COMMUNICATIONAL SEQUENCES IN SHAKESPEARE’S OTHELLO
(Dr. András TOKAJI)
One of the secrets of Shakespeare’s impact is the dramatic presentation of communicational tensions and confusions. Many of the instruments used by him have been described in the literature yet investigations in communications theory are expected to shed light on further areas.
I wish to insist this time on the formulae referred to as “communicational sequences” in communications theory. These are, in fact, the unaltered or altered repetitions of communicational cells, for instance an exchange of communication (referred to as “change” in English poetic terminology). These could also be derived from daily communication (as did Bolzano) but it seems to be more appropriate to look elsewhere because, owing to its abstract, geometric constitution, this change typifies rather than imitates the daily communicational processes, raising these above everyday level. Hence its daily occurrence is incidental and adventitious and it only becomes really thrilling when used as means of dramatic stylization. This shows that the “change” is not a dead pattern but an organizational principle in dialogue-modeling a communicational situation or problem, becoming one of the driving forces of the drama thanks to the exploitation of the tension inherent in them. The function of communicational sequences in Othello is so powerful that they can safely be considered as one of the most characteristic features of the tragedy.
To begin with, let us examine a comparatively simple example. Iago is sufficiently dishonest to presume that Casio is on intimate terms with Desdemona – or at least that they are ready to start a romance any time. He firmly hopes that this is the case since in this case he would only have to obtain proofs and need not engineer them. Therefore in the “seaside scene” he takes Casio by the arm and starts questioning him about Desdemona. Nevertheless, he takes care not to let on his intentions and casually mentions the character of the lady, adding remarks – whether true or false – as if they were his humble opinion. Casio would only have to do some nodding, and I ago would know what to do. Since, however, the corporal is pure and innocent in both body and heart, there arises a communicational confusion. He partly agrees with Iago, partly contradicts him but leaves no doubt about his considering Desdemona as a lady of character and an innocent one and even an indifferent one for him. (The segments of the sequences are given Roman numerals.)[1]
I Iago "/.../ Our general cast us thus early for the love of his Desdemona; whom
let us not therefor blame; he hath not yet made wanton the night with
her, and she is sport for Jove.
Cas. She's a most exquisite lady.
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II Iago And, I'll warrant her, full of game.
Cas. Indeed, she is a most fresh and delicate creature.
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III Iago What an eye she has! methinks it sounds a parley of provocation.
Cas. An inviting eye; and yet methinks right modest.
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IV Iago And when she speaks, is it not an alarum to love?
Cas. She is indeed perfection."
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/II/3, 14-28/
Colie points out that two kinds of love rhetoric face each other in the dialogue: a cynical one associating love with hunting and war, and an idealizing one Which cannot go beyond transcend an abstract praise of love.[2] In spite of this the sequence is static, without concluding towards any end – just being discontinued.
The “temptation scene” is different. Iago manages to walk with Othello in front of the castle just when Casio and Desdemona are having a chat there. Iago does not say in plain words that Desdemona deceives him with Casio but only suggests that this intimate encounter is “out of the ordinary”. The logic of the sequence is as follows: 1/ Iago elicits a feeling of want in the Moor who 2/ will require more and more information and Iago, feeling encouraged and authorized, 3/ deploys his slanders step by step. During the sequence consisting of 17 to 18 segments, Othello’s jealousy is constantly growing. And at the end Iago makes him realize it: “I see, this hath a little dash’d your spirits”. /III/3, 214/
The geometric character of the sequence is given more emphasis by Iago’s word-for-word repetitions which, in turn, Othello helps to realize: Think, my lord! /”By heaven he echoes me …” III/3, 105-106/
The formation is asymmetrical because the lieutenant has “the upperhand”, almost leading the Moor by the nose. Yet the fact that the Moor, not being aware of Iago’s intentions, thinks throughout the conversation that he is the one directing it, is already irony. It can be clearly seen how plastic the communicational sequence can make the contrast, the struggle of the different aspects, and how it can be turned into an excellent instrument of dramatic irony.
The dramatic irony derives, of course, from the situation etc. and not from the sequence itself. Another ironic effect is, as Loeben writes, that in the situation thus evolved, Iago may as well tell the “truth” because he knows that his words are misinterpreted.[3] (This mode of communication is referred to by Brook as “register”[4]). Eventually irony prevails also between the ethical and the cognitive levels since, the more Othello get entangled in the fallacy offered by Iago, the more obliged he feels /”I am your own for ever …” III/3, 480/. These opposite “shearing” movements are characteristic of the dynamics of the tragedy.
