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36 pages 1 hour read

William Shakespeare

Othello

Fiction | Play | Adult | Published in 1604

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Act IIChapter Summaries & Analyses

Scene 1 Summary

A storm destroys the Turkish fleet, and Cassio, Roderigo, Iago, Emilia, and Desdemona land in Cyprus, victorious, but concerned that Othello’s ship has not yet arrived. Cassio kisses Iago’s wife, Emilia, upon meeting her. Iago makes insulting jokes about Emilia’s chiding nature then goes on to make sexist generalizations about women: “Come on, come on! You are pictures out of door,/bells in your parlors, wildcats in your kitchens,/saints in your injuries, devils being offended, players/in your huswifery, and huswives in your beds” (122-25). Desdemona goads Iago into further wordplay that becomes increasingly insulting towards women, at one point saying that the destiny of a beautiful, eloquent, modest, wise, and restrained woman is to nurse babies and pinch pennies.

Othello enters and reunites with Desdemona. After the two exits, Iago tells Roderigo that Desdemona is in love with Cassio, saying that Othello is too old and ugly to hold her sexual interest. He predicts that Desdemona and Cassio will become lovers unless Roderigo gets Cassio out of the way by drawing him into a fight, which will compel Othello to fire him. When he’s alone, Iago states that he thinks Cassio and Desdemona could really love each other, that he hates Othello but admits he is a good and loving man and husband, and that he himself loves Desdemona in a vengeful parallel to Othello’s rumored infidelity with his own wife. He says that he wants to get even with Othello “wife for wife” (321), or at least drive Othello insane with jealousy over Cassio, who Iago also suspects of sleeping with his wife. Iago further admits that he doesn’t have a concrete idea of how his plan will end.

Scene 2 Summary

A herald announces that Othello has ordered a combined victory-and-wedding-celebration to be held on Cyprus.

Scene 3 Summary

Cassio, Iago, and the other guards celebrate the victory of the Turks while Othello and Desdemona retire to consummate their marriage. Iago goads Cassio into drinking too much. When he leaves, Iago implies to Montano, a Cyprus official, that Cassio is an alcoholic and as such, unreliable. Meanwhile, Roderigo goads Cassio into a fight, and Montano attempts to restrain Cassio, who then wounds him. Roderigo sounds the alarm which summons Othello, who demands to know the cause of the fight. Iago pretends that he doesn’t want to tattle-tale on anyone and waits until Montano implicates Cassio. Othello and Montano press him, and he repeats what he saw but defends Cassio to Othello. Othello strips Cassio of his position, and Cassio is grief-stricken over the loss of his good reputation. Iago convinces him to ask Desdemona to intervene on his behalf. A dispirited Roderigo tells Iago his money is almost gone and that he will return to Venice, but Iago convinces him to be patient. When Roderigo leaves, Iago states that he will ask his wife, Emilia, to convince Desdemona to help Cassio, which will make it appear that she has feelings for him.

Act II Analysis

The sudden removal of the Turks as a plot point implicitly diminishes some of Othello’s social capital. Without an enemy to fight, Iago is free to reduce Othello’s identity to his (according to Iago, inferior) race and advanced age. Iago’s motives also become more amorphous: he admires Othello but hates him, and Iago suspects both Othello and Cassio of having sex with his wife, a suspicion he never elaborates on. By saying that the suspicion is enough reason for him to act, Iago reveals that he isn’t rational—his plots arise from his own shifting insecurities. To that end, he begins by ensuring that Cassio loses his position and Othello’s esteem, and stokes Roderigo’s lust for Desdemona by making him as jealous of Cassio as Iago is. His view of his wife as a sexually receptive object also sets the pattern for how he explains Desdemona to Roderigo: Othello couldn’t possibly hold her sexual interest, and Cassio is a convenient and appealing alternative. He frames her imaginary interest in Cassio not as something borne out of choice, but out of proximity and indiscriminate, animal passion.

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