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3. Othello was first performed in 1604. The play is set in 16 th century Venice and Cyprus. Cyprus, a colony of Venice, is being attacked by the Turks. The Moors were Moslem people of Northwest Africa. Being dark-skinned, to Elizabethans, they were the same as blacks. Othello is the only one of the four tragedies that is domestic, involving private action, as opposed to the universal implications of Hamlet, King Lear or Macbeth. Thomas Keene as Othello, 1884 Main MenuNext

4. First Quarto: Othello was first published in quarto format in 1622. First Folio: Othello was also included in a collection of Shakespeare’s plays compiled by two of his associates, published in 1623. The Folio version is longer, including several passages and wording changes that do not appear in the Quarto version. Some scholars believe that the Quarto is an earlier version of the play, and the Folio represents Shakespeare’s revised version. Quartos were also published in 1630, 1655, 1681, 1695, 1699 and 1705. Title page of the First Quarto, 1622 Main MenuNextBack

5. The plot of Othello is taken from an Italian story, Un Capitano Moro, written in 1565 by Giovanni Battista Giraldi Cinzio (aka Cinthio). The original story is about a Moorish general who is deceived by his ensign into believing his wife is unfaithful. Shakespeare added important minor characters, including Roderigo, Iago’s rich young dupe, and Brabantio, Desdemona’s grief-stricken father. Shakespeare also compressed the action of the play into a few days and set it against the backdrop of military conflict. He also developed the ensign, a minor villain in the original story, into the complex villain, Iago. Shakespeare’s source for the Venetian-Turkish conflict is probably The History of the Turks by Richard Knolles, published in 1603. Main MenuNextBack

6. GodAngelsDemonsStarsMoonsHumansAnimalsTreesOther PlantsPrecious StonesPrecious MetalsOther minerals Main Menu Shakespeare’s audience believed in a great Chain of Being that determined the natural order of events. The chain was a series of hierarchical links with God at the top. The position of humans between the Angels and the Animals represented the struggle within humanity between base animal instincts and pure reason and spirituality. Shakespeare uses this concept in Othello to emphasize Othello’s struggle between Desdemona’s pure love and the base passions of Iago. Back

7. Main Menu Act I Act II Act III Act IV Act V

8. 1. Where does this play take place?   2. Why does Iago hate Othello?   3. Why is Roderigo jealous of Othello?   4. Who is Brabantio, and what news do Iago and Roderigo bring him?   5. What is Desdemona's response to Brabantio when he asks for her obedience as a daughter?   6. Summarize Othello's explanation of how he won Desdemona's love.   Main MenuOthello Quizzes

9. Click anywhere to show answer. 1.Where does this play take place? Click anywhere to show answer. The setting is 16th century Venice and Cyprus. The island of Cyprus, which is under attack by the Turks, was a colony of Venice at this time. Next QuestionOthello QuizzesMain Menu

10. Click anywhere to show answer. 2.Why does Iago hate Othello? Click anywhere to show answer. Othello appointed Cassio as his lieutenant, instead of Iago, despite the fact that Iago bribed three city officials to get the position. Iago despises Cassio as a "theoretician" with no practical experience. Next QuestionOthello QuizzesMain Menu

11. Click anywhere to show answer. 3.Why is Roderigo jealous of Othello? Click anywhere to show answer. Othello has just married Desdemona, whom Roderigo loves. Roderigo has been paying Iago to help him win Desdemona's affection. Next QuestionOthello QuizzesMain Menu

12. Click anywhere to show answer. 4.Who is Brabantio, and what news do Iago and Roderigo bring him? Click anywhere to show answer. Brabantio is Desdemona's father and a senator in Venice. Roderigo and Iago awaken him in the middle of the night to inform him that Othello and Desdemona have eloped. Next QuestionOthello QuizzesMain Menu

13. Click anywhere to show answer. 5.What is Desdemona's response to Brabantio when he asks for her obedience as a daughter? Click anywhere to show answer. Desdemona says she has a "divided duty" between her husband and her father. However, her first loyalty must be to her husband. She points out to Brabantio that this is the same choice her mother made in choosing him before her father. Othello QuizzesMain Menu

14. Click anywhere to show answer. 6.Summarize Othello's explanation of how he won Desdemona's love. Click anywhere to show answer. Othello was often invited to Brabantio's home, where he related the exploits of his career. Desdemona, having heard parts of his accounts, one day asked him to repeat the entire story to her. He related the events of his life from his boyhood to the present day, including many exciting and romantic events--"disastrous chances," "hairbreadth scapes," and being "sold to slavery," as well as his travels to strange and foreign lands. While listening to him speak, Desdemona was often reduced to tears while he spoke of "some distressful stroke that my youth suffered." Ultimately, she fell in love with him because of the hardships he endured, and he with her because of the tenderness she showed him. Othello QuizzesMain Menu

15. 1. Where does Act II, Scene 1, take place?   2. What news does Othello bring regarding the Turks?   3. How does Iago convince Roderigo that Cassio must be dishonored and "removed"?   4. Explain how Iago engineered Cassio's disgrace.   Main MenuOthello Quizzes

16. Click anywhere to show answer. 1.Where does Act II, Scene 1 take place? Click anywhere to show answer. Act II, Scene 1, takes place on the island of Cyprus, a colony of Venice at the time. At the beginning of the scene, Montano and a gentleman are discussing the terrible storm that they suspect may have harmed the Turkish fleet. Next QuestionOthello QuizzesMain Menu

17. Click anywhere to show answer. 2.What news does Othello bring regarding the Turks? Click anywhere to show answer. Othello announces that the Turkish fleet has been destroyed in the storm, and the war is over. Next QuestionOthello QuizzesMain Menu

18. Click anywhere to show answer. 3.How does Iago convince Roderigo that Cassio must be dishonored and "removed"? Click anywhere to show answer. Iago convinces Roderigo that Desdemona will eventually tire of the Moor (Othello) and look for another partner. Cassio is the logical choice. His method of manipulation is to plant a detail in the mind of his victim, in this case when Cassio touches Desdemona's hand. Iago will later use this technique on Othello. Next QuestionOthello QuizzesMain Menu

19. Click anywhere to show answer. 4.Explain how Iago engineered Cassio's disgrace. Click anywhere to show answer. Iago convinced Roderigo that Cassio would likely be Desdemona's next partner, and he could help "remove" Cassio by provoking a fight with him. Iago then sets up a drinking party during the celebration of the Turkish defeat and makes sure that Cassio gets drunk. When Roderigo attacks him, Cassio becomes enraged. He even wounds Montano, who tries to break up the fight. When the alarum sounds and Othello arrives, Iago pretends to "reluctantly" relate the details of the incident. Othello angrily strips Cassio of his rank as lieutenant. Already working on the next phase of his plot, Iago advises Cassio that he can win back his position by entreating Desdemona to plead his case with Othello. Othello QuizzesMain Menu

20.   1. How does Iago skillfully reveal to Othello the notion that Desdemona has been unfaithful with Cassio?    2. According to Iago, when has Desdemona previously shown evidence that she is capable of deception?    3. What's the importance of the handkerchief ("napkin") in Iago's plot?    4. What does Othello order Iago to do regarding Cassio?   Main MenuOthello Quizzes

21. Click anywhere to show answer. 1.How does Iago skillfully reveal to Othello the notion that Desdemona has been unfaithful with Cassio? Click anywhere to show answer. Iago hints at Cassio's guilt and Desdemona's unfaithfulness without coming right out and accusing them directly, forcing Othello to drag the information out of him. Because he seems reluctant to accuse Cassio and Desdemona directly, Othello never questions his information. Next QuestionOthello QuizzesMain Menu

