1 – 1.1 (opening lines)
(a) Which characters enter the stage at the start of
the play?
(b) Roderigo’s first word is “tush”
and Iago’s is “’Sblood”. What
type of words are these?
(c) What tone do these words set for the play?
2 – 1.1 (Iago’s attitude towards Cassio)
(a) Which mathematical noun is used to describe
Cassio, and what does this imply about Iago’s
attitude to him?
(a) Iago and Roderigo
(b) Curse words
(c) This communicates a sense of conflict from the
outset, indicating their immorality (which will contrast
with Othello’s protestations of morality in 1.3). It
makes the corruption of Venetian society clear to the
audience (again, in contrast to Othello in 1.2 and 1.3,
who seems oblivious to this).
(a) “Arithmetician”; Iago says that he despises Cassio for his
lack of practical experience in battle. Cassio is presented as
a man of intelligence, but not of ability.
(b) Iago believes in the meritocracy (for white people) – he
believes that individuals should be able to work their way
up through the ranks.
(b) What does this word reveal about Iago’s attitude (c) Venice and Florence were rival republics; like Othello,
to the concept of meritocracy?
Cassio is seen as an outsider in Venice. Iago’s Spanish name
(c) When Iago describes Cassio as a “Florentine”,
what does he reveal about his own character?
3 – 1.1 (attitudes towards gender)
(a) What feminine word does Iago use to describe
Cassio?
(b) What are the connotations of this word?
(c) What does Iago’s use of this word reveal about
his attitudes to masculinity and femininity?
4 – 1.1 (naming)
(a) What words do Iago and Roderigo use to refer to
Othello in this opening scene?
(b) Why might it be significant that they don’t use
Othello’s name?
(c) How does this (mis-)shape the audience’s
preconceptions about Othello?
might position him as an outsider too; yet it is clear that he
despises everybody who is different. Florence was also the
birth-place of Machiavelli – perhaps misleading the
audience that Cassio is going to be cunning?
(a) “spinster”
(b) Femininity; age; weakness; isolated; inexperience.
(c) Iago’s derogatory use of this word indicates his
misogynistic attitude towards women, and how – in
his stereotypical view – men should demonstrate
strength and valour (ironically, off the battlefield Iago
manipulates others to do this but doesn’t take violent
action himself until forced to).
(a) “Moor”, “Moorship”, “thicklips”
(b) Failing to use Othello’s name indicates that they do
not value him and is dehumanising (especially when
linked with the animal imagery which accompanies
these racial slurs). They constantly draw attention to
his ethnicity, as if he is completely defined by this.
(c) In 1.1 the audience is led to believe that Othello is
debased, untrustworthy and sexualised.
5 – 1.1 (key quotation – Iago)
(a) Finish Iago’s line: “I follow him to…”
(b) Explain what Iago means.
(c) How and why does Shakespeare use dramatic
irony?
6 – 1.1 (key quotation – Iago)
(a) Finish Iago’s line: “I am not….”
(b) Explain what Iago means.
(c) Explain the significance of the Biblical allusion.
(d) Explain the significance of the chiasmus.
7 – 1.1 (disease imagery)
(a) Iago wants to “poison [Brabantio’s] delight” and
“plague him with flies”. Explain Iago’s literal
meaning.
(b) What are the connotations of disease and
plagues, and how does this link to Iago’s actions
in the play?
(c) How does this support Coleridge’s theory of
Iago’s “motiveless malignity”?
8 – 1.1 (staging)
(a) What is the significance of the darkness at the
start of the play?
(a) “…serve my turn upon him”
(b) Iago means that he is pretending to be loyal to
Othello, only to betray him.
(c) When we see Iago talking to Othello in 1.2, we are
aware that he is being deceptive. This establishes
Iago’s role as a Machiavellian villain and illustrates
the external pressures on Othello (the duplicity of a
racist society that is content to let a black man lead its
army, but not marry its daughters).
(a) “…what I am”
(b) In this paradoxical line, Iago explains that he appears to be
loyal, but is actually corrupt.
(c) The allusion is to the Old Testament, where god says “I
am”. This phrase expresses the eternal goodness of God,
not to be changed by time or events. Iago’s appropriate of
the phrase is potentially blasphemous, but also indicates
that his racist actions are unwavering.
(d) The use of chiasmus introduces the theme of role-reversal
and also entrapment.
(a) Iago wants to upset Brabantio by telling him that
Desdemona has eloped with Othello.
(b) In the Old Testament, God sent 10 plagues to punish Egypt.
Thus, they are associated with consequences for immoral
behaviour and man’s insignificance against an
uncontrollable power. Diseases and plagues spread easily
and (at the time) had limited treatment – indicating man’s
helplessness at their hands. Thus, symbolically Iago’s evil
intentions will spread throughout society.
(c) Iago seems to take aesthetic delight in the idea of causing
misery for no particular purpose.
(a) The darkness connotes Iago’s evil (and the evil in society
that he symbolises); the evil at the heart of the human
condition; society’s blindness to the injustice of its racist
views.
(b) Why is Brabantio placed symbolically at an
upper window?
(b) Brabantio’s placement symbolises the hierarchical social
structure, in which money and power elevates an
individual’s importance.
(c) What is the symbolism of the street vs the
domestic space?
(c) The street symbolises chaos and lawlessness, whilst the
house represents order and contentment.
(d) Why would there be a visual juxtaposition
between Iago and Roderigo?
(d) Iago should be strong and powerful, Roderigo weak and
comic. Shakespeare establishes Iago’s power.
9 – 1.1 (key quotation)
(a) “…black ram is tupping your white ewe.”
(a) Finish Iago’s line: “even now, now, very now, an
(b) Iago is referring to Othello and Desdemona’s
old….”
consummation of their marriage.
(b) Explain what Iago means.
(c) Explain the significance of the animalistic language. (c) This language dehumanises both Othello and
(d) How is Iago shaping the audience’s preconceptions
Desdemona, communicating Iago’s racism and his
of Othello?
fear of miscegenation.
(e) What does this line reveal about Shakespeare’s
(d) Shakespeare highlights the unjust assumptions about
presentation of wider society?
race which were widespread at the time.
10 – 1.1 (key quotation – Iago)
(a) Iago calls Othello a “Barbary horse”. What does
this mean?
(b) What is the significance of the animalistic
language?
(c) How does this line link to the idea of the Great
Chain of Being?
(d) How does this quotation link to the post-colonial
concept of the “other”?
11 – 1.1 (patterns of speech)
(a) Barbary was thought to be the home of the Moors.
(b) This language communicates Iago’s viciousness,
cunning and ferocity. He demotes Othello as base,
flawed and inhuman, incapable of intelligent thought,
but only pursuit of physical pleasure.
(c) Animals were perceived as inferior to humans in this
hierarchy.
(d) Iago is presenting Othello as the “other”, completely
separate to white society.
(a) Blank verse is unrhymed iambic pentameter; prose is
unrhymed and without rhythm.
(a) What is the difference between blank verse and
prose?
(b) Iago
(b) Which character speaks partly in prose in this scene?
(c) It indicates his love for chaos.
(c) What is suggested by this character’s use of prose?
(d) It is Iago who speaks in an irrational, violent, chaotic
way. Whereas in 1.2 and 1.3, Othello speaks in
polished blank verse, suggesting his calmness,
intelligence and nobility.
(d) How does this character’s speech undermine his
presentation of Othello as debased, animalistic and
irrational?
12 – 1.1 (setting – Venice)
(a) What would the “positive” connotations of
Venice have been?
(b) What would the “negative” associations of
Venice have been?
(c) How does Iago’s character fit with the Italian
setting?
(a) Venice was associated with cosmopolitan sophistication. It
was thought to be a stable state which protected Europe
against the Turkish empire to the east. It was also a colonial
power – rather like England.
(b) Venice connoted a sense of depravity and immorality (due
to a high number of prostitutes). The culture was seen as
licentious and deceptive.
(c) Despite his Spanish name, Iago is the stereotypical Italian
villain whose Machiavellian characteristics echo
Machiavelli’s political guide-book (The Prince).
13 – 1.2 (Iago’s ‘Janus-faced’ character)
(a) What action does Iago say he wants to take
against Roderigo in the opening lines of this
scene?
(b) Which dramatic technique is being used here?
(c) How is Shakespeare shaping our understanding
of Iago’s character?
14 – 1.2 (Meeting Othello)
(a) What is Othello’s first line in the play?
(b) How is Othello’s character different to what we
expect?
(a) He claims that he wants to stab (‘yerk’) Roderigo under the
ribs.
(b) Dramatic irony
(c) Shakespeare emphasises the Machiavellian, deceptive
aspect of Iago’s character. The audience then doubts his
judgement of Othello in 1.1, and knows that Iago’s
motivations are dishonourable. At the same time, the fact
that both sides of Iago’s character are revealed to the
audience make us complicit in his actions and create a
potentially unsettling level of admiration for the villain.
(a) “’Tis better as it is.”