Nor can it be an accident that the sequence is inserted in a “weighty” passage of the scene. In the last analysis it is the sequence that leads to Iago spelling out the slander in so many words /in the 16th segment/ and — as indicated by Mahood — this is the spot where he can now freely advance from.[5]/ What is more, according to Moulton, this is the turning point of the drama because this is the moment when the Moor’s faith in Desdemona is shaken.[6]/
I Iago Ha! I like not that –
0th. What dost thou say? - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - II Iago Nothing, my lord: or if – I know not what.
0th. What not that Casio parted from my wife? - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - III Iago Casio, my lord? No, sure, I cannot think it That he would steal away so guilty-like, Seeing you coming. /.../ /35-40/ /.../
0th. My noble lord, – What dost thou say, Iago? internal sequence - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - IV Iago Did Michael Casio, when you woo'd my lady, Know of your love?
0th. He did, from first to last: why dost thou ask? - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - V Iago But for a satisfaction of my thought; No further harm.
0th. Why of thy thought, Iago? - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - VI Iago I did not think he had been acquainted with her.
0th. 0! yes; and went between us very oft
Iago Indeed!
0th. Indeed! ay, indeed; discern'st thou aught in that? Is he not honest? - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - VII Iago Honest, my lord?
0th. Honest, ay, honest. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - VIII Iago My lord, for ought I know.
0th. What dost thou think? - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - IX Iago Think, my lord!
0th. Think, my lord! By heaven, he echoes me, /.../ /93-106/ Show me thy thought. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - XI Iago My lord, you know, I love you.
0th. I think thou dost; And, for I know thou art full of love and honesty, And weigh'st thy words before thou giv'st them breath, Therefore these stops of thine fright me the more /.../ /116-120/ - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - XlI Iago /for Michael Casio/ I dare be sworn I think that he is honest. /.../ /124-125/
0th. Nay, yet there's more in this. I pray thee, speak to me as to thy thinkings, As thou dost ruminate, and give thy worst of thoughts The worst of words. /130-133/ - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - XII Iago /.../ Utter my thoughts? Why, say they are vile and false; /136/ /.../ Who has a breast so pure But some uncleanly apprehensions Keep leets and law days, and in session sit With meditations lawful?
0th. Thou dost conspire against thy friend, Iago, If thou but think'st him wrong'd and mak'st his ear A stranger to thy thoughts. /138-144/ - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - XIII Iago /.../ If were not for your quiet nor your good, Nor for my manhood, honesty, or wisdom, To let you know my thoughts.
0th. What dost thou mean? - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - XIV Iago Good name in man and woman, dear my lord, Is the immediate jewel of their souls: Who steals my purse steals trash; 'tis something, nothing; 'Twas mine, 'tis his, and has been slave to thousands; But he that filches from me my good name Robs me of that which not enriches him, And makes me poor indeed.
0th. By heaven, I'll know thy thoughts. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - XVI Iago You cannot, if my heart were in your hand; Nor shall not, whilst 'tis in my custody.
0th. Ha! - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - XVI Iago 0! Beware, my lord, of jealousy /.../ /152-165/
0th. Why, why is this? Think'st thou I'd make a life of jealousy, To follow still he changes of the moon With fresh suspicions? No; to be once in doubt Is once to be resolved /.../ /176-180/ - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - XVII Iago I am glad of it; for now I shall have reason To show the love and duty that I bear you With franker spirit; therefore, as I am bound, Receive it from me; I speak not yet of proof. Look to your wife; observe her well with Casio /.../ /193-197/ I know our country disposition well; In Venice they do let heaven see the pranks They dare not show their husbands; their best conscience Is not to leave't undone, but keep't unkown.
0th. Dost thou say so? - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - XVIII Iago She did deceive her father, marrying you; And when she seem'd to shake and fear your looks, She lov'd them most. /.../ /201-208/ I humbly do beseach you of your pardon For too much loving you.
0th. I am bound to thee for ever. /212-213/ - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - III/3, 35-213
Shakespeare, however, enhances the thrill, and this is achieved largely by – another – communicational sequence. When Iago emphatically called Othello’s attention to the conversation between Casio and Desdemona, she went now up to her husband and started to entreat him to re-install Casio. Disregarding the fact that this is again explicitly ironical /as has been described by many/, it is noteworthy that this happens precisely when Iago has tried to make Othello jealous. Since the dialogue between husband and wife also assumes the form of a sequence we are faced here with another sequence inserted in the above large or framework sequence.