22. Click anywhere to show answer. 2.According to Iago, when has Desdemona previously shown evidence that she is capable of deception? Click anywhere to show answer. Iago accurately points out that Desdemona deceived her father by marrying Othello secretly. She also deceived Othello when she pretended to "shake and fear" while listening to his stories, but really was fascinated by his words. Next QuestionOthello QuizzesMain Menu

23. Click anywhere to show answer. 3.What's the importance of the handkerchief ("napkin") in Iago's plot? Click anywhere to show answer. The handkerchief was Desdemona's first gift from Othello. Othello dropped the handkerchief when Desdemona tried to wipe his brow. Emilia, Iago’s wife, found the napkin and gave it to her husband, who had asked her several times to obtain it. Iago plans to leave the handkerchief in Cassio's chamber, and then tells Othello that he saw Cassio wipe his beard with it. The handkerchief will provide the "ocular proof" that Othello demands to prove Iago's charges against Desdemona. Next QuestionOthello QuizzesMain Menu

24. Click anywhere to show answer. 4.What does Othello order Iago to do regarding Cassio? Click anywhere to show answer. Othello orders Iago to kill Cassio within three days. Othello QuizzesMain Menu

25. Othello Quizzes 1.What trick does Iago use in Scene 1 to show Othello "proof" of Cassio's affair with Desdemona?   2.Why did Othello strike Desdemona in public?   3.Who is Lodovico and what message does he bring Othello?   4.What does Iago try to persuade Roderigo to do at the end of Scene 2?  

26. Click anywhere to show answer. 1.What trick does Iago use in Scene 1 to show Othello "proof" of Cassio's affair with Desdemona? Click anywhere to show answer. Iago tells Othello to observe him while he talks to Cassio about Desdemona. Meanwhile, Iago explains to the audience in an aside that he will question Cassio about Bianca, a prostitute who dotes on Cassio. Othello hears Cassio's comments about Bianca and assumes he is making degrading comments about Desdemona. By chance, Bianca enters and returns Desdemona's handkerchief (that Iago placed in his chamber). Iago later points out to Othello that Cassio gave the handkerchief to "his whore." Next QuestionOthello QuizzesMain Menu

27. Click anywhere to show answer. 2.Why did Othello strike Desdemona in public? Click anywhere to show answer. Desdemona's innocent references to Cassio slowly build until Othello snaps and strikes her. She first talks to Lodovico about the rift between Cassio and Othello. Othello, pretending to read the letter from Venice, responds to her sarcastically. Desdemona then mentions to Lodovico the love she bears Cassio, as Othello becomes increasingly angry. Finally, she says she is "glad" when she finds out that Othello has been ordered to Venice, and Cassio will be in charge of Cyprus. This last statement provokes Othello to strike her. Next QuestionOthello QuizzesMain Menu

28. Click anywhere to show answer. 3.Who is Lodovico and what message does he bring Othello? Click anywhere to show answer. Lodovico is an official from Venice and a kinsman of Brabantio. He brings Othello a letter commanding him to return to Venice, leaving Cassio in charge of Cyprus in his place. Next QuestionOthello QuizzesMain Menu

29. Click anywhere to show answer. 4.What does Iago try to persuade Roderigo to do at the end of Scene 2? Click anywhere to show answer. Iago tries to persuade Roderigo to kill Cassio. He explains that Othello and Desdemona are planning to travel, leaving Cassio in charge of Cyprus. If Cassio is "removed," they will not be able to leave. Iago plans to visit Cassio at Bianca's and see that he leaves between 12 and 1. This will provide Roderigo with the opportunity to kill Cassio. Iago says he will be nearby to help Roderigo. Roderigo demands "further reason" for killing Cassio before agreeing to Iago's plan and Iago agrees to supply it. Othello QuizzesMain Menu

30. 1. What happened to Roderigo after the fight with Cassio?   2. How does Iago succeed in implicating Bianca in the attack on Cassio? What is his motivation for doing so?   3. Before he kills her, what news does Othello bring Desdemona about Cassio, and what is her reaction?   4. Who finally reveals the truth about Iago and his evil plot against Desdemona and Othello?   5. What happened to Brabantio?   6. What is Iago's response when Othello asks him the reason for his evil acts?   Main MenuOthello Quizzes

31. Click anywhere to show answer. 1.What happened to Roderigo after the fight with Cassio? Click anywhere to show answer. Roderigo is wounded in the fight by Cassio, and Cassio is wounded by Roderigo, or possibly by Iago in the darkness. When Iago pretends to "discover" the fight with Lodovico and Gratiano, he takes advantage of the confusion to stab and kill Roderigo before he can talk. Before the fight, he explained in an aside that it didn't matter to him whether Cassio, Roderigo or both were killed in the fight he set up. Any combination of events could be used to his advantage. Next QuestionOthello QuizzesMain Menu

32. Click anywhere to show answer. 2.How does Iago succeed in implicating Bianca in the attack on Cassio? What is his motivation for doing so? Click anywhere to show answer. In the presence of Lodovico and Gratiano, Iago directly accuses Bianca of being involved in the attack. When Emilia enters, Iago tells her that Cassio was attacked by Roderigo, now dead, and "others." Knowing that Cassio was with Bianca earlier, he asks Emilia to find out where Cassio had dinner that evening, and then implies that Bianca's reaction to this question is a guilty one. Iago tries to implicate Bianca in order to divert guilt away from himself. Since Roderigo was his friend, suspicion might be aroused. In doing so, Iago attempts to destroy yet one more innocent person. Some critics have theorized that Iago's attempt to implicate Bianca is really unnecessary, and is an example of his evil continuing at a pace that even he cannot control. Next QuestionOthello QuizzesMain Menu

33. Click anywhere to show answer. 3.Before he kills her, what news does Othello bring Desdemona about Cassio, and what is her reaction? Click anywhere to show answer. Othello tells Desdemona that Cassio has confessed to their affair, and Iago has killed him. Desdemona's sympathy for Cassio enrages Othello further and provides the final impetus for him to murder her. Next QuestionOthello QuizzesMain Menu

34. Click anywhere to show answer. 4.Who finally reveals the truth about Iago and his evil plot against Desdemona and Othello? Click anywhere to show answer. Othello QuizzesMain Menu Emilia realizes that her husband's "odious damned lie" about Desdemona has brought about her murder. Ignoring her husband's command, Emilia refuses to be quiet in the play's final scene and admits she found Desdemona’s handkerchief and gave it to Iago. When Othello realizes the truth, he lunges for Iago, but in the confusion, Iago kills Emilia and flees. Next Question

35. Click anywhere to show answer. 5.What happened to Brabantio? Click anywhere to show answer. Othello QuizzesMain Menu Gratiano (Desdemona's uncle) reports that Brabantio died of grief over his daughter's marriage to Othello. Gratiano is relieved that Brabantio did not live long enough to hear of his daughter's murder. Next Question

36. Click anywhere to show answer. 6.What is Iago's response when Othello asks him the reason for his evil acts? Click anywhere to show answer. Othello QuizzesMain Menu Iago refuses to answer Othello, providing no reason for his evil actions. His last words in the play are: Demand me nothing. What you know, you know. From this time forth I never will speak word. (V, 2)

37. 1. I say, put money in thy purse. It cannot be long that Desdemona should continue her love to the Moor. Put money in thy purse.   2. Keep up your bright swords, for the dew will rust them. Good signior, you shall more command with years Than with your weapons.   3. She loved me for the dangers I had pass'd, And I loved her that she did pity them This only is the witchcraft I have used.   4. The Moor is of a free and open nature That thinks men honest that but seem to be so; And will as tenderly be led by th' nose As asses are.   Main MenuOthello Quotes

