Key Events

• The ‘Brothel Scene’

  Known sometimes as the ‘brothel scene’, this episode is an example of how evidence can only confirm a suspicion, not dislodge it.
• Interrogation

  • Othello interrogates Emilia about Desdemona’s alleged meetings with Cassio.
  • She denies them but Othello does not believe her at all.
  • Desdemona swears her innocence to Othello, but again he does not believe her.
• Desdemona's distress

  • Othello insults Emilia and Desdemona by giving her money as he leaves.
  • She asks Emilia to put her wedding sheets on the bed and weeps in front of Iago about losing her lord.
  • Meanwhile, Roderigo and Iago discuss their arrangement.
• Jewellery

  • Roderigo demands the return of his jewellery, which Iago pretended to have given to Desdemona, and states his intention to stop his ‘unlawful solicitation’ of her.
  • In return, Iago promises Roderigo that he will enjoy Desdemona the following night (when he knows she will be dead) if he kills Cassio.
• Self-pity

  • Desdemona kneels to Iago, an image of pathos, childlike venerability and subservience.
  • He uses base imagery of smell, hell, weeds and reptiles / insects.
• Iago as master

  • Iago again tries to stop his wife’s mouth, a preview of the final scene.
  • Desdemona kneeling to Iago is a grotesque irony and echo.
  • It suggests that in fact, Iago has become her master, and although Desdemona may not know it, this is true.
• ‘Is’t possible?'

  • There is feasting and entertaining of the Venetians as an ironic public background to the private horror and the tragedy about to occur.
  • ‘Is’t possible?' is the question which haunts the play, and to which Iago provides answers on many levels.
• Posting

  • Iago, whose prior knowledge is usually accurate, says Othello is being sent to Mauretania in Africa; there would have been no military reason for the Senate to post him there—it having no connection to the Venetian empire—but there is a symbolism in him not being recalled to Venice, but to the imagined original homeland of Moors at that time, and in Desdemona’s not being allowed to return home; perhaps Brabantio’s influence at work, as she herself suggests.