2 Dramatis Personae Duke of Venice Othello: Moor, married to Desdoma Iago: Solider in Othello’s armyCassio: Lieutenant in Othello’s armyDesdemona: Othello’s wifeEmilia: Iago’s wifeRodreigo: Solider, love Desdemona
3 Act I Scene 1Read IOthello begins in the city of Venice, at nightRoderigo is having a discussion with Iago, who is bitter at being passed up as Othello's lieutenant.Though Iago had greater practice in battle and in military matters, Cassio, a man of strategy but of little experience, was named lieutenant by Othello.Iago says that he only serves Othello to further himself, and makes shows of his allegiance only for his own gainHe admits that his nature is not at all what it seems.Iago is aware that the daughter of Brabantio, Desdemona , has run off with Othello, the black warrior of the Moors.Brabantio knows nothing of this couplingIago decides to enlist Roderigo, who lusts after Desdemona, and awaken Brabantio with screams that his daughter is gone.Watch movie scene
4 Act I Scene 1 At first, Brabantio dismisses these cries in the dark He realizes his daughter is not there, he gives the news some credence.Roderigo is the one speaking most to Brabantio, but Iago is there too, hidden, yelling unsavory things about OthelloBrabantio panics, and calls for people to try and find his daughterIago leaves, not wanting anyone to find out that he betrayed his own leaderBrabantio begins to search for his daughter.
5 Analysis: FriendshipThe relationship between Roderigo and Iago is somewhat closeRoderigo shows this in his first statement:Iago "hast had [Roderigo's] purse as if the strings were thine," he tells Iago (I.i.2-3)The metaphor shows how much trust Roderigo has in Iago, and also how he uses Iago as a confidanteDoes Iago share the same kind of feeling?As far as Roderigo knows, Iago is his friendAppearance is one thing and reality another, as Iago soon will tell.
6 Analysis: Trusting Appearance Iago tells several truths about himself to RoderigoHe trusts Roderigo with the knowledge that he serves Othello, but only to further himself.How ironic that after Iago's lengthy confession of duplicity, Roderigo still does not suspect him of doublecrossing or manipulation.Iago seems to do a great deal of character analysis and exposition for the audienceHe divulges his purpose in serving Othello, and the kind of man he is.Appearance vs. Reality is a crucial theme in Iago's storyHe enacts a series of roles, from advisor to confidanteHe appears to be helping people though he is only acting out of his twisted self-interest.
7 Analysis: Metaphors and Paradox "These fellows" that flatter for their own purposes "have some soul," Iago saysThere is a double irony in this statement that Iago passes off as a truthPeople who act one way and are another are duplicitous, and scarcely deserve the credit that Iago is trying to give them.Iago, though he is one of those fellows, seems to have no soulHe never repents, never lets up with his schemes, and never seems to tire of damaging whatever he is able to."In following [Othello] I follow but myself," Iago also professesThis is a paradox in terms, but is revealing of Iago's purposes in serving Othello.His language is revealing of his dark character;He uses the cliché "I will wear my heart upon my sleeve" to convey how his heart is false, and his shows of emotion are also falsifiedHe turns this cliché into something more dark and fierce, when he adds the image of the birds tearing at this heartHe has foreshadowed the great deceptions that he will engineer, and the sinister qualities that make up his core.
8 Analysis: ParallelsThe key to Iago's character is in the line "I am not what I am“Roderigo should take this as a warning, but fails to.Everything which Iago presents himself as is a false showThis first scene represents the peak of Iago's honesty about himself with another character.Iago is parallel to another character, Richard III, in his self-awareness about his villainous characterHe is parallel in lack of remorse and use of false representations of himself.
9 Analysis: RacismRacial issues and themes which are at the core of Othello's story and position are beginning to surface.When Roderigo refers to Othello, he calls him "the thick lips“This singles out one prominent characteristic of Othello's foreignness and black heritageIt displays a racial distrust of Othello based on his color.Roderigo and Iago are not the only characters to display racism when referring to OthelloRacism is a pervasive theme within the work, spreading misconceptions and lies about Othello by tying him to incorrect stereotypes.
10 Analysis: Juxtaposition Another element that surfaces repeatedly in the play is the use of animal imagery; "an old black ram is tupping your white ewe," Iago yells to BrabantioThe use of animal imagery is used in many places in the play to convey immorality and illicit passion, as it does in this instance.Iago also compares Othello to a "Barbary horse" coupling with Desdemona, and uses animal imagery to reinforce a lustful picture of OthelloIago's statement is doubly potent, since it not only condemns Othello for his alleged lust, but also plays on Brabantio's misgivings about Othello's colorThe juxtaposition of black and white, in connection with the animal imagery, is meant to make this image very repellent, and to inflame Brabantio to anger and action.
11 Analysis: DevilsIago especially mentions the devil many times in the textThe first time here in the first scene to make Othello sound like a devil with:lustindiscretionstrangenessThe irony is that Iago is so quick to make others out to be evilThe devil often takes disguises, just as Iago does embodying the theme of appearance vs. realityHe is the one who looks least guilty.