The gist of this sequence is that Desdemona insists more and more firmly on the rehabilitation of the corporal whereas the Moor – although he has no objections and even promises to comply – fails to keep pace with her tempo and, to a certain degree, is perhaps somewhat reluctant. This is one single huge “crescendo” in which – beside the praise of the corporal – the lady talks with increasing enthusiasm. It is an asymmetric formation since Othello’s attitude is unchanged throughout: his words of farewell to his wife are full of admiration. The poison exerts its effect inside, in the very depth of the soul.
In the scene “in front of the castle” the “processing” of the Moor is carried on in a sequence of a very interesting form. Iago – having deeply stirred up Othello’s suspicion – says things by which he enrages him even more or else things by
I Des. How now, my lord!
I have been talking with a suitor here,
A man that languishes in your displeasure.
0th. Who is't you mean?
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II Des. Why, your lieutenant, Casio. Good my lord /41-45/ /.../
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III Des. Ay, sooth; so humbled,
That he hath left part of his grief with me,
To suffer with him. Good love, call him back.
0th. Not now, sweet Desdemona; some other time.
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IV Des. But shan't be shortly?
0th. The sooner, sweet, for you.
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V Des. Shan 't be to-night at supper?
0th. No, not to-night.
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VI Des. To-morrow dinner then?
0th. I shall not dine at home; I meet the captains at the citadel.
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VII Des. Why then, to-morrow night; or Tuesday moon;
On Tuesday noon, or night; on Wednesday moon:
I prithee name the time, but let it not
Exceed three days: in faith, he's penitent;/41-51/ /.../
0th. Prithee, no more; let him come when he will;
I will deny thee nothing.
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VIII Des. Why, this is not a boon; /75-76/ /.../
'Tis as I should entreat you
/.../ to do a peculiar profit
To your own person; /79-80//.../
0th. I will deny thee nothing:
Whereon, I do beseach thee, grant me this,
To leave me but a little to myself. /83-85/
which he would like to cool him down /or at least appears to want to do so/. The source of the tension now is Iago’s alternate attacks, now directly “face to face” no indirectly, “from behind”. Of course, both types of communication are misleading, only the retreating moves give the impression that Iago does not attribute any importance to the affair. This will permit him to advance again and again. Thus the sequence, i.e. this segment thereof, consists of a direct /</ and of an indirect />/ attack. These constitute again new segments: the set of blunt-edged attacks, wherein the direct attacks alternate with indirect ones, /A/ is followed by a set of sharp-edged attacks /indirect assaults alternate with direct assaults: /B/. This indicates the direction in which the tension is growing.
An individual colour is introduced into the dilemma of the handkerchief; this will, in the last analysis, become the motif that channels Othello’s change of attitude. The Ancient achieves what he wanted: he drives the Moor into an epileptic fit.
The famous “handkerchief scene” assumes shape again in the struggle of attitudes, what is more, of communicational sequences. Desdemona reminds Othello,
ACT IV
Scene I. — Cyprus. Before the Castle
Enter Othello and Iago
A
I Iago Will you think so?
0th. Think so, Iago!
< Iago What! To kiss in private?
0th. An unauthoriz'd kiss.
> Iago Or to be naked with her friend a-bed An hour or more, not meaning any harm?
0th. Naked a-bed, Iago, and not mean harm? It is hypocrisy against the devil: They that mean virtuosly, and yet do so, The devil their virtue tempts, and they tempt heaven.
Iago If they do nothing, 'tis a venial slip; - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - II < Iago But if I give my wife a handkerchief, --
Oth. What then?
> Iago Why, then, 'tis hers, my lord; and, being hers, She may, I think, bestow't on any man. She is protectress of her honour too; May she give that?
B
III > Iago Her honour is an essence that's not seen;
They have it very oft that have it not;
But for the handkerchief, --
Oth. By heaven, I woul most gladly have forgot it:
Thou said'st, -- 0! it comes o'er my memory,
As doth the raven o'er infected house,
Boding to all, -- he had my handkerchief. /my italics/
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IV Iago Ay, what of that?
0th. That's not so good now. L Iago
< Iago What, If I had said I had seen him do you wrong?
Or heard him say, as knaves be such abroad,
Who having, by their own importunate suit,
Or voluntary dotage of some mistress,
Convinced or supplied them, cannot choose
But they must blab. /1-29/
0th. /.../ What hath he said?
Iago Faith, that he did -- I know not what he did.
0th. What? what?
Iago Lie --
Oth. With her?
Iago With her, on her; what you will.
0th. Lie with her! Lie on her! We say, lie on her,
When they belie her. Lie with her! That's fulsome.
