English 304: Shakespeare: Major Plays (Prof. Boyer)
Reading Questions for Othello
Keyed to The Norton Shakespeare
The best beginning procedure is always to familiarize yourself with the cast of characters and then to read the play (or at least an act or a scene) all the way through so that you know what's happening. The notes can help if you're stuck, but try to get the big picture of a scene before getting bogged down in details. Read through, then go back and clear up details. Then you're ready to think about the questions.
A note on the spelling of names: The Norton Shakespeare uses Venetian spellings for some names. Thus the character known in most editions as
Brabantio is here called Brabanzio.
ACT 1
1.1
1. Why, according to what he tells Roderigo, does Iago hate Othello
(referred to only as "him")? To whom does "him" refer? What position did Iago expect to get? Who got it? Why does Iago dislike that person?
Why is Iago continuing to serve "him"?
2. What is Iago's immediate plan (1.1.67-73)? How well does he carry it out? Whose father is Brabanzio? What is Roderigo's previous relationship to Brabanzio and his daughter (1.1.95-102)?
3. How does Brabanzio assume the Moor won his daughter (1.1.170-
175)?
4. What grade would you give Iago for interracial sensitivity?
1.2
1. What do we learn about Iago's methods of operation from what he tells
Othello (still not named) in 1.2.1-10? Who is the "him" of line 5? Be sure to compare what Iago says here with what we saw happen (and heard him say) in 1.1.
2. Note that Desdemona is first named at 1.2.25, and by Othello. Is the
Othello we see the same one as was described in 1.1? What is his attitude toward Desdemona in 1.2.25? What is his own background
(1.2.21-24)? How likely is he to be accepted in these terms by the
Venetians?
3. Brabanzio was preparing to "apprehend her and the Moor" at 1.1.178,

4. Finally Brabanzio, Roderigo, and the officers arrive at 1.2.52.1.
(Notice that Iago has not stayed with Roderigo and Brabanzio.) In what terms does Brabanzio accuse Othello (1.2.63-82)? Where does he want
Othello taken? Where do they all end up going? so we might expect a group to enter looking for Othello. And a group does enter at 1.2.28.1-but why are they looking for Othello?
1.3
1. What danger is Cyprus facing?
2. Why has the Duke summoned Othello (named for the first time in
1.3.48)?
3. What does Brabanzio tell the Duke? (Notice that he has not yet named
Othello as Desdemona's husband.) What powers does the Duke give him in 1.3.65-70? What happens when Brabanzio accuses Othello?
4. What do we learn about Othello and Desdemona in Othello's long defense of himself (1.3.76-168)? What do we learn about Desdemona from her father during that defense? Why did Othello marry
Desdemona? Why did Desdemona marry Othello? How good is his defense (see 1.3.170)?
5. How is the affair settled once Desdemona appears (1.3.170-197)?
6. What must Othello do? What does he request (1.3.233-237)? What suggestions are made? What is finally decided? What do we learn about their marriage from Desdemona (1.3.247-258) and from Othello
(1.3.259-273)? What arrangements are finally made? When does
Othello need to leave? Why might that be a problem?
7. What warning does Brabanzio leave with Othello (1.3.291-292)?
8. What is Roderigo's response to all this? What does Iago tell him in
1.3.316-361? (Be sure to read this passage carefully.) What does Iago say must happen to Desdemona? How well does what Iago says about her match what we've just seen of her? Does Iago's advice work on
Roderigo?
9. Finally, Iago is alone. Read his soliloquy carefully (1.3.365-386). Why does Iago "hate the Moor"? What plan does Iago devise? What does the language of 1.3.385-386 suggest about Iago?
ACT 2