12 Analysis: Imagery and Setting Important to this scene is the fact that it is held in darknessLike the beginning of Hamlet, things are unsteady and eerie, and disorder rules.With Brabantio's call for light, there is a corresponding call for some kind of order:darkness vs. lightorder vs. disorderBoth important juxtapositions within the playthey highlight the status of situationsThese themes will appear again at the end, as the play returns to darkness, and chaos
13 Act I Scene 2Read IIago has now joined Othello, and has told Othello about Roderigo's betrayal of the news of his marriage.He tells Othello that Brabantio is upset, and will probably try to tear Desdemona from him.Cassio comes at last, as do Roderigo and BrabantioIago threatens Roderigo with violence, again making a false show of his loyalty to Othello.Brabantio swears that Othello must have bewitched his daughter, and that the state will not decide for him in this case.Othello says that the Duke must hear him, and decide in his favor, or all is far from right in Venice.Watch movie scene
14 Analysis: Janus Iago continues his deliberate misrepresentation: Swearing to Othello that he could have killed Roderigo for what he did.Iago is a very skilled actor:He is able to successfully present a contrary appearanceIronically, Iago alludes to Janus, the two-faced god, in his conversation with Othello.Since Iago himself is two-faced Janus seems to be a fitting figure for Iago to invoke.
15 AnalysisIago's duplicity is again exhibited in this scene as his tone swings:friendly to backbiting as soon as Othello steps awayback to his original friendliness when Othello returns.Iago acted supportive of Othello's marriage to DesdemonaCassio enters and uses a rather uncomplimentary metaphor to tell what Othello has done:"He tonight hath boarded a land-carrack"Iago tells Cassio:His diction and choice of metaphor make Othello into some kind of piratestealing Desdemona's loveCassio reduces Desdemona into a mere prize to be taken.Iago will soon want Cassio to think of Desdemona as an object to be taken, and to believe Othello to be less honorable than he is.
16 Analysis: Pride Othello's pride first becomes visible here He is exceptionally proud of his achievements and his public staturePride is a huge theme of Othello's story.He is proud of Desdemona's affection for himHe would not give her up "for the seas' worth," he says (l. 28).Othello is very confident in his worth, and in the respect he commandsIf the leaders of the city decide to deny a worthy man like him his marriage to Desdemona, then he believes:"bondslaves and pagans shall our statesmen be."This statement of paradox betrays Othello's faith in the state and in the Duke's regard for him; hopefully, neither will fail him.
17 Analysis: Racism and Magic The issue of race comes to the forefront, as Brabantio confronts Othello about his marriage to Desdemona.Desdemona never would have "run from her guardage to the sooty bosom of a thing such as thou," Brabantio says (l. 71-2).Brabantio assumes that Desdemona must have been "enchanted" to marry Othello merely because Othello is blackBrabantio ignores all of Othello's good qualities, and gives into his racist feelings.Magic is another recurrent theme, and here is linked to stereotypes of African peoples as:knowing the black arts of magicbeing pagansbeing lustyThe theme of magic does not always play into the theme of race within the play
18 Analysis: Stereotypes and History At the time Shakespeare was writing, there were in fact free blacks in EnglandHowever, racism was even more pronounced in Shakespeare's England than it is in OthelloA character like Othello could not have risen to such ranks in England at the timeShakespeare's play is much more progressive than the time in which it was written.Othello even manages to avoid stereotype more effectively than another Shakespearean character like ShylockStereotypes are linked to Othello by other characters, but he manages to evade them through his nobility and individuality.
19 Act I Scene 3Military conflict is challenging the Venetian stronghold of CyprusThere are reports that Turkish ships are heading toward the island, which means some defense will be necessary.Brabantio and Othello enter the assembled Venetian leaders, who are discussing this military matterBrabantio announces his grievance against Othello for marrying his daughter.Othello addresses the company, admitting that he did marry Desdemona, but wooed her with stories, and did her no wrongs.Desdemona comes to speak, and she confirms Othello's words:Brabantio's grievance is deniedDesdemona will indeed stay with Othello.Othello is called away to Cyprus, to help with the conflict thereOthello and Desdemona win their appeal, and Desdemona is to stay with Iago, until she can come to Cyprus and meet Othello there.
20 Act I Scene 3Read IRoderigo is upset that Desdemona and Othello's union was allowed to standHe lusts after Desdemona.Iago assures him that the match will not last long, and at any time, Desdemona could come rushing to him.Iago wants to break up the couple, using Roderigo as his pawn, out of malice and his wicked ability to do so.Watch movie scene
21 Analysis: BrabantioBrabantio again accuses Othello of bewitching his daughter, and airs his racism-based views.He is not against the match because of any incompatibility of the coupleHis metaphor of his grief as a flood, that "engluts and swallows other sorrows, and is still itself," means that he feels very strongly on this issue.His strong objection foreshadows a confrontation between him and his daughterIf Desdemona does choose to stay with Othello, it seems likely that she will risk her father's love.
22 Analysis: TragedyOthello's appointment to Cyprus marks the true beginning of his tragedyHe will be much more vulnerable to Iago's vicious attacks on his love and jealousy.This battle between order and chaos is a theme running throughout the playAs Othello sinks deeper into distrust of Desdemona and is more consumed by his jealousy, chaos increases and threatens to devour him.
23 Analysis: Verse vs. Couple The Duke's words of advice to the couple also mark the beginning of their tragic storyThe Duke foretells trouble between the couple if they do not let grievances go, which ends up being a reason for Othello's fall.The change of the verse into couplets signals the importance of the advice being offered.The words of the Duke, and Brabantio's words that follow, are set off from the rest of the text and emphasized by this techniqueThe reader is notified, through the couplet rhyme, which hasn't appeared before in the text, that these are words that must be marked.
