Othello
For
Dummies
Contents
Othello
3
Iago
4
Cassio
6
Desdemona
8
Language
9
Setting
11
Themes
13
Imagery
16
Irony
18
Structure
20
The Role of Women
22
Othello
2
Othello is the protagonist in this Shakespeare play and serves as the tragic hero.
Language
As the play progresses we see his continual downfall at the hands of Iago which
is primarily observed through his language. We can contrast much of his early,
much more eloquent language with his later, very primitive language.
And example of his early speech would be like:
“Most potent, grave and reverend signors… etc” Act 1 Scene 3 Line 76~
However, much later on in the play, his language is reduced to short
exclamations and obscenities:
“O, blood, blood, blood!” Act 3 Scene 3 Line 452
“Goats and monkeys!” Act 4 Scene 1 Line 261
This may suggest that with as he delves further and further into his own jealousy,
he begins to lose his composure and his language is the first to go. However, in
his final moments, at the very end of the play, he gives his final speech (Act 5
Scene 2 Line 334-352), in which he seems to return to his former self, having
one last display of eloquence before he kills himself. This is a debated issue
however as some people see it as him trying to justify his actions rather than
returning to the ‘Noble Moor’ that he was.
Othello’s Trust
Othello’s love for Desdemona and trusting nature was what Iago used to cause
his downfall. Othello had unwavering trust for Iago, constantly referring to him as
‘Honest Iago’ and seeking his counsel.
This causes his lines to sometimes be slightly ironic and help foreshadow events
to come:
“Excellent wretch! Perdition catch my soul but I do love thee; and when I love
thee not, Chaos is come again.” Act 3 Scene 3 Line 90.
Othello’s trusting nature and his love for Desdemona clash often however when
Iago begins insinuating Desdemona’s infidelity, this causes him to get angry, for
good reason.
However, In Act 3 Scene 3 Othello eventually lets his passions take hold of him,
where before he was demanding “Ocular proof”, his trust for Iago trumps his love
for Desdemona (which really brings to question how much he really loved her in
the first place)
He goes from:
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“Give me the ocular proof” Act 3 Scene 3 line 361
To:
“Damn her, lewd minx! O, damn her, damn her!” Act 3 Scene 3 Line 475
In a very short space of time. This shows just how much Iago can manipulate his
fierce and passionate nature.
Iago
Iago has a natural ability to understand what motivates those around him,
therefore allowing him to manipulate the other characters in the play to his
advantage:
Othello- Iago uses Othello’s jealous and insecure nature to manipulate him into
believing that Desdemona is cheating on him.
Desdemona- Iago uses Desdemona’s kind and generous nature as leverage for
convincing Cassio to ask Desdemona to persuade Othello to give Cassio his job
back.
Rodrigo- Iago uses Rodrigo’s infatuation with Desdemona, in order to
manipulate Rodrigo into being a part of his scheming plans.
Cassio-Iago uses Cassio’s obsession with his outer-appearance as a way to
manipulate him into going through Desdemona in order to get his job back.
Although the most inveterate liar, Iago’s skilful manipulation of the other
characters, results in him gaining their trust. As a result of his, he is often referred
to as being “honest”.
What motivates Iago?
It has been said that Iago has a number of motives for his actions, including the
following:
1.
2.
3.
4.
He feels resentful about not being chosen as Othello’s Lieutenant
He suspects that Othello has engaged in adultery with his wife, Emilia
His love for evil
His own fixation with Desdemona
How other people see him:
Iago holds a reputation throughout the entire play for being honest, direct
speaking and reliable. Whether or not these are true are disputable.
Emilia- Emilia is the only character, which Iago fails to manipulate.
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Othello- At first Othello displays a strong sense of respect towards Iago, always
referring to him as being “honest”. However following the unravelling of his plan,
Othello makes a reference to him being the devil (“I look down towards his feet;
but that is a fable” (V.ii.286).
How he sees himself:
Iago is a self-professed villain, who is consistent in his behaviour throughout the
entire play, not once doubting himself or his actions. E.g. “I am a very villain else”
(IV.i.125)
His relationship with his wife:
Iago is constantly disrespecting and mocking Emilia, demonstrating that their
marriage was not a very loving one. Emilia is the one who unmasks Iago’s plan,
and as a result Iago kills her. According to Harold Bloom, a Shakespeare
Scholar, the relationship between Iago and Emilia, poses interesting irony in the
final act; Iago is known to the audience as being the character who is best at
predicting and manipulating other peoples behaviour, yet he fails to understand
the person, whom he should know best: his wife.
His views on women:
He displays a general hatred for women, which is displayed through his
relationship with this wife as well as his form of speech both when addressing
other women (Desdemona included) or discussing them. His rudimentary nature
is strongly conveyed through his sexual references, which also demonstrates his
belief that women should be/ already hold a lower position within society.
Iago’s soliloquies:
Iago’s soliloquies play an important part in the development of the play, as it is
through his soliloquies that he expresses his intentions and motivation for his
actions. It also provides dramatic irony as the audience become aware of his
intentions, but the other characters don’t.
Key Quotations:
“Even now, now, very now, an old black ram
Is tupping your white ewe.”