(b) Othello’s character appears to be rational and calm.
He considers his response to Iago carefully and
advises caution. This is very different to the bestial,
violent, manipulative character we have been led to
expect in 1.1
(c) What is the significance of Othello’s use of blank (c) Othello’s blank verse is indicative of his eloquence
and calmness. It helps to establish his nobility
verse in this scene?
(whereas Iago speaks in the anarchic prose of the
streets).
15 – 1.2 (Imagery of Disease)
(a) Iago – “[Roderigo] prated / And spoke in such scurvy
and provoking terms / Against your honour.”
(a) What image of disease appears in this scene?
(b) What might the image of disease represent in
relation to Iago’s character?
(b) Uncontrollable spread of evil; one person’s evil can
infect another (foreshadowing Iago’s influence over
Othello); the destructive impact of evil.
(c) To which images from 1.1 does the word
“scurvy” link?
(c) Iago wants to “poison [Brabantio’s] delight” and
“plague him with flies”.
16 – 1.2 (Othello’s self-confidence)
(a) Finish the line: “My services, which I have done
the signiory, / Shall……”
(b) Explain the quotation.
(c) How does this quotation link to the concept of
the tragic hero?
(a) “…out-tongue his complaints.”
(b) Othello believes that he has served his country well in battle,
and that his hard-work will overcome Brabantio’s fury at the
elopement with Desdemona.
(c) Othello’s statement reveals his noble status and high rank in
Venetian society, as well as his integrity in leading the army.
However, it also reveals an internal pressure on him – his lack
of understanding of the strength of the inherent racism of
Venice. This also shows the historical shift towards the belief
in the importance of the individual within society – and the
conflict this causes.
17 – 1.2 (Judging Othello)
(a) In 1.1, Othello is described using animalistic language
(“black ram”); the emphasis is placed on his ethnicity (“The
Moor”, “His Moorship”); and attention is drawn to his
(a) Explain how Othello’s character differs from how
sexual appetite rather than his intellectual or military
he is described in 1.1.
understanding. In 1.2, however, he is rational, measured,
calm and eloquent.
(b) Why might Shakespeare have presented Othello
negatively in 1.1, and then as noble and rational
in 1.2?
18 – 1.2 (Othello’s military success)
(a) How does Shakespeare communicate Othello’s
military success in this scene?
(b) The officer calls Othello “noble self”. How does
this differ from 1.1?
19 – 1.2 (Attitudes towards Women)
(a) Finish Iago’s line: Othello “hath boarded a…”
(b) Explain the quotation.
(c) Finish Othello’s line: “I … his daughter.”
(b) Shakespeare is challenging the audience’s racist
preconceptions. He is also revealing the external pressures
which society places upon the tragic hero – is his marriage
doomed to fail because he is continually being told it
cannot work?
(a) Othello commands the soldiers and they obey him
(“keep up your bright swords”). They also speak to
him respectfully (in contrast to Brabantio, for
example). The Duke has sent 3 search parties for
Othello, indicating how necessary he is to the
discussion about Cyprus.
(b) In 1.1 the characters referred to Othello using racial
language (“The Moor” / “black ram”). Here, the
officer is polite and respectful – he clearly recognises
Othello’s authority over him.
(a) “…land carrack.”
(b) A “land carrack” is a treasure ship or a prostitute, and
“boarded” has sexual implications. Iago means that Othello
has consummated his marriage with Desdemona, and
therefore secured his fortune.
(c) “won”
(d) Iago and Othello speak about women in a similar
(d) Both characters objectify women.
way. How would you describe this?
(e) Iago’s line has more sexual connotations than Othello’s,
(e) What is the main difference between Iago and
revealing the depth of his misogynistic attitude.
Othello’s lines?
(a) How is Cassio described by Iago in 1.1 and what
type of person do we expect?
(a) Cassio is a “Florentine” (an outsider), an
“arithmetician” and a “spinster”. We expect to meet a
weak character who is not used to dealing with
imminent crises.
(b) How does Cassio’s first appearance contrast
with our expectations?
(b) Instead of being an inexperienced fool, Cassio
appears to be reliable and trustworthy.
20 – 1.2 (Cassio’s first appearance)
(c) Why might Shakespeare present Iago’s depiction (c) Shakespeare is drawing attention to the inaccuracy of
of both Othello and Cassio as being ostensibly
Iago’s depictions in order to emphasise his villainy
incorrect?
and untrustworthiness.
21 – 1.2 (Attitudes to Love)
(a) Finish Othello’s line: “I love….”
(b) What is the effect of the simplicity and clarity of
this line?
(c) What are the connotations of “gentle”, and why
might Othello use this adjective to describe
Desdemona?
22 – 1.2 (Brabantio’s racism)
(a) Finish Brabantio’s line: Why should Desdemona
“Run from her guardage to the …………… / Of
such a thing as thou?”
(b) Explain the quotation.
(c) What does Brabantio symbolise at the start of
the play?
23 – 1.3 (Setting)
(a) In which room is this scene set?
(b) What is the symbolic significance of the setting
in relation to Othello’s character?
(c) What is the symbolic significance of the setting
in relation to Othello’s marriage?
24 – 1.3 (Theme of Conflict)
(a) “…the gentle Desdemona.”
(b) This line appears to be a genuine declaration of love. The
lack of reference to sex (in contrast with Iago’s lines in 1.1)
indicates Othello’s idealisation of romance. The fact that
when Desdemona appears on stage she is outspoken, not
necessarily “gentle”, reveals the precarious foundations of
this relationship.
(c) “Gentle” connotes calmness and kindness, as well as noble
birth (as in gentleman). This contrasts to the world of
conflict in Venice and Cyprus, but also reminds the
audience that Othello is not of the same social class as
Desdemona. Here Shakespeare establishes the fault lines
in their relationship which Iago will exploit.
(a) “sooty bosom”
(b) Brabantio struggles to understand why Desdemona
would leave the “safety” of her family home to marry
a black man. Brabantio’s language is derogatory and
dehumanising.
(c) Brabantio symbolises the racist ideology of the
period, believing that Othello can provide
entertainment and lead the army, but not intermarry
with the white population.
(a) In the council chamber.
(b) The Duke believes that Othello’s presence in this room is
essential for their deliberations – Othello is welcomed into
a place of power at the heart of Venetian society. His
elevated place in the social hierarchy is confirmed – and
political imperatives (war) are judged to be more
important in deciding this than personal conflict (his illicit
marriage).
(c) Throughout Othello, Shakespeare shows that men of
power cannot keep their personal lives private. Here, the
marriage is debated in a political space, indicating its
significance for society.
(a) Conflict between: races; social classes; individuals; parents
and children; countries.
(a) Which types of conflict appear at the start of the
(b) In a world of war, Othello’s marriage appears to be an oasis
play (and at the beginning of 1.3)?
(b) How does the proliferation of conflict contrast
with Othello and Desdemona’s marriage at this
point in the play?
(c) What is Shakespeare’s message about conflict?
of calm. It offers a possible escape from conflict, and
potential reconciliation between different groups.
(c) Given the eventual collapse of Othello’s marriage,
Shakespeare seems to suggest that conflict is a natural
disposition for humanity. Shakespeare suggests that
conflict spreads uncontrollably, like a disease.
25 – 1.3 (Attitudes towards Othello)
(a) Both the First Senator and the Duke call Othello
“valiant”. What does this word mean?
(b) How does this contrast with Iago, Roderigo, and
Brabantio’s attitude towards Othello in 1.1 and
1.2?
(c) How does this link to the concept of the tragic
hero?
26 – 1.3 (Othello’s first speech of defence)
(a) What is Othello’s attitude towards his own speech?
(b) Othello addresses the “potent, grave, and revered
signiors, / My very noble and approved good
masters”. Which language devices are used here and
why?
(c) Finish Othello’s line: “a round …….. tale will I deliver”.
(d) Which personal qualities is Shakespeare emphasising
in this speech?
27 – 1.3 (Attitudes towards Desdemona)
(a) Courageous, brave
(b) In 1.1 and 1.2, several of the characters used racist
language to describe Othello as base and animalistic. The
adjective “valiant” has moral connotations, indicating that
not only is Othello brave, but he is also a man of integrity
who will fight for what he knows is right.
(c) Shakespeare is establishing Othello’s nobility and strong
moral compass. Shakespeare may be suggesting that these
qualities will struggle survive in a modern political state.
(a) Othello believes he speaks poorly – “rude am I in my
speech”. This may reveal his innate self-consciousness and
awareness that he is an upstart within this society.
Alternatively, this could be an example of sprezzatura –
deliberately concealing one’s skill.
(b) Listing and flattery. Othello seems at pains to present
himself as respectful and polite – the audience gets the
sense that he is continually fighting against stereotypes.
(c) “unvarnished”
(d) Shakespeare underscores Othello’s measured approach to
the situation, his calm and rational response. He is also
presented as intelligent and eloquent, if slightly naïve in his
belief that the marriage will be accepted by all.