24 Analysis: Othello’s Tragic Flaw The only magic that Othello possesses is in his power of language.His language shows his pride in his achievementsOthello portrays himself as a tested, honorable warrior, and indeed is such.This view of himself will prove troublesome when he is hard pressed to recognize his jealousy and his lustHis inability to reconcile himself with these two aspects of his personality means that his comeuppance is almost certain.Othello's lack of self-knowledge means that he will be unable to stop himself once Iago begins to ignite his jealousy
25 Analysis: AllusionsOthello's speech before the assembly shows what he believes Desdemona's love to be:He thinks that Desdemona's affection is a form of hero-worshipShe loves him for the stories he tells, and the things he has done.He believes it is his allusions to strange peoples and places, like the "Anthropophagi," that fascinate herIndeed, his powers of language successfully win the Duke over, and soften Brabantio's disapproval.
26 Analysis: White and Black Light and dark are again juxtaposed in the Duke's declaration to Brabantio, that:"if virtue no delighted beauty lack/ your son-in-law is far more fair than black."Black is associated with sin, evil, and darkness;These negative things are also associated to black people, merely because of the color of their skin.The Duke's statement is ironic, since Othello is black, but truthful, because his soul is good and light.Light/white/fairness all convey innocence, goodness, any symbol that is white has these qualities.The juxtaposition of black and white, light and dark shows up again and again in the play, as the colors become symbolic within the story.
27 Analysis: Origin of Chaos "Our bodies are our gardens," Iago tells Roderigohis speech recalls Hamlet's first soliloquy, though with a more kind appraisal of human nature.Iago is a very good judge of human nature, and easily able to manipulate people in ways that will benefit him mostThis cleverness also means that he is a source of wisdom in the playIago's metaphor is particularly applicable to many in this play, himself excluded; characters do have vices that they allow to grow in themselvesThey also have aspects of themselves which balance these vices out.Iago's knowledge of this allows him to do away with this balance and set chaos into motion
28 Analysis: Cross Purposes Iago's purpose becomes plain:He sees that Othello and Desdemona's marriage is less than solidHe seeks to use his powers to break this marriage apart.Iago is again "honest" about his intent, but only to a person whose involvement will help him greatly.The words "honest" and "honesty" appear repeatedly in the play, and are usually used by Iago, or in reference to himIronically, Iago is the only person in the play whom Othello trusts to judge who is and is not honest
29 Act II Scene 1A terrible storm has struck Cyprus, just as the Turks were about to approach.This might mean that the Turkish attack will not happen; but it also bodes badly for Othello's ship.A messenger enters, and confirms that the Turkish fleet was broken apart by the storm, and that Cassio has arrived, though Othello is still at sea.They spot a ship coming forth; but Iago, Desdemona, and Emilia are on it, not Othello.Cassio greets them all, especially praising Desdemona; somehow, Iago and Desdemona enter into an argument about what women areIago shows how little praise he believes women deserve.Othello arrives at last, and is very glad to see his wife arrived
30 Act II Scene 1Read IIHe and Desdemona make public signs of their love, and then depart.Iago speaks to Roderigo, convincing him that Desdemona will stray from Othello, as she has already done with Cassio.He convinces Roderigo to attack Cassio that night, as he plans to visit mischief on both Othello and Cassio.Watch movie scene
31 Analysis: StormsStorms are always of greater significance in Shakespeare:the storm is a symbol of unrestThe storm marks the end of the peaceful part of the play, and is an act of fateit is a signal that Iago's mischief is about to begin.Shakespeare's characters that comment on the storm are mariners, alluding to Ursa Minor and stars used for navigationThis is a testament to Shakespeare's incredible ability to form credible language for a great diversity and range of characters.
32 Analysis: CassioJust as every character has their own manner of speech and expression, Cassio has a very polished, courtly way of speaking, especially of ladies.He describes Desdemona as one who "excels the quirks of blazoning pens"; he calls her "divine Desdemona"As Iago finds out later, he has no love for her, though much respect; so it is with much irony that Cassio is charged as being Desdemona's loverOthello sees Cassio as a model Venetian, all poise and polish, which is something Othello wants to be, but thinks he is not.Othello's insecurities mean that Cassio is promoted over Iago, but also lead Othello to hold Cassio at a distance.
33 Analysis: WomenThough Iago is married, he does not have as favorable an impression of women as Cassio does.Women are "wildcats in your kitchens, saints in your injuries, devils being offended“He even declares that they "rise to play, and go to bed to work“Iago's perception of women as deceptive, dominating, and lusty colors the way he portrays both Emilia and Desdemona; both are good womenDesdemona exceedingly so, yet he is able to convince other men that they are anything but what they are.
34 Analysis: Misrepresentation Misrepresentation is a theme that surfaces often through Iago's villainyHe makes Desdemona seem like a fickle, lusty woman, which he will soon try to convince Othello of as well.Iago's speech plays on Othello's insecurities perfectlyHe speaks of Othello's age, race, and manners as reasons why Desdemona will grow tired of him, which are also reaons why Othello fears he might lose her.Iago is also a master of temptation, another theme in the storyHe is able to figure out exactly what people want, and then drive them to it.
