Othello Act 2

Scene 1

On the shores of Cyprus, Montano, the island’s governor, watches a storm with two
gentlemen. Just as Montano says that the Turkish fleet of ships could not survive
the storm, a third gentlemen comes to confirm his prediction: as his ship traveled
from Venice, Cassio witnessed that the Turks lost most of their fleet in the
tempest. It is still uncertain whether Othello’s ship has been able to survive the
storm. Hope lifts as voices offstage announce the sighting of a sail offshore, but
the new ship turns out to be carrying Iago, Emilia, Desdemona, and Roderigo.
Desdemona disembarks, and no sooner does Cassio tell her that Othello has yet to
arrive than a friendly shot announces the arrival of a third ship.

While the company waits for the ship, Cassio and Desdemona tease Emilia about being
a chatterbox, but Iago quickly takes the opportunity to criticize women in general
as deceptive and hypocritical, saying they are lazy in all matters except sex: “You
rise to play and go to bed to work” (II.i.118). Desdemona plays along, laughing as
Iago belittles women, whether beautiful or ugly, intelligent or stupid, as equally
despicable. Cassio takes Desdemona away to speak with her privately about Othello’s
arrival. Iago notices that Cassio takes Desdemona’s hand as he talks to her, and,
in an aside, Iago plots to use Cassio’s hand-holding to frame him so that he loses
his newly gained promotion to lieutenant. “With as little a web as this I will
ensnare as great a fly as Cassio,” he asserts (II.i.169).

Othello arrives safely and greets Desdemona, expressing his devotion to her and
giving her a kiss. He then thanks the Cypriots for their welcome and hospitality,
and orders Iago to unload the ship. All but Roderigo and Iago head to the castle to
celebrate the drowning of the Turks. Iago tells the despondent Roderigo that
Desdemona will soon grow tired of being with Othello and will long for a more well-
mannered and handsome man. But, Iago continues, the obvious first choice for
Desdemona will be Cassio, whom Iago characterizes over and over again as a “knave”
(II.i.231–239). Roderigo tries to argue that Cassio was merely being polite by
taking Desdemona’s hand, but Iago convinces him of Cassio’s ill intentions and
convinces Roderigo to start a quarrel with Cassio that evening. He posits that the
uproar the quarrel will cause in the still tense city will make Cassio fall out of
favor with Othello.

Left alone onstage again, Iago explains his actions to the audience in a
soliloquy(monologue- talks to us alone). He secretly lusts after Desdemona,
partially because he suspects that Othello has slept with Emilia, and he wants to
get even with the Moor “wife for wife” (II.i.286). But, Iago continues, if he is
unable to get his revenge by sleeping with Desdemona, Roderigo’s accusation of
Cassio will make Othello suspect his lieutenant of sleeping with his wife and
torture Othello to madness.

Summary-Although Iago verbally abuses women in this scene—presumably because it is

safe for him to do so—his real resentment seems to be against those characters who
have a higher social class than he has, including Cassio and Desdemona. Iago
resents Cassio for being promoted ahead of him, and Cassio’s promotion is likely
due to his higher class status. At the beginning of the play, Iago argued that he
ought to have been promoted based upon his worth as a soldier, and he expressed
bitterness that “[p]referment goes by letter and affection, / And not by old
gradation” (I.i.35–36).

Act2-Scene 2
-at Cyprus shore
A herald(messenger)announces that Othello plans revelry(party)for the evening in
celebration of Cyprus’s safety from the Turks, and also in celebration of his
marriage to Desdemona.

Act 2 -scene 3

Like Act I, scene ii, the first scene of Act II begins with emphasis on the
limitations of sight. “What from the cape can you discern at sea?” Montano asks,
and the gentleman replies, “Nothing at all. It is a high-wrought flood” (II.i.1–2).
The emphasis on the limitations of physical sight in a tempest foreshadows what
will, after Act III, become Othello’s metaphorical blindness, caused by his passion
and rage. Similarly, once the physical threat that the Turks pose has been
eliminated, the more psychological, less tangible threat posed by inner demons
assumes dramatic precedence.