(a) “….bold”
(a) Finish Brabantio’s line: “A maiden never ….”
(b) Desdemona is presented as quiet, retiring and
inexperienced.
(b) What impression does this line give of
Desdemona’s character?
(c) When Desdemona appears in the scene she is
determined, eloquent and clear in her speech. She
seems to be unafraid to state her opinion, even in a
potentially imposing setting – a council chamber of
men whom she knows may disagree with her
decision.
(c) How is this impression challenged when
Desdemona enters?
28 – 1.3 (Othello’s 2nd speech of defence)
(a) Finish Othello’s line: “Her father loved me,
oft….”
(b) Explain this line.
(c) How does this line reveal Othello’s
misunderstanding of Venetian society?
(a) “…invited me”
(b) Othello’s account exposes the double-standard in
Venetian society – Othello is “oft” present for
entertainment, but is not permitted to fully integrate
with white society through marriage.
(c) It is not clear whether or not Othello understands
that Brabantio has been using him – this contributes
to Othello’s naïve belief that he has been (in some
way at least) accepted by Venetian society.
29 – 1.3 (Othello’s 2nd speech of defence)
(a) Finish Othello’s line: “This to hear / Would
Desdemona seriously incline, / But still….”
(b) Explain the quotation.
(c) How is this a stereotypical depiction of
femininity?
30 – 1.3 (Othello’s 2nd speech of defence)
(a) Finish Othello’s line: “She loved me for the ….. I
had passed / And I loved her that she did ….
them.”
(b) Explain the quotation.
(c) How does this quotation expose the fault-lines
in their relationship, which Iago is going to
exploit later in the play?
31 – 1.3 (First Impressions of Desdemona)
(a) Finish Desdemona’s line: “I do perceive here a
….”
(b) What impression do we get of Desdemona’s
character in her first speech?
(c) Desdemona says that if she is left behind in
Venice she will be like “a moth of peace”. What
does she mean by this?
32 – 1.3 (Brabantio’s prediction)
(a) “….the house affairs would draw her thence.”
(b) Desdemona seems drawn to Othello and wants to
listen to his narrative, but must instead fulfil her
household responsibilities.
(c) Othello does not question the rightness of
Desdemona’s role in the domestic sphere.
Shakespeare also reveals how Desdemona’s life
experience is limited by her household obligations.
(a) “dangers” “pity”
(b) Desdemona loves Othello because he is adventurous and
courageous; Othello loves Desdemona because of her
emotional response to his narrative.
(c) It is clear that the foundations of the marriage are
precarious. Othello shows little awareness of Desdemona’s
determination and independence – character traits which
become apparent as soon as we meet her later in this
scene; this prompts the reader to question how well he
knows his new wife.
(a) “…divided duty.”
(b) Desdemona’s speech reveals her eloquence and
intelligence, as well as her determination and
willingness to challenge society.
(c) Desdemona may mean that if Othello leaves for
Cyprus without her, she will be left in the dark. Like a
moth to the light, she is drawn to Othello. Moths are
frail and delicate, suggesting that she looks to him as
a source of strength.
(a) “…deceived her father, and may thee.”
(a) Finish Brabantio’s line: “Look to her, Moor, if
thou hast eyes to see: / She has….”
(b) Brabantio warns Othello that he must watch Desdemona
carefully. As she has tricked one person, she might easily
trick another. This line contributes to sowing seeds of
doubt in Othello’s mind about Desdemona’s honesty.
(b) Explain the quotation.
(c) The full rhyme suggests that Brabantio’s statement is one
(c) What is the effect of the full rhyme?
of longstanding truth (like a proverb) and also contributes
to its memorability – the line haunts the rest of the play as
Othello begins to doubt Desdemona’s chastity. Iago alludes
to this line later in the play, when it becomes clear that he
has silently observed this scene very closely and uses it
against his master.
33 – 1.3 (Iago’s soliloquy)
(a) What motivations does Iago give for hating
Othello?
(b) Finish Iago’s line: “the Moor is of a free and …..”
(c) Explain Iago’s meaning.
(d) Which animal does Iago compare Othello to?
What is the significance of this animalistic
imagery?
34 – 1.3 (Iago’s soliloquy)
(a) Although he has no proof, Iago believes Othello has had an
affair with Emilia (“done my office”). Iago is jealous of
Cassio. This could be an early sign that Iago attempts to
place the responsibility for his own actions on others.
(b) “…open nature / That thinks men honest that but seem to
be so.”
(c) Iago understands that Othello naively trusts all those
around him.
(d) Iago says that Othello will be “led by the nose / As asses
are.” Iago continually uses derogatory language to describe
Othello; Shakespeare reminds us of Iago’s racism.
(a) “…this monstrous birth to the world’s light.”
(a) Finish Iago’s closing couplet for this scene: “Hell
and night / Must bring ….”
(b) Iago calls on the power of hell to help him go through
with his despicable plan to deceive Othello.
(b) Explain Iago’s meaning.
(c) Like Brabantio’s earlier couplet, here the full rhyme
gives the impression of a decision being made and
sealed up – there is no going back for Iago and
Othello’s downfall now seems inevitable.
(c) What is the significance of the full rhyme?
35 – 2.1 (Storm symbolism)
(a) What is the function of the storm in the play’s
plot?
(b) What aspect of tragedy does the storm
symbolise?
(c) What emotional tempests does the storm
foreshadow?
36 – 2.1 (Symbolism of Cyprus)
(a) What does Cyprus symbolise in the play?
(b) How is Cyprus described by various characters?
(c) How does Cyprus combine love and war?
(a) The storm destroys the Turkish fleet and secures
victory for the Venetian troops.
(b) The storm symbolises the increasing chaos in the play
as Iago’s malevolent influence becomes more
powerful. It could also represent the magnitude of
natural forces and how they dominate mankind.
(c) The “foul and violent tempest” foreshadows Othello’s
irrational attack on Desdemona at the end of the play.
(a) Cyprus is on the edge of civilisation and therefore
symbolises chaos, lack of law and order, and the precarious
balance of society.
(b) “This warlike isle”
(c) Cyprus is a military outpost, but is also known as the
birthplace of the love goddess, Aphrodite (Desdemona is
welcomed to Cyprus in divine language – and, like
Aphrodite, is accused of infidelity). It unites the concepts of
love and war in the play, indicating that personal and public
are interlinked.
37 – 2.1 (Cassio)
(a) How does Shakespeare show Cassio’s naivety at
the start of this act?
(b) Finish the quotation: “our great….”
(c) Explain the quotation.
38 – 2.1 (Desdemona)
(a) How does Shakespeare reveal Desdemona’s
confidence when she arrives on Cyprus?
(b) What is Desdemona’s attitude to Othello in this
scene?
(c) Finish the quotation: Othello describes
Desdemona as “my fair…”. Explain the
quotation.
39 – 2.1 (Emilia)
(a) What impression is given of Emilia in this scene?
(b) How does Shakespeare use Emilia to reveal his
attitude to the treatment of women?
40 – 2.1 (Othello’s arrival)
(a) Finish the quotation: “O my soul’s …, / If after
every tempest came such…. / May the winds
blow till they have wakened…”
(b) Explain the quotation.
(c) Why is the natural imagery unsettling?
(d) Why is the sea a potent symbol in the play?
(a) Cassio naively praises Desdemona in public, calling
her “exquisite” and “divine”. He also openly kisses her
hand, thus allowing Iago to easily make accusations
against him.
(b) “…captain’s captain.”
(c) Cassio suggests that Desdemona is dominant in the
relationship, which challenges gender stereotypes in a
patriarchal society. In addition, given his use of
military language, it might suggest an improper
merging of personal and political ideas.
(a) Desdemona engages in witty, bawdy conversation with
Iago. This may also suggest her naivety and her sheltered
upbringing; her engagement in this conversation is
inappropriate for a woman and plays into Iago’s hands.
(b) When Othello arrives, Desdemona asserts her loyalty to
him – calling him “my dear Othello”.
(c) “…warrior”. This seeming paradox indicates Othello’s
sense of possession (“my”), his admiration (“fair”), and his
respect for Desdemona’s independence and confidence
(“warrior”). However, it is these latter qualities which will
lead him to doubt her faithfulness later in the play.
(a) Emilia appears to be subservient to Iago; she is
relatively silent and receives insults with little protest.
(b) Arguably, sympathy is garnered for Emilia by Iago’s
harsh treatment of her in this scene. He insults her
and expects her to accept this. Shakespeare seems to
be suggesting that, in a patriarchal society, women
are treated unfairly. This more traditional model for
marriage appears weak and unfulfilled when
juxtaposed with Othello and Desdemona’s passion for
each other.
(a) “joy” “calms” “death”
(b) Othello seems completely fulfilled in his marriage and he is
overjoyed to be reunited with Desdemona. He says that if being in
a violent storm can lead to such happiness, then more storms can
come.
