(3) When the conversation breaks off here (225) Iago has brought Othello back to the position reached at the end of the Temptation scene (III. iii.).  Cassio and Desdemona are to be killed; and, in addition, the time is hastened; it is to be ‘to-night,’ not ‘within three days.’

The constructional idea clearly is that, after the Temptation scene, Othello tends to relapse and wait, which is terribly dangerous to Iago, who therefore in this scene quickens his purpose.  Yet Othello relapses again.  He has declared that he will not expostulate with her (IV. i. 217).  But he cannot keep his word, and there follows the scene of accusation.  Its dramatic purposes are obvious, but Othello seems to have no purpose in it.  He asks no questions, or, rather, none that shows the least glimpse of doubt or hope.  He is merely torturing himself.

FOOTNOTES: 

[Footnote 266:  The reader who is puzzled by this passage should refer to the conversation at the end of the thirtieth tale in the Heptameron.]

NOTE N.

TWO PASSAGES IN THE LAST SCENE OF OTHELLO.

(1) V. ii. 71 f.  Desdemona demands that Cassio be sent for to ‘confess’ the truth that she never gave him the handkerchief.  Othello answers that Cassio has confessed the truth—­has confessed the adultery.  The dialogue goes on: 

Des. He will not say so.

Oth. No, his mouth is stopp’d: 
Honest Iago hath ta’en order for ’t.

Des. O! my fear interprets:  what, is he dead?

Oth. Had all his hairs been lives, my great revenge
Had stomach for them all.

Des. Alas! he is betray’d and I undone.

It is a ghastly idea, but I believe Shakespeare means that, at the mention of Iago’s name, Desdemona suddenly sees that he is the villain whose existence he had declared to be impossible when, an hour before, Emilia had suggested that someone had poisoned Othello’s mind.  But her words rouse Othello to such furious indignation (’Out, strumpet!  Weep’st thou for him to my face?’) that ‘it is too late.’

(2) V. ii. 286 f.

Oth. I look down towards his feet; but that’s a fable. 
If that thou be’st a devil, I cannot kill thee.
[Wounds Iago.

Lod. Wrench his sword from him.

Iago. I bleed, sir, but not killed.

Are Iago’s strange words meant to show his absorption of interest in himself amidst so much anguish?  I think rather he is meant to be alluding to Othello’s words, and saying, with a cold contemptuous smile, ‘You see he is right; I am a devil.’

NOTE O.

OTHELLO ON DESDEMONA’S LAST WORDS.

I have said that the last scene of Othello, though terribly painful, contains almost nothing to diminish the admiration and love which heighten our pity for the hero (p. 198).  I said ‘almost’ in view of the following passage (V. ii. 123 ff.):