“Your daughter and the Moor are now making the beast with two backs.”
“O! beware, my lord, of jealousy;
It is the green-ey'd monster which doth
mock
The meat it feeds on.”
“Demand me nothing: what you know, you know:
From this time forth I never will
speak word.”
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Cassio – Othello’s Lieutenant
Victim of Iago’s Jealousy
-
-
Iago is jealous of Cassio because Othello promoted him to lieutenant even
though he is an inexperienced solider compared to Iago
Cassio represents the class privilege of which Iago is so envious and
resentful. It annoys Iago that Cassio seems to have bought into the idea
that he is socially superior.
Cassio is a lady's man. Not only does he have Desdemona's ear, he is
known to have sexual affairs with women of questionable backgrounds,
notably the courtesan Bianca whose jealousy reinforces Iago's cause of
casting doubt upon Cassio's fidelity. This makes him the perfect target for
Iago.
Relationships (Iago Othello Desdemona [women in general])
Iago
-
Cassio sees Iago as a true friend and trusts him to help but Iago uses this
against him by giving him advice that seems noble but serves to bring
about Othello’s downfall
Othello
- Cassio is very devoted to Othello and serving him in everyway he can and
when he gets fired he is ashamed for letting Othello down
o I will rather sue to be despised than to deceive so good a
commander with so slight, so drunken, and so indiscreet an
officer. Drunk? and speak parrot? and squabble? swagger?
swear? and discourse fustian with one's own shadow? O thou
invisible spirit of wine, if thou hast no name to be known by, let
us call thee devil! - Act II.SCENE III.
 When referring to devil he is referring to alcohol when it is in
fact Iago’s fault
- Cassio respects and admires Othello
o This I did fear, but thought he had no weapon, For he was great of
heart. – Act V. SCENE II
Desdemona
-
They are trusted friends as Cassio was aware of Othello and
Desdemona’s relationship before they were married and he “went
between” them on many occasions
How does relationship Bianca differ relationship Desdemona
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-
-
When Iago talks to Cassio about Bianca he immediately starts laughing
which indicates that he doesn’t have very much respect for her and that he
is merely using her
Cassio however treats Desdemona as an equal or even as a superior
showing the utmost respect for her at all times
Inability to drink
-
Reflects his youth
Key weakness that Iago takes full advantage of
o Not to-night, good Iago: I have very poor and unhappy brains for
drinking: I could well wish courtesy would invent some other
custom of entertainment. - Act II.SCENE III.
What other see him as
-
-
-
Cassio is inordinately concerned with his reputation
o 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! - CASSIO,Act II.SCENE III.
This obsession leads to Cassio and Othello’s fall out as Cassio extreme
want to restore his reputation leads him to take advantage of his
relationship with Desdemona allowing Iago to provoke Othello’s jealousy.
The audience only sees Cassio through Iago’s eyes and in his eyes he is
all reputation and title with no real substance.
Important Quotations
For mine own part,--no offence to the general, nor any man of quality,--I hope
to be saved - Act II.SCENE III.
I remember a mass of things, but nothing distinctly; a quarrel, but nothing
wherefore. O God, that men should put an enemy in their mouths to steal away
their brains! that we should, with joy, pleasance
revel and applause, transform
ourselves into beasts! - Act II.SCENE III.
I will ask him for my place again; he shall tell me
I am a drunkard! Had I as
many mouths as Hydra,
such an answer would stop them all. To be now
a
sensible man, by and by a fool, and presently a
beast! O strange! Every
inordinate cup is
unblessed and the ingredient is a devil.
- Act II.SCENE III.
It hath pleased the devil drunkenness to give place
to the devil wrath; one
unperfectness shows me another, to make me frankly despise myself. - Act II.SCENE III.
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No; for I hold him to be unworthy of his place that does those things. Well,
God's above all; and there be souls must be saved, and there be souls must
not be saved. - Act II.SCENE III.
Desdemona Character Analysis
Desdemona is the daughter of Brabantio, a man of reputation in Venice. She has
defied the norms of her society by eloping with Othello.
Her marriage with Othello
Her marriage with Othello has been seen as a way of Desdemona asserting her
independence. She goes against the classic view of a 17th century woman by
not asking for her father’s approval for her marriage with Othello, she took the
matter in her own hands stating that she is merely doing just like her mother was
“preferring you before her father” (I.iii.185) Desdemona also goes against the
norms of the venetian society by marrying someone of a different race. Othello is
highly regarded in Venice, however, he is still seen as a foreigner.
Her love for Othello
A very important quote in the first scene shows Desdemona’s love for Othello:
“My heart’s subdued even to the very quality of my lord. I saw Othello’s visage in
his mind and to his honours and his valiant parts did I my soul and fortunes
consecrate.” (I.iii.247-251) This passage suggests that Desdemona loves Othello
as a whole, not just because of the “dangers I [Othello] had passed”.
Throughout the play, she does remain faithful to Othello, she never doubts him or
denies him anything.
Innocence
It has been argued that Desdemona is a Christ like figure, she is kind, loving and
trusting towards all the other characters in the play, just like Christ was to
humankind. When she dies, she doesn’t accuse her husband of killing her,
instead when Emilia asks who has done this terrible act, she replies with
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"Nobody; I myself. Farewell! Commend me to my kind lord" (V.ii.124−25),
echoing the unselfishness and forgiveness Christ had as well.