2.1
1. Where are we now? What is the situation at sea? What has happened to the Turkish fleet? Which ship from Venice arrives first? What ship arrives second? Why is it surprising that it arrives before Othello's?
2. What does the discussion of women between Desdemona and Iago in
2.1.120-167 tell us about them? How does Cassio greet Emilia and
Desdemona, and how do they respond? How does Iago respond
(2.1.168-176)?
3. Compare Desdemona and Othello in 2.1.179-196 with what Iago says to Roderigo about them later in the scene (2.1.211-272). What assumptions is Iago applying in trying to understand Desdemona and
Othello? Are his assumptions solid, based on what we have seen of
Othello and Desdemona? How does he get Roderigo to accept his conclusions? What keeps Roderigo from seeing the truth?
4. What plans does Iago set up with Roderigo?
5. Read Iago's soliloquy (2.1.273-299) carefully. What new reasons does
Iago give for hating Othello? What emotion seems to be governing
Iago's thoughts and actions? How is Cassio involved in Iago's feelings?
Do you think these (and the reasons given in Act 1) are the real reasons for Iago's plotting against Othello?
2.2
1. What does the proclamation say?
2.3
1. What does Othello mean in 2.3.8-10?
2. How do Iago's and Cassio's views of Desdemona differ (2.3.13-25)?
How does Iago get Cassio to drink more than he should? What is the outcome of his drinking? Why do Cassio and Roderigo fight?
3. How does Othello deal with the fighting? How does what Iago says get
Cassio fired?
4. What does Cassio complain about losing (2.3.243-248)? How does
Iago respond? How does Iago tell Cassio to regain Othello's favor
(2.3.291-301)?
5. Read Iago's soliloquy (2.3.310-336) carefully. What is his plan now?
6. What is Roderigo's complaint? How does Iago answer it?

7. What new details does Iago add to his plan in his last soliloquy in the scene (2.3.355-361)?
ACT 3
3.1
1. Why does Cassio bring musicians? What is Othello's response to them?
2. What does Emilia tell Cassio that Desdemona is already doing for him?
3.2
1. What is the function of this scene?
3.3
1. How will Desdemona get Othello to restore Cassio's place to him
(3.3.19-28)?
2. What responses do Iago and Othello have to seeing Cassio leave
Desdemona? How successfully does Desdemona plead for Cassio?
What is Othello's response to Desdemona as she leaves (3.3.91-93)?
3. When Desdemona leaves at 3.3.90.1 Othello's love is apparently as solid as it can be (as seen in 3.3.91-93). Yet by 3.3.175 Othello is in
"misery," and in his next speech (3.3.180-196) he is talking about seeing proof (and therefore is already suspicious). What has happened
(and what has Iago done) to move him from love to a choice between
"love or jealousy"? And how can anyone provide proof of fidelity ?
4. Look closely at the next "movement" in Iago's temptation of Othello,
3.2.197-217. Iago obviously assumes that something has happened to
Othello because he is willing not to be "franker." What picture of
Venetian women (and of Desdemona as one) does he paint? How does
Iago use echoes from Act 1? Why does Othello fall for this kind of reasoning?
5. Notice how Iago alternately backs off and pushes ahead, especially in the next "movement," 3.3.218-246. What does Iago assume
Desdemona must ultimately do, and why? What specific movement does Othello take in 3.3.245?
6. Othello has a two-line speech (3.3.247-248) when he thinks he is