Handkerchief, -- confession, -- handkerchief! /.../ -- /31-38/
Confess! -- Handkerchief! -- 0 devil! /Falls in a trance./ /43-44/
already very suspicious, of his promise, asking again to rehabilitate Casio. Othello, however, seemingly pretends not to hear it and starts a counterattack. To check his suspicion, he asks his wife for the ominous handkerchief. This starts the sequence where, in the beginning, the Moor still tries to hide his temper but finishes by discharging his anger and leaving the scene.
The sequence here consists in Othello constantly attacking Desdemona with his suspicion and in her lying out of fear. Watzlawick describes one type of daily communicational sequences as follows: “the wife attacks, the husband retreats”. Viewed from the husband’s /my italics/ angle: “I withdraw because she is scolding me”. Viewed from the wife’s angle: “I am scolding him because he is retracting”. The author calls this a “one-up-one-down position”[7]/. Well, the handkerchief scene has the same dilemma, but the roles are different. Desdemona could say “I lie because he is threatening me”, and Othello could say “I threaten her because she is lying”. The induction in reciprocal and the tension is permanently growing. It is a pretty long sequence, consisting of 16 changes.
The piquancy of the scene is that – when Othello’s patience is nearly exhausted – Desdemona, as did Othello just recently – takes no heed of her husband’s demand and taking up the thread of the conversation again insists on Casio’s rehabilitation. This sends Desdemona into a counterattack by repeating her demand. Now it seems that the sequence described above is part of a larger sequence in which – at variance with the former – it is Desdemona who is pestering her partner.
Loeben is right in pointing out that Shakespeare, just as in other passages of the tragedy, makes Desdemona say words that mean diametrically different things for Othello and herself, and that this leads to an ironical contrast.[8]8/ It is, of course, not the woman’s fault; it is Othello’s erroneous inter¬pretation that makes his wife’s goodwill turn into its opposite. At any rate, the sequence formation in question, by being a carrier of this defective inter¬pretation, becomes, here too, an important means of dramatic irony.
It is not difficult to recognise that this unit is the counterpart, in fact, the continuation of Othello and Desdemona’s dialogue embedded in the skirting scene discussed above. The difference is that, while Desdemona’s impatience there remains ineffective /at least so it seems/, here it adds fuel to the fire as a new proof of her infidelity. That is why her husband does not retreat but becomes more firm. The two sequences representing sharp dissonance are running now parallel to each other; Desdemona insisting on justice to Casio and Othello clamouring for the kerchief. The standpoints have stiffened and communication has got definitely stranded. This section consists of not more than five members, -¬in fact it could not bear more. The tempo is accelerating, and shortening communication are ex-changed fast. The asymmetrical pattern turns symmetric. This is how it should be since none of the persons is “down” or “up” /at least as far as knowledge is concerned/: Iago is the only one to know the truth. The contradictions extinguish one another.
But let us come back for a moment to the problem of realism. Rymer reproached Shakespeare for Desdemona failing to stop talking about Casio although she has become aware of the Moor’s jealousy.[9] / Nor can we fail to mention that in the source of the tragedy, in Cinzio’s (1504-1573) short story, the wife does not let things come to a crisis with respect to the lieutenant. At the appropriate moment she says: “I asked you for this with only good intentions. Since I do not want you angry at me any more I will not say another word about it”.[10]/ Did Shakespeare make a mistake? On the contrary: this is one more proof that /since he knew the short story well/ he consciously chose the geometrical structure of the sequences instead of servile naturalism. What he was concerned with was a possibility of the mutual dynamics of the individual attitudes rather than their truth. The outcome is a special experience of intensity which can only be conjured up by an artistic model.
The tension of collision is further enhanced by the fact that /for certain reasons/ neither Othello nor Desdemona is acting above-board. In the last analysis this is the reason why they are talking about different things. The Moor’s allusions elicit an exaggerated fright in Desdemona, and her secretiveness insinuates more than reality and fans the Moor’s passions to an unexpected heat. Granville-Barker points out that – though Iago’s diabolic logic turns Desdemona’s frankness into fraud – now, when she is not entirely sincere, her position, instead of improving, becomes worse.[11]/
And what a paradoxical situation! When Desdemona, while denying, makes one single attempt, a desperate one, at maintaining the sincerity of her relation to her husband – as Raleigh writes – /”It is not lost: but what an if it were?”/[12] the tension comes to the breaking point.
Here is the passage on the next page /namely “A” the attack and “R” the retreat. Block letters: framework sequence, small letters: internal sequence/.