35 Analysis: MotivesThough Iago seems grieved by Cassio's promotion over him, this does not seem to be his main motive.Iago also cites his suspicions that Emilia and Othello have had an affair as another reason for his enmity.Iago is not a man to be consumed with sexual jealousy; though rumors about his wife may hurt his pride, they seem but an excuse for the misery he is about to cause.Shakespeare leaves the root of Iago's malignancy unexplained, while showing the fruits of his evil in full.
36 Act II Scene 2Othello's herald enters, to proclaim that the Turks are not going to attackAll should be joyful, and Othello is celebrating the happiness of his recent marriage.
37 Act II Scene 3Iago gets Cassio to drink a bit, knowing that he cannot hold his liquor at all.Iago also tries to get Cassio's feelings about Desdemona, but his intentions are innocentIago hopes to cause a quarrel between Cassio and RoderigoIago wants to see Cassio discredited through this, so that he might take Cassio's place.Cassio fights with RoderigoMontano tries to hinder Cassio, but Cassio ends up injuring him.The noise wakes Othello, who comes down to figure out what has happened.Montano tells what he knows of it all, and Iago fills in the rest making sure to fictionalize his part in it all.Cassio is stripped of his rank, and all leave Cassio and Iago alone.
38 Act II Scene 3Read IIIago tries to convince Cassio that a reputation means littleIago suggests talking to Desdemona, maybe he can get her to vouch for him with Othello.This will help Iago get the impression across that Desdemona and Cassio are togetherIago then gives a soliloquy about knowing that Desdemona will speak for Cassio, and that he will be able to turn that against them both.
39 Analysis: Honesty "Honest" emerges as a key word in this scene It is a term laden with irony, and a constant reminder of the dramatic irony inherent in Iago's dealings.None of the characters in the play have any idea of Iago's plans and evil intentions:Othello and Cassio are especially innocent of this knowledge.The audience knows exactly what Iago is up to, and is able to see his deceptions for what they areIago's words interest the audience because of how much dramatic irony they are laden withCuriosity to find out whether Cassio and Othello will come to know as much as the audience does about Iago's deviance.The word "honest" draws attention to how Iago's motives are hidden from the characters onstage
40 Analysis: Juxtaposition Iago and Cassio are juxtaposed in this scene to bring out Cassio's flawed honor and courtliness and Iago's manipulativeness and deceptiveness.Cassio stands in especially sharp contrast to Iago when Iago speaks lustfully of DesdemonaCassio is full of honor when it comes to women, and the ideals of a courtier as well."He's a soldier fit to stand by Caesar," Iago says, the allusion to Caesar stating the fact that he knows Cassio's true quality.Iago strikes gold when he figures out Cassio's weakness for drink"He'll be as full of quarrel and offense as my young mistress' dog,"Iago’ metaphor shows that he knows how liquor can separate even the best man from himselfIago's metaphor reinforces his perceptiveness, and the light/dark imagery
41 Analysis: Know the Audience Iago's homage to "sweet England" in his song of this act:though this play does not take place in Englandfeatures no English charactersShakespeare throws this in to amuse his audience.He does the same in plays like Hamlet, in which a little nod to England is thrown in for comic effect, and as an audience pleaser.
42 Analysis: ReputationReputation is a theme in the book that obviously holds some resonance for CassioIago also knows the importance of reputation, which is why he makes sure that people see him as "honest" before anything."Reputation is a most idle and false imposition," Iago says:this statement is meant as false consolation to Cassio, and is filled with great irony.Reputation is always of concern when individuals are involved
43 Analysis: DevilCassio is so grieved that his reputation has been hurt that he sees fit to find a villain in all that has happenedIronically, Cassio misses the identity of the real devil in this situation, Iago."Devil" becomes a key word in this play, as people try to seek out what is poisoning everyoneGood vs. evil is a major theme in the playThere is a great deal of gray area:Iago is the villainEveryone else has some blemish of their naturesNo one entirely deserving of the label "good".
44 Act III Scene 1 Comic relief: a clown is mincing words with a few musicians, then has a little wordplay with CassioIago enters, and Cassio tells him that he means to speak to Desdemona, so that she may clear things up with Othello.Emilia comes out, and bids Cassio to come in and speak with Desdemona about his tarnished reputation.
45 Analysis: Othello’s Uniqueness Othello is unlike other Shakespearean dramas for two reasons:the scarcity of comic relief, which only appears briefly at the beginning of this short scene.there are no subplots running through Othello as there are in most Shakespearean plays as a whole.Both of these differences make Othello one of Shakespeare's most focused, intense tragedies.
46 Act III Scene 2Othello gives Iago some letters that need to be delivered back to VeniceIago is in turn supposed to give the letters to a ship's pilot who is sailing back to Venice.
47 Act III Scene 3Read IIIDesdemona decides that she wants to advocate for Cassio.She tells Emilia so, and that she believes Cassio is a good person, and has been wronged in this caseIago seizes on this opportunity to play on Othello's insecurities, and make Cassio seem guiltyOthello then speaks to Desdemona, and Desdemona expresses her concern for CassioShe is persistent in his suit, which Othello is not too pleased about.