(c) Othello seems to be inviting more stormy weather. Although he
means this literally, metaphorically he is welcoming arguments
and disagreements into his marriage. The reference to “death”
may foreshadow the tragic events of the final act.
(d) The sea symbolises the vast scale of Othello’s love, and suggests
that marriage between a white woman and a black man is natural
(in contrast to racist beliefs of the day). However, there is also a
sense that mankind is at the mercy of the sea’s currents – Othello
is not in control here.
41 – 2.1 (Iago)
(a) Finish the quotation: “You are well….”
(b) Explain the quotation.
(c) What is the effect of Iago saying this as an aside?
(a) “…tuned now: but I’ll set down / The pegs”.
(b) Iago uses a musical image to describe Othello and
Desdemona’s relationship as harmonious. He then plans to
destroy their happiness (as if a musician turned the pegs on
a stringed instrument to put it out of tune).
(c) The frequent use of aside and soliloquy creates dramatic
irony, and means that the audience is made complicit with
Iago’s plan; we follow his increasing control of Othello
every step of the way. Thus, Shakespeare reveals that we
all – including the audience – have a capacity for evil.
42 – 2.1 (Iago’s soliloquy)
(a) “leaped into my seat” “poisonous”
(a) Finish the quotation: “I do suspect the lusty
(b) Iago suggests that Othello may have had an affair
Moor / Hath ….., the thought whereof / Doth like
with Emilia – although there is no “ocular proof” or
a ……. mineral gnaw my inwards”
indication of this in the play, beyond what Iago says
(b) How might this provide some motivation for
about it.
Iago’s actions in the play?
(c) Absolute, unstoppable destruction; lack of control
(c) What are the connotations of the imagery of
over one’s own thoughts; spread of evil throughout
poison?
society.
(d) What are the conntotations of the verb “gnaw”?
(d) Violence, continual pain, intense suffering.
43 – 2.2 (the wedding celebration is announced)
(a) What adjectives does the Herald use to describe
Othello?
(b) What is the function of this scene?
(c) What is suggested by the decision to celebrate
both victory in war AND Othello’s marriage at
the same event?
44 – 2.3 (Othello leaves Cassio in charge)
(a) How does Othello address Cassio at the start of
this scene, and why is this significant?
(b) Why is this ironic?
(c) What does this indicate about Othello’s
character?
(a) “noble and valiant”
(b) This scene emphasises the people’s admiration for
Othello, consolidating his role as the leader and hero
of society at this point in the play. It therefore
underscores the height from which he falls later in the
text.
(c) The play continually makes a link between love and
war. Is Shakespeare suggesting that in such a military
society, love cannot survive as it will inevitably be
infected by violence and animosity?
(a) “Good Michael” “Let’s”; the adjective “good” emphasises
Othello’s admiring attitude towards Cassio’s character. The
use of the informal first name and the plural pronoun
indicates a sense of closeness between them.
(b) By the end of the scene, Othello will have demoted Cassio
and been extremely angry with him.
(c) This portrays Othello as a changeable character who can
be loving one moment, and angry and vengeful the next,
thus perhaps suggesting that Shakespeare gradually
confirms – rather than challenging – racial stereotypes in
the play. It foreshadows the transformation of his
relationship with Desdemona.
45 – 2.3 (Cassio’s attitude towards Desdemona)
(a) How does Cassio describe Desdemona in this
scene?
(b) How does Cassio conform to gender stereotypes
of the time?
(c) How does Shakespeare use Cassio’s comments
to reveal Iago’s base attitude to femininity?
46 – 2.3 (the drunken brawl)
(a) What does the drunken brawl symbolise?
(b) During the brawl Montano and Cassio shift from
blank verse to prose. What does this signify?
47 – 2.3 (Othello restores order)
(a) How does Othello describe the brawl when he
enters the scene?
(b) How does Shakespeare present Othello as the
voice of reason at this point?
(c) Which earlier event does this echo?
48 – 2.3 (Othello’s loss of control)
(a) Finish the quotation: “my blood begins my safer
…. / And passion, having my best judgement
collied, / Assays to….”
(b) Why is this a significant turning point for
Othello’s character?
(c) Why is it important that Othello starts to use
profane language (“zounds”)?
(a) “exquisite” “fresh” “delicate”
(b) Cassio’s views reflect the Madonna-whore paradigm;
he views Desdemona as a Madonna figure who
epitomises perfection and requires protection.
(c) Shakespeare juxtaposes Cassio’s admiring comments
about Desdemona with Iago’s sexualised, animalistic
statements (“full of game” “sport”). This highlights
Iago’s lack of appreciation of a higher order of
emotion and how he consistently returns to base
physicality.
(a) The shift from political and social order to chaos, just
as the natural world has already had a moment of
chaos in the storm at the start of Act 2.
(b) This shift from regular iambic pentameter to the
chaos of prose is a signal of the increasing disorder in
the play. Previously, we have heard Iago speaking in
prose and so it is associated with his malevolence and
destructive impulses. Later, Othello will also begin to
speak in this way.
(a) “barbarous brawl”
(b) Othello’s entrance on stage signals the end of the
fighting and the restoration of order. His authority
and status as commander of the isle is reasserted.
(c) In 1.2, Iago tells Othello that he wants to “yerk”
Roderigo in the ribs. Othello tells him that “tis better
as it is” and calms Iago’s apparently violent, vengeful
impulses.
(a) “guides to rule” “lead the way”
(b) When Othello first entered after the brawl he started to
reassert order. However, he appears to be losing control
over his own responses to the fight and to be led by
emotion rather than rational thought. This is an early hint
that his irrationality is growing, and foreshadows the illconsidered, violent decisions he makes later in the play.
(c) In doing so, his language starts to converge with Iago’s
(Iago’s first word in the play is “’Sblood”). Therefore,
Shakespeare indicates that Iago’s base immorality is
starting to have a detrimental impact on Othello’s mind.
49 – 2.3 (Desdemona is silenced)
(a) What does Desdemona do during the drunken
brawl scene?
(b) Othello says “All’s well now, sweeting”. What is
significant (and troubling) about this line?
(c) How has Desdemona’s character changed?
(a) Desdemona appears on stage to ask what is happening:
“What’s the matter, dear?”
(b) Othello’s tone is dismissive and patronising. He doesn’t
explain what is happening (in contrast to the invitation he
extends to Desdemona to enter the discussion in Venice,
and agreeing to her request to join the battle-ships). Whilst
the noun “sweeting” is a term of endearment, it is also
diminutive and indicates that Othello is now following
gender stereotypes in his marriage.
(c) From being a determined, vocal character in Act 1 and the
start of Act 2, Desdemona has started to become
subservient to Othello and is losing her voice in the play.
50 – 2.3 (Cassio and reputation)
(a) Finish the quotation: “I have lost my reputation,
I have lost…”
(b) Explain the quotation.
(c) How does this quotatione echo Shakespeare’s
depiction of Iago?
51 – 2.3 (Iago’s soliloquy)
(a) “…the immortal part of myself – and what remains is
bestial.”
(b) Cassio believes that he has lost his social status and
the respect of others. Now that his morality has been
compromised, he believes that he has become no
better than an animal.
(c) Throughout the play Iago appears to reject higher
levels of thought, emotion and morality, and to revel
in base instinct.
(a) “hell”
(a) Finish the quotation: “Divinity of …”
(b) In this paradox, Iago celebrates hell, immorality, evil and base
instinct. He revels in the pleasure of malevolence and evil.
Shakespeare thus exposes his utter, unredeemable villainy.
(b) Explain the quotation.
(c) “pestilence”
(c) Finish the quotation: “I’ll pour this … into his
ear”
(d) What are the connotations of the missing word
in (c)?
(e) Iago says that he will “enmesh them all”. What
are the connotations of “enmesh”?
52 – 3.1 (Emilia; the aftermath of the drunken brawl)
(a) Why does Emilia come on stage in this scene?
What does this suggest?
(b) What does Emilia tell Cassio?
(c) What overall impression do we get of Emilia’s
invovlement in Iago’s plan?
(d) Pestilence is a contagious, devastating epidemic. This suggests
that, once unleashed, Iago’s lies and manipulation will be
powerful and unstoppable – they will infect not only Othello, but
the others in this microcosm of Venetian society.
(e) Similar to “ensnare”, “enmesh” means to trap and tangle. It is
often used for animals, indicating Iago’s debased attitude to
humanity and his feeling of superiority.
(a) Cassio asks for her, and Iago sends her. This suggests
Emilia’s submissive attitude to her husband, and her desire
to please him.
(b) Emilia says that Desdemona is defending Cassio to Othello,
but that Othello cannot reinstate him because Cassio’s
victim is important in Cyprus.
(c) Like Roderigo, at this point in the play, Emilia appears to be
a dupe who is deceived by Iago. She speaks respectfully
and honestly, furthering Iago’s plan with her willingness to
serve those around her. We will discover later in the play
that this is something of a façade; Emilia is actually cynical
about women’s role in a patriarchal society.