In the final scene Othello tells Emilia that Iago knew about Desdemona’s infidelity. This news is so surprising for -Emilia that-she comes back to it again and again. This sequence is interwoven with a repetitive motif. The cognitive dissonance momentarily paralyses the woman, as shown by the stubborn repetition of the exclamation “My husband!” /She is nonplussed – one could say./[13] / On the other hand, Othello goes on praising
I A1 Des. ... Come now, your promise.
R1 0th. What promise, chuck?
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II A2 Des. I have sent to bid Casio come speak with you.
R2 0th. I have a salt and sorry rheum offends me.
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1 A1 Lend me thy handkerchief.
R1 Des. Here, my lord.
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2 A2 0th. That which I gave you.
R2 Des. I have it not about me.
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3 A3 0th. Not?
R3 Des. No,,, indeed, my lord.
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4 A4 0th. That is a fault.
That handkerchief
Did an Egyptian to my mother give; /49-57//.../
Make it a darling like your precious eye;
To lose't or give't away, were such perdition
As nothing else could match.
A4 Des. Is't possible?
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5 A5 0th. 'Tis true; there's magic in the web of it /67-70//.../
R5 Des. Indeed! is't true?
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6 A6 0th. Most veritable; therefore look to't well.
R6 Des. Then would to heaven that I had never seen it!
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7 A7 0th. Ha! wherefore?
R7 Des. Why do you speak so startlingly and rash?
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8 A8 0th. Is't lost? Is’t gone? Speak, is it out o' the way?
R8 Des. Heaven bless us!
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9 A9 0th. Say you?
R9 Des. It is not lost: but what an if it were?
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10 A10 0th. How!
R10 Des. I say, it is not lost.
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11 A11 0th. Fetch't, let me see’t.
R11 Des. Why, so I can, sir, but I will not now.
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
III A3 Des. This is a trick to put me from my suit:
Pray you let Casio be receiv'd again.
A12 0th. Fetch me the handkerchief; my mind misgives.
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
IV A4 Des. Come, come;
You'll never meet a more sufficient man.
Al3 0th. The handkerchief!
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
V A5 Des. I pray, talk me of Casio.
A14 0th. The handkerchief!
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
VI A6 Des. A man that all his time
Hath founded his good fortunes on your love,
Shar'd dangers with you, --
A15 Oth. The handkerchief!
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
VII A7 Des. On sooth you are to blame.
A16 0th. Away! /Exit//76-97/
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
III/4, 49-96
Iago’s character, though he has not much reason to do so – especially in front of Emilia. Hence the “reason” is not only a “formal” one: Shakespeare thereby again increases the tension of cognitive dissonance:
I 0th. Casio did tup her; ask thy husband else.
0! I were damn'd beneath all depth in hell
But that I did proceed upon just grounds
To this extremity. Thy husband knew it all.
Emil. My husband!
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
II 0th. Thy husband.
Emil. That she was false to wedlock?
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
III 0th. Ay, with Casio. Nay, had she been true,
If heaven would make me such another world
Of one entire and perfect chrysolite,
I'd not have sold her for it.
Emil. My husband!
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
IV 0th. Ay, 'twas he that
An honest man he is, and hates
That sticks on filthy deeds.
Emil. My husband!
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
V 0th. What needs this iterance, woman? I say thy husband.
Emil. 0 mistress! Villany hath made mocks with love.
My husband say that she was false!
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
VI 0th. He, woman; I say, thy husband: dost understand the word?
My friend, thy husband, honest, honest Iago. [!]
Emil. If he say so, may his pernicious soul
Rot half a grain a day!...
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
/my italics/ V/2, 134-154.
To conclude let us examine an interesting sequence associated with the separation of the spaces of communication. I have the “hiding scene” in mind which Cinzio describes as follows:
“The Moor’s rage returned and he trembled so with anger that he sought out the ensign, told him what had happened, and urged him to find out from the captain everything he could about this affair. /…/ One day he spoke to the captain while the Moor was nearly and could see the talking together. The ensign talked of everything except the lady, meanwhile laughing as heartily as possible, showing signs of amusement and gesturing with his hands and head as though he were hearing remarkable stories. As soon as they parted, the Moor went to the ensign to find out what he had heard. After lengthy persuasions the ensign finally said: ‘He did nothing from me. He has enjoyed your wife, he told me, as many times as you have. Whenever you left the house he had his chance. And the last time he was with her she gave him that handkerchief you gave her when you married her.”[14]
Here again Shakespeare was bolder than his predecessor: What if Othello were to hear the dialogue? Its technique in this case is the following: I ago tells Othello that he will inquire Casio about Desdemona in Othello’s presence. He thereby determines Othello’s attitude. When Casio enters he hides him and speaks to Casio first about Desdemona and then suddenly, to prevent the Moor from hearing, mentions Bianca. This communicational element could be called “modulation chord” /if we want to use musical terminology/. From this moment on the communicational sections of the dialogue are polysemantic /”polyfunctional”/ since they refer to his relations with Bianca for Casio but for Othello the person in question seems to be Desdemona, i.e. the relation between her and Casio /in a fictive manner/. Iago’s virtuosity consists in the fact that the questions must have an intelligible function in both relation systems /or atonality”/, on the one hand, and, on the other, they are to be asked in a manner to make the answers comply with the requirements, i.e. to incriminate both Desdemona and Casio.