38. Main Menu Act I Act II Act III Act IV Act V

39. Click anywhere to show answer. 1.I say, put money in thy purse. It cannot be long that Desdemona should continue her love to the Moor. Put money in thy purse. Click anywhere to show answer. Iago is duping Roderigo into giving him more money. He convinces Roderigo that he still has a chance to win Desdemona after she tires of Othello, but it will require more cash. Roderigo foolishly believes Iago's lie and rushes off to sell his land. Next QuestionMain MenuOthello Quotes

40. Click anywhere to show answer. 2.Keep up your bright swords, for the dew will rust them. Good signior, you shall more command with years Than with your weapons. Click anywhere to show answer. Brabantio and his men arrive to arrest Othello, as Cassio and some of Othello’s men arrive to summon Othello to the Senate, where he is needed to help respond to the Turkish threat to Cyprus. As both sides draw swords, Othello diffuses the situation with a poetic image that demonstrates his ability to take control in a volatile situation. The first monosyllabic line of this quote also demonstrates that while Othello’s speech is simple and “rude,” it can also be beautiful, as well as effective. Next QuestionMain MenuOthello Quotes

41. Click anywhere to show answer. 3.She loved me for the dangers I had pass'd, And I loved her that she did pity them This only is the witchcraft I have used. Click anywhere to show answer. This is the end of Othello’s speech defending himself from Brabantio’s accusation that he must have used drugs or magic to get Desdemona to fall in love with him. Othello explains that it was Brabantio who often invited him to his home and questioned him about his life. While Othello told the story of his life, Desdemona listened to the stories of his “passing strange” exploits and fell in love with him. Main MenuOthello Quotes

42. Click anywhere to show answer. 4.The Moor is of a free and open nature That thinks men honest that but seem to be so; And will as tenderly be led by th' nose As asses are. Click anywhere to show answer. Iago begins to formulate his plan to ruin Othello in a soliloquy at the end of Act I. In this speech, he suspects Othello of having slept with his wife. Although, he's not sure if it's true, he will assume it is. He plans to convince Othello that the handsome Cassio is "too familiar" with Desdemona. In this quote, Iago notes that Othello's trusting nature will make it easier to deceive him and lead him by the nose, like a donkey. Next QuestionMain MenuOthello Quotes

43. 1. Tis monstrous. Iago, who began't?   2....I love thee; But never more be officer of mine.   3. Our general's wife is now the general...Confess yourself freely to her.   4. So will I turn her virtue into pitch, And out of her own goodness make the net That shall enmesh them all.   Main MenuOthello Quotes

44. Click anywhere to show answer. 1.‘Tis monstrous. Iago, who began't? Click anywhere to show answer. Othello is awakened by the alarum bell during the fight between Cassio and Roderigo. He asks Iago to explain the cause of the disturbance. This quote has an interesting alternative meaning if the punctuation is removed: 'Tis monstrous Iago who began't. Next QuestionMain MenuOthello Quotes

45. Click anywhere to show answer. 2....I love thee; But never more be officer of mine. Click anywhere to show answer. Othello dismisses Cassio as his lieutenant after Iago "reluctantly" relates the circumstances of the fight. Next QuestionMain MenuOthello Quotes

46. Click anywhere to show answer. 3.Our general's wife is now the general...Confess yourself freely to her. Click anywhere to show answer. Because Desdemona has such a strong influence on her husband, Iago advises Cassio to enlist her help in order to be reinstated as lieutenant. This is, of course, part of Iago’s plan. When Desdemona pleads Cassio’s case to Othello, Iago will use her defense of Cassio as evidence of her infidelity. Next QuestionMain MenuOthello Quotes

47. Click anywhere to show answer. 4.So will I turn her virtue into pitch, And out of her own goodness make the net That shall enmesh them all. Click anywhere to show answer. In a soliloquy, Iago explains how he will use Desdemona's goodness against her. He has advised Cassio to ask Desdemona to intercede with Othello to reinstate him as lieutenant, knowing that Desdemona will pity him and try to help him. Meanwhile, Iago will plant the suspicion in Othello's mind that Desdemona pleads for Cassio because she is attracted to him. He plans to use Desdemona's inherent good nature to destroy all of them--Cassio, Desdemona, and Othello. Main MenuOthello Quotes

48. 1. Thou hast set me on the rack I swear 'tis better to be much abused Than but to know't a little.   2. O, beware, my lord, of jealousy! It is the green-eyed monster, which doth mock The meat it feeds on.   3. I had rather be a toad And live upon the vapor of a dungeon Than keep a corner in the thing I love for others' uses.   4. I am your own forever.   Main MenuOthello Quotes

49. Click anywhere to show answer. 1.Thou hast set me on the rack I swear 'tis better to be much abused Than but to know't a little. Click anywhere to show answer. Othello returns in the middle of Scene 3 and acknowledges that he is tortured by the partial information Iago has provided. He then demands that Iago show him proof of Desdemona's sin. Next QuestionMain MenuOthello Quotes

50. Click anywhere to show answer. 2.O, beware, my lord, of jealousy! It is the green-eyed monster, which doth mock The meat it feeds on. Click anywhere to show answer. In a famous metaphor, Iago warns Othello to beware of extreme jealousy. This is ironic, since jealousy is the prime motivation for Iago's actions in the play. Next QuestionMain MenuOthello Quotes

51. Click anywhere to show answer. 3.I had rather be a toad And live upon the vapor of a dungeon Than keep a corner in the thing I love for others' uses. Click anywhere to show answer. In another vivid metaphor, Othello reveals the disgust he feels at having to share Desdemona. This quote adds another animal reference. As Scene 3 progresses, the animal references become more frequent, and Othello becomes more bestial as he succumbs to Iago's influence. Next QuestionMain MenuOthello Quotes

52. Click anywhere to show answer. 4.I am your own forever. Click anywhere to show answer. In the final line of Scene 3, Iago pledges loyalty to Othello, who has just made him his lieutenant. Othello has just ordered Iago to murder Cassio, and he has decided to kill Desdemona. He is completely under the influence of Iago. At this point in the play, Iago has accomplished his goal. His motives for going further with his evil are the subject of much criticism. This quote is also somewhat ironic, because Othello is really Iago's "own" for the rest of the play. Main MenuOthello Quotes

53. 1. My lord has fallen into an epilepsy.   2. She gave it him, and he hath giv'n it his whore.   3. O thou weed Who art so lovely fair, and smell'st so sweet, That the senses ache at thee, wouldst thou hadst never been born!   4. If I do die before, prithee shroud me In one of these same sheets.   Main MenuOthello Quotes

54. Click anywhere to show answer. 1.My lord has fallen into an epilepsy. Click anywhere to show answer. Othello has fainted, after Iago reminded him of the handkerchief and referred to Cassio and Desdemona in graphic sexual terms. In this quote, Iago lies to Cassio about Othello's unconscious state, saying that he had also had a "fit" yesterday and would recover shortly. When Othello "falls in a trance" in this scene (one of Shakespeare's rare stage directions), it can be seen as symbolic of his tragic fall from greatness. Next QuestionOthello QuotesMain Menu

55. Click anywhere to show answer. 2.She gave it him, and he hath giv'n it his whore. Click anywhere to show answer. Iago fuels Othello's jealousy by telling him that Cassio gave the handkerchief (Othello's first gift to Desdemona) to Bianca, his whore. This explanation comes immediately after Othello observed Bianca angrily returning the handkerchief to Cassio, saying that it probably belonged to one of his mistresses. Next QuestionOthello QuotesMain Menu