To a certain extent Desdemona’s naivety/innocence is responsible for her death,
she fails to see the bad in people. She blindly follows the advice Iago has given
her regarding Cassio’s position and she fails to notice that her constant reference
to Cassio is angering Othello and causing him to doubt her.
Desdemona’s death
Desdemona seems to be aware that she is going to die. When she is alone with
Emilia in Act IV, scene iii, she tells Emilia to shroud her in her wedding sheets
when she dies before Emilia does. “If I do die before thee, prithee shroud me in
of those sheets”. Also in that scene Desdemona says the willow song, that was
sung by her mother’s maid dying, “will not go from my mind”. This again seems to
foreshadow Desdemona’s death.
Language
Verse:
Iambic pentameter
This is based on a line of ten syllables, arranged so that the beats, or stresses,
fall on every second syllable. Thus each line consists of five units (or metrical
feet), each consisting of an unstressed syllable followed by a stressed one. Each
of these units is called an iambic foot, and since there are five of them in each
line, the meter is called iambic pentameter. Two good examples from the play
are:
“I think this tale would win my daughter too”
“She’s like a liar gone to burning hell”
Rhyming couplets
Verse is language which is rhythmically organized according to particular
patterns of meter and the arrangement of lines. Verse is given to noble and royal
characters, expressing romantic or elevated feelings, and at certain heightened
moments they use rhyming couplets. These are also used at the ends of scenes
to give them an air of finality—often sinister. Couplets also suggest common
wisdom is being quoted, as in Act 1 scene 3 when Barbantio and the duke
exchange sententious advice.
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Prose
Prose was generally reserved for characters of lower social status, for comic or
domestic scenes, or to indicate secrecy or conspiracy. If a character who
normally uses verse switches to prose and vice versa. Characters that suddenly
become less fluent, articulate or capable of speaking in a smooth rhythm are
often undergoing emotional disturbance or rapid thinking. This is particularly
noticeable in Othello’s speeches in Acts 3 and 4. Some characters rarely use or
are uncomfortable with prose, such as Desdemona, and some change according
to their interlocutor or context, like Emilia. Iago moves easily between verse and
prose, as one would expect.
Othello’s change in language
At the beginning of the play Othello’s language is in iambic pentameter were he
finishes with rhyming couplets. Othello’s organized and royal language reflects
his nobility, his romantic side and his control over his life. However towards the
end his language turns to prose showing his emotional confusion and rapid
thinking that can lead to naivety.
At the beginning of the play, Othello has such confidence in his skill with
language that he can claim that he is “rude” in speech, knowing that no one will
possibly believe him. He then dazzles his audience with a forty-line speech that
effortlessly weaves words such as “hair-breadth” and “Anthropophagi” into blank
verse lines. But in the moments when the pressure applied by Iago is particularly
extreme, Othello’s language deteriorates into fragmented, hesitant, and
incoherent syntax. Throughout Act III, scene iii, Othello speaks in short, clipped
exclamations and half-sentences such as “Ha!”, “O misery!” and “Dost thou say
so?” There is also notable repetition, as in “Not a jot, not a jot”, “O, monstrous,
monstrous!”, “O, blood, blood, blood!” and “Damn her, lewd minx! O, damn her,
damn her!”
Shakespearean terms still in use
Some words from Shakespearean that are still currently being used but now
have been changed to mean something else are words like: ‘still’ and ‘presently’
which meant ‘always’ and ‘now’. An example of a misunderstood quotations
would be ‘wherefore’—which means ‘why’ not ‘where’—and ‘protest’, meaning
‘claim’ and not ‘complain’. ‘You’ was used as either a plural or an indication of
respect to someone of higher authority, whereas ‘thou’, singular, suggests
familiarity or affection, or talking down to social inferior. This meant that it could
be used as an insult or to suggest an irregular intimacy, and, conversely, using
you to a family member would convey coldness and a hostile relationship. One of
the most famous terms coined by Shakespeare would be that of the “green eyed
monster” which still today is associated with jealousy.
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Setting
Venice
Venice, one of the most famous and celebrated city-states in Italy, had begun
since 1000 A.D. to exploit its position at the head of the Adriatic Sea to found a
sea-borne empire. The Venetian empire was primarily based upon trade
extending and establishing their influences and presence wherever they went.
This helps to explain the constant and continuous conflict between Venice and
the Ottoman Turks over Cyprus. As one had claim over the eastern
Mediterranean and the other over Greece, Constantinople and the Balkans.
Shakespeare set the play Othello in Venice as it was a city of interest to
Londoners and a major trading rival. Often would English merchants brought
back reports of it luxuries and vices. Additionally, the play is set in roughly
Shakespeare’s time (1570) providing a context of war and chaos. The play
Othello can thus be called a tragedy of intrigue without any subplot intensifying
its claustrophobic atmosphere and on the relatively small group of characters.