53 – 3.2 (Othello’s re-assertion of authority following
the drunken brawl)
(a) What 2 commands does Othello give in this
short scene?
(b) What is the function of this short scene?
54 – 3.3 (Desdemona’s determination to defend Cassio)
(a) Othello commands Iago to send letters to Venice and the
gentlemen to follow him as he inspects the battlements.
(b) In this scene, Othello reasserts his calm, rational authority
over Cyprus. Shakespeare uses this as an opportunity to
show him as a dedicated leader who will attend to
business, even the morning after he has celebrated his
wedding. However, as Othello has left Desdemona alone so
soon after their reunion the audience may start to pose
questions about the true closeness and strength of their
marriage.
(a) Loyal, honest, unaware, naïve, loving, determined,
vocal.
(a) List 3 adjectives to describe Desdemona’s
character at the start of this scene.
(b) “obedient”
(b) Finish the quotation: “Whate’ver you be, I am…”
(c) Desdemona says that however Othello behaves as a
husband, she will be an obedient wife.
(c) Explain the quotation.
(d) How is Desdemona’s character changing at this
point in the play?
55 – 3.3 (sowing the seeds of jealousy)
(a) What methods does Iago use to plant the seeds
of distrust in Othello’s mind?
(d) Compared to her defiance of Brabantio and her
determination to go to Cyprus in Act 1, Desdemona
seems to be becoming increasingly submissive and
compromising.
(a) Suggestion (Iago says “I like not that” when they see Cassio
talking privately to Desdemona); questioning (Iago, apparently
innocently, asks if Cassio knew Desdemona before the
marriage); repetition (Iago repeats Othello’s words to provide
them with more weight); a pretended reluctance to speak his
mind.
(b) Finish the quotation: “Beware, my lord, of …! / It
(b) “jealousy” “green-eyed monster”
is the ….., which doth mock / The meat it feeds
on.”
(c) “Monster” suggests a powerful, uncontrollable force which
(c) What does the demonic imagery connote?
(d) What is the significance of the eating imagery?
can take over the mind. It indicates that monstrousness – or
evil impulses – are part of what it means to be human.
(d) Iago’s language continually returns to base, physical impulses,
suggesting that human nature is to consume and destroy.
56 – 3.3 (Othello’s transformation)
(a) Finish the quotation: “Excellent wretch!
Perdition… / But I do love thee! And when I love
thee not / ….”
(b) Explain the quotation.
(c) How does this quotation show the
transformation in Othello’s attitude towards
Desdemona?
(a) “catch my soul” “Chaos is come again”
(b) Wonderful deceiver! I’ll be damned if I don’t love you!
And when I don’t love you, my life is full of chaos.
(c) Earlier in the play, Othello called Desdemona “my
soul’s joy”. Now he is caught between hatred and
passion. The increasing violence of his language
foreshadows events to come later in the play, whilst
the word “chaos” indicates that the loss of love will
lead to moral, psychological and political disorder.
57 – 3.3 (Othello’s transformation)
(a) “toad” “dungeon” “thing”
(b) Othello says that he would rather be a toad (a hateful animal) and
live in a dungeon than allow other people to use Desdemona’s
body.
(a) Finish the quotation: “I had rather be a …. / And
live upon the vapour of a … / Than keep a corner (c) Until now, we associate animal imagery with Iago (“beast” “black
in the … I love / For others’ uses.”
ram”). It has revealed his racist attitude towards Othello, and his
(b) Explain the quotation.
(c) What is the significance of the animal imagery?
(d) What is the significance of the noun “thing”?
58 – 3.3 (Emilia’s relationship with Iago)
(a) What does Emilia do in this scene to please her
husband?
(b) Finish the quotation: “I nothing, but to ….”
(c) What do (a) and (b) show about Emilia’s
character?
59 – 3.3 (Othello’s increasing violence)
(a) Finish the quotation: “I’ll tear her…!”
(b) What does this line show about the
transformation in Othello’s character?
(c) How has Othello’s choice of words changed
since Act 1?
60 – 3.4 (Desdemona’s naivety)
debased attitude towards humanity in general. Now Othello’s
language is converging with Iago’s, showing the villain’s increasing
power over him, and the transformation in Othello’s mind from
high and noble thoughts, to physical and hateful ideas.
(d) Earlier in the play, Othello objectified Desdemona by saying he
“won” her. This benign objectification has now become
malignant, as he dehumanises her.
(a) Emilia picks up the handkerchief that Desdemona has
dropped, commenting that Iago has a “hundred times”
asked her to steal it.
(b) “…please his fantasy.”
(c) Emilia is submissive and subservient to Iago, in accordance
with Jacobean gender stereotypes. She is a dupe in his
plan. The handkerchief gives her temporary power over
Iago; she has something that he wants and is able to entice
him with it. Here, we gain a sense of women’s poor
treatment within this hypermasculine society, and Emilia’s
desperation to be loved.
(a) “…all to pieces!”
(b) Othello is falling from the calm, rational, eloquent
hero we see in Act 1, into a state of savage violence
and depravity. Iago is shaping him so that he fits the
racial stereotypes of the day.
(c) Polysyllabic monosyllabic, showing a loss of
complex thought;
Calm and ordered violent, indicating increasing
frustration; Passionate and flattering dismissive
(“her”), implying his increasing objectification of
Desdemona.
(a) “…such baseness / As jealous creatures are”
(a) Finish the quotation: “My noble Moor / Is of true (b) Desdemona perceives Othello as being honourable
mind, and made of no….”
and virtuous; she does not think he is capable of
jealousy.
(b) Explain Desdemona’s meaning.
(c) What does Desdemona’s assertion reveal about
her character?
(c) Desdemona’s naivety and lack of understanding of
her husband are palpable here. More positively,
perhaps these lines reveal her own integrity and faith
in mankind. Desdemona’s faith is juxtaposed with
Emilia’s cynicism.
61 – 3.4 (Emilia’s perspicacity)
(a) When Desdemona asserts that Othello cannot
be “jealous”, Emilia responds: “is he not
jealous?” Why might Emilia ask this question?
(b) How is Emilia’s character starting to develop?
(a) Emilia’s loyalty to Iago and her cautiousness in speech
(she doesn’t speak in a forthright way until the play’s
denouement) prevent her from stating her mind
clearly; instead, she asks a question in an attempt to
prompt Desdemona into a greater understanding of
her situation.
(b) Emilia’s loyalty to, and compassion for, Desdemona is
increasing. She is also starting to become more
confident in articulating her opinion.
62 – 3.4 (Desdemona’s hand)
(a) Othello takes Desdemona’s hand – how does he
describe it?
(b) How does this contrast with Othello’s earlier
reference to his wife as “the gentle
Desdemona”?
(c) What is changing in Othello’s attitude to
marriage, women and humanity?
63 – 3.4 (the myth of the handkerchief)
(a) What does Othello say is the handkerchief’s origin?
(b) What does Othello believe is the handkerchief’s
power?
(c) Othello states that if the handkerchief is lost, it will
lead to “perdition”. Which other quotation in the play
does this recall, and why?
(d) When Othello says that “there’s magic in the web of
it”, how is this different to his initial assertion about
his romance with Desdemona (Act 1)?
64 – 3.4 (the theme of gender)
(a) Complete Emilia’s first statement about the nature of
romantic relationships: “They are all but stomachs,
and we are …”
(b) What does Emilia mean by this?
(c) Which of these words most appropriately describes
Emilia’s attitude to romance: idealistic, cynical,
realistic, distrustful?
(d) What can we infer about Emilia’s relationship with
Iago?
(a) “A young and sweating devil, here / That commonly rebels”
(b) Whereas Othello previously described Desdemona using
transcendent language, here he concentrates on
physicality. His use of euphemism is reminiscent of Iago’s
language, as is the religious allusion to the “devil”.
“Common” has the double meaning of “often” and “lower
class”; Othello now sees his wife as debased, and uses
debased language to talk to and about her.
(c) Whereas at the start of the play, Othello’s understanding of
love was elevated, idealised and pure, it is now debased
and distrustful.
(a) “That handkerchief / Did an Egyptian to my mother give”
(b) Othello states that if the handkerchief is lost, this will lead
to the ruin of the relationship. If kept, the handkerchief will
ensure the loyalty of one’s spouse.
(c) “Perdition catch my soul, but I do love thee. And when I
love thee not, chaos is come again.” Perdition means
punishment in hell; Othello’s believes that Desdemona
needs to experience eternal suffering, or that her alleged
betrayal has led them into a living hell.
(d) In Act 1, Othello insists that he did not use “witchcraft” to
woo Desdemona. However, here he seems happy to
acknowledge it. Iago is shaping Othello into a stereotype.
(a) “…all but food.”
(b) Emilia believes that within romantic relationships, men
“consume” their partners – taking what they want in terms
of sexual pleasure, and destroying women’s sense of self in
the process.
(c) Cynical – Emilia questions loyalty, honesty, depth of love;
realistic – Emilia’s perspective seems to be born out of her
experience with Iago.
