Chapter Commentary of The Tragedy of Othello, the Moor of Venice - Study Guide by William Shakespeare

The "Ay" with which he replies to Ludovico’s question, "Did you...consent in Cassio’s death" is no longer the threatening "Ay" with which he answered Desdemona’s question, "Talk you of killing" at the start of the scene. It is an "Ay" of resignation.

Othello, is resigned in his guilt. He tries to explain himself,

An honourable murderer, if you will

For nought I did in hate, but in all honour

(5.2.290-291)

Iago is proud. He will not answer Othello’s question of "Why he hath thus ensnared me soul and body?". "Demand me nothing. What you know, you know", he answers. The last of the deception is uncovered by the discovery of letters in Roderigo’s coat that describe Iago’s use of Roderigo both in the provocation of Cassio in Act II, scene 3 and in his attempted murder in Act V scene 1. Cassio himself testifies that he was not given the handkerchief by Desdemona but found it in his chamber. "O fool, fool, fool!" Othello cries in despair.

His last speech echoes that which he made to the senate in Act I, scene 3. "Soft you, a word before you go", he begins gently. "I have done the state some service...", he goes on but decides to drop that tack, "No more of that". "Speak of me as I am" he says. This last speech is one of self-definition, Othello summing himself up, and he himself is finding it difficult. He continues hesitatingly, and, as in his earlier speech, beginning each new phrase with "of":

Of one that loved not wisely, but too well;

Of one not easily jealous, but, being wrought,

Perplexed in the extreme;

As he continues, he becomes more eloquent; his phrases become longer and more commanding:

...of one whose hand,

Like the base Indian, threw a pearl away

Richer than all his tribe...

...of one whose subdued eyes,

Albeit unused to the melting mood,

Drops tears as fast as the Arabian trees

Their medicinable gum...

Again he conjures up exotic images. In language, he is no longer tainted by Iago’s coarse tongue but is once again noble. The man we have seen become a devil is again, in his language, as noble as before. It is a confusing picture that Othello presents. In deed, he is a murderer, honourable as he is, but the image he paints for himself is just as noble, exotic, commanding, sensitive as that he presented to the senate and that with which he wooed Desdemona. He ends with drama, drama both of deed and imagination. On the stage, we see Othello kill himself. In the imagination, we see the Christian kill "the circumcised dog". Enemies unite as the two extremes of Othello’s personality clash: the hand of "Venetian" driving his sword into "turbanned Turk". He staggers going to the bed and we see one last fusion of opposites: the white Desdemona united with the black Othello as he dies "upon a kiss".