Thus Iago’s announcements are meant to be misleading but those of Casio are genuine. It is the situation that misleads Othello in spite of his interest and intentions /again the irony of the drama!/. In the course of the sequence consisting of fifteen members /”polyfunctional chords”/ Iago is on top and both Casio and Othello are at the bottom. An asymmetric interaction which, however, seems to be symmetrical for Cassio and Othello.
This sequence has a little surprise in store. Unexpected, Bianca appears who — without any suspicion — joins the scene arranged by Iago. This condensation raises the sequence to a higher degree of tension. Bianca’s role is of particular importance: she will produce the handkerchief received from Casio.
Let me quote this passage. The rhythmical pattern is the following:
1/ Iago challenges: misleading Caccio and Othello and later - when Bianca
appears - he misleads her, too.
2/ and 2a/ Cassio /then Bianca/ provide proofs: initiating Iago /i.e. Casio/
and misleading Othello.
3/ ascertains the events and tells the audiences his reflexions. The fact that
three elements are repeated stresses the model-like character of the scene.
/For the illustration, see below./
Now let us take stock of what has been said so far. It has become evident that the communicational sequences are not only present in the drama but also have a great importance. Shakespeare uses them in the most emphatic passages. Such passages are, no doubt, the temptation scene, the handkerchief scene and the final one. But beyond all this: the seaside scene is the preparation of the temptation scene which prepares the scene before the castle and all these are preparatory to the handkerchief scene which is given greater emphasis by the parallelism of the internal sequences. This is followed by the hiding scene /which conveys “certainty” for Othello/, then the final scene, each confirmed by a sequence. Thus the sequence formulae
Iago /.../ How do you now, lieutenant?
Cas. The worser that you give me the addition
Whose want even kills me.
I 1/ Iago Ply Desdemona well, and you are sure on't
/Speaking lower./ Now, if this [modulation
suit lay in Bianca's power, not heard
How quickly should you speed! by Othello.]
2/ Cas. Alas! poor caitiff!
3/ 0th. Look! how he laughs already!
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
III 1/ Iago Do you hear, Casio?
0th. Now he importunes him
To tell it o'er: to to; well said, well said.
1/ Iago She gives it out that you shall marry her;
Do you intend it?
2/ Cas. Ha, ha, ha!
3/ 0th. Do you triumph, Roman? do you triumph?
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IV 2/ Cas. I marry her! What? A customer? I prithee, bear some charity to my wit;
do not think it so unwholesome.
Ha, ha, ha!
3/ 0th. So, so, so, so. They laugh that win.
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
V 1/ Iago Faith, the cry goes that you shall marry her.
2/ Cas. Prithee, say true.
1/ Iago I am a very villain else.
3/ 0th. Have you scored me? Well.
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VI 2/ Cas. This is the monkey's own giving out; she is persuaded I will marry her,
out of her own
1/ love and flattery, not out of my promise.
3/ 0th. Iago beckons me; now he begins the story.
1/ Iago beckons [guided suggestion]
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VII 2/ Cas. She was here even now; she haunts me in every place.
I was the other day talking on the sea bank with certain Venetians,
and thither come this bauble, and, by this hand, she falls me
thus about my neck; --
3/ 0th. /Crying,/ '0 dear Casio!' as it were; his gesture imports it.
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VIII 2/ Cas. So hangs and lolls and weeps upon me; so hales and pulls me; ha,
ha, ha!
3/ 0th. Now he tells how she plucked him to my chamber. 0! I see that nose
of yours, but not the dog I shall throw it to.
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IX 2/ Cas. Well, I must leave her company.
1/ Iago Before me! look, where she comes.
2/ Cas. 'Tis such another fitchew! marry, a perfumed one.
Enter Bianca
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X 2/ Cas. What do you mean by this haunting of me?
2a/ Bian. Let the devil and his dam haunt you! What did you mean by that
same handkerchief you gave me even now? I was a fine fool to
take it. I must take out the work! A likely piece of work, that you
should find it in your chamber, and not know who left it there! This is
some minx's token, and I must take out the work! There, give it your
hobby-horse; wheresoever you had it I'll take out no work on't.
