It can hardly be one of the casual inconsistencies, due to forgetfulness, which are found in Shakespeare's other tragedies; for the scheme of time indicated under A seems deliberate and self-consistent, and the scheme indicated under B seems, if less deliberate, equally self-consistent. This does not look as if a single scheme had been so vaguely imagined that inconsistencies arose in working it out; it points to some other source of contradiction.
To do justice to this theory in a few words is impossible, but its essence is the notion that Shakespeare, consciously or unconsciously, wanted to produce on the spectator for he did not aim at readers two impressions.
He wanted the spectator to feel a passionate and vehement haste in the action; but he also wanted him to feel that the action was fairly probable. Consciously or unconsciously he used Short Time the scheme of A for the first purpose, and Long Time the scheme of B for the second. The spectator is affected in the required manner by both, though without distinctly noticing the indications of the two schemes.
The notion underlying this theory is probably true, but the theory itself can hardly stand. Passing minor matters by, I would ask the reader to consider the following remarks. The passion, vehemence and haste of Othello affect him, because he perceives them; but if he does not perceive the hints which show the duration of the action from the arrival in Cyprus to the murder, these hints have simply no existence for him and are perfectly useless.
The theory, therefore, does not explain the existence of 'Short Time. The 'Short Time' is equally wanted for probability: for it is grossly improbable that Iago's intrigue should not break down if Othello spends a week or weeks between the successful temptation and his execution of justice. The place where 'Long Time' is wanted is not within Iago's intrigue.
But, granted that lapse between the marriage and the temptation, there is no reason whatever why more than a few days or even one day should elapse between this temptation and the murder. The whole trouble arises because the temptation begins on the morning after the consummated marriage. Let some three weeks elapse between the first night at Cyprus and the temptation; let the brawl which ends in the disgrace of Cassio occur not on that night but three weeks later; or again let it occur that night, but let three weeks elapse before the intercession of Desdemona and the temptation of Iago begin.
All will then be clear. Cassio has time to make acquaintance with Bianca, and to neglect her: the Senate has time to hear of the perdition of the Turkish fleet and to recall Othello: the accusations of Iago cease to be ridiculous; and the headlong speed of the action after the temptation has begun is quite in place. Now, too, there is no reason why we should not be affected by the hints of time 'to-day,' 'to-night,' 'even now' , which we do perceive though we do not calculate them out.
And, lastly, this supposition corresponds with our natural impression, which is that the temptation and what follows it take place some little while after the marriage, but occupy, themselves, a very short time. Now, of course, the supposition just described is no fact. As the play stands, it is quite certain that there is no space of three weeks, or anything like it, either between the arrival in Cyprus and the brawl, or between the brawl and the temptation.
And I draw attention to the supposition chiefly to show that quite a small change would remove the difficulties, and to insist that there is nothing wrong at all in regard to the time from the temptation onward. How to account for the existing contradictions I do not at all profess to know, and I will merely mention two possibilities. Possibly, as Mr. Daniel observes, the play has been tampered with. We have no text earlier than , six years after Shakespeare's death.
Brabantio and Roderigo Photo by Simon Annand Browse and license our images. Othello and Desdemona defend themselves. Desdemona and Brabantio Brabantio goes to the Senate with Othello. Othello and Desdemona both explain how they fell in love and the Duke is satisfied there's no wrongdoing. He then sends Othello and the army to Cyprus to fight the Turks and Desdemona asks to go with them.
Iago tells Roderigo to follow the army to Cyprus to help him get revenge on Othello. Iago plots Revenge. Iago Photo by Manuel Harlan Browse and license our images. Iago tells the audience his plan is to make Othello jealous of Cassio in his first soliloquy. View Act 1 scene-by-scene breakdown. Act 2 Cyprus The army arrives in Cyprus.
Othello lands in Cyprus. Photo by Reg Wilson Browse and license our images. Everyone arrives in Cyprus and Iago notices Cassio being friendly to Desdemona and kissing her. He decides to use this against him. Iago convinces Roderigo to pick a fight with Cassio to get him into trouble. Iago forms his plan. Cassio is Fired. Cassio is fired. There is a party to celebrate the defeat of the Turkish ships and Iago convinces Cassio to drink more than he is used to.
As instructed by Iago, Roderigo provokes Cassio to fight and Cassio ends up injuring Montano who tries to stop them. Othello fires Cassio as his lieutenant. Iago tells Cassio to ask Desdemona for help in getting his job back. Iago develops his plan. In another soliloquy, Iago tells the audience that his plan is going well. View Act 2 Scene-by-scene breakdown. Act 3 Cyprus Key Scene. Cassio and Desdemona.
However, he begins to accept that Iago could be telling the truth when Desdemona asks him to forgive Cassio. Investigate Iago reeling in Othello. The Handkerchief. Iago with the handkerchief. Othello complains that his head hurts and Desdemona tries to help him. You do not currently have access to this article. Download all slides. Sign in Don't already have an Oxford Academic account? You could not be signed in.
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