequited. Their drooping limbs and swaying leaves like tears falling to the ground over what they have lost. As Desdemona says that the song expressed the maid’s fortune, she does not realize that she is in truth speaking of her own fortune. The doom foretold by her father long before finally to fruition with Othello mistrusting her, and doubting her every action. The conclusion of the passage speaks of the maid dying while singing the song, this proves to be some of the most powerful dramatic irony of the play, as Desdemona sings this very song on the night of her death. This would be a strong enough connection, but not only does she die, but she dies by the hands of Othello, who she loved deeply, and faithfully. His madness blinding him to all her appeals to him that she loved, him and that she was faithful, all his twisted mind could see was her imagined betrayal. Thus the song she sang in sadness remembering her childhood maid, became her funeral dirge when her beloved betrayed her and cast her aside.

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There are a few different tiers to the dramatic effect that the song Desdemona sings has on the reader. Firstly, before the singing begins she explains that a woman died while singing it and that it is now stuck in her head (4.3, 29). This starts as the most obvious and is foreshadowing, the woman dying while singing this song would not be significant or mentioned if the same fate were not about to befall Desdemona. A very significant portion of this song however are the lines “Let nobody blame him, his scorn I approve” (4.3, 48), which gives more insight into how Desdemona is feeling about what is happening between her and Othello. This line seems as though it could be saying one of two things, that either the woman did something to deserve this treatment, or that she is just trying to be what her society has told her it is to be a good wife, meaning she will take the burden for her husband in order to make his life easier. Due to the context given by the rest of the song, such as the symbolism of the willow as meaning disappointed love, it seems to make more sense that the wife is innocent and that she is just doing what she thinks will make things easiest on her husband by not fighting back. Desdemona has shown loyalty to Othello, and it has been his own insecurities and flaws throughout the play which have made him come to the conclusions that he has, and this shows that this songs seems to fit the situation that Desdemona is in perfectly. The dramatic effect is then echoed throughout the rest of the play, as events unfold the reader is reminded of this song, and when the reader is reminded of this song it is all too easy to understand that the fate that is going to befall Desdemona is the same as the woman that sang this song, the fact that it is an unjust fate adds to the weight of it.

P-R Emilia's speech "I do think it is their husbands' faults" (4.3) seems to have a hidden agenda. What might that be?

When Emilia tells Desdemona, “But I do think it is their husbands’ faults” (5.1.81), she is essentially saying that women are just as human as men, and they have the same feelings that men do, so why is so bad if they cheat as well? She goes even further to say that they learn unfaithfulness and bad behavior from their husbands.

     In my opinion, during her speech to Desdemona, I believe that she is almost justifying cheating on their husbands. I think that she could be justifying it for two reasons actually. One, because maybe she is guilty of doing this ‘crime’ herself, or two, because she wants Desdemona to cheat on Othello. I’m leaning more towards option two. I believe that she is trying to help with the plan to make it look like Desdemona is cheating on Othello so she’s trying to make Desdemona think that all men cheat on their wives so there is no reason why women shouldn’t cheat on their husbands. She also essentially says that every woman cheats. She is trying to make Desdemona feel like the outcast because she would never cheat on Othello. She’s also trying to turn it around on the men so it takes the blame off of the women by saying it’s their fault that we would even cheat anyway, and not only is it their fault, but we learn this terrible behavior from them.

     There definitely seems to be an ulterior motive here on Emilia’s part, and I definitely think she is justifying the action of cheating so that Desdemona will think that it’s okay to be unfaithful. If this was her plan, Desdemona is still sticking to her guns, and still believes that cheating is awful and wrong.

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Emilia’s speech contains several lines that suggest her hidden agenda is to expose her husband Iago for the true villain he really is. Emilia is a good person and knows that her husband is not at all a good person, not the kind of person everyone seems to think he is. She sees how Iago treats other people and how badly he treats her and uses this as justification for her hidden agenda. By saying, “The ills we do, their ills instruct us so” (4.3.98) Emilia is justifying her future actions and blaming Iago for them. The entire speech is about how a wife’s misbehavior is the husband’s fault and the husbands drive their wives to behavior badly. When Emilia says

            Why, we have galls, and, though we have some grace,

            Yet have we some revenge. Let husbands know

            Their wives have sense like them: they see and smell,

            And have their palate both for sweet and sour,

            As husbands have. (4.3.87-91)

it is a foreshadowing that she is going to reveal everything about Iago. Emilia says that wives are just as smart as men and hear and see everything. This suggests that Emilia knows everything about her husband because she pays attention and wants to get revenge on him; the best way to get revenge is to expose him for the real person he is.  It is in Act 5 Scene 2 that Emilia finally exposes Iago. Emilia says, “Tis proper I obey him, but not now” (5.2.191) which relates back to the speech in Act 4 Scene 3. Emilia not only exposes Iago for being the puppet-master behind everything, but also Othello for being the killer of Desdemona.

S-Z   T. S. Eliot once said (impudently) that Othello in his final speech, "I have done the state some service" (5.2) is "cheering himself up."  Is there any truth to this? Why or why not?

Othello’s past grips Desdemona to tears and is what brings her to elope with him; it is also the monster that salute’s her death. The psychological damage that the act of war brings on a man is monumental; the side effect of this is PTSD, it consumes the mind. Othello’s life was war; it was what he knew, especially compared civilian life in Europe. The constant changing environment and the plague of war are what are behind his words “I have done the state some service” (5.2.398) a statement of compulsion. 

