Othello Knowledge Organiser (AQA - A)
Context (AO3)
Conflict between Othello and Iago is equivalent to the
conflict of traditional order and hierarchy and an emerging
individualism of observation and experience. Neither
position is successfully resolved in the end.
The influence of Machiavelli on the figure of the
malcontent (here Iago) shows how ruthlessness, betrayal,
deceit and murder become avenue for the disenfranchised
individual to obtain power.
The tragic genre examined in terms of Aristotle’s Poetics,
esp. the pity and fear evoked by an imperfect hero of high
status. Sir Philip Sydney’s 1595 suggestion of the
uncertainty of the tragic world and lessons it provides give
a further insight.
The play pits Iago’s individualism and belief in man being
in control of hi own destiny against Othello’s more
traditional Christian belief in fate, destiny and God.
Repeated cosmic references abound in Othello’s language
and fate seems to favour Iago’s plots.
Venice’s reputation was as a powerful city but one in
which sexual morality was loose. Byron wrote of female
courtesans “overstepping the modesty of marriage”. This
reputation aids Iago.
African Moors had visited London but would have been a
rare and exotic spectacle. European racial views on moors
put Othello into a undefined, mysterious world of
otherness. Prejudices focus on their depraved, different
and irrational natures.
Character summary
Othello, the protagonist, a moor and esteemed general of
the Venetian army. Powerful and noble, he is nonetheless
easily manipulated and overpowered by jealousy from
within.
Desdemona, the general’s new wife. She is innocent and
virtuous, but also dignified, assertive and self-determined
when dealing with her father and her husband.
Iago, a malcontent. He is the General’s ensign and,
although his motives aren’t always clear, he is
manipulative and poisonous with his words and delights in
the destruction of others’ happiness.
Emilia, long suffering wife of Iago, is attached to
Desdemona. Like her husband, she is cynical and her
attitudes often contrast with Desdemona. She helps, and
then betrays Iago.
Cassio, the newly promoted lieutenant, is the object of
Iago’s resentment. Here he is used by Iago to stoke the
fires of Othello’s insecurities and jealousy.
Bianca, a prostitute and typical courtesan. She is led on by
Cassio but her existence is also used to exploit Othello’s
insecurity.
Roderigo, whom Swinburne called a “tragicomic dullard”,
is desperate and foolish to give all his money to Iago to
help him win Desdemona. In fact, Iago uses him for his
own ends.
Brabantio, father of Desdemona, is appalled by his
daughter’s marriage to a moor, viewing it as an act of theft
or witchcraft by Othello. He views the act in racial terms
and sees the marriage as a betrayal.
D. Stanley, 2018
Main Themes
Jealousy
A driving force for conflict as experienced by multiple characters, including Othello, Iago,
Bianca and Roderigo.
Resentment of
Privilege
Notably on the part of the malcontent, Iago, who dislikes power in its various forms and how
it is conferred on people whom believes are unworthy.
Appearance and
Reality
Deceit is a key idea in the play, where Iago presents an ‘honest’ version of himself to gain
advantage for his own ends, while concealing the sinister motives that underlie his
performance. He also works as a ‘director’ of sorts in scenes of his own creation, creating
false realities for others.
Race and
prejudice
In spite of the honours conferred on him for service to the state, Othello finds the limits of
preferment when he marries Brabantio’s daughter. Iago’s language conflates racial hatred
and the idea of the sub-human ‘other’, stereotypes which are exposed for the audience.
Gender
In common with the time, Desdemona is viewed as property by her father. Women are
viewed as promiscuous by both Iago and Othello, their potential for sexual freedom is
threatening. However, feminine tenderness in the play also carries a moral force.
Love
Honigmann notes how the strength of Desdemona’s love is that she maintains it even in the
face of Othello’s violence. By contrast, he stops loving without having any real proof against
her.
Truth and lies
Copies examples of “honest” Iago creating false realities exist in the play. Iago isn’t the only
one who lies; Emilia does so too as does Desdemona. Emilia rectifies this in the final scene
while Desdemona’s final line is a lie delivered to save her husband and prove her love for him.
Symbols and motifs (AO2)
The Handkerchief – At first a token of love, it becomes a symbol of faith and fidelity on the part of Desdemona.
Heaven and Hell – Heaven represents truth and certainty for Othello and this becomes clouded. Heavenly judgement
becomes a dominant idea for Othello in Act 5. Elsewhere, devils serve as symbols of torment and sin.
Animal imagery – Iago’s bestiary is used as terms of abuse; shortly Othello adopts such language as his own.
Corruption – related to ideas about hell, corruption imagery represents the destruction of ideals and morality.