2/ Cas. How how, my sweet Bianca! how now, how now!
3/ Oth. By heaven, that should be my handkerchief!
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/my italics/ IV/l, 104-162
are instrumental in developing the dramatic form.[15] As noticed by Ned Allen and Jones, Cinzio himself brought the narrative closer to the drama by using a dialogue for enlivening the key passages of slandering the lieutenant and Desdemona.[16] We, however, aware of the existence of the sequences, can make a step forward and say that Cinzio’s text induces one not only to staging but also to “create sequences”. In the scene of slander we can read, for instance, as follows:
“And there was nothing the Moor could do to make the ensign explain any farther /…/ The ensign /…/ after pretending not to want to speak /…/ seemed overcome by the Moor’s pleading and said: But since you want me to, and out of concern for your honor, since you are my ruler, I am forced to speak out. I will do my duty now and answer you fully”.[17] /432, 433/
What matters in these details is not so much the adoption of the technique of reluctance but rather that Cinzio himself couched the calumniation in a lengthy process. And Shakespeare gave the scene a visual shape.
It is perhaps no exaggeration to say that the sequences reveal a new layer of realism in the tragedy. They make it quite obvious that the medium of the dialogues must not be mixed up with the other strata of the drama. This is of particular importance for the characters. In the handkerchief scene, for instance, Othello does not divulge what really ails him. In this contempt? Self-respect? It may have more than one reason. Anyway, the main reason is that this is the only way in which the communicational confusion can culminate and in which the dramatic tension can be increased. Or why is it that Desdemona never notices that the given moments are not suitable for patronizing or praising Casio and for urging Othello? How is it that the otherwise so innocent and unsophisticated lady should act as obstinately and energetically as she is shown to act in these scenes?
Since Heine, the Othello literature has been heavily concerned with Desdemona having a “dual character”. She is obedient, yet stubborn.[18] Beginning from the very first night Desdemona – Kott writes[19] – has felt both a lover and a wife. Desdemona does not belong to the explicitly passive female figures of Shakespeare’s, – Gentile insists – and this process will turn uncontrollable sooner or later.[20] Desdemona had lost her maidenhood before she first appeared on the scene – writes Cavel1[21] and Holm risks the statement that Iago was right. Desdemona could, indeed, have had a romance with Casio.[22]
Nevertheless, we need not turn the tragedy on its wrong side to understand that Desdemona in the plot is not identical with Desdemona in the dialogue and vice versa – on the sacred right of artistic stylization. The maidenly, benevolent figure of Desdemona is meant to trigger off and keep the plot going, while her vehement and “smart” figure is used to keep the dialogues glowing. Most of the analyses are, unfortunately, all too plot-centered, text-centered trying to approach the ethical content by circumventing the dynamics of the dramatic medium, the attitudes, although – as we have seen – it may, on certain occasions, become more important than those. In other words: the organizing core of the medium of the drama /the “particular”/ can sometimes be traces not /only/ in the plot, in the system of the characters etc. but in a latent form, “deeper”, in the dynamic structure of the attitudes. In such passages the dialogue is not a subordinated form but a sovereign field of force which, to a certain degree, re-arranges the other layers of the drama according to its own image. Another obstacle is that the author’s shaping and model-creating will is generally neglected, disregarded or underrated, which could be demonstrated easily not only through the characters but also in connection with the plot.
Nevertheless it still remains unexplained why Shakespeare research has not given more attention to investigating the communicational sequences. The semantic or even form-creating function of the repetition was discovered at a relatively early stage but repetition, was understood to mean mostly that of certain words which – probably under Bergson’s influence – were qualified without exception as comic motives. This is, for instance, what Rogers does who calls them idées fixes[23] or Granville-Barker][24] or Jones. In the part of the last scene where to Emilia’s exclamation “my husband!” repeated three times Othello answers “what needs this iterance, woman?” “One feels an atmosphere of annoyance and embarrassment which associates comedy rather than tragedy” as Jones puts it.[25]
It is a proven fact that Othello’s prototypes have a comedy vein.[26] But to consider the elements carrying the links between the two qualities as having some comic effect on this basis seems to be exaggerated and would lead to raking up Rymer’s “bloody farce” conception turning the value system of the tragedy upside down. And this also applies to the communicational sequences.
Published in Filológiai Közlöny, Vol. XXXVII. (1991) No. 1-2.