48 Act III Scene 3Iago then plays on Othello's insecurities about Desdemona, and gets Othello to believe, through insinuation, that there is something going on between Desdemona and Cassio.Othello seizes on this, and then Iago works at building up his suspicions.Othello begins to doubt his wife, as Iago lets his insinuations gain the force of an accusation against her.Othello begins to voice his insecurities when it comes to Desdemona, and himself as well.Desdemona enters and Othello admits that he is troubled, though he will not state the cause.Watch movie scene
49 Act III Scene 3Read IIIDesdemona drops the handkerchief that Othello gave her on their honeymoonEmilia knew that her husband had wanted it for something, so she doesn't feel too guilty about taking it.Emilia gives it to Iago, who decides to use the handkerchief for his own devices.Othello re-enters, and tells Iago that he now doubts his wifeOthello demands proof so Iago sets about making stories up about Cassio talking in his sleepHe says that Cassio has the handkerchief that Othello gave to Desdemona.Othello is incensed to hear that Desdemona would give away something so valuable, and is persuaded by Iago's insinuations and claims to believe that Desdemona is guilty.Othello then swears to have Cassio dead, and to be revenged upon Desdemona for the non-existent affair.Watch movie scene
50 Analysis: DesdemonaDesdemona's choice of words to describe Cassio is unfortunate:she calls him a "suitor," not meaning it in a romantic sense, although Othello could certainly take it that way.Desdemona binds her reputation to Cassio's in an unfortunate wayShe says that if Cassio is wrong, "I have no judgment in an honest face".Of course Desdemona means well, but she gambles too much on another person's honor.
51 Analysis: Jealousy Jealousy is soon addressed specifically by Iago. "It is the green-eyed monster," Iago tells himThe "green-eyed monster" becomes a symbol representing Othello's dark feelings, a specter lurking in his mind and beginning to steer his behavior.Iago's speech is also deeply ironic, since it points out Othello's flaws, and the root of his tragedyOthello has no idea of the significance of these statements, and so neglects to take them to heart.
52 Analysis: InsecureOthello is deeply insecure about his personal qualities and his marriageInsecurity becomes a theme that weakens his resolve not to doubt Desdemona.Othello uses his black skin as a symbol for how poorly spoken and unattractive he thinks he is.All of his claims are very much beside the point; his words are actually more complex and beautiful than those spoken by any other character in the play.Because he begins to believe that Desdemona cannot love him, he starts to believe her guilty of infidelity.The leap is great, but it is all a product of Othello's own insecurities and his incorrect conception of himself, another theme of the play.How Othello sees himself directly influences how he views Desdemona's love
53 Analysis: ImageryOthello begins to use the black/ white imagery found throughout the play, to express his grief and rage at Desdemona's alleged treachery."My name, that was as fresh as Dian's visage, is now begrimed and black as mine own face," Othello says.Although the allegations against Desdemona are personally hurtful to him, Othello focuses more on the public ramifications, rather than the privateThere is great irony in this concern, since this rumored betrayal is a private one, and also since Othello's name is highly regarded, because nothing has really happened.Iago's "proofs" also rely on the animal imagery which has run throughout the playhe makes Desdemona and Cassio seem like lustful lovers, by describing them as "prime as goats, as hot as monkeys" (400).This comparison is calculated, since Iago knows that thinking of Desdemona as lusting after another man disturbs Othello greatly.
54 Analysis: Handkerchief The handkerchief, the most crucial symbol and object in the play.The handkerchief, to Desdemona, symbolizes Othello's love, since it was his first gift to her.Othello thinks that the handkerchief, quite literally, is Desdemona's loveWhen she has lost it, that must clearly mean that she does not love him any longer.The handkerchief also becomes a symbol of Desdemona's alleged betrayal
55 Analysis: Proof "Proof" is a key word in this scene Othello demands that Iago prove Desdemona unfaithful by actually seeing evidence of her guilt.Iago manages to work around this completely; he plays off of Othello's jealousy, telling him stories that damn Cassio and mention the handkerchiefOthello trusts Iago's words to convey proof, and is thwarted by Iago's dishonestyOthello only realizes later that he has been tricked and has seen no proof, when it is too late for him to take his actions back.
56 Analysis: LanguageThis act represents the beginning of Othello's giving up languageFrom this point forward, notice how Othello's use of imagery and story become less and less frequent, and how he begins to rely upon Iago for speech and explanation.Othello is reduced by Iago and his own jealousy to single lines of speech, monosyllabic utterings of "O!" and the like.And just as language is the power with which Othello was able to woo Desdemona, his loss of it is a resignation of this power which attracted her to him.Othello suspects his wife's language, and Cassio's as well; he is distracted from suspicion of IagoOthello begins to lose his power over himself, and over others, when he loses his beautiful languageThis resignation marks a huge shift in the balance of power between Othello and IagoIago becomes more dominant in the relationship, and begins to steer Othello.
57 Analysis: Chaos vs. Order In the battle between order and chaos, chaos seems to be winning out.Othello abandons his reason in judging Iago's "proofs," and his abandonment of language also marks a descent into chaos.Although it is a chaos controlled by Iago, order and reason are on the losing sideRaging emotions and speculations begin to rule Othello's fate, as he comes closer and closer to his tragic end.
58 Act III Scene 4Desdemona asks the clown where Cassio is; the clown goes off to fetch him.Desdemona is looking everywhere for the handkerchief, very sorry to have lost it; she knows that her losing it will upset Othello greatlyOthello enters, and asks for Desdemona's handkerchief; she admits that she does not have it, and then Othello tells her of its significance and alleged magical powers.Desdemona does not like Othello's tone; he seems obsessed with this object, and Desdemona is so frightened by him that she wishes she had nothing to do with it.She interrupts Othello's inquiry by bringing up Cassio's attempt to get back into Othello's favor; Othello becomes angry, and storms out.