Maritime imagery – Othello is well travelled and his language speaks of experience and exotic journeys. The sea, with
its storms and vastness, also becomes a dramatic motif for unbounded passion and emotional turmoil.
Plants and gardens – Iago sees will-power as akin to the work of a gardener, who has total control over cultivation of
the individual self. This new way of seeing the self is in dynamic with the many references to ‘nature’ found in the
play.
Othello Knowledge Organiser (AQA - A)
Scene Summary
Key Quotation
1.1
Iago tells Roderigo why he hates Othello; both then wake
Brabantio.
Iago: “Even now…an old black ram / is tupping your white ewe!”
1.2
Iago warns Othello about Brabantio, who then attempts
to arrest him.
Brabantio: “Judge me the world, if 'tis not gross in sense / That thou hast practiced on her with
foul charms, / Abused her delicate youth with drugs or minerals / That weaken motion.”
1.3
At the senate, Othello defends his marriage and is sent to
defend Cyprus. Iago begins to manipulate Roderigo.
Desdemona: “That I did love the Moor to live with him / My downright violence and storm of
fortunes / May trumpet to the world.”
2.1
At Cyprus, a storm destroys the Turkish fleet. Various
attitudes to women are shown.
Iago: “I do suspect the lusty Moor / Hath leaped into my seat—the thought whereof Doth, like a
poisonous mineral, gnaw my inwards, / And nothing can or shall content my soul / Till I am
even'd with him, wife for wife”
2.2
Othello’s Herald proclaims a party to celebrate victory
and marriage.
Herald: “heaven bless the isle of Cyprus and our noble general Othello!”
2.3
Cassio gets drunk and fights Roderigo and Montano.
Othello demotes him. Iago begins to manipulate Cassio.
Cassio: “Reputation, reputation, reputation! O, I have / lost my reputation! I have lost the
immortal part of / myself, and what remains is bestial. My reputation, / Iago, my reputation!”
3.1
Cassio asks Iago to fetch Desdemona to help him recover
his name.
Cassio (talking about Iago): “I never knew a Florentine more kind an honest.”
3.2
Othello inspects defences and sends letters to the
senate.
Othello: “These letters give, Iago, to the pilot, / And by him do my duties to the Senate.“
3.3
Desdemona importunes Othello into forgiving Cassio.
Iago works on him too, provoking his jealousy and wrath
against Cassio.
Iago: “Dangerous conceits are in their natures poisons, Which at the first are scarce found to
distaste, But with a little act upon the blood / Burn like the mines of Sulphur.”
3.4
In an angry scene, Othello asks Desdemona for the
handkerchief, knowing she no longer has it. Cassio gives
it to Bianca.
Desdemona: “Alas, thrice-gentle Cassio, / My advocation is not now in tune. / My lord is not my
lord; nor should I know him / Were he in favour as in humour altered.”
4.1
Othello overhears Cassio talking to Iago about a woman
he assumes is his wife. Othello and Iago discuss her
murder. He strikes her in this scene.
Othello: “Ay, let her rot, and perish and be damned / tonight, for she shall not live. No, my
heart is turned / to stone. I strike it, and it hurts my hand.”
4.2
Othello wears Desdemona down with accusations, calling
her “whore”. Iago plots Cassio’s murder with Roderigo.
Othello: “This is a subtle whore, / A closet, lock and key, of villainous secrets; / And yet she’ll
kneel and pray, I have seen her do’t.”
4.3
Ordered to bed, Desdemona sings the “Willow Song” to
Emilia.
Emilia: “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.”
5.1
Roderigo attacks Cassio but is wounded. Iago takes
control as other arrive and throws suspicion onto Bianca.
Othello: “Forth of my heart those charms, thine eyes, are blotted.
Thy bed, lust-stained, shall with lust's blood be spotted.”
5.2
Othello smothers Desdemona. Iago stabs Emilia. Othello
kills himself. Nobody lives happily ever after.
Othello: “Yet I'll not shed her blood, / Nor scar that whiter skin of hers than snow,
And smooth as monumental alabaster.”
D. Stanley, 2018
Critics (AO5)
Jan Kott proposes two paradoxes: first, that Iago destroys Othello’s
world by revealing the vileness, envy and stupidity that exists within it; in
doing so, he also destroys himself. Secondly, that Desdemona’s proven
capacity for physical, passionate love both validates and condemns her in
Othello’s eyes. Love proves her undoing.
G. Wilson Knight discusses a “love-hate” theme which is driven by the
failing of love’s reality and the stripping of spiritual significance from the
object of love. The bestial side of love then takes over as goodness is
removed; the result is disorder, madness and the triumph of hate.
A.C. Bradley argues that calamities result from the actions of men and
we evaluate our pity accordingly. Protagonists with high status often
suffer inner conflict and their end is viewed as a tragic waste.