Cassio is taken away for treatment.
Othello, still in love with his wife, kisses her awake, asks her to prepare her soul for death, and—after an exchange of accusations and denials—smothers her with a pillow or chokes her.
Here is the scene:
After Iago and Roderigo raise a clamor outside Brabantio’s house late one evening, the senator awakens and comes to a window.
Bitter, vengeful, and madly jealous, he vows to kill his wife.
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Othello tells her all is well, and they go off to bed.
What a contrast the character of Othello forms to that of Iago: at the same time, the force of conception with which these two figures are opposed to each other is rendered still more intense by the complete consistency with which the traits of each character are brought out in a state of the highest finishing.
Montano is led away for treatment of his injury.
The making one black and the other white, the one unprincipled, the other unfortunate in the extreme, would have answered the common purposes of effect, and satisfied the ambition of an ordinary painter of character.
Cassio, now alone with Iago, says he regrets his behavior.
These characters and the images they stamp upon the mind are the farthest asunder possible, the distance between them is immense: yet the compass of knowledge and invention which the poet has strewn in embodying these extreme creations of his genius is only greater than the truth and felicity with which he has identified each character with itself, or blended their different qualities together in the same story.
After all, Cassio is far younger than Othello—and terribly handsome.
Their distinguishing qualities stand out to the mind's eye, so that even when we are not thinking of their actions or sentiments, the idea of their persons is still as present to us as ever.
Othello had given it to his wife as a gift.
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Kind-hearted Desdemona praises Cassio.
The Moor Othello, the gentle Desdemona, the villain Iago, the good-natured Cassio, the fool Roderigo, present a range and variety of character as striking and palpable as that produced by the opposition of costume in a picture.