(d) Emilia later accuses Iago of unfounded jealousy of her
supposed relationship with Othello. We can infer that Iago
is jealous, possessive, and exploitative in his marriage.
65 – 3.4 (the theme of jealousy)
(a) Complete Emilia’s statement about jealousy: “It
is a monster / Begot…”
(b) What does Emilia mean by this?
(c) What are the connotations of the noun
“monster”, and where else do we hear this word
in the play?
66 – 3.4 (Bianca)
(a) The audience first meets Banca when Cassio gives her
the handkerchief. She responds with the statement
“this is some token from a newer friend!” What does
this reveal about Bianca’s character?
(b) What does Bianca’s name mean, and why is this
symbolic?
(c) Bianca and Desdemona never meet (it is possible
they were originally played by the same actress). How
and why does Shakespeare parallel their characters?
67 – 4.1 (the theme of jealousy)
(a) Complete Othello’s line: “It comes o’er my
memory / As doth the raven o’er…”
(b) What does the raven symbolise?
(c) What does the disease imagery symbolise within
the play?
(d) Link the disease imagery to another quotation
from the play.
(a) “…upon itself, born on itself.”
(b) Emilia understands that jealous thoughts breed more
suspicion and further anxieties and concerns – once the
seed of jealousy is planted it can grow unchecked.
(c) The concept of being monstrous refers to unnatural,
deviant or immoral behaviour in the play. Iago refers to
his plot as a “monstrous birth” and Othello calls
Desdemona’s alleged infidelity “monstrous”. This
demonic imagery alludes to complete, unstoppable and
almost unspeakable destruction.
(a) Bianca’s jealousy about the handkerchief parallels
Othello’s reaction about the same object. Like Othello,
Bianca is completely besotted and then believes she is
betrayed.
(b) White – this suggests that, despite her employment, Bianca
is actually a moral character with integrity. Unlike others,
she is honest in her emotions and intentions.
(c) Bianca’s name also connects her with Desdemona, who lies
on white wedding sheets at the play’s conclusion. It is only
an accident of birth which separates them. They both
suffer in a patriarchal society – yet Bianca survives because
she is more worldly-wise.
(a) “…the infectious house”
(b) The raven (as in Macbeth) is a symbol of death.
(c) Disease symbolises continually spreading and
unstoppable immorality and destruction. It seems to
be an innate aspect of human existence that
requires the correct “medicine”.
(d) “I’ll pour this pestilence into his ear” – Iago has
initiated the spread of disease in the play.
68 – 4.1 (Othello’s madness)
(a) How does Othello’s language change in this scene:
“Lie with her? Lie on her? […] Zounds […] Noses, ears
and lips. […] Confess! Handkerchief!”
(b) What illness overcomes Othello at this point?
(c) What does the illness symbolise?
(d) Iago describes Othello’s illness as a “savage
madness”. What are the connotations of these
words?
(a) Blank verse  prose; eloquent phrasing  broken
sentences; assertions  questions; idealised, elevated
diction  debased imagery.
(b) Othello faints; many regard this as an epileptic fit.
(c) To see the tragic hero in a fit at Iago’s feet is unnerving for
the audience. It emphasises his complete lack of power and
agency, and his vulnerability to Iago.
(d) Iago’s language re-asserts his racist attitude to Othello;
“savage” connotes a lack of civilisation and rational
thought. “Madness” suggests that Othello is unfit to rule.
69 – 4.1 (Othello’s jealousy)
(a) Finish Othello’s line: “Let her rot and perish and be
damned tonight, for…. . No, my heart is turned to
stone: I strike it….”
(b) What does Othello’s use of religious language reveal
about his changing attitude to Desdemona?
(c) What are the connotations of Othello’s “ston[y]”
heart?
(d) What is the significance of Othello’s use of prose?
70 – 4.1 (planning the murder)
(a) Othello decides to kill Desdemona; what method
does he want to use, and how does this link with the
play’s symbolism?
(b) Iago instructs Othello to use a different method of
murder. What is it, and why is it symbolic?
(c) Iago is stage-managing the play. What methods does
he use to maintain his power?
71 – 4.1 (increasing violence)
(a) What violent act does Othello commit in this
scene?
(b) Why is it significant that Othello commits this act
in public?
(c) How does this scene hold up a distorted mirror
to Act 2 Scene 1?
72 – 4.1 (the function of Lodovico)
(a) Who is Lodovico?
(b) How does Lodovico react to Othello’s assault on
Desdemona?
(c) Lodovico asks if “This [is] the nature / Whom passion
could not shake?” How does this link to Othello’s
reaction to the fight in 2.3?
(d) What is Lodovico’s function at this point of the play?
(a) “she shall not live” “and it hurts my hand”
(b) Othello believes that Desdemona’s alleged infidelity
should lead to her suffering in hell. It also serves as a
means to justify his actions; Othello asserts that he is
acting within the moral code of the Christian world –
righteously dealing out judgement and punishment.
(c) “Stone” is cold, unchanging and emotionless.
(d) The shift from blank verse to prose shows Othello’s
increasing irrationality. Within the conventions of the
Shakespearean tragedy, it indicates his loss of elevated
thought. It also reveals his convergence with Iago’s
language.
(a) Poison – this coincides with the use of poison and disease
imagery throughout the play, which reveals the spread of
corruption in society.
(b) Iago tells Othello to “Strangle her in her bed – even the
bed she hath contaminated”. Iago places emphasis on
Desdemona’s supposed sexual decadence, and the
betrayal of her marriage vows. Strangling will also silence
her – symbolically showing how women are marginalised
within a controlling patriarchal society.
(c) Iago’s primary method is the manipulation of language.
His instructions regarding the murder prompt Othello to
visualise Desdemona’s infidelity, thus further stoking the
fire of his anger and jealousy.
(a) Othello strikes Desdemona.
(b) What is private has now become public; Othello’s
personal reaction to Desdemona’s apparent infidelity
is not in the public realm, and prompts people to
question his ability not just to love, but also to lead the
garrison town.
(c) In 2.1, Othello greets Desdemona in public, saying “O
my soul’s joy”. Now he greets her in public again, but
with violence and disgust. The staging of the scene
emphasises how far their relationship has fallen.
(a) A leader of Venice related to Brabantio.
(b) He is absolutely horrified and responds with disbelief,
asking “Is this the noble Moor whom our full senate / Call
all in all sufficient?”
(c) In 2.3, Othello’s emotions overtook his rational thought.
The same is true in Lodovico’s question here – “passion”
has overcome Othello’s integrity and calm demeanour.
(d) Lodovico has not witnessed the decline in Othello and
Desdemona’s relationship over the preceding days. His
arrival on Cyprus therefore highlights the extreme change
in their marriage, and he provides a moral commentary
on Othello’s actions.
73 – 4.2 (Emilia’s defence of Desdemona)
(a) Complete Emilia’s line to Othello: “I durst, my lord, to
wager she is honest, / ….”
(b) What does the repetition of the adjective “honest”
throughout the play suggest?
(c) At the end of the scene, Emilia insists to Iago that
“The Moor’s abused by some … base notorious
knave, some scurvy fellow”. What are the
connotations of the underlined adjectives?
(d) How is Emilia’s character developing as the play
progresses?
74 – 4.2 (Desdemona’s victimhood)
(a) When Othello speaks to Desdemona, she says “My
lord, what is your will?” and “What is your pleasure?”
How is Desdemona’s character changing?
(b) What insult does Othello launch at Desdemona in this
scene?
(c) What does this insult show about Othello’s attitude
towards Desdemona?
75 – 4.2 (patterns of imagery)
(a) Complete Othello’s lines: “The fountain from the
which my current runs / Or else dries up – to be
discarded thence! / Or keep it as…”
(b) What does water usually symbolise?
(c) How has the water imagery become debased in this
quotation?
(d) What is the significance of the animal imagery?
76 – 4.3 (heightening pathos for Desdemona)
(a) Complete Desdemona’s lines: “my love doth so
approve him / That even his stubbornness, his
checks, his frowns…”
(b) What does this quotation emphasise about
Desdemona’s character?
(c) What is significant about the bedsheets Desdemona
requests?
(a) “…Lay down my soul at stake”
(b) The adjective “honest” becomes increasingly ironic
when applied to Iago in the play. However, the
contrast between Iago’s deception and Desdemona’s
genuine honesty underlines her innocence.
(c) Base – physical, lacking higher thought, lacking
morality and integrity
Scurvy – a despicable person without integrity. It was
also an illness caused by lack of vitamins, and
therefore continues the theme of a diseased (or
corrupted) morality.
(d) Emilia becomes more outspoken and forthright.
(a) Desdemona becomes more subservient, asking open
questions which are very different from the specific
requests regarding Cassio earlier in the play.
(b) “cunning whore of Venice”
(c) Othello is infuriated at Desdemona’s alleged betrayal.