Notes
-
Citations from Shakespeare Complete Works, ed. by W.J. Craig, (Eric Buckley) Oxford University Press 1980, 943-976. – Shakespeare’s portrait is by Martin Droeshout (1623). The illustrations are made by Frederick Wentworth (engraver) and H.C. Selous (illustrator) and are taken from The Plays of William Shakespeare (ed. and Annotated by Charles and Mary Cowden Clarke), London, Paris and Melbourne: Cassell & Company, Limited (1864–68). ↑
-
Rosalie Colie, Shakespeare’s Living Art. Princeton University Press 1974. p. 154. – The original text of the lines: “And there was nothing the Moor could do to make the ensign explain any farther. The ensign, resolved to harm this poor lady, after pretending not to want to speak for fear of displeasing seemed overcome by beyond belief to have to tell you something that will hurt you more than anything else. But since you are my ruler, I am forced to speak out. I will do my duty now and answer you fully”. (Giovanbattista Giraldi Cinthio, Hecatomithi Decade Three, Story Seven 1565. Transl. by Joseph Satin. In: J.S.: Shakespeare and his Sources, Houghton Mifflin Comp. Boston-New York-Atlanta-Genova-Dallas-Palo Alto, 1966., pp. 432-433) ↑
-
Maria-Beate Loeben, Shakespeares sprachliche Ironie und die Entwicklung seiner Dramatik. Ludwig-Maximilian Universität, München, 1965, p. 72. ↑
-
The register is a mode of communication depending not on on the speaker but on the circumstances in which it is used, says G.L. Brook, The Languae of Shakespeare. André Deutch, 1976, p. 185. ↑
-
L.M.M. Mahood, Shakespeare’s Worldplay. p. 43. ↑
-
Richard Moulton, Shakespeare as a Dramatic Artist. A popular illustration of the principles of scientific criticism. Clarendon Press, Oxford, 18922, p. 240 ↑
-
P. Watzlavick – J.H. Beavin – D.D. Jackson, Pragmatics of Human Communication. A study of international patterns, pathologies and paradoxies. London, Faber, 1968, pp. 56-58. ↑
-
Loeben, op. cit. p. 80. ↑
-
Thomas Rymer, Critical Works. ed. Curt A. Zimansky, New Haven, 1956. ↑
-
Cinthio, op. cit. p. 433. ↑
-
Harley Granville-Barker, Prefaces to Shakespeare. London, B.T. Batsford Ltd, 19582, vol. 2, p. 49. ↑
-
Walter Raleigh, Shakespeare. New York, St. Martin’s 1950.2 ↑
-
According to Evans Bertrand this treble exclamation expresses distrust and contempt towards Othello and not distruct towards Iago. /Shakespeare’s Tragic Practice. Clarendon Press, Oxford, 1979. The Willain as Practiser: Othello pp. 115-146./ ↑
-
Cinthio, op. cit. p. 435. ↑
-
Walter C. Jr. Foreman still believes that the treble ex-clamation of Emilia “My husband!” echoes Othello’s treble exclamation “The kerchief!” As he writes, Emilia’s repetition expresses her reluctance to believe her husband’s guilt, while Othello’s exclamation reflect the disgust of realizing his wife’s sin. – The Music of the Close. The Final Scenes of Shakespeare’s Tragedies. The University Press of Kentucky. 1978, pp. 167-170. ↑
-
Emrys Jones, Othello’s Countrymen. London, 1965, p.119. ↑
-
Cinthio, op. cit. p. 432, 433. ↑
-
Heinrich Heine, Shakespeare’s Mädchen and Frauen. In: H.H. Werke and Briefe. Aufbau Verlag, BerlinWeimar, 1972. pp. 539-543. ↑
-
Jan Kott, Shakespeare Our Contemporary. Garden City, N. Y: Doubleday, 1964. ↑
-
Vanna Gentili, L’Immaginario contro Desdemona. Nuova DWF, 5, 1977, pp. 24-54. ↑
-
Stanley Vavell, Epistemology and Tragedy. A Reading of Othello /Together with a cover letter/. In: Daedalus, Summer vol. 108 no. 3, 27-43. ↑
-
Wayne Holms, Othello: Is’t Possible? In: The Upstart Crow. University of Tennessee, 1978. pp. 1-23. ↑
-
Stephan Rogers, Othello: Comedy in Revers. In: Shakespeare Quarterly 24, 1974. ↑
-
Granvile-Barker, op. cit. p. 142. ↑
-
Jones, op. cit. p. 143. ↑
-
Russ Mc Donald, Othello, Thorello and the Problem of the Foolish Hero. In: Shakespeare Quarterly 30, 1979, pp. 51-67 ↑
