Othello

1
Othello
2
Dramatis Personae

• Duke of Venice
• Othello Moor, married to Desdoma
• Iago Solider in Othellos army
• Cassio Lieutenant in Othellos army
• Desdemona Othellos wife
• Emilia Iagos wife
• Rodreigo Solider, love Desdemona

3
Act I Scene 1

• Read I.1.113-114
• Othello begins in the city of Venice, at night
• Roderigo is having a discussion with Iago, who is
  bitter at being passed up as Othello's
  lieutenant.
• Though Iago had greater practice in battle and in
  military matters, Cassio, a man of strategy but
  of little experience, was named lieutenant by
  Othello.
• Iago says that he only serves Othello to further
  himself, and makes shows of his allegiance only
  for his own gain
• He admits that his nature is not at all what it
  seems.
• Iago is aware that the daughter of Brabantio,
  Desdemona , has run off with Othello, the black
  warrior of the Moors.
• Brabantio knows nothing of this coupling
• Iago decides to enlist Roderigo, who lusts after
  Desdemona, and awaken Brabantio with screams that
  his daughter is gone.
• Watch movie scene

4
Act I Scene 1

• At first, Brabantio dismisses these cries in the
  dark
• He realizes his daughter is not there, he gives
  the news some credence.
• Roderigo is the one speaking most to Brabantio,
  but Iago is there too, hidden, yelling unsavory
  things about Othello
• Brabantio panics, and calls for people to try and
  find his daughter
• Iago leaves, not wanting anyone to find out that
  he betrayed his own leader
• Brabantio begins to search for his daughter.

5
Analysis Friendship

• The relationship between Roderigo and Iago is
  somewhat close
• Roderigo shows this in his first statement
• Iago "hast had Roderigo's purse as if the
  strings were thine," he tells Iago (I.i.2-3)
• The metaphor shows how much trust Roderigo has in
  Iago, and also how he uses Iago as a confidante
• Does Iago share the same kind of feeling?
• As far as Roderigo knows, Iago is his friend
• Appearance is one thing and reality another, as
  Iago soon will tell.

6
Analysis Trusting Appearance

• Iago tells several truths about himself to
  Roderigo
• He trusts Roderigo with the knowledge that he
  serves Othello, but only to further himself.
• How ironic that after Iago's lengthy confession
  of duplicity, Roderigo still does not suspect him
  of doublecrossing or manipulation.
• Iago seems to do a great deal of character
  analysis and exposition for the audience
• He divulges his purpose in serving Othello, and
  the kind of man he is.
• Appearance vs. Reality is a crucial theme in
  Iago's story
• He enacts a series of roles, from advisor to
  confidante
• He appears to be helping people though he is only
  acting out of his twisted self-interest.

7
Analysis Metaphors and Paradox

• "These fellows" that flatter for their own
  purposes "have some soul," Iago says
• There is a double irony in this statement that
  Iago passes off as a truth
• People who act one way and are another are
  duplicitous, and scarcely deserve the credit that
  Iago is trying to give them.
• Iago, though he is one of those fellows, seems to
  have no soul
• He never repents, never lets up with his schemes,
  and never seems to tire of damaging whatever he
  is able to.
• "In following Othello I follow but myself,"
  Iago also professes
• This is a paradox in terms, but is revealing of
  Iago's purposes in serving Othello.
• His language is revealing of his dark character
• He uses the cliché "I will wear my heart upon my
  sleeve" to convey how his heart is false, and his
  shows of emotion are also falsified
• He turns this cliché into something more dark and
  fierce, when he adds the image of the birds
  tearing at this heart
• He has foreshadowed the great deceptions that he
  will engineer, and the sinister qualities that
  make up his core.

8
Analysis Parallels

• The key to Iago's character is in the line "I am
  not what I am
• Roderigo should take this as a warning, but fails
  to.
• Everything which Iago presents himself as is a
  false show
• This first scene represents the peak of Iago's
  honesty about himself with another character.
• Iago is parallel to another character, Richard
  III, in his self-awareness about his villainous
  character
• He is parallel in lack of remorse and use of
  false representations of himself.