59 Act III Scene 4Cassio then enters, with Iago and laments that his suit is not successful, and that Othello does not seem likely to take him back.Desdemona is sorry for this, since she knows that Cassio is a man of worthShe tells Cassio and Iago that Othello has been acting strange, and is upset, and Iago goes to look for him, feigning concern.Emilia thinks that Othello's change has something to do with Desdemona, or Othello's jealous nature
60 Act III Scene 4Read IIIBianca comes in, and Cassio asks her to copy the handkerchief that he found in his roomIt is Desdemona's handkerchief, though Cassio has no idea.He claims he does not love her, and gets angry at her for allegedly suspecting that the handkerchief is a gift of another woman.Bianca is not disturbed, and leaves with the handkerchief.Watch movie scene
61 Analysis: Double Meanings Othello's words often have a double meaningWhen he is describing Desdemona's hand, he says it is "moist" and "hot“ an allusion to a lustful nature.He says she is of a "liberal heart"; this could mean a generous heart, but could also be indicating Desdemona's supposed licentiousness."Here's a young and sweating devil here, who constantly rebels," Othello says; the metaphor speaks badly of Desdemona, and betrays his distrust of her.In the next breath, he says, "tis a good hand"; the juxtaposition of the two statements shows Othello trying not to betray his disappointmentHe is deeply disturbed, and seems to be questioning and examining her to prove that she really is the harlot
62 Analysis: Magic HankyHere, Othello finally elaborates upon the handkerchief's importance for Desdemona."There's magic in the web of it," Othello says; he language is full of mystical, dark imagesOthello reveals that he believes the handkerchief to literally symbolize Desdemona's affectionThe irony is that although the handkerchief is lost, Desdemona still loves him.The theme of appearance vs. reality appears
63 Analysis: BiancaCassio's behavior toward Bianca is in sharp contrast to the courtly politeness he shows Desdemona and Emilia.This is because of Bianca's station as a courtesan; not regarded the same respect as ladiesBianca proves to be as perceptive as Emilia and Desdemona, and even more realistic about matters of love.The change in Cassio's tone and behavior around Bianca betray a cultural bias of the time toward women of certain stationsHis behavior would not have been thought mean at the time, because of Bianca's lowly status.
64 Act IV Scene 1Read IVOthello is trying, even after swearing that Desdemona was unfaithful, not to condemn her too harshly.He is talking with Iago about the handkerchief still, and its significance in being foundIago whips Othello into an even greater fury through mere insinuation, and Othello takes the bait.Othello falls into a trance of rage, and Iago decides to hammer home his false ideas about his wife.Iago calls Cassio in, while Othello hidesIago speaks to Cassio of Bianca, but Othello believes that is talking of DesdemonaThis is the last "proof" he needs before declaring his wife guilty.Bianca comes in, and gives the handkerchief back to Cassio, since she swears she will have nothing to do with it.
65 Act IV Scene 1Othello is incensed by Cassio, still believing that he was speaking of Desdemona, rather than Bianca.Othello is resolved to kill Desdemona himself, and charges Iago with murdering Cassio.Ludovico, a noble Venetian whom Desdemona knows, has recently landed; Desdemona and Othello welcome him there.When Desdemona mentions Cassio, Othello becomes very angry and slaps her in front of everyoneLudovico especially is shocked at this change in Othello, and has no idea how such a noble man could act so cruelly.Watch movie scene
66 Analysis: Othello’s Transformation Othello's trance also marks his descent into the savageIronically, he becomes the passion-stirred, wicked pagan that others had accused him of being, merely because of his skin color.Iago notes that Othello "breaks out into savage madness" in this fit; indeed, the primal seems to be taking over the more civilized aspects of Othello.Othello refers to himself as a "horned man," ashamed of this descent
67 Analysis: Othello’s Confusion "O, the world hath not a sweeter creature," Othello declares of Desdemona he still decides that she shall not live for what she has supposedly done.There is great irony in this scene, as Othello declares that Desdemona is of a soft and kind nature, yet condemns her for being lustful and immoral.Note Othello's reticent tone, even when he is condemning Desdemona to deathChaos and jealousy have triumphed over reason, still there is a part of him that knows Desdemona is good
68 AnalysisWhen Othello strikes Desdemona, he shows the severity of his change.Just her mention of Cassio sends him into an unreasonable rageAlthough one of his greatest fears regarding Desdemona's alleged infidelity was that it would blacken his name and reputationThe irony is that Othello is doing that himselfSavagery is taking over his civility, he continues to become the cruel, jealous, passion-spurred "savage" that Brabantio accused him of being.He is beginning to become a stereotype by his own doing, as he falls farther and farther from himself.