alone, so it's almost a soliloquy. What does it tell us about the state of his mind?
7. But Iago returns to make a suggestion (3.3.249-261). What suggestion does he make? What does he tell Othello not to think? Why does Iago tell him that? How likely is it that Desdemona will do exactly what
Iago tells Othello to watch for? Why is it so likely?
8. Read Othello's soliloquy (3.3.262-281) carefully? How likely is it that
Othello will keep an open mind until he has seen real proof? How much have Iago's suggestions about Desdemona's "nature" worked on
Othello? Is there any chance of his changing his mind or of
Desdemona's convincing him of her innocence after this speech? How does seeing her change his ideas (3.3.282-283)?
9. What "pain upon my forehead here" is Othello referring to (3.3.288)?
What happens when Desdemona tries to wipe it? What is Emilia's response to finding the handkerchief (3.3.294-303)?
10. How does Iago treat his wife? What is Emilia afraid of (3.3.322-323)?
What will Iago do with the handkerchief (3.3.325-333)?
11. What does Othello believe now? (See his speeches 3.3.338-362.) Is there any real point in his demanding "ocular proof" now? (See what he says in 3.3.388-393.) What possibility does Iago plant in Othello's mind and then back off from (3.3.399-413)? What "proof" does Iago
"reluctantly" give instead (3.3.415-430)? How likely is it that this actually happened? (The two men sharing a bed, especially in a military context, would not be unusual.) Even if Iago is telling the truth here, how much value does it have as proof of Desdemona's unfaithfulness? How much value does Iago seem to give it? How much value does Othello give it? (See 3.3.431-436.)
12. What new "proof" does Iago add in 3.3.437-446? Can this "proof" possibly be true? Why or why not? What "other proofs" does Iago mean in line 446? How does Othello take this statement? How has Iago made it so that Othello will take the bait this way? (Note that "the other proofs" here echoes "other proofs" in lines 435-436-but those "proofs" in line 435 are no more than possible ; by line 446 they have become
" the other proofs" and are treated as though they have already been proven.)
13. By now how much real proof have we or Othello really seen? Yet how convinced has Othello become by all this "proof"? What new level has he reached in 3.3.447-455? Note that Iago warns him (in 3.3.455) not

that Desdemona may be faithful but that Othello may change his mind.
But how likely is Othello to change his mind (3.3.456-465)? What is ironic about Othello's kneeling to Iago? What is ironic about Iago's response (3.3.465-472)? With this suggestion planted, what "bloody business" does Othello engage Iago in (3.3.472-476)? How does Iago again seem to "back off" (3.3.477)? What is Othello's response
(3.3.478-481)? What will happen to Desdemona? What has Iago just gained? How far can we carry the meaning of Iago's last line
(3.3.482)?
14. By the end of 3.3. Othello is ready to kill Desdemona because she has been unfaithful to him with Cassio. Go back over the scene to see how
Iago has brought Othello to this point. What has happened to the need for "ocular proof"? How much proof has there been?
3.4
1. What is the subject of the witty and punning discussion between
Desdemona and the Clown (3.4.1-20)? What immediate application does the punning have to lines 21-22? How could the tragedy be averted right here? Why doesn't Emilia say what she knows?
(Remember 3.3.324 and a wife's duty to obey her husband in all things, which will return later.)
2. Given our knowledge, what is ominous about 3.4.30-31? How well does Desdemona carry out her promise in the scene?
3. What, according to Othello, is the history of the handkerchief (3.4.53-
73)? Is Othello telling the truth here? What else might he be doing?
4. What does the argument in 3.4.75-95 show about both Othello and
Desdemona?
5. What is Emilia's view of men (3.4.99-102)? How justified is she?
6. How willing is Desdemona to judge Othello (3.4.146-150)? What is
Emilia's response (3.4.154-157)? What message would you like to shout to Desdemona at 3.4.158-162?
7. Who is Bianca? What is her relationship to Cassio? What does he ask her to do? What is her emotional response? Sound familiar? How did
Cassio get the handkerchief?
ACT 4
4.1

1. What statements about Desdemona's behavior is Iago now making
(4.1.1-18, 29-33)?
2. What happens to Othello in 4.1.34-41? How does Iago respond
(4.1.42-45)?
3. What is Iago doing in 4.1.72-87? What is his real plan (4.1.91-101)?
How well does it work? (Notice that at 4.1.127 Iago beckons Othello to come close enough to hear the story; before that Othello could see them and hear the laughter but not hear what they were saying.) What plans are made in 4.1.197-201?
4. Why has Lodovico come from Venice? (See 4.1.227-229.) Meanwhile, what touchy issue has Desdemona brought up again? What action of
Othello's surprises Lodovico? In what way typical for him do we see
Iago responding in 4.1.265-279? How will this advance his plot even if everything else fails?
4.2
1. Why is Othello questioning Emilia? What is his response to her answers (4.2.21-24)? Notice that the same attitude continues in 4.2.29-
32.
2. How correctly does Othello identify his weakness in 4.2.49-66?
3. What possibility is raised in 4.2.83-92? How is it dashed in 4.2.93-94?
4. How helpful to Desdemona do we expect Iago to be? What is the effect of having him appear now? How accurate is Emilia's explanation in
4.2.134-137? How is it related to other rumors (4.2.149-151)?
5. What is Roderigo's complaint against Iago? What is he the first one in the play to discover (4.2.186-187)? What is Roderigo referring to in
4.2.190-193? What has Iago really done? Does Desdemona know anything about Roderigo's suit, or at least about the gifts he sent her through Iago? In that case, what should Iago's reaction to 4.2.199-202 be?
6. What plan does Iago propose, and what promise does he offer? (See
4.2.213-218 for the promise.) Why, according to Iago, is it necessary to get rid of Cassio? Has Iago told the truth about where Othello is to go?
Given Iago's role in other actions, how much do you trust him in
4.2.236-237? If Roderigo kills Iago, what promise has Iago taken care of?

