Many scholars have referred to this scene as ‘temptation scene.' Iago is involved in discussion with Othello. In this discussion, Iago speaks very carefully to Othello about the escapades of his wide. He chooses his words carefully in such a manner that he would not raise suspicion with regards to his intentions. Iago has successfully planted the seeds of suspicion and mistrust in the head of Othello. It is important that t is Desdemona's attempt to reconcile Othello with Cassio that provides an opportunity to Iago to knock a wedge between her and Othello. Murder and suicide that end this play arise from this scene.

Ironically, at the moment when the curtains for this act open, they bring forth the most endearing scene in the whole play: the lawn of the Cyprian citadel. Desdemona, that well-meaning bride, has been speaking with Cassio and tells him that she is sure that she can persuade her husband on Cassio's behalf. Emilia is present and provides her desires for Cassio; she too hopes that Desdemona's mission will be a success.  Emilia says that her husband, Iago, grieves "as though the motive [for Cassio's demotion] have been his" (4) and that his friendship with the Othello has been damaged. To this statement, even the casual listener within t might probably gasp in disbelief. Emilia's remark is observed by way of every other comment that is similarly startling: Desdemona, talking of Iago, says, "O, that's a sincere fellow" (5). The dramatic irony is mainly eager here as Desdemona tells Cassio that she is convinced that she "could have [her] lord and [him] once more / As friendly as [they] had been" (6-7).

Cassio expresses his gratitude, he, however, urges Desdemona not to wait, for if Othello delays to appoint a new lieutenant, he might also "overlook my love and service" (18). Again, Desdemona is reassuring, stating that it isn't always in her personality to violate a vow of friendship. (Later, Othello would confirm that not only has she has violated a vow of friendship, but also violated the marital vows) Desdemona assures Cassio that she will "talk him [Othello] out of persistence; / His mattress shall seem a school . . . I'll intermingle the whole thing he does / With Cassio's suit" (23-26). Desdemona's concluding remarks appear to be prophetic: As Cassio's solicitor, she might "rather die / Than give [his] cause away" (27-28).

Emilia at that point takes note of that Othello and Iago are drawing nearer. At the point when the Moor and Iago enter, Cassio pardons himself quickly, saying that he is too jittery to talk with the general as of now. Furthermore, it is now that Iago, who is prepared to capitalize on each occurrence and event, starts to corrupt Othello's confidence in Desdemona's faithfulness. Iago speaks to himself as a fair, but hesitant, witness. His "Ha! I like not that!" (35) Is a conspicuous lie; this deceitful tsk-tsking shrouds Iago's desires; nothing could fulfill his perversity more. But since Othello sees nothing out of order, Iago must make a show of not having any desire to talk about it, or of Cassio, while all the time is implying that Cassio was not simply leaving, but rather that he was "steal[ing] away so guilty like" (39). Iago's words here are loaded with strong insinuation.

Desdemona welcomes Othello and, without fear, brings Cassio's name into their discussion. Here, destiny assumes a noteworthy part in this disaster; not even Iago completely orchestrated this quick, fortuitous encounter of Othello, Desdemona, and Cassio, and surely the pathos of Desdemona's situation here is generally because of no other factor than destiny. Desdemona couldn't intentionally have picked a more terrible time to say Cassio's name to her husband. Also, she guiltlessly alludes to Cassio as a "suitor." All these occurrences will putrefy later in Othello's subliminal as Iago keeps on terminating the Moor's envy. Be that as it may, for the present, Othello is without doubt, even as his Desdemona talks straightforwardly of Cassio's desire to be reestablished as his lieutenant and of her desire for their compromise. She sees no villainy in Cassio's face, she says; Cassio "errs in ignorance and not in cunning" (49).

Othello is by all accounts worried about different issues. He will do what his wife requests, yet his considerations are on different things. He doesn't wish to get back to Cassio right now. However, Desdemona is unshakable. Maybe she is simply youthful and anxious to have her wishes granted, or maybe she is excessively excited, making it impossible to demonstrate to herself that her new spouse is loyal; whatever the reason, she harries Othello about when he will reestablish Cassio as his lieutenant: " . . . To-Night at dinner?.. /To-morrow supper at that point?.. /to-morrow night; on Tuesday morn;/On Tuesday twelve, or night; on Wednesday morn. /I prithee, name the time, however, let it not/Exceed three days . . . . At the point when should he come? /Tell me, Othello" (57-68). Despite the fact that she promised Cassio not to defer addressing Othello about the issue, such irritating request appears to be superfluous, and it prompts Othello's ending up somewhat vexed with his significant other's immature annoying: "Prithee, no more; let him come when he will,/I will deny thee nothing" (74-75). Desdemona understands that Othello's answer is abrupt, and she underlines this is a critical issue and not a play that she is inquiring. To this, Othello pushes again that he will deny her nothing, in any case, consequently, he requests for a time be distant from everyone else; he will join her in a little while.