9
Analysis Racism

• Racial issues and themes which are at the core of
  Othello's story and position are beginning to
  surface.
• When Roderigo refers to Othello, he calls him
  "the thick lips
• This singles out one prominent characteristic of
  Othello's foreignness and black heritage
• It displays a racial distrust of Othello based on
  his color.
• Roderigo and Iago are not the only characters to
  display racism when referring to Othello
• Racism is a pervasive theme within the work,
  spreading misconceptions and lies about Othello
  by tying him to incorrect stereotypes.

10
Analysis Juxtaposition

• Another element that surfaces repeatedly in the
  play is the use of animal imagery "an old black
  ram is tupping your white ewe," Iago yells to
  Brabantio
• The use of animal imagery is used in many places
  in the play to convey immorality and illicit
  passion, as it does in this instance.
• Iago also compares Othello to a "Barbary horse"
  coupling with Desdemona, and uses animal imagery
  to reinforce a lustful picture of Othello
• Iago's statement is doubly potent, since it not
  only condemns Othello for his alleged lust, but
  also plays on Brabantio's misgivings about
  Othello's color
• The juxtaposition of black and white, in
  connection with the animal imagery, is meant to
  make this image very repellent, and to inflame
  Brabantio to anger and action.

11
Analysis Devils

• Iago especially mentions the devil many times in
  the text
• The first time here in the first scene to make
  Othello sound like a devil with
• lust
• indiscretion
• strangeness
• The irony is that Iago is so quick to make others
  out to be evil
• The devil often takes disguises, just as Iago
  does embodying the theme of appearance vs.
  reality
• He is the one who looks least guilty.

12
Analysis Imagery and Setting

• Important to this scene is the fact that it is
  held in darkness
• Like the beginning of Hamlet, things are unsteady
  and eerie, and disorder rules.
• With Brabantio's call for light, there is a
  corresponding call for some kind of order
• darkness vs. light
• order vs. disorder
• Both important juxtapositions within the play
• they highlight the status of situations
• These themes will appear again at the end, as the
  play returns to darkness, and chaos

13
Act I Scene 2

• Read I.2.1115-1116
• Iago has now joined Othello, and has told Othello
  about Roderigo's betrayal of the news of his
  marriage.
• He tells Othello that Brabantio is upset, and
  will probably try to tear Desdemona from him.
• Cassio comes at last, as do Roderigo and
  Brabantio
• Iago threatens Roderigo with violence, again
  making a false show of his loyalty to Othello.
• Brabantio swears that Othello must have bewitched
  his daughter, and that the state will not decide
  for him in this case.
• Othello says that the Duke must hear him, and
  decide in his favor, or all is far from right in
  Venice.
• Watch movie scene

14
Analysis Janus

• Iago continues his deliberate misrepresentation
• Swearing to Othello that he could have killed
  Roderigo for what he did.
• Iago is a very skilled actor
• He is able to successfully present a contrary
  appearance
• Ironically, Iago alludes to Janus, the two-faced
  god, in his conversation with Othello.
• Since Iago himself is two-faced Janus seems to be
  a fitting figure for Iago to invoke.

15
Analysis

• Iago's duplicity is again exhibited in this scene
  as his tone swings
• friendly to backbiting as soon as Othello steps
  away
• back to his original friendliness when Othello
  returns.
• Iago acted supportive of Othello's marriage to
  Desdemona
• Cassio enters and uses a rather uncomplimentary
  metaphor to tell what Othello has done
• "He tonight hath boarded a land-carrack"
• Iago tells Cassio
• His diction and choice of metaphor make Othello
  into some kind of pirate
• stealing Desdemona's love
• Cassio reduces Desdemona into a mere prize to be
  taken.
• Iago will soon want Cassio to think of Desdemona
  as an object to be taken, and to believe Othello
  to be less honorable than he is.

16
Analysis Pride

• Othello's pride first becomes visible here
• He is exceptionally proud of his achievements and
  his public stature
• Pride is a huge theme of Othello's story.
• He is proud of Desdemona's affection for him
• He would not give her up "for the seas' worth,"
  he says (l. 28).
• Othello is very confident in his worth, and in
  the respect he commands
• If the leaders of the city decide to deny a
  worthy man like him his marriage to Desdemona,
  then he believes
• "bondslaves and pagans shall our statesmen be."
• This statement of paradox betrays Othello's faith
  in the state and in the Duke's regard for him
  hopefully, neither will fail him.