            The ever changing environments led Othello to isolation, for he did not know many people moving from Africa to Europe and the people he trusted, such as Cassio, in the beginning, and Iago, at the end, seemed to betray him. He was alone and did not have a community to turn to when his mind was of a violent nature. During this time period of his life, the Turks had not shown up for battle due to a mighty storm that blew them away, so he was at peacetime. His active duty resorted to a more restive motion, but a man who has energy and has slaughtered countless of people, is not accustomed to peacetime. Even as a child he was a slave who knew work and duty, not peace. He is brave in war, but when environments completely change the person reacts differently than when he would in his former climate.

Othello’s life is made of violence, yet in the beginning most see him as a fair and respectable man. When Othello enters civilian life as a married man, his acts of service follow him. He still brave and courageous, as if he is standing on a battlefield at all times. When Iago taunts him about Desdemona’s father’s anger, he stands like a strong oak tree, unmoved. When he hears of Desdemona’s unfaithfulness, he fights it.  A person who ruthlessly spends his life under fire resolves to be what Plato describes as in The Republic, “And so he becomes an unintelligent philistine, with no use for reasoned discussion, an animal addiction to settle everything by brute force” (p. 411). A remedy is recommended by Plato, the balance between aggressive violence mixed with dancing, poetry, and art. “They are not intended the one to train body, the other mind, except incidentally, but to ensure a proper harmony between energy and initiative on the one hand and reason on the other, by tuning each to the right pitch’” (p. 411-412). If Othello had balance, he might have acted out in reason instead of passion when he it came to Desdemona. Desdemona even asked if she could be banished instead of killed, but Othello refused her laments for peace.

 In the end of Act 5, everything was stripped from him. He had killed his wife and he knew that he was in the wrong, so all good that was left of him was his years of service. The only honor he now had was that of war, but still Cassio’s words, like that of many, rang through his head, “Reputation, Reputation, Reputation!” (2.3.281). in the military, reputation is brought like down like bricks upon the soldier. The leaders want solders to be completely devoted to service which is why the honor and shame practices are very popular amongst military generals. Othello did not want to experience the shame, especially since service was his life. Trusting after battle is a difficult feat, usually one only trusts himself and his strength. “A hero of war/ Is that what they see/ Jest medals and scars/ So damn proud of me/ And I brought home that flag/ Now it gathers dust/ But it’s the flag that I love/ It’s the only flag I trust” (Rise Against). He put his entire trust in the service, for he trusted no one else.

Shakespeare might have not known about PTSD, but he certainly knew how a mistreated person is affected and how a person reacts to said mistreatment. He knew a person of war has a reputation to uphold and that military becomes a soldier’s life. So when Othello mutters ““I have done the state some service” (5.2.398), he is only commenting on the life he stands faithful too and holds dearest to him, his service to his country, his flag.

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In Othello’s last speech of the play, he says the line “I have done the state some service…” (5.2.332). In this line, Othello is referring to the military work he has done to help Venice. Eliot impudently claims that this line is spoken to “cheer him up.” However, according to the rest of Othello’s final speech, this does not seem to ring true. Another strong piece of evidence towards this is the fact that as soon as this speech is over, Othello kills himself. Most people who kill themselves would not try to cheer themselves up right before doing such an act.

            When hearing of Eliot’s “claim,” one must understand that this was not a claim made in seriousness. Obviously in this speech, Shakespeare’s intentions were not for it to sound like Othello was attempting to make himself feel better. In fact, the more one digs into this final speech, there is no truth to this statement at all. If Othello had said this line alone, it might make more sense to make the “claim” that Eliot did. However, as soon as one reads the lines following, it has a completely different effect.

I have done the state some service, and they know ’t.

No more of that. I pray you, in your letters,

When you shall these unlucky deeds relate,

Speak of me as I am. Nothing extenuate,

Nor set down aught in malice…

                                                            (Oth. 5.2.332-336)

            In these lines, what Othello is trying to say makes more sense to the audience. He tells the other men in the room that even though he has been of service to Venice, that should not be the only thing people see in him. They should not talk him up and make him sound better than the murderer he had become. If Othello had been trying to cheer himself up, he would have focused more on all of the good he had done for Venice instead of talking down on himself and telling others not to focus on the good in his life.

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I feel like there is some truth to Othello cheering himself up when he says “I have done the state some service.” (5.2.331) At this point he has found out that Iago had planned the whole thing. Othello also realizes that his wife Desdemona did not cheat on him, Emilia stated that she was the one who helped Iago with giving him Desdemona’s handkerchief, “O thou dull Moor, that handkerchief thou speak’st of/I found by fortune…” (5.2.219-220) Othello is saying this because he knows now what had happened and now he will be on trial for killing his wife. Also when Emilia says that she gave the handkerchief to her husband, Othello knows know that he killed his wife for something that had never actually happened and he falls weeping upon the bed where his wife lays. At this moment Othello finds out that his wife was telling him the truth and that she was faithful to Othello the whole time. Lodovico tells Othello “You must forsake this room and go with us/Your power and your command is taken off.” (5.2.323-324) Lodovico is telling Othello that he will be on trial and will forever be in jail. Othello doesn’t like what is happening and what will happen to him when he gets back home. When he finds out what Iago had done he gets angry and stabs Iago “I look down towards his feet, but that’s a fable/If that thou beest a devil, I cannot kill thee.” (5.2.279-280) Everything bad is happening to him, he lost his wife, his job, his life for what he has done. In a way Othello saying that “I have done the state some service, and they know’t.” (5.2.332) to make himself happier in this terrible moment of his life. He is telling himself that he has done good in his life and he is trying to think of something good right before he stabs himself. Othello’s last words were to his wife “I kissed thee ere I killed thee. No way but this/Killing myself, to die upon a kiss.” (5.2.351-353) From reading this it seems to me that this is his way of saying he is sorry to Desdemona for everything before he dies.