56. Click anywhere to show answer. 3.O thou weed Who art so lovely fair, and smell'st so sweet, That the senses ache at thee, wouldst thou hadst never been born! Click anywhere to show answer. In Scene 2, Othello pretends to be a customer at a brothel and uses his charade to insult Desdemona and express his grief over her infidelity. This quote poetically combines the ideas of love and loss. The words beautifully express his heartbreak, and his emotional depth causes the audience to identify with him and pity him. Next QuestionOthello QuotesMain Menu

57. Click anywhere to show answer. 4.If I do die before, prithee shroud me In one of these same sheets. Click anywhere to show answer. Desdemona tells Emilia to uses her wedding sheets as a shroud (a cloth used to cover a corpse), if she should die early. This prophetic comment suggests that Desdemona suspects her death is imminent. The reference to her wedding sheets emphasizes that, despite his treatment of her, Desdemona's love for Othello is undiminished. Othello QuotesMain Menu

58. 1. He hath a daily beauty in his life that makes me ugly.   2. O damned Iago! O inhuman dog!   3. Commend me to my kind lord. O, farewell!   4. When you shall these unlucky deeds relate, Speak of me as I am... Of one that loved not wisely, but too well.   Main MenuOthello Quotes

59. Click anywhere to show answer. 1.He hath a daily beauty in his life that makes me ugly. Click anywhere to show answer. Iago provides a general motivation for hating Cassio, prior to the fight between him and Roderigo. Now that Iago has replaced Cassio as Othello's lieutenant, his specific reason for destroying Cassio has been removed. Iago's general jealousy of those held in public esteem provides a motivation for his destruction of Cassio, but may also be one of the reasons for his plot against Othello and Desdemona. Next QuestionMain MenuOthello Quotes

60. Click anywhere to show answer. 2.O damned Iago! O inhuman dog! Click anywhere to show answer. Roderigo's last words before Iago stabs him. He realizes that he has been duped by Iago all along, but it is now too late. Next QuestionMain MenuOthello Quotes

61. Click anywhere to show answer. 3.Commend me to my kind lord. O, farewell! Click anywhere to show answer. In her last words, Desdemona conveys her love for Othello by trying to exonerate him. Desdemona's dying words emphasize the goodness of her nature. Even in her last breath, she is not capable of condemning her own murderer. Next QuestionMain MenuOthello Quotes

62. Click anywhere to show answer. 4.When you shall these unlucky deeds relate, Speak of me as I am... Of one that loved not wisely, but too well. Click anywhere to show answer. In his final speech, Othello tries to control how he will be remembered. He describes himself as someone who loved too intensely, someone who was a victim of jealousy in the "extreme," and someone who threw away a "jewel," not realizing its value. Othello's final speech beautifully sums up his tragic situation and distracts his audience long enough for him to stab himself with a hidden weapon. His ability to charm an audience with his "rude speech" recalls how he originally wooed Desdemona with tales of his life. Main MenuOthello Quotes

63. Main Menu Othello Iago Desdemona Roderigo Cassio Brabantio Emilia Bianca Lodovico Gratiano Montano The Duke of Venice

64. Main MenuCharacters Othello as Outsider Othello as General Othello’s Jealousy Othello / Iago – Act III, Scene 3 Othello’s Language Othello’s Suicide

65. Main MenuCharacters Iago Iago’s Soliloquies Iago /Othello – Act III, Scene 3 Iago’s View of Women Iago’s Motive for Evil Iago and the Forces of Darkness

66. John McCullough as Othello Main MenuNext Othello is a “Moor,” a black man from Northern Africa. His status in Venice is complicated as both an insider and outsider. Although he is from a foreign culture, he is the commander of the Venetian military. In the first scene, Iago, Roderigo, and Brabantio all emphasize Othello’s outsider status as “the Moor.” Brabantio accuses Othello of winning Desdemona with magic and drugs; otherwise, she would not have fallen in love with one so foreign. CharactersOthello

67. Main MenuNextBackCharacters Iago believes that Desdemona’s love for Othello is “unnatural.” He uses this to convince Roderigo that she will soon tire of Othello and seek another lover. Iago also uses Othello’s “outsider” status to plant the initial seeds of jealousy in Othello. He tells him at one point that Venetian women do not consider infidelity a sin unless they get caught. He convinces Othello that eventually Desdemona will “match you with her country forms” (compare you to the men of her own country) and regret her marriage. Ironically, Othello fears that the qualities that made her fall in love with him will make her eventually reject him. Othello

68. Othello’s first appearance in the play (I, 2) established him as a rational, dignified commander who can quell a riot with a few words: Keep up your bright swords, for the dew will rust them. (I, 2) Othello is not ruled by emotions, as are the others in this scene. I, 3: The Duke’s Council The imminent attack on Cyprus by the Turks is the reason for the unusual late-night meeting. The Duke makes it clear that the country relies on Othello to lead the defense. The last time we see Othello as the “commander” in control of events is III, 2; h e inspects the fortifications, gives letters to Iago bearing his orders. He is permanently changed in the next scene (III, 3) by Iago’s manipulations. Main MenuNextBackCharactersOthello

69. How is Iago able to convince Othello that his wife is unfaithful so easily, without offering any actual proof of an affair? Iago convinces Othello that all women are inherently promiscuous and that Desdemona’s attraction to him was based on lust and therefore temporary. Iago takes advantage of Othello’s “outsider” status, making Othello more willing to believe that Desdemona will eventually reject him for “one of her own kind.” Othello’s tragedy lies in his gullibility and his willingness to torment himself. Main MenuNextBackCharacters Desdemona in Bed Asleep Josiah Boydell, 1803 Othello

70. This long and intense scene is at the literal and figurative center of the play, showcasing Iago’s powers of psychology and manipulation. Although it is the climax (turning point) of the play, there is no physical action, only psychological action in the mind of Othello. Main MenuNextCharacters Iago never directly accuses, only hints and suggests, forcing Othello to draw conclusions on his own. Iago maintains the appearance of an “honest” man who reluctantly reports the truth. OthelloIagoBack

71. Main MenuNextBackCharacters Iago takes advantage of Othello’s gullibility and insecurity as an outsider in Venetian society. He tells Othello that Desdemona will eventually compare him to Venetian men and regret marrying him. Her will, recoiling to her better judgment, May fall to match you with her country forms And happily repent. Iago first plants the seed of jealousy in Othello’s mind when he notices Cassio leaving: I like not that. (III, 3) Desdemona plays into Iago’s hands by pleading with Othello to reinstate Cassio. OthelloIago

72. Iago reminds Othello that Desdemona is capable of deception: She deceived her father by marrying him. She deceived Othello when she pretended to “shake and fear” while listening to his stories, but was really captivated by them. As soon as Othello expresses a doubt, Iago immediately reinforces it, reminding Othello that it is natural for people to eventually seek out others of their own kind and social station. Iago skillfully fills Othello’s head with gross sexual images of Desdemona. When Othello demands proof of Desdemona’s infidelity, Iago asks if he would “see her topped,” knowing that Othello will be tortured by this mental image. Main MenuNextBackCharactersOthelloIago

73. This scene begins Othello’s his tragic decline. The poetic images reflect his passionate/bestial state of mind: After hearing of Cassio’s dream, Othello vows to “tear her all to pieces.” By the end of the scene, Othello is under the power of Iago and will remain so until the end of the play. Othello accepts Iago’s reports of the dream and the handkerchief as facts. When they kneel together, Othello is symbolically making a pact with the Devil. Iago ends the scene: “I am your own forever.” Ironically, the reverse is true. Iago now completely controls Othello. Main MenuNextBackCharactersOthelloIago