Venice was by a word at the time for beauty, culture and civilization. The senate
is powerful and respected in both eastern and western nations. However,
dignified the city was, the senate was engaged in war for profit and territory
leading to the hire of Othello and Cassio, mercenaries for hire. During his 9
months in Venice, Othello reinvents himself as a public figure: confident,
entertaining and most of all Christian. However, Venice is a less virtuous place
then it appears as Brabianto imprisons his daughter for the purpose of arranging
a good marriage, Roderigo’s unlawful solicitation of Desdemona through the use
of bribes and Iago’s hire of “three great ones of the city” to plead his suit for
lieutenancy. Essentially, money and the trade in human flesh in Venice have
replaced morality.
The baseness of Venice is revealed in the opening of the play with the shouting
of obscenities in a public street and the connection of sex with money and
control. Thus even if Othello and Desdemona appear to be untainted and prudent
characters, their love is already contaminated making the degradation that
follows inevitable.
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Cyprus
Cyprus is positioned at the crossroads of the eastern Mediterranean acting as an
isolated rampart and outpost of Christianity and Europe against the Turkish
threat. Furthermore it is thought to be the birthplace of Aphrodite, goddess of
love, it is now an island dominated by war. It becomes thus ominous that war and
love in Cyprus are linked foreshadowing dramatic events. This helps to explain
its history of invasion and subjugation over a period of 4000 years. The Ottoman
Turks from the fifteenth century onwards mounted increasingly powerful military
operations from its bases in Greece, Constantinople and Balkans.
The play, Othello, is primarily set in the Turkish invasion of Cyprus on the 1st of
July 1570. However, the Cypriots, no friends of Venice offered no resistance and
in some cases welcomed the Turks when Lala Mustafa Pasha landed with
50,000 soldiers. Less fortified then the island of Rhodes; Cyprus is more
vulnerable to the Venetian army and the Moslem barbarians. Furthermore,
Cyprus is island surrounded by the sea where the characters are more
vulnerable and susceptible to their vices without the civilization and laws of
Venice to keep them in place. Allegorically and symbolically, the sea can be
peaceful at one time and suddenly violent. This marks a transition within the
characters nature and actions from one extreme to another.
Described twice in Act II as “this war-like isle”, Cyprus according to the historical
context and this quotation is the antithesis to the peaceful and luxurious Venice.
Since it is the last European bastion against the Moslems it is isolated, occupied,
under threat and in a state of turbulence with its people dependent and
frightened. Othello, thus, falls under a troubled mental state making him more
dependent upon the ‘Turk’ Iago and more susceptible and prone to believe his
lies and fabrications. As a consequence, another Othello emerges as an
irrational murdering force and primitive savage. This can be seen in the transition
of Othello’s language from eloquent and fluent in Venice to a more primal and
colloquial in Cyprus. In Cyprus there is no visible enemy and Othello looses his
‘occupation’ (military career) and reverts to his former self brought by Moorish
parents who believe in magic handkerchiefs, love as a spell and religion as a
superstition. However it with Iago’s undermining influence that makes see himself
as his detractors see him: old, uncivilized and black.
Thematically, Iago can be seen as an infidel and Turk. He arrives in the guise of
a protector but parallels can quickly be drawn between his actions and those of a
diabolical infidel. Furthermore, he can be seen as carrying out the work of the
Turk in creating chaos, confusion and destruction by undermining the sanctity of
Othello’s marriage and Desdemona’s fidelity. The external Turkish threat is
replaced by that of the Turk within Iago, which is harder to deal with because
invisible. In Cyprus, Iago knows everyone and everything, and feels more
confident and less restricted than in Venice, where he is kept at his place. For
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example, in Venice Iago and Rodrigo only manage to Brabantio to undermine
Othello’s and Desdemona’s relationship at the council whilst in Cyprus Iago
manages to manipulate and fire Cassio from his position as first lieutenant to
Othello. At home in a ‘war zone’ gives his free reign to his own excesses and
releases fuelled by the character’s losses, uncertainties and communication
breakdowns.
In general, the transition from Venice to Cyprus has unlocked the primitive side of
the previously restrained characters, including Othello. Not one of the major
characters returns from Cyprus to Venice within the play, as if it is not a journey
that can be made in reverse, like the loss of virginity, reputation and innocence.
Themes in Othello
Betrayal/Deception
Many of the characters in the play all trust in Iago's honesty; this leads to the
downfall of many characters, as this trust in Iago's "honesty" became a crucial
contributor to their undoing. Iago deceives and betrays most characters including
his wife, whom he kills to keep quiet.
Iago betrays Othello. First he gets Othello to trust him by being his friend;” Make
the Moor thank me, love me, and reward me, for making him egregiously an
ass.”Then he subtly hints about Desdemona and Cassio having an affair. In the
end however Iago’s schemes unravel and Othello learns the truth about Iago’s
dishonest nature.
Iago betrays cassio, he advices him to go to Desdemona in order to get his job
as Othello’s officer back. This is all a part of Iago’s plan to make it look as if
Desdemona and Cassio are spending a lot of time together; having an affair.
Iago says “I’ll tell you what you should do. Our general’s wife is now the
general.”Cassio believes Iago has his best intentions in mind when really it is all
a part of his larger plan.
Iago also betrays Roderigo, i think to a more extreme level as he kills him in the
end to stop him from exposing Iago as the “inhuman dog” he really is. Also if he
were to live, Iago would have to return all his money that Roderigo put “in his
purse”.