4.3
1. What is the effect of the scene between Desdemona and Emilia
(4.3.10-103)? Given this scene, is it at all possible that Desdemona could ever be unfaithful to Othello? (Note that 4.3.34 shows us that she can certainly appreciate the qualities of other men.) What is the effect of the "Willow Song" and the interruptions to it?
2. Desdemona is certainly an innocent (see 4.3.81, and this after Emilia's speeches). How effective is Emilia's prescription in 4.3.82-101? How accurate? How does Desdemona respond to it in her prayer (4.3.102-
103)?
ACT 5
5.1
1. How does Iago justify the deaths of Roderigo and Cassio (5.1.11-22)?
2. What happens when Roderigo attacks Cassio (5.1.23-27)? Who actually wounds Cassio? What does Othello assume has happened
(5.1.28)? Is he correct?
3. Why does Iago appear in his shirt at 5.1.46.1 (see 5.1.48)? How does he solve his "Roderigo" problem? After Bianca appears, what new part of his plot does Iago begin in 5.1.107-112 and continue in lines 118-
127? Who will get the blame for the attack on Cassio if Iago has his way?
5.2
1. What tone and justification does Othello try to give the murder of
Desdemona in 5.2.1-22?
2. Othello makes two false statements in 5.2.72-82. What are they?
Which one is a deliberate lie, and which one does Othello mistakenly think is true?
3. How does Othello kill Desdemona? What interruption occurs while he is doing it? What does he do with the bedcurtains immediately following the murder? What is his immediate response (5.2.100-109)?
How does Othello almost give himself away (5.2.122-125)? What finally gives the murder away at 5.2.126? Whom does Desdemona blame for her death (5.2.132-134)? Does Emilia believe her (5.2.135)?
4. What happens when Othello confesses to murdering Desdemona

(5.2.138-165)? Having been repeated over and over throughout the play, what is finally highly ironic about 5.2.161? How does Iago answer Emilia's plea in 5.2.179-184? What happens when Iago tells his wife not to speak and to go home, orders which as his wife she should follow without question according to the beliefs of the time (5.2.190-
192, 201-204)?
5. What is Othello finally beginning to realize at 5.2.205? What has happened to Desdemona's father (5.2.211-213)? Why does Iago try again to silence Emilia (5.2.223-230)? What does she reveal to Othello at 5.2.232-238?
6. What happens at 5.2.241-245? Why does Othello attack Iago (at line
242.1)? While he does that, what is Iago doing? What is Othello's reaction to having his sword taken away (5.2.250-251)? What does he threaten when he finds another sword in the room (5.2.266-271)? How does Othello use this sword, and what does he mean by the two lines before using it (5.2.292-293)? What happens to this sword at 5.2.294)?
7. What is the meaning of 5.2.309-312?
8. How do Roderigo's pockets conveniently help to clarify much of what happened?
9. How does Othello regain his greatness (note the return of the kind of poetry he spoke early in the play) and avoid imprisonment (5.2.347-
365)? Given the attitude toward the Turks in the play, what does it mean, if anything, that Othello, by his last action, equates himself with the Turk who "beat a Venetian and traduced the state" (5.2.363)?
10. Who gets Othello's estate? Why? (See 5.2.375-377 and the cast of characters on p. 2100.)
11. Is Iago dead?