74. Othello vacillates between the two polarities in the play (Desdemona/Iago, light/dark, good/evil). This scene dramatizes a tortured mind being pulled in two directions. In the first half of the play before this scene, Othello is guided by his new marriage and his love of Desdemona. In the second half of the play, Iago controls Othello's thoughts and actions leading up to the murder of Desdemona in the final act. Main MenuCharactersOthelloIagoNextBack

75. While Othello usually speaks simply, sometimes in monosyllables, his words are often eloquent and poetic. He assumes unquestioned authority when he stops the brawl in Scene 1 with a simple command that is also a powerful poetic image: Keep up your bright swords, for the dew will rust them. (I, 1) When Othello is accused of witchcraft by Brabantio, he explains that he won Desdemona’s love by telling the story of his life and exploits. His speech to the Duke is self-deprecating, yet eloquent. Rude am I in my speech, And little bless'd with the soft phrase of peace: …And therefore little shall I grace my cause In speaking for myself. (I, 3) Main MenuNextBackCharactersOthello

76. As Othello is more influenced by Iago, his behavior becomes more bestial, and his poetry contains more images of animals. Iago’s language is filled with animal references. He taunts Brabantio by referring to “an old black ram tupping your white ewe” and “you’ll have your daughter covered by a Barbary horse.” When Othello demands “ocular proof” from Iago, Iago says it would be impossible to catch Desdemona and Cassio in the act. …were they as prime as goats, as hot as monkeys, / As salt as wolves in pride (III, 3). Othello echoes this later in the play: Damn her, lewd minx! O, damn her, damn her!” (III, 3) Goats and monkeys! (IV, 1) Main MenuNextBackCharactersOthello

77. In his final speech, Othello once again enthralls his audience with his powerful, but simple, language. Speak of me as I am; nothing extenuate, Nor set down aught in malice: then must you speak Of one that loved not wisely but too well; Of one not easily jealous, but being wrought Perplex'd in the extreme; of one whose hand, Like the base Indian, threw a pearl away Richer than all his tribe; Othello distracts his captors with his story long enough to kill himself. …in Aleppo once, Where a malignant and a turban'd Turk Beat a Venetian and traduced the state, I took by the throat the circumcised dog, And smote him, thus. (Stabs himself.) Main MenuBackCharactersOthello

78. Iago is a soldier and Othello's ancient (ensign or standard bearer). Cassio as his lieutenant. He hates Othello for passing him up for promotion and appointing Cassio as his lieutenant. Iago despises Cassio as a "theoretician" with no practical experience. Iago despises Cassio as a "theoretician" with no practical experience. Iago is an evil genius who escapes detection because of his ability to hide his true nature and intentions. Iago successfully manipulates almost everyone in the play to accomplish his evil ends—Roderigo, Emilia, Cassio, Bianca, Desdemona and Othello. Iago successfully manipulates almost everyone in the play to accomplish his evil ends—Roderigo, Emilia, Cassio, Bianca, Desdemona and Othello. Main MenuNextCharacters Edwin Booth as Iago Iago

79. Iago never shows his true nature to others in the play; he is almost always lying to them in order to manipulate them. Iago reveals his thoughts to the audience through his soliloquies and his asides.soliloquiesasides In his soliloquies, Iago reveals his plan to destroy Othello and by sharing his thought process with the audience, makes the audience his co-conspirator. In his first soliloquy in I, 3, Iago begins to formulate his plan. He will take advantage of Othello’s trusting nature to destroy him: The Moor is of a free and open nature, That thinks men honest that but seem to be so, And will as tenderly be led by the nose As asses are. Main MenuNextBackCharactersIago

80. Second soliloquy: II, 1 Once again, the audience is in the position of a “guilty accomplice,” thinking out the evil plan with Iago. Iago’s thoughts are confused: He believes that Cassio loves Desdemona and that she might love him. He plans to bed Desdemona himself, as revenge on Othello. He fears that both Cassio and Othello have slept with his wife. Iago is searching for motives in this speech. His reasons for revenge are unclear and unsubstantiated, but he doesn’t really care. Main MenuNextBackCharactersIago

81. Iago shares his thoughts with the audience while he and Roderigo are hiding separately and waiting for Cassio. He admits that he doesn’t care whether Roderigo or Cassio or both die; any combination would be to his advantage. He also expresses his general jealousy of Cassio: He hath a daily beauty in his life That makes me ugly; (V, 1) He wants Cassio dead, in case Othello reveals what Iago has said about him. Main MenuNextBackCharactersIago

82. A soliloquy is a device often used in drama whereby a character reveals his thoughts to the audience without addressing any of the other characters. Shakespeare uses soliloquies frequently in his plays. In Othello, Iago’s soliloquies are particularly important because they are the only times he is being honest. Main MenuIago’s SoliloquiesCharacters

83. An aside is a dramatic device in which a character speaks to the audience, but the character's speech is unheard by the other characters on stage. An aside may be addressed to the audience expressly or represent an unspoken thought. An aside is usually a brief comment, rather than a speech, such as a monologue or soliloquy. Main MenuCharacters

84. Iago believes women are ruled by their sexual appetites, and they use sex to control men. Iago uses this argument in jest (seemingly) with Emilia and Desdemona, and more seriously with Othello and Roderigo. To Emilia and Desdemona concerning women in general: ○ Come on, come on; you are pictures out of doors, Bells in your parlors, wild-cats in your kitchens, Saints in your injuries, devils being offended, Players in your huswifery, and huswives* in your beds. (II, 1) * Probably a play on the words “housewife” and “hussy.” Iago believes they are the same. To Othello, explaining that it is a custom in Venice for women to hide their “pranks” from their husbands. ○ In Venice they do let heaven see the pranks They dare not show their husbands; (III, 3) Main MenuCharactersNextBackIago

85. When Roderigo cannot believe that Desdemona would reject Othello for Cassio, Iago repeats his condemnation of all women: Blessed fig's-end! the wine she drinks is made of grapes… Lechery, by this hand; an index and obscure prologue to the history of lust and foul thoughts. (II, 1) According to Iago, Desdemona, like all women, uses her sex to control Othello: Our general's wife is now the general… (II, 3) His soul is so enfetter'd to her love, That she may make, unmake, do what she list, Even as her appetite shall play the god With his weak function. (II, 3) Main MenuCharactersNextBackIago

86. Iago states his reason for hating Othello early in the play: He suspects Othello has slept with his wife, Emilia, and he resents Othello’s choice of the inexperienced Cassio as his lieutenant. By the end of Act III, Iago has everything he wants: He is Othello’s lieutenant and Cassio is removed. Why does he go further? Are the deaths of Cassio and Desdemona necessary? Samuel Taylor Coleridge theorized in a famous essay that Iago is symbolic of pure evil that is unmotivated and uncontrollable. Coleridge describes Iago’s function in the play as “The motive-hunting of motiveless Malignity.” Othello ironically describes the effect of Iago’s evil in the pivotal scene in which Iago wins him over (III, 3): “On horror's head horrors accumulate;” Main MenuNextBackCharactersIago

87. Iago is associated with literal darkness throughout the play, and he represents the “darker” characteristics of human nature. When Iago first appears in the play, he is hiding in the darkness (I, 1). When Brabantio calls for a light, Iago exits. His schemes cannot face the light of exposure. Iago ends his first soliloquy by describing his plot as originating in archetypal darkness: Hell and night / Must bring this monstrous birth to the world's light. (I, 3) Main MenuCharacters James O'Neil as Iago NextBackIago