17
Analysis Racism and Magic

• The issue of race comes to the forefront, as
  Brabantio confronts Othello about his marriage to
  Desdemona.
• Desdemona never would have "run from her guardage
  to the sooty bosom of a thing such as thou,"
  Brabantio says (l. 71-2).
• Brabantio assumes that Desdemona must have been
  "enchanted" to marry Othello merely because
  Othello is black
• Brabantio ignores all of Othello's good
  qualities, and gives into his racist feelings.
• Magic is another recurrent theme, and here is
  linked to stereotypes of African peoples as
• knowing the black arts of magic
• being pagans
• being lusty
• The theme of magic does not always play into the
  theme of race within the play

18
Analysis Stereotypes and History

• At the time Shakespeare was writing, there were
  in fact free blacks in England
• However, racism was even more pronounced in
  Shakespeare's England than it is in Othello
• A character like Othello could not have risen to
  such ranks in England at the time
• Shakespeare's play is much more progressive than
  the time in which it was written.
• Othello even manages to avoid stereotype more
  effectively than another Shakespearean character
  like Shylock
• Stereotypes are linked to Othello by other
  characters, but he manages to evade them through
  his nobility and individuality.

19
Act I Scene 3

• Military conflict is challenging the Venetian
  stronghold of Cyprus
• There are reports that Turkish ships are heading
  toward the island, which means some defense will
  be necessary.
• Brabantio and Othello enter the assembled
  Venetian leaders, who are discussing this
  military matter
• Brabantio announces his grievance against Othello
  for marrying his daughter.
• Othello addresses the company, admitting that he
  did marry Desdemona, but wooed her with stories,
  and did her no wrongs.
• Desdemona comes to speak, and she confirms
  Othello's words
• Brabantio's grievance is denied
• Desdemona will indeed stay with Othello.
• Othello is called away to Cyprus, to help with
  the conflict there
• Othello and Desdemona win their appeal, and
  Desdemona is to stay with Iago, until she can
  come to Cyprus and meet Othello there.

20
Act I Scene 3

• Read I.3.1120
• Roderigo is upset that Desdemona and Othello's
  union was allowed to stand
• He lusts after Desdemona.
• Iago assures him that the match will not last
  long, and at any time, Desdemona could come
  rushing to him.
• Iago wants to break up the couple, using Roderigo
  as his pawn, out of malice and his wicked ability
  to do so.
• Watch movie scene

21
Analysis Brabantio

• Brabantio again accuses Othello of bewitching his
  daughter, and airs his racism-based views.
• He is not against the match because of any
  incompatibility of the couple
• His metaphor of his grief as a flood, that
  "engluts and swallows other sorrows, and is still
  itself," means that he feels very strongly on
  this issue.
• His strong objection foreshadows a confrontation
  between him and his daughter
• If Desdemona does choose to stay with Othello, it
  seems likely that she will risk her father's
  love.

22
Analysis Tragedy

• Othello's appointment to Cyprus marks the true
  beginning of his tragedy
• He will be much more vulnerable to Iago's vicious
  attacks on his love and jealousy.
• This battle between order and chaos is a theme
  running throughout the play
• As Othello sinks deeper into distrust of
  Desdemona and is more consumed by his jealousy,
  chaos increases and threatens to devour him.

23
Analysis Verse vs. Couple

• The Duke's words of advice to the couple also
  mark the beginning of their tragic story
• The Duke foretells trouble between the couple if
  they do not let grievances go, which ends up
  being a reason for Othello's fall.
• The change of the verse into couplets signals the
  importance of the advice being offered.
• The words of the Duke, and Brabantio's words that
  follow, are set off from the rest of the text and
  emphasized by this technique
• The reader is notified, through the couplet
  rhyme, which hasn't appeared before in the text,
  that these are words that must be marked.

24
Analysis Othellos Tragic Flaw

• The only magic that Othello possesses is in his
  power of language.
• His language shows his pride in his achievements
• Othello portrays himself as a tested, honorable
  warrior, and indeed is such.
• This view of himself will prove troublesome when
  he is hard pressed to recognize his jealousy and
  his lust
• His inability to reconcile himself with these two
  aspects of his personality means that his
  comeuppance is almost certain.
• Othello's lack of self-knowledge means that he
  will be unable to stop himself once Iago begins
  to ignite his jealousy

25
Analysis Allusions

• Othello's speech before the assembly shows what
  he believes Desdemona's love to be
• He thinks that Desdemona's affection is a form of
  hero-worship
• She loves him for the stories he tells, and the
  things he has done.
• He believes it is his allusions to strange
  peoples and places, like the "Anthropophagi,"
  that fascinate her
• Indeed, his powers of language successfully win
  the Duke over, and soften Brabantio's
  disapproval.