Service
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Iago “helps” Othello, or so Othello thinks, in killing Cassio. Emilia helps Iago with
his scheming, without understanding what she actually is doing, by giving
Desdemona’s handkerchief to him which he used as the final “proof” that
Desdemona is sleeping with Cassio. Unintentionally she has helped Iago very
much in his scheming.
Rederigo perhaps acts most like a servent or service to Iago.Iago takes his
money, while saying that he will use it to buy gifts for Desdemona to prove
Roderigo’s love for her. He uses him in his little plan to make Cassio drunk and
start a fight which leads to the end of his job. In the end he also uses him to
attempt killing Cassio, which fails, and in the end Iago betrays Roderigo by killing
him.
Good vs evil
The major battle of good vs. evil is Iago's battle against Othello and Cassio. Iago
and his evil plans to corrupt and turn the flawed natures of other characters, and
he does succeed to some extent. By the end of the play, neither good nor evil
wins, as Desdemona and Emilia are both dead, and Iago revealed and punished.
Iago has successfully turned Othello against Desdemona and Cassio however he
does not gain Othello’s position and his dishonest nature is revealed, thus
nobody wins.
Iago and his evil battle to corrupt and turn the flawed natures of other characters,
and he does succeed to some extent. By the end of the play, neither has won, as
Desdemona and Emilia are both dead, and Iago revealed and punished.
Jealousy
Othello’s jealousy arises from Iago’s brilliant scheming. His suspicions start when
he sees Cassio leaving Desdemona. Iago says “I do not like that” and already
Othello’s suspicion and jealousy is developing. It is his jealousy and
embarrassment that causes Othello to kill Desdemona and fail to kill Cassio. At
first Othello disregards Iago’s comments; “Think thou I’d make a life of
jealousy….No Iago, I’ll see before I doubt”, however in the end he does make a
life of jealousy and ends up killing his one true love.
Othello is quick to believe in Iago’s lies and says “Perdition catch my soul but I do
love thee; and when I love thee not, chaos is come again.” This is saying that if
he cant have Desdemona all to himself nobody can and chaos will come.
Love
Love is a theme that is very important in the play and is shown consistently
throughout the play.
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In Act 1, scene one we see the love Othello carries for Desdemona; “ of my
whole course of love ”. The love Othello has for Desdemona is very much
returned to him by her “I love him”
Iago often falsely professes love in friendship for Roderigo and Cassio and
Othello and betrays them all. Desdemona's love in friendship for Cassio is real
but is misinterpreted by the jealous and muddled Othello as adulterous love. The
true love in friendship was Emilia's for Desdemona which is shown when she
stands up to witness for the honor of her dead mistress, against Iago, her lying
husband, and was even killed for it.
Iago uses the word "love" in a more false manner than the other characters. He
tells Roderigo he loves him at moments when he is deceiving him, getting at his
money, or persuading him to a course of action from which Iago, not Roderigo,
will benefit. Iago tells Othello he loves him at moments when he is whispering the
cruelest words into his ear. Iago even says he loves Desdemona, meaning he
could feel some sexual desire for her. Iago cannot say "love" honestly: For Iago,
love is power and control as clearly seen in his relationship with the trusting
Othello.
Race
It has a great amount of influence on how people regard Othello for those who
distrust black people merely on looks never like Othello, like Iago. Race also
determines how Othello perceives himself as a rough outsider, though he is
nothing of the sort.
Pride
Othello is defensively proud of himself and his achievements, and especially
proud of the honorable appearance he presents. He wants to appear powerful,
accomplished, and moral at every possible instance, and when this is almost
denied to him, his wounded pride becomes especially powerful.
Order vs. chaos
As Othello begins to abandon reason and language, chaos takes over. His world
begins to be ruled by chaotic emotions and very shady allegations, with order
pushed to one side. This chaos rushes him into tragedy, and once Othello has
sunk into it, he is unable to stop his fate from taking him over.
Self-knowledge
Othello's lack of self-knowledge makes him easy prey for Iago. Once Iago
inflames Othello's jealousy and gets the darker aspects of Othello's nature into
action, there is nothing Othello can do to stop it, since he cannot even admit that
he has these darker traits.
Honesty
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Although the word "honest" is usually used in an ironic way throughout the text,
most characters in the play go through a crisis of learning who and who not to
trust. Most of them, unfortunately, trust in Iago's honesty; this leads to the
downfall of many characters, as this trust in Iago's "honesty" became a crucial
contributor to their undoing.
Misrepresentation
This also allows Iago to gain trust and manipulate other people;
misrepresentation means that Iago is able to appear to be "honest," in order to
deceive and misdirect people. Othello also misrepresents himself, as being
simple and plainspoken. This theme is also connected to appearance vs. reality
Imagery
Animal imagery
The use of animal imagery is well sustained throughout the play. Iago especially
uses a lot of animal imagery to describe Othello – "barbary horse” 1.1.112. This
effectively shows how Iago “hates the Moor” and also how easily Othello can be
manipulated that Iago can lead him tenderly by the nose “as asses are.” 1.3.393
Iago also uses a lot of base animal imagery to describe sex: “an old black ram is
tupping your white ewe” 1.1 89, “your daughter and the Moor are now making the
beast with two backs” 1.1.117 Iago’s use of animal imagery is often used to
express prejudice against Othello’s race, against the female gender and also
reflects his own base and crude character. Iago’s perception of love as an animal
sexual act degrades the love between Othello and Desdemona.