88. Iago again slips off into the darkness in V, 1, when he sets up Roderigo to kill Cassio. After killing Roderigo, he makes an ironic comment to Gratiano and Lodovico, pretending he does not know Roderigo: Roderigo:O damn'd Iago! O inhuman dog! Iago:Kill men i' the dark! (V, 1) The dark images associated with Iago are contrasted with the light imagery associated with Desdemona. When he kills Desdemona, Othello “puts out the light” and symbolically capitulates to Iago and the forces of darkness. As he extinguishes the light of Desdemona’s goodness, the triumph of Iago’s evil is complete. Main MenuCharactersBackIago

89. Desdemona is often seen as the stereotypical submissive wife. However, some aspects of her character are more complicated. She shows strength in Act I when she refuses to submit completely to her father’s will. My noble father, I do perceive here a divided duty. (I, 3) Desdemona also responds with dignity and genuine shock to Othello’s jealousy. I have not deserved this. (IV, 1) Main MenuNextCharacters Othello and Desdemona in Venice Théodore Chassériau, 1819-1856

90. Desdemona seems aware of her death before it happens. She instructs Emilia to put her wedding sheets on the bed, and asks to be buried in them if she should die. At the moment of her death, she accepts responsibility for her murder and refers to Othello as her “kind lord.” Emilia: Who hath done this deed? Desdemona: Nobody, I myself. Farewell. (V, 1) Main MenuNextBackCharacters Othello and Desdemona, Alexandre-Marie Colin, 1829

91. Desdemona is the antithesis of Iago. She is associated with angels; Iago is compared to the Devil. Her imagery is filled with brightness and stars; Iago hides in the darkness. She is a symbol of pure, innocent goodness; Iago is pure evil, devoid of human emotion. Main MenuBackCharacters The Death of Desdemona Eugène Ferdinand Victor Delacroix

92. Iago’s dupe; a young, rich Venetian suitor of Desdemona. Iago has convinced Roderigo that he can win Desdemona, but he is merely using him for his money. In the opening scene, Roderigo discovers that Desdemona has eloped with Othello and blames Iago for not preventing it. After Othello marries Desdemona, Iago convinces Roderigo that she will eventually tire of the Moor and marry him. Iago also convinces him to help kill Cassio, a potential rival for Desdemona’s affection. Iago cruelly kills Roderigo in V, 1, to prevent him from revealing information. Roderigo does not realize that he has been fooled until the moment of his death: O damn'd Iago! O inhuman dog! (V, 1) Main MenuCharacters

93. Othello has appointed him as his lieutenant at the beginning of the play. Iago’s resentment of Cassio stems from his belief that Cassio is too young and inexperienced; he thinks the position should have been given to him. Iago manipulates Cassio easily in the drunken brawl in II, 3. Othello’s dismissal of Cassio as his lieutenant after the brawl reflects his later treatment of Desdemona, but on a smaller scale. He mistreats someone he loves because Iago has made him believe a falsehood. Main MenuNextCharacters

94. Cassio is honorable and innocent, but like many others in the play, makes the mistake of trusting Iago. Iago uses Cassio’s youth and friendship with Desdemona to arouse Othello’s suspicions about Desdemona’s faithfulness. Iago admits his general jealousy of Cassio to the audience in V, 1: He hath a daily beauty in his life That makes me ugly; Iago’s first failure in the play is his attempt to kill Cassio. Fortune does not work in his favor in this scene, as Lodovico and Gratiano arrive before he can finish off Cassio. Main MenuBackCharacters

95. Desdemona’s father, a Venetian senator He believes that his daughter’s attraction to Othello is unnatural, and therefore must be the result of magic and drugs. He warns Othello that Desdemona may deceive him. Look to her, Moor, if thou hast eyes to see: / She has deceived her father, and may thee. (I, 3) Main MenuCharacters Othello Relating his Adventures Charles West Cope, 1873 Brabantio’s death (of grief over the marriage of Desdemona and Othello) is reported in Act V by Gratiano.

96. Iago’s wife and Desdemona’s attendant; older and more cynical than Desdemona Loyal to Desdemona and distrustful of her husband Iago asserts in Act I that some think Othello is having an affair with Emilia. Probably not true; there is no evidence in the play. Emilia plays a crucial role in Iago’s plan when she finds Desdemona’s handkerchief and gives to it him. Emilia knows it was Othello’s first gift to Desdemona; Iago has often asked her to steal it, but she doesn’t know why. She plans to have it copied and give Iago the copy, knowing that Desdemona will “run mad” when she realizes it is lost. Iago snatches it from her before she can carry out her plan to have it copied. Main MenuNextCharacters

97. When Desdemona defends Othello for his jealous rage, Emilia states one of the major themes in the play: They are not ever jealous for the cause, / But jealous for they are jealous. It is a monster / Begot upon itself, born on itself. (III, 4) In the same scene, Emilia expresses her low opinion of men: They are all but stomachs, and we all but food; They eat us hungerly, and when they are full / They belch us. (III,4) Main MenuNextBackCharacters Desdemona’s Death Song Dante Gabriel Rossetti

98. When Othello questions Emilia about Desdemona’s fidelity in Act IV, Emilia defends her. She suspects that someone has “devised this slander” against her lady, but doesn’t realize that it’s her husband and she has aided his plan. In the final scene, Emilia learns that Iago was Desdemona’s accuser and defies him when he instructs her to be silent by revealing that she gave the handkerchief to her husband. When Othello realizes the truth and attacks Iago, Emilia is stabbed and killed by Iago during the scuffle. Moor, she was chaste; she loved thee, cruel Moor (V, 2) Main MenuBackCharacters

99. A Venetian courtesan in love with Cassio She first appears in III, 4, complaining that Cassio has not visited her in a week. Cassio teases her with promises of marriage, but regards her as a nuisance. She is persuaded I will marry her, out of her own love and flattery, not out of my promise. Iago manipulates Cassio by getting him to joke about Bianca while Othello watches, thinking he is talking about Desdemona. So hangs, and lolls, and weeps upon me; so hales, and pulls me: ha, ha, ha! After Cassio is wounded, Iago tries to make Bianca look suspicious, in order divert attention from himself. Main MenuCharacters

100. Lodovico A Venetian nobleman and one of Brabantio's kinsmen Arrives in Cyprus in IV, 1, and announces that Othello has been replaced by Cassio as governor. After Othello misinterprets Desdemona’s reaction to this news and slaps his wife, Lodovico expresses his shock and anger. Gratiano A Venetian nobleman, Desdemona’s uncle Friend of Lodovico, appears in V, 1, when Roderigo attacks Cassio. He also appears in V, 2, after Desdemona’s murder and announces that Brabantio has died of grief over the marriage of Othello and Desdemona. Main MenuNextCharacters

101. Montano The Governor of Cyprus before Othello Respects Othello as a leader and welcomes him to Cyprus Drunken Cassio wounds Montano in a scuffle instigated by Iago. When Othello attacks Iago in V, 2, Montano takes Othello’s sword. After Iago escapes in V, 2, Montano helps capture him and return him as a prisoner. The Duke of Venice The local authority in Venice, he respects Othello’s military leadership and needs Othello to defend Cyprus against the Turks. He attempts to reconcile Othello and Brabantio in Act I, and then orders Othello to Cyprus. Main MenuCharactersBack

102. Main Menu Appearance vs. Reality Black and White Light and Darkness Jealousy Love Passion vs. Reason

103. Iago, the master of deception, is the character mostly closely associated with this theme. I am not what I am. (Iago: I, 1) Although he is known as “honest,” Iago deceives almost every other character in the play. Iago shares his plans with the audience in his soliloquies, and by doing so, makes the audience his accomplice. Shakespeare uses the technique of dramatic irony to reveal more information to the audience than is known by the other characters. Brabantio is angry that Desdemona deceived him by eloping with Othello. His warning to Othello is ironic and prophetic. She has deceived her father, and may thee. (I, 3) Main MenuNextThemes and Images