This has led him to perceive her as completely dishonest
and debased. He therefore sees her only in physical,
sexualised terms, and as a “type” of woman, rather than
the individual he loved. He also sees her as representing
her context and unable to liberate herself from the
licentious culture she was raised in.
(a) “…a cistern for foul toads / To knot and gender in!”
(b) Water symbolises purity and innocence, particularly
through the link to baptism. Earlier in the play Othello’s
reference to the “sea’s worth” indicates that – due to trade
conducted via the sea – it is also a symbol of affluence and
cosmopolitan culture.
(c) Free-flowing, pure water has become a dirty trickle. There
is no longer any sense of innocence or purification.
(d) Like the changing water imagery, the references to toads
indicate Othello’s debased attitude and his obsession with
foul physicality (echoing Iago’s animalistic references in
1.1).
(a) “… have grace and favour”
(b) These lines emphasise Desdemona’s unquestioning
constancy in love. They intensify our understanding that
she is completely innocent in this situation. However,
given that Desdemona dies whilst the more worldly
Bianca survives, the audience may be prompted to
consider whether innocence and blind trust are really the
virtue that they appear to be; perhaps women need to be
more knowing in order to navigate a fallen world.
(c) The sheets are referred to as “wedding sheets” and also
as a “shroud” (funeral cloth).
77 – 4.3 (the willow song)
(a) “…called Barbary, / She was in love, and he … did forsake
her”
(a) Complete Desdemona’s lines: “my mother had a
maid…”
(b) Barbary died of a broken heart.
(b) What was Barbary’s fate?
(d) The willow song reminds us of Desdemona’s innocence
and heightens pathos for her. It is placed just prior to the
murder scene so that this pathos can be most intense
when we witness her being killed. The song also indicates
that the themes of betrayal, death, and heartbreak are
universal. The song might also make us consider the fate
of women within a patriarchal society.
(c) What does willow symbolise?
(d) What is the function of the willow song within
the play?
78 – 4.3 (Emilia’s attitude to infidelity)
(a) Complete Emilia’s line: “The world’s a huge thing: it is
a is a great price …”
(b) What does Emilia assert in her proto-feminist
speech?
(c) What is significant about the staging of this scene?
(d) What do you notice about the relationship between
Emilia and Desdemona?
79 – 5.1 (Iago’s final plan)
(a) Iago instructs Roderigo to stab Cassio, saying that he
will by “at thy elbow”. What do we learn about Iago’s
character here?
(b) Finish Iago’s line: Cassio “hath a daily beauty in his
life / That…”
(c) What might this line tell us about Iago’s motivations?
80 – 5.1 (setting)
(a) Describe the setting for this scene.
(b) How does the setting echo that of Act 1 Scene 1?
(c) How does the setting link to the themes of chaos,
violence and destruction?
(c) Willow symbolises grief for unrequited love.
(a) “…for a small vice”
(b) Emilia asserts that women only become unfaithful
because their husbands are not meeting their emotional
and physical needs; women learn from their husbands.
(c) It is within the privacy of the bedroom. Firstly, this reveals
that Desdemona and Emilia’s relationship is closer than
Desdemona’s marriage. Secondly, it shows that Emilia is
not confident enough to assert her feminist ideas in a
public forum; they are only appropriate for a feminine
context.
(d) It is closer than Desdemona and Othello’s.
(a) Although in Act 1 Iago insists that he is more
accomplished than Cassio on the battlefield, throughout
the play he encourages others to act on his behalf. Given
Iago’s military record, we assume this is because he takes
delight in seeing others do wrong.
(b) “…That makes me ugly.”
(c) Iago may be motivated by disgust at other people’s
happiness and integrity; his debased attitude to existence
prompts him to react against anything that is opposed to
this.
(a) Night-time; darkness; in the street outside Bianca’s
house.
(b) 1.1 is set at night-time, in darkness and in the street. The
play’s circular structure indicates Iago’s control (he stagemanages both scenes, choosing the context in which
these events are going to take place), and also the
inescapability of the immorality and chaos the darkness
symbolises.
(c) The darkness creates chaos as the characters are unable
to see (the truth?), whilst the location in the street
indicates that this is happening outside of any political
power structure.
81 – 5.2 (Othello’s murderous preparations)
(a) Complete Othello’s line: “Yet I’ll not shed her
blood / Nor…”
(b) What do the white objects symbolise?
(c) Why does Othello not want to “shed her blood”?
(a) “…scar that whiter skin of hers than snow / And smooth as
monumental alabaster.”
(b) The “snow” and “alabaster” are ostensibly innocent – revealing
Othello’s obsession with how appearances can be deceptive. They
are also unchanging – indicating that Othello wants a wife who
can be controlled and will not alter with time, mood or emotion.
The references to white also indicate how Othello has internalised
racist ideas and is preoccupied with Desdemona’s whiteness; he
believes that she will not love him because of the ethnic
differences.
(c) Othello doesn’t want to spoil Desdemona’s beauty; he wants to
render her perfect.
82 – 5.2 (Othello’s murderous preparations)
(a) Complete Othello’s line: “I know not where is
that…”
(b) What does light symbolise?
(c) Why might Othello allude to a mythical figure?
(a) “…Promethean heat / That can thy light relume.”
(b) Light symbolises hope, innocence, purity, heavenliness,
life.
(c) Othello is elevating the murder as part of his justification
of it; it is an act that is demanded by the universe, not
just an act between two individuals.
(d) What has Othello realised about the murder he
is about to commit?
83 – 5.2 (Desdemona’s realisation)
(a) Complete Desdemona’s line: “Some bloody
passion…”
(b) What does Desdemona mean?
(c) How is this similar to Othello’s reaction to the
fight in 2.3?
(d) How could we interpret this line on a more
existential level?
84 – 5.2 (staging)
(a) Describe the staging of this scene.
(b) What is the symbolic significance of the staging?
(d) Othello realises that the murder cannot be reversed – it is
final.
(a) “…shakes your very frame.”
(b) Desdemona sees that Othello’s emotions are causing
him to shake violently.
(c) In 2.3, Othello’s emotions overcome his rational
thought and they – rather than logic – guide his
decision to demote Cassio.
(d) Othello’s “frame” may not just be his body, but his
psychological state and his existence. He is not just
shaking physically – he is also shaking internally as he
is overwhelmed by anger.
(a) Darkness, with the exception of Othello’s candle. The bed is in the
centre of the stage, with white sheets. The door is often symbolically
locked by Othello at the start of the scene. Desdemona is asleep on
the bed.
(b) Darkness – recalls 1.1. Sense of moral darkness, evil, and destruction.
Candle – possibility of hope. Fragility of this, and of life.
Locked door – both Desdemona and Othello are trapped within
society. It also shows Othello’s dominance over the relationship.
White sheets – attention has been drawn to the fact that these are
the wedding sheets and therefore they symbolise the loss of idealised
love. The whiteness indicates Desdemona’s innocence, and also how
ideas of race have compromised what should have been a loving
marriage.
85 – 5.2 (Othello’s immediate reaction to the murder)
(a) Complete Othello’s lines: “Methinks it should be
now a huge eclipse…”
(b) What does this suggest about Othello’s
understanding of what he has done?
(a) “…of sun and moon.”
(b) Othello believes his actions should have caused a reaction
in the universe. He perceives the murder as an act which
should have shaken the fabric of existence – thus, he
aggrandises his actions and gives them cosmic import in
an attempt to justify what he has done.
(c) The crucifixion of Christ – the world became dark and
(c) What Biblical event might these lines recall, and
why?
86 – 5.2 (Desdemona’s confession)
there was an earthquake. Again, this shows that Othello
sees his actions on a cosmic level, rather than as a
personal action committed for petty reasons.
(a) Herself
(a) When Desdemona temporarily reawakens, who
does she blame for her own death?
(b) She is constant in her love to the very end; she does not
want Othello to be blamed or punished for her murder.
(b) What does this suggest about Desdemona’s
character?
(c) This event heightens pathos for Desdemona as it
emphasises her undying loyalty. It also suggests that the
most meaningful relationship in the play is between
Desdemona and Emilia – the tragic victim’s final
conversation, after all, is with her servant, not her
husband.
(c) What is the function of this obviously
unbelievable event?
87 – 5.2 (Emilia’s realisation)
(a) “…Rot half a grain a day.”
(a) Complete Emilia’s lines, in which she lambasts Iago:
“May his pernicious soul …”
(b) “I’ll speak.”
(b) When Iago commands Emilia to “hold your peace”,
what is her response?
(c) Emilia has become outspoken and forthright. She is the
voice of justice and righteous anger, no longer
marginalised by the patriarchy but prepared to achieve
justice for her friend.
(c) What does this tell us about the transformation in
Emilia’s character?
(d) What does Shakespeare suggest about the fate of
women within this society?
88 – 5.2 (Othello’s anagnorisis)
(a) When Othello understands Iago’s deception, he
asks “Who can control his fate?” What symbol of
fate have we already seen in the play?
(b) Are there indications in the play that Othello
actually had free will?