26
Analysis White and Black

• Light and dark are again juxtaposed in the Duke's
  declaration to Brabantio, that
• "if virtue no delighted beauty lack/ your
  son-in-law is far more fair than black."
• Black is associated with sin, evil, and darkness
  
• These negative things are also associated to
  black people, merely because of the color of
  their skin.
• The Duke's statement is ironic, since Othello is
  black, but truthful, because his soul is good and
  light.
• Light/white/fairness all convey innocence,
  goodness, any symbol that is white has these
  qualities.
• The juxtaposition of black and white, light and
  dark shows up again and again in the play, as the
  colors become symbolic within the story.

27
Analysis Origin of Chaos

• "Our bodies are our gardens," Iago tells Roderigo
• his speech recalls Hamlet's first soliloquy,
  though with a more kind appraisal of human
  nature.
• Iago is a very good judge of human nature, and
  easily able to manipulate people in ways that
  will benefit him most
• This cleverness also means that he is a source of
  wisdom in the play
• Iago's metaphor is particularly applicable to
  many in this play, himself excluded characters
  do have vices that they allow to grow in
  themselves
• They also have aspects of themselves which
  balance these vices out.
• Iago's knowledge of this allows him to do away
  with this balance and set chaos into motion

28
Analysis Cross Purposes

• Iago's purpose becomes plain
• He sees that Othello and Desdemona's marriage is
  less than solid
• He seeks to use his powers to break this marriage
  apart.
• Iago is again "honest" about his intent, but only
  to a person whose involvement will help him
  greatly.
• The words "honest" and "honesty" appear
  repeatedly in the play, and are usually used by
  Iago, or in reference to him
• Ironically, Iago is the only person in the play
  whom Othello trusts to judge who is and is not
  honest

29
Act II Scene 1

• A terrible storm has struck Cyprus, just as the
  Turks were about to approach.
• This might mean that the Turkish attack will not
  happen but it also bodes badly for Othello's
  ship.
• A messenger enters, and confirms that the Turkish
  fleet was broken apart by the storm, and that
  Cassio has arrived, though Othello is still at
  sea.
• They spot a ship coming forth but Iago,
  Desdemona, and Emilia are on it, not Othello.
• Cassio greets them all, especially praising
  Desdemona somehow, Iago and Desdemona enter into
  an argument about what women are
• Iago shows how little praise he believes women
  deserve.
• Othello arrives at last, and is very glad to see
  his wife arrived

30
Act II Scene 1

• Read II.2.1123-1124
• He and Desdemona make public signs of their love,
  and then depart.
• Iago speaks to Roderigo, convincing him that
  Desdemona will stray from Othello, as she has
  already done with Cassio.
• He convinces Roderigo to attack Cassio that
  night, as he plans to visit mischief on both
  Othello and Cassio.
• Watch movie scene

31
Analysis Storms

• Storms are always of greater significance in
  Shakespeare
• the storm is a symbol of unrest
• The storm marks the end of the peaceful part of
  the play, and is an act of fate
• it is a signal that Iago's mischief is about to
  begin.
• Shakespeare's characters that comment on the
  storm are mariners, alluding to Ursa Minor and
  stars used for navigation
• This is a testament to Shakespeare's incredible
  ability to form credible language for a great
  diversity and range of characters.

32
Analysis Cassio

• Just as every character has their own manner of
  speech and expression, Cassio has a very
  polished, courtly way of speaking, especially of
  ladies.
• He describes Desdemona as one who "excels the
  quirks of blazoning pens" he calls her "divine
  Desdemona"
• As Iago finds out later, he has no love for her,
  though much respect so it is with much irony
  that Cassio is charged as being Desdemona's lover
• Othello sees Cassio as a model Venetian, all
  poise and polish, which is something Othello
  wants to be, but thinks he is not.
• Othello's insecurities mean that Cassio is
  promoted over Iago, but also lead Othello to hold
  Cassio at a distance.

