An undefined length of time has elapsed since the scenes in Act I, during which Othello has set sail for Cyprus in one ship, Cassio in another, and Iago, Emilia, and Desdemona in a third. The ships arrive one by one, allowing the arriving members to talk about Othello while waiting for his arrival. Cassio describes to Montano Othello's new wife, Desdemona, with respect and a little awe as "our great captain's captain" (74). His elaborate tones underline both his education and the high expectations many have of benefits on all sides from Othello: "That he may bless this bay with his tall ship, / Make love's quick pants in Desdemona's arms, / Give renewed fire to our extincted spirits" (79–82).
Desdemona, Emilia, and Iago play word games, which show Iago's cynical view of women: " . . . you are pictures out of doors, / Bells in your parlours, wild-cats in your kitchens, / Saints in your injuries, devils being offended, / Players in your housewifery, and housewives in your beds" (108–111). That is, women are models of propriety when they go out, sweet conversationalists with guests, and angry spitfires to their servants. They claim to always be the injured party, fly into a rage at an adverse comment and are idle in matters of housework and penny-pinching with their sexual favors. Iago speaks bluntly, disparaging women, and Desdemona, along with everyone else, makes allowances for the rough speech of "honest" Iago. For balance, Emilia gives a cynical woman's view of men in Act V.
Iago meanwhile watches Cassio, seeking a weakness that he can exploit. He decides to focus on his courteous manners and attentions to Desdemona. " . . . With as little web as this will I ensnare as great a fly as Cassio. Ay, smile upon her, do. I will gyve thee in thine own courtship" (164–165). Shakespeare uses the break in rhythm — from poetry to prose, or visa versa — to denote emphasis or a change in mood. Note Iago switches from the cynically playful tone of the rhymed couplet in the colloquy to the serious prose in the aside.