69 Act IV Scene 2 Othello questions Emilia about Desdemona's guilt Emilia admits to having seen nothing, though Othello does not believe her.Emilia swears that Desdemona is pure and true.Othello believes that Emilia is in on all this tooOthello leaves, and Desdemona and Emilia try to figure out what has happened to OthelloEmilia thinks that someone has manipulated Othello into accusing Desdemona, and has poisoned his mind
70 Act IV Scene 2Read IVIago is there to dispel this opinion, so that Emilia does not inquire further into her theory.Iago comes across Roderigo; he is not pleased with how Iago has handled things, and knows that although Iago is promising him Desdemona's favor, he has done nothing to indicate that he has worked to achieve this.Iago quiets him by making him believe that if he kills Cassio, then he will win DesdemonaWatch movie scene
71 Analysis: EmiliaEmilia, ever perceptive, knows that someone has done this to Othello which is the truth.It is ironic that Emilia thinks of this, and condemns the man who must be manipulating Othello, since the one who has devised this whole thing is her own husbandIago is there to hush this suspicion, but they know something is awry
72 Analysis: Foreshadowing Roderigo, at last, is the one to accuse Iago of treacheryHe has discovered the truth, that Iago's "words and performances are no kin together."Iago does his best to deny this, and convinces Roderigo to kill Cassio in order to win DesdemonaRoderigo's accusation means:Iago will be revealed by Roderigo if Roderigo is not satisfiedRoderigo will have to die so that Iago's plans will go through.Othello is a tragedy and this confrontation foreshadows Roderigo's death.
73 Act IV Scene 3Othello tells Desdemona to go to bed, and dismiss EmiliaEmilia regrets Desdemona's marriage, although Desdemona cannot say that she does not love Othello.Desdemona knows that she will die soon; she sings a song of sadness and resignation, and decides to give herself to her fate.Desdemona asks Emilia whether she would commit adultery to win her husband the world.Emilia, the more practical one, thinks that it is not too big a price for a small actDesdemona is too good, and too devout, to say that she would do so.
74 Analysis: DesdemonaDesdemona knows of her impending death; she is almost too good to liveThe "Willow Song" and her tale of her mother's maid also foreshadow Desdemona's death.She is not trying to fight it; she seems like a totally different woman than the one who stood up to her father and the Venetian nobles.Desdemona is suddenly depicted as being meek; this sudden shift in her character is strange, and the source is unknown.Her character is parallel to that of Ophelia; both are good, virtuous, obedient, but both are subjected to tragic fates because of their own innocence.Desdemona's fate is unfair and unearned, yet she is the martyr of the play,
75 Analysis: Individualize Women Emilia pronounces what seems like a theme of the play, up until this point:"let husbands know, their wives have sense like them they see, and smell, and have their palates both for sweet and sour, just as their husbands have" (96-99).Indeed, this is one of the reasons why Othello is so angry at Desdemona; the thought that she could have desire in her, just as he does, bewilders him and angers himThat she could have opinions and ideas independent of his own, especially about Cassio and his rightful place, also upset him.Othello is good at heart but does not individualize women
76 Act V Scene 1Read VIago has Roderigo poised and ready to pounce on Cassio, and kill him; if either of them is killed, it is to Iago's benefitRoderigo and Cassio fight, and both are injuredOthello hears the scuffle, is pleased, and then leaves to finish off Desdemona.Iago enters, pretending that he knows nothing of the scuffleRoderigo is still alive, so Iago feigns a quarrel, and finishes him off.Cassio is carried away, and Roderigo is already dead.Emilia also comes in, and pins more blame on Bianca; she has done nothing, but Iago has some quick work to do if he is to exonerate himself in this mess.Watch movie scene
77 AnalysisIago addresses the audience directly about his intentions, and his actionsIago is only truly honest with the audience like Richard IIIThis creates an undercurrent of dramatic irony throughout the play, since the audience knows all of his plans, and individual characters know little or nothingAlthough Othello is the title character of the play, Iago has more lines and more interaction with the audience as well.It is Othello's tragedy that is the focus of the play, but Iago succeeds in stealing the show he is more interesting than any of the protagonists in the play.Iago proves himself a consummate actor:appearance vs. realityIago claims to know nothing of this battleIago is many selves in this acthe is friend and advisor to Roderigobetrayer and murderer of Roderigoconsoler of Cassiothe lead officer in this
78 Act V Scene 2Read VOthello enters Desdemona's room while she is asleep; and still is determined to kill her.He justifies this with images, metaphors, and ideas of her rebirth after deathDesdemona awakens, and he tells her to repent of any sins before she diesOthello tells her that he found her handkerchief with Cassio, though Desdemona insists it must not be trueShe pleads with Othello not to kill her right then, but he begins to smother her.Emilia knocks, curious about what is going onOthello lets her in, but tries to conceal Desdemona, who he thinks is already dead.Emilia brings the news of Roderigo's death, and Cassio's wounding.
79 Act V Scene 2Emilia soon finds out that Desdemona is nearly dead, by Othello's handDesdemona speaks her last words, and then Emilia pounces on Othello for committing this horrible crime.Othello is not convinced of his folly until Iago confesses his part, and Cassio speaks of the use of the handkerchiefOthello is overcome with grief.Iago stabs Emilia for telling all about his plots, and then Emilia diesVenetian nobles reveal that Brabantio, Desdemona's father, is dead, and so cannot be grieved by this tragedy now.Othello stabs Iago when he is brought back inOthello then tells all present to remember him how he is, and kills himself.Cassio becomes temporary leader of the troops at CyprusIago is taken into custody, and his crimes will be judged back in Venice.Watch movie scene
80 Analysis: Literary Terms Othello's farewell to Desdemona is a return to his former eloquenceThough he believes Desdemona's soul to be black, he can only focus on her whiteness; he pledges not to mar "that whiter skin of hers than snow"The metaphor highlights Desdemona's innocence, as does comparing her to a "light" to be put out.There is irony in Othello's references to Desdemona here:he describes her with words that suggest her brightness and innocencehe is determined to condemn and kill her.She is also "the rose" to Othello, another beautiful imageOthello's allusion to Prometheus explains his wish to put out Desdemona's light in order to restore her former innocence.Before Othello felt only hatred and anger, now he is forced to feel his love, along with his mistaken determination to see Desdemona die.