As Desdemona leaves, Othello criticizes himself for being aggravated by his wife. Affectionately he moans, "Excellent wretch! Perdition catch my soul, / But I do love thee! And when I love thee not, / Chaos comes again" (90-92).  There is a component of prediction here not just in Desdemona's and Othello's goodbyes to each other, yet also in their lines and the rest of the Moor's first discourse after Desdemona clears out. In a figurative sense, condemnation will soon get Othello's spirit, and Bedlam will soon supplant arrange in his life.

At the point when Iago is distant from everyone else with Othello, he continues his assault on his general's spirit. Out of apparently sitting without moving interest, he inquires as to whether Desdemona was right when she alluded to the days when Othello was pursuing her; did Cassio surely "know of your love?" (95). Here he pushes Othello's memory to review that Desdemona and Cassio have known each other for quite a while. On the other hand, playing the hesitant friend, he asks, figuratively speaking, not to be squeezed about sure of his dull musings. One can perceive how skillfully Iago makes utilization of his open notoriety for trustworthiness.

It is important to recollect all through the play and particularly in this scene that Iago has notoriety for finish genuineness. It is consequently that Othello is frightened by Iago's ditherings and "pursed brow"; Othello realizes that Iago isn't a "false disloyal knave" (121) and that he is "full of love and honesty" (118). On the off chance that Iago fears something, it must be a worry "working from the heart" (123). Othello is persuaded that Iago is withholding something and requests his ruminations, the "worst of thoughts / The worst of words" (132-133). 

Othello is getting mad. "O monstrous! monstrous!" (427) He cries. However, again the shrewd Iago rushes to remind his lord that, in all sense and reason, this was close to Cassio's fantasy. Othello, be that as it may, thinks the other way — as Iago was sure he would. In his fierceness, the Moor announces that he will shred Desdemona. Here, look at this lunatic, exasperated by Iago's toxic substance, with the honorable Moor who, just a couple of hours prior, over and over showed such total control of himself.

However Iago must make sure that Othello is adequately distraught; in this way, he refers to Desdemona's handkerchief with its strawberry embroidery; Othello quickly recalls that it as the same one he to Desdemona. Iago tells the Moor that he saw Cassio "wipe his beard" (439) with it. Othello is chafed to the point where he is persuaded that totally the majority of his doubts are valid. "All my affectionate love consequently do I hit paradise. "All my fond love thus do I blow to heaven. / 'Tis is gone," he exclaims (445-446), and in highly rhetorical lines, he dwells upon "black vengeance" and "tyrannous hate" (446-449).

Iago urges Othello to be understanding, contending that he may alter his opinion, and there takes after the notable Pontic Sea (i.e., the Black Sea) metaphor, in which Othello thinks about his "bloody thoughts" (447) to the ocean's waves, one which never ebbs but keeps on its course until the point that it achieves its goal, the intersection of the Propontis and the Hellespont (453-460). In this analogy, Othello focuses on his high status (as we may anticipate that an awful legend will do), recognizing himself with expansive and compelling components of nature. Similarly imperative, this likeness clarifies the completeness in Othello's character; once he has chosen which course to take, he can't turn back, and this choice does much to make conceivable the relatively fantastic activities that take after.

Othello promises to execute "capable and wide revenge" (459), and after that, he stoops. He uses such words as heaven, reverence, and sacred, and it is as if he considers himself to be a legitimate scourge of fiendishness, as executing open equity and not just doing individual retribution. Iago offers the Moor not to rise yet, and he stoops and commits himself to "wrong'd Othello's service" (467). At that point as both ascent, Othello "welcomes" Iago's adoration and represents a trial of Iago's reliability: See to it that Cassio is dead inside three days. One can't envision more welcome words to Iago. Concerning Desdemona's destiny, Othello says that he will pull back and locate "some swift means of death" (447). Othello's spirit is so miserably caught in Iago's web of foul play that he declares Iago as his new lieutenant and states sadly, "I am your own forever" (449).

Before the finish of Act III, Scene 3, Iago has secured total domination over Othello. He has succeeded in his unique target of driving Othello to lose hope, yet his triumph isn't secure, as Othello may yet think to censure Iago again for his misery and betray him. While Cassio and Desdemona live, Iago has increased just a moment in which to secure his position.