104. Othello dismisses Cassio as lieutenant after witnessing a scene created by Iago. (II, 3) Iago gets Cassio drunk and then instigate a fight with Roderigo. When Iago explains events to Othello, he seems to sympathize with Cassio, but does him as much harm as possible. Shakespeare emphasizes this theme by referring to Iago as “honest.” Othello: Honest Iago…who began this? (II, 3) Shakespeare also uses wordplay to reveal the real instigator: Tis monstrous, Iago, who began’t? (Notice how the meaning of this sentence changes if you remove the punctuation.) Main MenuNextBackThemes and Images

105. Othello’s treatment of Cassio mirrors his treatment of Desdemona, but on a smaller scale. In each case, he mistreats someone he loves because Iago has made him believe something that is not true. Iago plans to use Desdemona’s inherent goodness as a weapon against her. He knows she will be sympathetic to Cassio and will plead his case with Othello. So will I turn her virtue into pitch, And out of her own goodness make the net That shall enmesh them all. (II, 3) Iago succeeds in using Desdemona’s good intentions to destroy her. The more forcefully she argues for Cassio’s reinstatement, the more convinced Othello becomes of her infidelity. Main MenuNextBackThemes and Images

106. In III, 3, Iago implies that Cassio is not honest by saying that he thinks he is honest, forcing Othello to drag the information out of him. ○ Othello:Is he not honest? Iago: Honest, my lord? Othello:Honest! ay, honest. Iago: My lord, for aught I know. Othello:What dost thou think? Iago: Think, my lord! Iago further deceives Othello in III, 3, by reminding him that Desdemona is capable of deception: She deceived her father when she married Othello. She pretended to “shake and fear” while listening to the story of Othello’s life, but was really captivated by his tale. Iago further deceives Othello when he questions Cassio about Bianca, leading Othello to believe they are talking about Desdemona. Main MenuNextBackThemes and Images

107. After III, 3, the climactic scene in which Iago convinces Othello of Desdemona’s infidelity, the appearance vs. reality theme is somewhat reversed. Othello is now convinced that she is unfaithful, calling her a “weed” that “seems so fair and smells sweet.” Ironically, the opposite is true. She is fair and has been made to seem like a foul weed by Iago’s lies. The final deception in the play is Othello’s. He distracts his captors with a story, giving himself enough time to commit suicide, rather than be taken as a prisoner. Main MenuBackThemes and Images

108. The black and white images in Othello relate directly to the marriage of Othello and Desdemona. As a Moor from Northern Africa, Othello had a dark complexion. Iago uses animal images of black and white to emphasize their sexual relationship to Brabantio in I, 1. Even now, now, very now, an old black ram / Is tupping your white ewe. Iago acknowledges in II, 3, that he hides his “black sins” with a “heavenly show.” As Iago convinces Othello of Desdemona’s deception in III, 3, Othello admits that his thoughts of her have turned dark: Her name, that was as fresh As Dian's* visage, is now begrimed and black As mine own face. (III, 3) *Diana was the Roman goddess of the Moon Main MenuNextThemes and Images

109. During the murder, Othello emphasizes the whiteness of Desdemona’s skin and the brightness of the life that he plans to extinguish. Yet I'll not shed her blood; Nor scar that whiter skin of hers than snow, And smooth as monumental alabaster…(V, 2) Othello ironically describes Desdemona as a symbol of purity and innocence as he plans to kill her for her supposed infidelity. Othello’s words are doubly ironic here because she is, of course, pure and innocent, but Othello has been convinced otherwise by Iago. After Othello admits killing Desdemona, Emilia repeats the imagery: O, the more angel she, And you the blacker devil! (V, 2) Main MenuBackThemes and Images

110. Iago is associated with darkness, and Desdemona is associated with light, stars, purity and innocence. Shakespeare uses darkness ironically: Othello is literally the “darker” character (because of his skin color), but he is a wise leader and a loving husband. “Fair Iago” represents the “dark side” of human nature. Iago manipulates Othello by tapping into the “darker” side of his nature, until he completely controls Othello’s thoughts and actions. Iago often hides in the darkness. I, 1: Iago awakens Brabantio and anonymously shouts insults from the darkness. V, 1: Iago orchestrates the attack on Cassio and hides in the darkness to escape detection. Main MenuNextThemes and Images

111. As a contrast to Iago, Othello is unafraid of the torchlight as Brabantio and the others approach to confront him. Othello:But, look! what lights come yond? Iago:Those are the raised father and his friends: You were best go in. Othello:Not I; I must be found… (I, 2) Emilia’s last conversation with Desdemona emphasizes this theme when Emilia asks Desdemona if she would ever be unfaithful to her husband. Desdemona:No, by this heavenly light! Emilia:Nor I neither by this heavenly light; I might do't as well i' the dark. (IV, 3) Main MenuNextBackThemes and Images

112. As Othello prepares to kill Desdemona, he extinguishes a candle and uses a powerful image of light and dark: Put out the light, and then put out the light: If I quench thee, thou flaming minister, I can again thy former light restore, Should I repent me; but once put out thy light, Thou cunning'st pattern of excelling nature, I know not where is that Promethean heat That can thy light relume. (v, 2) Othello realizes that he can relight the candle if he extinguishes the flame; however, if he murders Desdemona, he will not be able to “relume” her light. Main MenuNextBackThemes and Images

113. After killing Desdemona, Othello imagines an eclipse that covers the world in darkness. Methinks it should be now a huge eclipse Of sun and moon, and that the affrighted globe Should yawn at alteration. (V, 2) Main MenuBack Desdemona in Bed Asleep John Graham, 1111 Themes and Images

114. Jealousy is a pervasive theme in Othello. Jealousy is the cause of the main tragedy, Desdemona’s murder, and it is the primary motive of Iago. Othello succumbs to jealousy based on circumstantial evidence, prompting his animalistic, murderous behavior and ultimately his self-destruction. Iago states early in the play that jealousy is his reason for hating Othello. He resents Othello’s choice of Cassio as lieutenant and suspects Othello as sleeping with his wife. Iago also resents Cassio’s “daily beauty” that makes him seem “ugly” by contrast. Main MenuNextThemes and Images

115. In a soliloquy, Iago repeats his suspicion that Othello has slept with his wife. Till I am even'd with him, wife for wife, Or failing so, yet that I put the Moor At least into a jealousy so strong That judgment cannot cure. (II,1) Iago provides the well-known image of jealousy in III, 3: O, beware, my lord, of jealousy; It is the green-eyed monster which doth mock The meat it feeds on; (III, 3) Iago aptly describes the effects of jealousy, which both destroys and mocks the jealous person, and he is also aware that his description enrages Othello even further. Main MenuNextBackThemes and Images

116. Desdemona expresses her relief to Emilia that Othello does not have a jealous nature. …but my noble Moor Is true of mind and made of no such baseness As jealous creatures are, it were enough To put him to ill thinking. (III, 4) Othello’s behavior later in the same scene causes Emilia to question her mistress: Is not this man jealous? (III, 4) Desdemona blames Othello’s mood on matters of state, but Emilia recognizes the effects of jealousy and repeats Iago’s “monster” image. But jealous souls will not be answer'd so; They are not ever jealous for the cause, But jealous for they are jealous. It is a monster Begot upon itself, born on itself. (III, 4) Main MenuNextBackThemes and Images