81 Analysis: Lines Desdemona's last words are especially cryptic When asked who killed her, she remarks:"nobody, I myself commend me to my kind lord."This could be seen as a kind of condemnation of Othello for killing herShe might be trying to absolve her husband of blame with her last breathIf this is so, it certainly does not sit well with her line:"falsely, falsely murdered," which seems to refer both to Desdemona's death, as to Emilia's mention of the death of Roderigo and wounding of Cassio.
82 Analysis: Parallelism Emilia's fate is parallel to Desdemona's:She was more realistic than DesdemonaShe too was betrayed by her husbandShe died through other's wrongs.Desdemona might be a more central figure in the play, but Emilia is the conscienceEmilia knows how human nature worksShe knows of husbands' jealousies, of how men believe women are less human, of how people are naturally prone to folly.She is the sole voice of reason in the play, the only besides Desdemona who is uncorrupted by Iago's manipulations.
83 Analysis: Oxymoron Othello insists that he is an "honorable murderer” Iago was surely killed out of angerDesdemona out of jealousy and offended pride.Othello still denies the flaws in himself that have led him to this end.Iago was definitely the catalyst for Desdemona's death and Othello's jealous rages; but the seeds of jealousy and suspicion were already inherent in OthelloIt certainly makes the resolution of the play more neat to believe that Othello is returned to his nobilitySince he still denies the deep wrong he has committed, he cannot be fully redeemed or forgiven.
84 Analysis: ConclusionOf course, all threads are wrapped up in this last scene of the play:Letters are produced that expose Iago's part in these unfortunate eventsThese letters have not been mentioned or shown earlier in the play.Cassio seems to have been kept alive merely to testify about his part in this whole debacle
85 Tragedies ExciteShakespeare was as good a philosopher as he was a poetHe understood the love of power and mischief and that these loves were natural to manWhy are tragedies so interesting to people?Why do they read the newspaper and watch the news to hear about “the latest Iago”?
86 Characterization of Iago Great analyst Harold Goddard noted:Iago is always at warHe is a moral pyromaniac setting fire to all realityHe was passed up by Cassio because he cannot stop fightingSince Othello is thought of as the God of War, he is Iago’s only godOthello is everything to Iago because war is everything
87 Characterization of Iago Iago rejects a Christian God in a way when he says:“I am not what I am”This is contradictory to St. Paul’s “I am what I am”Iago sets about to destroy his god:Uses mastery of timing to plot using openingsEmploys a “grand program of uncreation”
88 Characterization of Iago Iago went unchanged during revisions of Desdemona, Emilia, and Othello between the Quarto and First FolioHe speaks eight soliloquies and Othello only three
89 Theme of Marriage Marriage is a problem of grand proportions: Emila is a martyrIago says: “A fellow almost damend in a fair wife”Othello and Desdemona never consummate their marriageThis makes it easier for IagoMarriage is damnation
90 Tragedy Characteristics There is no conscience in OthelloShakespeare had a tragic obcession with the idea of a good name living on after the protagonist’s death:Horatio to discuss HamletCassio to tell of OthelloTragedies, literary or human, depend on imperfect knowledgeShakespeare came naturally to histories, comedies and romances, but tragedies took workThe tragedies especially are not religious in any reguardNo killer kills in the name of any god, everWar is the religion in Othello, Macbeth, Lear, and Romeo and Juliet (Tybalt)
91 Tragedy Characteristics Many critics rate Othello below Macbeth and Hamlet because:There is no extrinsic force operating IagoThe evil is too pureThere is no remorse shownHumans are too evilWhat do you think?
92 Characterization of Othello Even in his final suicide speech he does not achieve atonementAudience is more like Iago than Othello so he cannot be forgivenOthello does not have the power of expression of Hamlet or Macbeth:He is distinct, divided and flawedHas a Julius Caesar complex:AmbiguousHard to tell when they are being arrogant or just stating factsBoth refer to themselves in the third person
93 Characterization of Othello He is Iago’s antitheses until he starts to come undoneHe should be a character in a romance, like Claudio or BenedickHe is the wrong character in the right playOthello, analyst Brower believes, would have come apart from Desdemona without IagoNothing in Othello is marriage material
94 Analyzing the ClownsThe clowns scarcely come onto the stage and the play excludes all laughterUnlike the drunken porter in MacbethThe asp-bringer in Antony and Cleopatra
95 Sources of OthelloShakespeare’s source is Cinthio but he changed a few things:Iago is Shakespeare’s own inventionCinthio’s Ensign is Iago’s basis but:Ensign falls in love with DesdemonaShe shuns him in favor of OthelloEnsign blames it all on CassioEnsign beats Desdemona to deathThe characters were flat, not round, and the shock and inwardness of a rejected solider is absent
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