Othello starts adopting this animal imagery in his language from the end of Act 3
showing the audience his degrading state of mind. He also begins to take on the
animalistic qualities that Iago has described him to be earlier on in the play. “I
took by th’throat the circumcised dog” 5.2.351
Words – references to speech
The power of speech and language is very prominent within the play. Othello’s
state of mind can easily be distinguished through his language. His speeches are
full of eloquence in Act 1, and through his fluency and eloquence of speech he
was able to win Desdemona over “to tell my story, and that would woo her”
1.3.165 and also the court. However, as the play proceeds, his speech quickly
becomes stammered, base and disjointed after Act 3.
Iago on the other hand is able to use his speech to effectively manipulate and
persuade others to do his bidding. When he was left powerless at the end,
through manipulation of words he renounces them and says “I never will speak
word”5.2.301
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It is also because of the lack of communication within this play did many of the
relationships falter and misunderstandings occur. Cassio was struck dumb at a
crucial moment and them spends the rest of the play trying to speak to Othello
who thinks he’s dad when “his mouth is stopped”5.2.72. Othello kills Desdemona
because of their lack of communication. Othello acts on what Iago says and not
the “ocular proof”.
Hell – (light and dark)
Right from the start of the play, Othello is constantly referred to as “the Moor” as
a dark and evil creature; contrastingly, Dedemona his wife is always referred to
as very white and pure - “not scar that whiter skin of hers than snow”5.2.4
However, as the play progresses, “her name, that was as fresh…is now
begrimed and black as mine own face 3.3.386 Othello starts seeing her chastity
and purity to become soiled and tarnished as Othello believes her supposed
infidelity. The constant references between light and dark also runs parallel to the
theme of good and evil.
When he kills her “methinks it should be now a huge eclipse of sun and moon”
and Othello becomes the “blacker devil”5.2.132 Now it is his character that is evil
and barbaric. Othello constantly refers to light – “put out the light, and then put
out the light…I can again thy former light restore” 5.2.7 He is saying how he is
going to put out both the torch he is carrying and thus smothering his wife in the
dark – just like how most of the other events takes place in – this is quite
significant as all of the characters are kept in the dark. Also the “light” also refers
to Desdemona as she is always seen to be pure and like an “angel”5.2.131
Poison
Iago’s poison consists of the lies he plans to tell Othello little by little as if
administering drops of poison into his body pouring “pestilence into his
ear”2.3.346, manipulating and deceiving Othello as “the Moor already changes
with my poison”3.3.322 Iago is poison personified as Lodovico said “This is thy
work. The object poisons sight”5.2.360
“Get me some poison Iago” 4.1.199
Eyes
For she had eyes and chose me,” he says to Iago, “when I doubt, prove.” To
weaken Othello’s confidence, Iago replies, “observe her well with Cassio...I know
our country disposition well in Venice they do let heaven see the pranks they
dare not show their husbands.” He seizes upon the opportunity to play upon the
fact that Othello is an exotic by suggesting that he is not aware of the deceptive
ways of Venetian women. So Othello is seen as different and almost looked
down upon because of his skin colour.
It is ironic how Othello initially wants Iago to show him the “ocular proof” but later
is satisfied with solely the “proof” of Iago’s words. Iago’s manipulation of Othello’s
mind tarnishes the clear and logical vision Othello had once had. Now Othello’s
mind twists each image and scene he sees to fit into what Iago has said.
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Handkerchief
The image of the handkerchief serves various purposes. It represents Othello’s
trust in Desdemona – when Desdemona lost her handkerchief, Othello has also
completely lost his trust in her. The handkerchief also has a sense of sexuality to
it as handkerchief in those days was usually seen as a romantic love token. The
three red strawberries represent lust and love but also the loss of virginity (blood
stains on a white sheet).
Irony
Irony refers to the situation where the literal meaning differs to (and is usually the
opposite of) the deeper, metaphorical meaning. This literary technique can be
divided into three catergories:
1. Situational Irony – when the outcome differs from what was expected;
2. Verbal Irony – when what a character says is different (often the opposite)
to what is meant;
3. Dramatic Irony – when the audience have a better insight to a situation
than the characters do, who often misinterpret the state of affairs.
All three of the above forms are used throughout Othello. The purpose of irony in
the play to create tension but at the same time, maintain the audience’s interest
as they never quite know that is going to happen.
The first example of irony that the audience is exposed to revolves around the
idea of black vs. white, a major theme in the play. Traditionally, black is seen as
being evil and white is seen as being pure. The irony arises when Othello is
referred to by Iago as “ the Moor” and “the black Othello”. Othello, the audience
soon find out, is anything but evil. The duke even says to Brabantio “Your son-inlaw is far more fair than black” (Act 1 Scene 1 Line 287). Iago, on the other hand,
is much less ‘pure’ in personality than Othello, the irony here being that his
complexion is fair.
