Desdemona is sleeping in her bed as Othello enters, a candle in his hands. He is never again the irate, wrathful spouse. His monologue is calm, and suddenly, he appears to be concerned with matters of justice rather than the envious cuckold. He talks over and over of "the cause . . . The cause" (1) — that is, Desdemona's infidelity, and he even delays to talk so anyone might hear the name of Desdemona's wrongdoing before the "chaste stars" (2). Finally, Othello expects the form of the tragic hero, terribly wrong in his assessment and reasoning, yet steeling himself to do what he should. Here is the thing that has happened to the Othello of prior acts — a man honourably reserved, the master of situations. In this discourse, there are no references to strumpets or prostitutes, nor to coupling goats or monkeys, nor to whatever other pictures which once racked him with jealousy.

He is persuaded that he is being tolerant in playing out a deed that must be finished. Along these lines, he won't shed Desdemona's blood (rather, he will cover her); nor will he scar her physical magnificence; nor would he, as we learn later, murder her spirit. However he will kill her; Desdemona must not live, "else she'll betray more men" (6). What's more, there is decimating incongruity as he says, "Put out the light, and after that put out the light" (7); Desdemona was at one time the "light" of his life and, additionally, light is regularly likened in Elizabethan dramatizations with reason, particularly right reason, the point of all men. Here, nonetheless, Othello intends to act uprightly. However he neglects to utilize his feeling of rationale or reason; he has censured Desdemona without evidence, without reason. He is torn between his adoration for her (confirm by his kiss) and his take steps to achieve equity. Desdemona is a "pattern of excelling nature" (11), yet she is likewise "cunning" (11). He looks at her with a rose which, once culled, can sprout no more and must wilt. For a minute, his adoration for her nearly induces "justice" (meaning Othello) "to break [his] sword" (17). He sobs, yet he recaptures his motivation; Desdemona's excellence is beguiling, he understands, because it veils her defilement.

Othello isn't moved at all by Desdemona's determination to prove that she didn't give the handkerchief to Cassio. Also, it is remarkable all through this nerve-racking scene that Othello's dialect is controlled and raised. As Desdemona shouts out, first for paradise to show kindness toward her and later for God Himself to show benevolence toward her, Othello voices a serious "amen" to her petitions and addresses her as a "sweet soul" (50). Indeed, even now he declines to consider her to be anything other than a "perjur'd lady" (63) (a lying lady), one who drives him "to do/A murder" (64-65). As of now, the rationale of personal vengeance surfaces again inside him and replaces controlled justice. His purpose of self-control breaks when Desdemona mentions out for Cassio; he is persuaded that he for sure heard Cassio laughing about sexual contact with Desdemona. At the point when Desdemona hears that Iago has murdered Cassio, her restraint vanishes. She argues for her life, requesting expulsion, requesting no less than a day's stay in her execution, at any rate, a large portion of a day, yet she is overwhelmed by the Moor. He covers her as she asks to state one final supplication.

Emilia arrives at the door, crying noisily for Othello. The Moor does not answer instantly. From his words, we understand that he is persuaded that he is lenient, if pitiless, and that he expects to make sure that his wife is dead. The weight of what he has done overpowers him. Important are lines 100-102, in which he says that there ought to be currently "a huge eclipse / Of sun and moon" — that is, some proof in the sky that ought to recognize that the natural order of things has been altered, that Desdemona is killed.

Once more, Emilia shouts to Othello and, on entering, she yells about "foul murders" (106). Othello fears she is correct and accuses the moon, which "makes men mad" (111). It is then that he discovers that Cassio lives, and he hears Desdemon's powerless voice. Again the youthful lady declares her guiltlessness and demands that nobody, however, is at fault. To be sure, she is purposely lying to secure Othello, her husband, to whom she requests to be recognized.

Initially, Othello denies having any part in his wife's demise. Be that as it may, at that point he boisterously criticizes her as a "liar, gone to burning hell" (129), conceding that he killed her.  "She turns'd to folly, and she was a whore" (132); "she was false as water . . . Cassio did top her" (134-136). His proof is "honest, honest Iago" (154) Decisively, Emilia upbraids Iago as a liar and Othello as a beguiled " dolt" (163). She challenges Othello's sword to the right the shamefulness of this murder, vowing to "make thee known / Though I lost twenty lives" (165-166) and shouted out for help, declaring that Othello has killed Desdemona.

Othello continues to say here that "Iago knows" (210) and, as additional confirmation, he talks about the handkerchief. At the mention of this, Emilia shouts out once more, this time speaking to God: No one will stop her now. She gives careful consideration to Iago's drawn sword as she tells how she found the handkerchief and offered it to Iago; she restates her claim, despite the fact that Iago criticizes her as a "villainous whore" (229) and a "liar" (231).

In this way, the full truth is unfurled for Othello. He dashes toward Iago, is prevented by Montano, and in the heat of the moment, Iago murders Emilia, at that point escapes. All leave, except the withering Emilia and the Moor, who can censure himself. Emilia, mindful that she is close death, reviews Desdemona's prophetic "Willow Song,"  of which she sings. She reaffirms the guiltlessness of her Desdemona just before she dies and closes: "She lov'd thee, cruel Moor" (249).

Othello discovers one of his prized weapons, a Spanish sword, and he remembers that he utilized the sword strikingly previously. Presently, be that as it may, he has arrived at his "journey's end" (267). He considers himself to be a lost soul — "where should Othello go?" (271). He is a "cursed slave" (276) who merits the worst discipline. Lodovico, Montano, Iago (a detainee now), and a few officers enter; Cassio, in a seat, is brought in the room. Othello thrusts at Iago wounds him and is disarmed. Death appease to be enjoyable to Iago, he says; "'tis happiness to die" (290). Death is the help he would not offer to his chief foe. At the point when Cassio states unobtrusively that he never gave the Moor motivation to doubt him, Othello promptly acknowledges this and requests his forgiveness. Othello is crisply mindful that he has been trapped body and soul by "that demi-devil" (301) Iago, who declines to admit his villainy. Lodovico at that point produces two letters found on Roderigo's body: one recounts the arrangement to kill Cassio, and the other is Roderigo's denunciation of Iago. The details of how Cassio acquired the handkerchief are uncovered, and Othello bewails the way that he has been a "fool! Fool! fool!" (323).

Othello asks the group to remember both his good points and the bad as "one that lov'd not wisely, but too well." Othello stabs himself, collapses on the bed and dies. Othello's death creates a power vacuum. Lodovico has taken charge of proceedings in this case. He takes Othello's property and hands it over to his next of kin, by marriage, Gratiano. Cassio becomes the commander and will sentence Iago appropriately. Lodovico is scheduled to carry back the bad news to Venice.