The play extinguishes the external threat with almost ridiculous speed. The line
“News, lads! Our wars are done,” is all that is needed to dismiss the plot
involving the Turks (II.i.20). It is as though one kind of play ends at the end of
Act II, scene ii, and another begins: what seemed to be a political tragedy becomes
a domestic tragedy. Whereas the action of the play began on the streets of Venice
and proceeded to the court and then to the beaches of Cyprus, it now moves to the
passageways of Othello’s residence on the island and ultimately ends in his
bedchamber. The effect is almost cinematic—like a long and gradual close-up that
restricts the visible space around the tragic hero, emphasizing his metaphorical
blindness and symbolizing his imprisonment in his own jealous fantasies. This ever-
tightening focus has led many readers to characterize the play as “claustrophobic.”

Othello leaves Cassio on guard during the revels, reminding him to practice self-
restraint during the celebration. Othello and Desdemona leave to consummate their
marriage. Once Othello is gone, Iago enters and joins Cassio on guard. He tells
Cassio that he suspects Desdemona to be a temptress, but Cassio maintains that she
is modest. Then, despite Cassio’s protestations, Iago persuades Cassio to take a
drink and to invite some revelers to join them.

Once Cassio leaves to fetch the revelers, Iago tells the audience his plan:
Roderigo and three other Cypriots, all of whom are drunk, will join Iago and Cassio
on guard duty. Amidst all the drunkards, Iago will lead Cassio into committing an
action that will disgrace him. Cassio returns, already drinking, with Montano and
his attendants. It is not long before he becomes intoxicated and wanders offstage,
assuring his friends that he isn’t drunk. Once Cassio leaves, Iago tells Montano
that while Cassio is a wonderful soldier, he fears that Cassio may have too much
responsibility for someone with such a serious drinking problem
Roderigo enters, and Iago points him in Cassio’s direction. As Montano continues to
suggest that something be said to Othello of Cassio’s drinking problem, Cassio
chases Roderigo across the stage, threatening to beat him. Montano steps in to
prevent the fight and is attacked by Cassio. Iago orders Roderigo to leave and “cry
a mutiny” (II.iii.140). As Montano and others attempt to hold Cassio down, Cassio
stabs Montano. An alarm bell is rung, and Othello arrives with armed attendants.

Immediately taking control of the situation, Othello demands to know what happened,
but both Iago and Cassio claim to have forgotten how the struggle began. Montano
insists that he is in too much pain to speak and insists that Iago tell the story.
At first Iago feigns reluctance to incriminate Cassio, emphasizing the fact that he
was chasing after Roderigo (to whom Iago does not refer by name) when the fight
between Cassio and Montano began, and suggesting that the unknown man must have
done something to upset Cassio. Othello falls into Iago’s trap, stating that he can
tell that Iago softened the story out of honest affection for Cassio. Othello
dismisses Cassio from his service
Desdemona has been awakened by the commotion, and Othello leads her back to bed,
saying that he will look to Montano’s wound. Iago and Cassio remain behind, and
Cassio laments the permanent damage now done to his reputation by a quarrel whose
cause he cannot even remember. Iago suggests that Cassio appeal to Desdemona,
because she commands Othello’s attention and goodwill. Iago argues that Desdemona’s
kindheartedness will prompt her to help Cassio if Cassio entreats her, and that she
will persuade Othello to give Cassio back his lieutenantship

When Cassio leaves, Iago jokes about the irony of the fact that his so-called
villainy involves counseling Cassio to a course of action that would actually help
him. He repeats what he told Cassio about Desdemona’s generosity and Othello’s
devotion to her. However, as Iago reminds the audience, he does the most evil when
he seems to do good. Now that Cassio will be spending time with Desdemona, Iago
will find it all the easier to convince Othello that Desdemona is having an affair
with Cassio, thus turning Desdemona’s virtue to “pitch” (II.iii.234).

Roderigo enters, upset that he has been beaten and angry because Iago has taken all
his money and left Roderigo nothing to show for it. Iago counsels him to be patient
and not to return to Venice, reminding him that they have to work by their wits. He
assures Roderigo that everything is going according to plan. After telling Roderigo
to go, Iago finishes telling the audience the plot that is to come: he will
convince Emilia to speak to Desdemona on Cassio’s behalf, and he will arrange for
Othello to witness Cassio’s attempts to woo Desdemona.