One of the most prominent cases of dramatic and verbal irony in Othello is the
constant reference of characters to “honest Iago”. Although the audience are
aware of Iago’s plots to displace Cassio and ruin Othello, the rest of the
characters seem oblivious to his manipulation. Ironically, Iago is the most honest
when he is talking about his dishonesty. This occurs, mostly, during his
soliloquies, giving the audience an insight into what he truly is.
Several times in the play, characters come very close to revealing the true Iago;
Emilia unknowingly curses her husband when confronted by Othello about
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Desdemona’s fidelity (“If any wretch have put this in your head/Let heaven
requite it with the serpent’s curse!” Act 4 Scene 2 Line 14-15) and later on she
actually works out what has happened (“The Moor’s abus’d by some most
villainous knave” Act 4 Scene 2 Line 138) but is unable to determine who the
“villainous knave” is. Othello himself refers to Iago as a “villain” and even goes as
far as saying “Thou dost conspire against thy friend, Iago” (Act 3 Scene 3 Line
143) but is unable to make the connection.
There are a number of other occasions in which irony are used in Othello’s lines.
When Brabantio warns him that Desdemona “has deceiv’d her father and may
thee” (Act 1 Scene 3 Line 289), Othello replies “My life upon her faith!” (Line
290). This is ironic because, although this line is taken to mean that Othello does
not believe she will even be unfaithful, this figure of speech eventually turns into
a reality. This irony continues later on in the play when Othello says “…when I
love thee [Desdemona] not,/Chaos is come again” (Act 3 Scene 3 Line 90). At
this point in the play Othello cannot even imagine that his feelings towards
Desdemona would ever change but once again, as soon as he starts doubting
her loyalty, “Chaos is come again”.
Desdemona is unable to believe that her husband has turned into a “green-eyed
monster” (Act 3 Scene 3 Line 167) and says to Emilia “my noble Moor/Is true of
mind and made of no such baseness/As jealous creatures are.” (Act 3 Scene 4
Line 22-24). This dramatic irony causes tension whenever Desdemona talks to
Othello about Cassio as it makes him more and more convinced that they are
having an affair.
Another example of dramatic irony is when Cassio refers to alcohol as the devil
when talking to Iago about how he lost his position (“Every inordinate cup…is a
devil” Act 2 Scene 3 Line 286-287). Cassio cannot reach the conclusion that the
real ‘devil’ is Iago.
A key situational irony revolves around Cassio and Iago. One of Iago’s main aims
was to cause the “displanting of Cassio” (Act 2 Scene 2 Line 266) and later on in
the play when Cassio replaces Othello to watch over Cyprus, he seeks to make
“him incapable of Othello’s place” by “knocking out his brains” (Act 4 Scene 2
Line 226-227). It is ironic that, after all the “chaos” and deaths Iago managed to
cause, he is unable to achieve this goal and Cassio ends up being the one who
has the power to “torment him much and hold him long” (Act 5 Scene 2 Line
330).
A final example of irony is that between Iago and his wife, Emilia. Throughout the
play, Iago uses derogatory terms when talking about women and is particularly
offensive to his wife, calling her a prostitute (“You rise to play bed go to bed to
work” Act 2 Scene 2 Line 114). Although Emilia retaliates very little to these
insults, she possesses a forward-thinking, almost feminist nature which is
portrayed at the end of Act 4. When Desdemona asks her “That there be women
do abuse their husbands…?” (Act 4 Scene 3 Line 60-61) Emilia responds
“Yes…But I do think it is their husbands’ fault/If wives do fall.” The irony here is
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that Iago is married to the character whose views about women and their rights
are the most different (out of rest of the characters) to his own.