(d) Women who speak confidently and defy convention –
as Desdemona did in Acts 1 and 2, and as Emilia does
in Act 5 – cannot survive in this society.
(a) Water – in Act 1 Othello says that if he didn’t love Desdemona
he wouldn’t give up his freedom “for the sea’s worth”. At the
start of Act 2, the water has allowed them to reach Cyprus, and
Othello acknowledges that “tempests” are inevitable. The
“Pontic Sea” also has a “compulsive course”. Later in the play
water has been reduced to a “cistern” for toads “to gender in”.
The tides and currents are natural and cannot be changed by
man – like fate.
(b) Iago certainly believes in free will – “'Tis in ourselves that we are
thus or thus. Our bodies are our gardens, to the which our wills
are gardeners”. He thinks that the individual is responsible for
sowing the seeds of ideas, and that the individual then reaps
the rewards (or punishments) or this.
89 – 5.2 (Iago’s silence)
(a) “From this time forth I never will speak word.”
(a) Complete Iago’s final lines in the play: “Demand
me nothing. What you know, you know. …”
(b) Iago means that he is not going to say anything more;
he is not going to explain his actions or his reasons.
(b) What does Iago mean by this?
(c) Whilst Iago has used language as a form of power and
control throughout the earlier sections of the play,
here his silence becomes a form of power. His refusal
to speak denies the characters – and the audience –
any sense of closure and we are left to speculate about
Iago’s motivations.
(c) Why might this be regarded as Iago’s final
victory?
90 – 5.2 (Othello’s final speech)
(a) Complete Othello’s line: “I have done the state…”
(b) What does Othello mean by this?
(c) Which line from Act 1 does this statement recall?
(d) How else is Othello returning to his speeches from
Act 1 Scene 3?
(e) Does Othello show genuine understanding of the
context he lives in?
91 – 5.2 (Othello’s final speech)
(a) Complete Othello’s line: “Of one that loved…”
(b) What does Othello mean by this?
(c) Does Othello show genuine self-knowledge,
considered the peak of wisdom by classical
philosophers?
(a) “…some service, and they know it”
(b) Othello believes that he has loyally served the Venetian Republic,
and that they should respect this.
(c) “My services, which I have done the signiory, / Shall out-tongue
his complaints”.
(d) He recovers the fine rhetoric of the opening scenes (imagery;
blank verse; vocabulary etc), as well as his confidence in his own
character.
(e) These lines show that Othello remains mistaken about Venetian
society; he believes that his support of the state should lead to
some kind of recompense and their loyalty towards him. Othello
forgets that he is a hired mercenary who is exploited by a racist
state.
(a) “…not wisely, but too well. / Of one not easily jealous,
but, being wrought, / Perplexed in the extreme.”
(b) Othello means that his deep love was not sensible, and
that – despite his trusting nature – he was worked on by
Iago and made to be jealous.
(c) Othello’s self-knowledge is questionable. He does have a
moment of anagnorisis in that he realises that he has
been deceived by Iago; but he then denies his own
agency within this plan (it was him, after all, who killed
Desdemona). He also seems unaware that he is very
quick to become jealous, and with minimal “ocular
proof”.
92 – Vocabulary (Othello) – define:
(a)
(b)
(c)
(d)
(e)
(f)
(g)
(h)
(i)
(j)
(k)
Virtuous
Renowned
Rhetorician
Insecure
Internalising racism
Voice of order
Credulous
Myopic
Irrational
Debased
remorseful
(a)
(b)
(c)
(d)
(e)
(f)
(g)
(h)
(i)
(j)
(k)
Worthy; honourable
Well-known
A good public speaker
Self-doubting; lacking confidence
Believing the racist attitudes of the society around him
Asserting power and calm over others
Believing
Blind to the truth
Unreasonable; illogical thought
Corrupted; degraded
Guilty
93 – Vocabulary (Iago) – define:
(a)
(b)
(c)
(d)
(e)
(f)
(g)
(h)
(i)
(j)
(k)
Impudent
Malignant
Malevolent
Treacherous
Embittered
Prejudiced
Vulgar
Stage-manager
Relentless
Machiavellian / duplicitous
Contemptuous
94 – Vocabulary (Desdemona) – define:
(a)
(b)
(c)
(d)
(e)
(f)
(g)
(h)
(i)
(j)
(k)
Determined
Self-possessed
Conflicted
Witty
Amorous
Betrayed
Melancholic
Disillusioned
Desolate
Passive
Constant in love
95 – Vocabulary (Emilia) – define:
(a)
(b)
(c)
(d)
(e)
(f)
(g)
(h)
(i)
(j)
(k)
Subservient
Marginalised
Silenced
A pawn
Perspicacious
Pragmatic
Cynical
Distrustful
Outspoken
Righteously angry
Irrefutable
96 – Vocabulary (Cassio) – define:
(a)
(b)
(c)
(d)
(e)
(f)
(g)
(h)
(i)
Inexperienced
Supplanting
Gallant
Courteous
Laudatory
Dissipated
Dishonoured
Pleading and distressed
Debauched
(a)
(b)
(c)
(d)
(e)
(f)
(g)
(h)
(i)
(j)
Cheeky
Evil
Evil
Betraying
Resentful
Racist; intolerant
Crude; discourteous
In control
Persistent; unyielding
Cunning; scheming; deceiving
(k) Disdainful; scornful
(a) Strong-minded
(b) Confident
(c) Holds competing opinions (conflicted over her loyalty
to Brabantio and Othello)
(d) Funny in an intelligent way
(e) Loving
(f) Deceived
(g) Unhappy; mournful
(h) Disappointed; disenchanted
(i) Bleak; isolated
(j) Not taking any action
(k) Loyal
(a)
(b)
(c)
(d)
(e)
(f)
(g)
(h)
(i)
(j)
Submissive to her husband
Side-lined; ignored
Not allowed to speak her mind
Exploited and used by Iago
Insightful; discerning
Practical
Distrustful; prone to question things
Doubting; suspicious
Opinionated (at the end of the play)
Her anger is justified
(k) Her accusations cannot be ignored
(a) Inexpert
(b) Replacing someone else (i.e. he takes the job
Iago believes should have been his)
(c) Gentlemanly; chivalrous
(d) Polite; charming
(e) Celebratory
(f) Drunken; dissolute
(g) Losing his reputation; debased
(h) Deeply unhappy
(i) Corrupt; drunken
97 – Vocabulary (Roderigo) – define:
(a)
(b)
(c)
(d)
(e)
(f)
(g)
(h)
Duped
Credulous
Melodramatic
Corrupted
Oblivious
Affluent
Despairing
Exploited
(a) Deceived; tricked
(b) Gullible; believes things easily
(c) Overly dramatic; open about emotions
(d) Dishonoured; morally dubious
(e) Unaware
(f) Wealthy
(g) Deeply unhappy
(h) Oppressed; used
98 – Vocabulary (Brabantio) – define:
(a)
(b)
(c)
(d)
(e)
(f)
(g)
Xenophobic
Patriarchal
Prosperous
Prejudiced
Domineering
Dismayed
Questionable judgement
99 – Vocabulary (Bianca) – define:
(a)
(b)
(c)
(d)
(e)
(f)
(g)
(h)
Besotted
Exploited
Morally dubious
Unfoundedly jealous
Vulnerable
Indignant
Constant in love
Powerless
(a)
(b)
(c)
(d)
(e)
(f)
Racist; prejudiced; intolerant
Male-controlled
Wealthy; affluent
Intolerant; racist
Overbearing; bossy
Disheartened; distressed
(g) Makes decisions which can be questioned
(a) Infatuated; smitten; completely in love
(b) Oppressed; subjugated
(c) Makes questionable moral decisions about how
to live her life
(d) Her jealousy has no basis
(e) Defenceless; helpless
(f) Outraged; annoyed
(g) Loyal
(h) Weak; helpless
100 – Vocabulary (Venice) – define:
(a)
(b)
(c)
(d)
(e)
(f)
(g)
Intrigue
Cosmopolitan
Sophisticated
Immoral
Sexual decadence
Civilised
Inherently racist
(a) Conspiracy; deception; plotting
(b) Multicultural; diverse; a meeting place for
people of different backgrounds
(c) Urbane; classy; cultured
(d) Dishonest; dissolute
(e) Sexually corrupt
(f) Cultured; refined; enlightened
(g) Intrinsically prejudiced; racist beliefs are deeply
embedded in the culture
101 – Vocabulary (Cyprus) – define:
(a)
(b)
(c)
(d)
(e)
(f)
(g)
(h)
Conflict
Isolated
Garrison
Unfamiliar
Unsettling / perturbing
Discordant
Precarious
Claustrophobic
(a)
(b)
(c)
(d)
(e)
(f)
(g)
Opposition; violence
Remote; secluded; on the fringes of Europe
A military base
Strange; different; unknown
Unnerving; disquieting; worrying
Filled with conflict and friction
Hazardous; perilous; easily lost
(h) Suffocating; confining; entrapping