117. Shakespeare also reflects the main theme of the play in the subplots and minor characters. Roderigo is jealous of Othello and resents Desdemona’s attraction to “the thick lips.” (I, 1) Brabantio is jealous of Othello’s successful pursuit of Desdemona, warning him that she may yet deceive her new husband. Bianca refuses to copy Desdemona’s handkerchief for Cassio because she is jealous of Cassio’s other lovers. In his final speech, Othello wants to be remembered as “one not easily jealous, but being wrought / Perplex'd in the extreme." (V, 2) Was Othello’s jealousy his tragic flaw, or was his “mental confusion” brought on by Iago the cause of his tragic fall? Main MenuBackThemes and Images

118. The marriage of Othello and Desdemona might have been seen as “unnatural” in Venetian society. Brabantio’s claim that Othello used trickery or drugs to win his daughter is taken seriously by the other Venetian noblemen in Act I. Othello won Desdemona’s love honestly and respectfully, by telling the story of his life and exploits. She loved me for the dangers I had pass'd, And I loved her that she did pity them. (I, 3) Desdemona saw past Othello’s “visage” (outward appearance) and fell in love with him for his honor and bravery. I saw Othello's visage in his mind, And to his honors and his valiant parts Did I my soul and fortunes consecrate. (I, 3) Main MenuNextBackThemes and Images

119. Iago’s descriptions of love are always graphic, sexual, and often bestial, usually intended for maximum shock value. Taunting Brabantio with the elopement of Othello and Desdemona: ○ Even now, now, very now, an old black ram Is tupping your white ewe (I, 1) ○ …your daughter and the Moor are now making the beast with two backs (I, 1). Telling Othello he cannot catch Cassio and Desdemona in the act: ○ It is impossible you should see this, Were they as prime as goats, as hot as monkeys, As salt as wolves in pride… (III, 3) Main MenuNextBackThemes and Images

120. The last time Othello sees Desdemona before Iago convinces him of her infidelity, he utters a prophetic statement about their love: Excellent wretch! Perdition catch my soul, But I do love thee! and when I love thee not, Chaos is come again. (III, 3) Othello’s gullibility is emphasized when, later in the same scene, he rejects Desdemona’s love. Look here, Iago; All my fond love thus do I blow to heaven. (III, 3) Tragically, Othello allows his love for Desdemona to be replaced by Iago’s hate. Yield up, O love, thy crown and hearted throne To tyrannous hate! (III, 3) Main MenuNextBackThemes and Images

121. When Othello accuses Desdemona publicly and strikes her, her love for him remains pure. Unkindness may do much; And his unkindness may defeat my life, But never taint my love. (IV, 2) Even as she is about to be killed, her love for Othello does not waver. Othello:Think on thy sins. Desdemona:They are loves I bear to you. (V, 2) In his final speech, Othello asks to be remembered as “one that loved not wisely but too well.” (V, 2) In what sense did Othello love “too well”? Main MenuNextBackThemes and Images

122. Shakespeare repeats the theme of love in Othello’s subplots. Roderigo is a comic version of the heroic lover, threatening to drown himself when he learns that Desdemona has married Othello. Bianca’s love for Cassio is amusing to him. He lets her believe that he will marry her in order to use her. ○ She is persuaded I will marry her, out of her own love and flattery, not out of my promise. (IV, 1) Contrast Emilia's practical view of love and men with Desdemona’s idealized (and naïve?) love for Othello. ○ …and have not we affections, Desires for sport, and frailty, as men have? Then let them use us well: else let them know, The ills we do, their ills instruct us so. (IV, 3) Main MenuThemes and ImagesBack

123. Othello can be seen as symbolic of mankind’s position on the Chain of Being. Chain of Being Like humanity on the chain, Othello struggles between the pure reason of the Angels, devoid of emotion, and the base passions of the animal kingdom. In the play’s early scenes, Othello is the rational commander who keeps control of his emotions. He calmly diffuses the potential brawl in Act I and convinces the Duke and the other nobles of his respectful relationship with Desdemona. As Othello allows himself to be influenced by Iago, his emotions overtake his reason, allowing Iago to further manipulate him with lies. Main MenuNextThemes and Images

124. Throughout the play, Iago’s continual use of animal references emphasizes the base emotions that rule his actions. As Othello succumbs to Iago’s lies and influence, his language becomes more bestial. Othello obsessively describes himself as having a cuckold’s horns: ○ A horned man's a monster and a beast. (IV, 1) After observing Desdemona declare her love for Cassio, Othello echoes Iago’s earlier reference to “goats and monkeys”: ○ Goats and Monkeys! (IV, 1) Othello has an animalistic response when he is convinced that Desdemona has been unfaithful with Cassio: ○ I will chop her into messes. (IV, 1) The three characters who allow passion to override reason are ultimately destroyed by their actions—Othello, Iago and Roderigo. Main MenuBackThemes and Images

125. Iago (Ian McKellen) Tells of a Handkerchief James Earl Jones performs Othello at the White House Poetry Jam Othello, Part 1 (Orson Welles, 1952) Othello – II, 1 (Laurence Olivier, 1965) Othello – III, 3 (Anthony Hopkins, 1981) Othello – III, 3 (Anthony Hopkins, 1981) Iago tells of a handkerchief. Othello – V, 2 (Eamon Walker at the Globe, 2001) Othello and Iago (Branagh and Fishburne, 1995) Othello’s Suicide (Laurence Fishburne, 1995) Paul Robeson discusses Othello, 1943 Desdemona’s “Willow Song” – Irene Jacob, 1995 Main Menu

126. Othello: III, 3 (2006) Main MenuYouTube Videos

127. May 12, 2009 Main MenuYouTube Videos

128. 1952 Main MenuYouTube Videos

129. 1965 Main MenuYouTube Videos

130. 1981 Main MenuYouTube Videos

131. 2001 Main MenuYouTube Videos

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136. 1. Write a character analysis of Desdemona. What does she represent in the play? Is her innocence and naiveté believable? Is she too one-dimensional, compared to the more complicated Othello and Iago? 2. Analyze Iago’s motives for evil. Initially, he is jealous of Cassio’s promotion to lieutenant. By the end of Act III, Iago has replaced Cassio. Why does he go further and destroy both Desdemona and Othello? Is Samuel Taylor Coleridge’s description of “motiveless malignity” appropriate for Iago? 3. According to Aristotle, a tragedy is centered around a tragic hero, a person of nobility who suffers misfortune due to a flaw or weakness in his/her personality. For the audience, tragedy results in a catharsis—a pleasurable release of pity and fear. Analyze Othello in terms of Aristotle’s definition. Is Othello a tragic hero? If so, what is his tragic flaw? What parts of the play arouse pity and fear in the audience? Main MenuNext

137. 4. Analyze the play as a psychological struggle for the mind of Othello. What influence does Desdemona exert over him? Why is Iago able to convince him of Desdemona’s infidelity so easily? Does Othello’s gullibility make him a less believable character? 5. Analyze Othello’s role as an outsider in Venetian society. Does his status as a respected and powerful black man in a white society make him more attractive to Desdemona and more odious to Iago? To what extent does racial bigotry contribute to the tragedy? How would this play have been different if Othello were a white Venetian nobleman? 6. Analyze the role of women in Othello. How do Desdemona, Bianca and Emilia represent different types of women in Venetian society? How do Othello’s and Iago’s views of women differ? Does this change over the course of the play? 7. Shakespeare uses irony as a dramatic technique throughout Othello. Give four examples, and explain why each is ironic. Why is Iago the character who most often uses irony? Main MenuBack