Structure of Othello
General Information
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Traditional Shakespeare Five Act play
Traditional Manipulation of Time
Rising Action: Iago’s manipulation of Othello, building his jealously
Climax: Othello’s murder of Desdemona
Falling Action: Othello’s Death
In sentences often places the verb before the subject
o Establish rhythm
Sentences often interrupted by long statements, which separate the verb
from the subject
o Used to build suspense or add further characterization
Structure of the Text:
Iambic Pentameter
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Written in a form of blank verse (has a regular rhythm but does not rhyme)
In this case Iambic Pentameter
o Each line is ten syllables long
o Each line is divided into pairs of syllables called ‘feet’-alternating
syllables
 Iambic-foot Pentameter- each line has 5
Creates a fluid, iambic rhythm to the spoken text
“Most potent grave, and reverend Seigniors/My very noble and approve’d
good masters” 1.3.76-7
Free Text
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First arises at the conclusion of act 1 scene 3
Has no sense of rhythm or stressed syllables
Acts as a contrast to the constant Iambic Pentameter
Arises when strong emotions interfere with a characters speech
Arises when Shakespeare wishes to show an informal environment
“It is merely a lust of the blood and a permission of the/will. Come, be a
man. Drown thyself Drown cats and..” 1.3.330-1
Soliloquies:

Soliloquies by Iago conclude acts 1 and 2
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
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Iambic Pentameter
Important to structure as they confirm Iago’s deceptive nature and his
plans
o Both end with a rhyming couplet highlights importance of
message in soliloquies
 “…Hell and night/must bring this monstrous birth to the
world’s light” 1.3.394-5
 “Ay, that’s the way:/dull not device by coldness and delay”
2.3.364-5
o Contribute to the pace of the novel
 Depending on you interpretation of Iago, at the moment
either
 Slows down the pace of the novel as he
contemplates his plan
 Speeds up the pass of the novel as his ideas are
forming and changing quickly
Time and Speed:
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Time is often manipulated in Shakespeare
The majority of the play is said to occur over 3 days but some of the plot
could not be possible over three days
o Eg Cassio having an affair with Desdemona, when she has been
with Othello in Venice, on separate boats to Cyprus to the point
of Othello believing this tale
Time and speed are manipulated by the amount of text on that topic
o Eg slow pace on first 3 scenes as 700 lines of text is used to
explain then events in front of the Senate
o Eg Fast pace as Cassio goes from Othello’s trusted lieutenant to
losing it all over 300 lines of text
Time is manipulated by references to time, and in context with the events
of the plot
o “Pleasure and action make the hours seem short” 2.3.379
o “What sense had I of her stolen hours of lust?” 3.3.338
o …keep a week away? Seven days and nights? Eight score eight
hours?” 3.4.187-8
Allows for a more tragic story as the magnitude of Othello’s sudden
deterioration is present
o Gives it a sense of unavoidability
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The Role of Women
Desdemona
- She is part of the upper class of Venetian Society
- Othello’s wife and the daughter of Barbantio
- She has many suitors vying for her hand in marriage but she freely chooses to
marry Othello, even though is he of a different race and social class.
- She has married Othello secretly and unknowingly to her father. Desdemona’s
mother married Barbantio against her father’s wishes, which is the exact same
thing, which she has done. She marries Othello against her father’s wishes and
without her father knowing.
- Desdemona loves Othello for the dangers he has experienced on the battlefield;
"She lov'd me for the dangers I had pass'd, And I lov'd her that she did pity them"
(Act 1, Scene 1, Lines 167-168). This is the basis of their relationship, which
shows that their love for each other is very superficial.
- She is very pure, caring and is completely loyal to Othello.
- She truly loves Othello and is faithful to him until the end, despite his suspicions
- She is naive and has different view of men in comparison with Emilia
- When Emilia a sks her if she would “abuse” (deceive) her husband, she ask if
there are woman who really do that and she says that she would most definitely
not. (Act 4, Scene 3, Lines 60-68)
Emilia
- She is Desdemona’s lady-in-waiting and Iago’s wife
- She is Loyal to both her husband and her mistress, she is a strong-willed and
wise woman and she shows an attitude to men that is completely different from
Desdemona’s.
- During most of the play, Emilia speaks plainly and using simple language;
however in the last scene, her speech is more formal and is well structured.
- She is a woman who believes that men and women experience the same
passions and desires.
- She finds the handkerchief and gives it to Iago in order to please him, as he has
been asking Emilia to steal it for him
- She is the only person that Iago cannot completely manipulate, as once she
discovers that Iago is the one who has slandered Desdemona to make Othello
jealous. She tells Othello that she was the one who found Desdemona’s
handkerchief and that she gave it to Iago who then placed it in Cassio’s room.
- Emilia is the person who allows Iago’s scheme to completely work; she is partly
the cause for the complete end to Othello and Desdemona’s relationship. The
item, which will allow Iago’s scheme to work, is the handkerchief, which is given
to him by Emilia. Therefore Emilia unknowingly contributes to Dedemona’s death,
as she provides the handkerchief for Iago to place in Cassio’s room, which then
makes Bianca jealous. While Othello listens to Cassio and Iago’s conversation
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about Bianca, he thinks that they are talking about Desdemona and therefore this
makes Othello believe that Desdemona is disloyal and have a desire to end her
life.
- Before dying next to her mistress, she does not hold her peace and she
explains everything that Iago has done. When she finds out that Othello’s
jealousies and reasons for killing Desdemona; were caused by the handkerchief,
she reveals that it was all Iago’s creation and manipulations. She says that
Desdemona was never disloyal and that Iago is the one to blame.
- She contributes to Desdemona’s death, unknowingly, as well as explaining
Desdemona’s loyalty and Iago’s disloyalty.
- “’Tis not a year or two shows us a man. They are all but stomachs, and we all
but foot; They eat us hungerly and when they are full, They belch us.”
- This quotation clearly shows Emilia’s perception of men. She believes
that men just use women to their advantage and once they have filled their
“appetites”, they move on. (Act 3, Scene 4, Lines 97-100)
Bianca
- She is Cassio’s mistress
- She plays a small role in the play but she allows Iago’s scheme to provoke
Othello’s jealousy of Cassio and it makes him completely believe that
Desdemona is being disloyal with Cassio.
In Act 4, Scene 1
- When Bianca throws the handkerchief at Cassio, after having been given it by
Cassio for her to copy it. She thinks that the handkerchief was a gift from another
woman to Cassio and then leaves the room. Othello has been listening to Cassio
and Iago’s conversation and has also witnessed Bianca’s reaction. Othello views
this as enough evidence to prove his wife’s disloyalty.
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