33
Analysis Women

• Though Iago is married, he does not have as
  favorable an impression of women as Cassio does.
• Women are "wildcats in your kitchens, saints in
  your injuries, devils being offended
• He even declares that they "rise to play, and go
  to bed to work
• Iago's perception of women as deceptive,
  dominating, and lusty colors the way he portrays
  both Emilia and Desdemona both are good women
• Desdemona exceedingly so, yet he is able to
  convince other men that they are anything but
  what they are.

34
Analysis Misrepresentation

• Misrepresentation is a theme that surfaces often
  through Iago's villainy
• He makes Desdemona seem like a fickle, lusty
  woman, which he will soon try to convince Othello
  of as well.
• Iago's speech plays on Othello's insecurities
  perfectly
• He speaks of Othello's age, race, and manners as
  reasons why Desdemona will grow tired of him,
  which are also reaons why Othello fears he might
  lose her.
• Iago is also a master of temptation, another
  theme in the story
• He is able to figure out exactly what people
  want, and then drive them to it.

35
Analysis Motives

• Though Iago seems grieved by Cassio's promotion
  over him, this does not seem to be his main
  motive.
• Iago also cites his suspicions that Emilia and
  Othello have had an affair as another reason for
  his enmity.
• Iago is not a man to be consumed with sexual
  jealousy though rumors about his wife may hurt
  his pride, they seem but an excuse for the misery
  he is about to cause.
• Shakespeare leaves the root of Iago's malignancy
  unexplained, while showing the fruits of his evil
  in full.

36
Act II Scene 2

• Othello's herald enters, to proclaim that the
  Turks are not going to attack
• All should be joyful, and Othello is celebrating
  the happiness of his recent marriage.

37
Act II Scene 3

• Iago gets Cassio to drink a bit, knowing that he
  cannot hold his liquor at all.
• Iago also tries to get Cassio's feelings about
  Desdemona, but his intentions are innocent
• Iago hopes to cause a quarrel between Cassio and
  Roderigo
• Iago wants to see Cassio discredited through
  this, so that he might take Cassio's place.
• Cassio fights with Roderigo
• Montano tries to hinder Cassio, but Cassio ends
  up injuring him.
• The noise wakes Othello, who comes down to figure
  out what has happened.
• Montano tells what he knows of it all, and Iago
  fills in the rest making sure to fictionalize his
  part in it all.
• Cassio is stripped of his rank, and all leave
  Cassio and Iago alone.

38
Act II Scene 3

• Read II.3.1127-1128
• Iago tries to convince Cassio that a reputation
  means little
• Iago suggests talking to Desdemona, maybe he can
  get her to vouch for him with Othello.
• This will help Iago get the impression across
  that Desdemona and Cassio are together
• Iago then gives a soliloquy about knowing that
  Desdemona will speak for Cassio, and that he will
  be able to turn that against them both.

39
Analysis Honesty

• "Honest" emerges as a key word in this scene
• It is a term laden with irony, and a constant
  reminder of the dramatic irony inherent in Iago's
  dealings.
• None of the characters in the play have any idea
  of Iago's plans and evil intentions
• Othello and Cassio are especially innocent of
  this knowledge.
• The audience knows exactly what Iago is up to,
  and is able to see his deceptions for what they
  are
• Iago's words interest the audience because of how
  much dramatic irony they are laden with
• Curiosity to find out whether Cassio and Othello
  will come to know as much as the audience does
  about Iago's deviance.
• The word "honest" draws attention to how Iago's
  motives are hidden from the characters onstage

40
Analysis Juxtaposition

• Iago and Cassio are juxtaposed in this scene to
  bring out Cassio's flawed honor and courtliness
  and Iago's manipulativeness and deceptiveness.
• Cassio stands in especially sharp contrast to
  Iago when Iago speaks lustfully of Desdemona
• Cassio is full of honor when it comes to women,
  and the ideals of a courtier as well.
• "He's a soldier fit to stand by Caesar," Iago
  says, the allusion to Caesar stating the fact
  that he knows Cassio's true quality.
• Iago strikes gold when he figures out Cassio's
  weakness for drink
• "He'll be as full of quarrel and offense as my
  young mistress' dog,"
• Iago metaphor shows that he knows how liquor can
  separate even the best man from himself
• Iago's metaphor reinforces his perceptiveness,
  and the light/dark imagery

41
Analysis Know the Audience

• Iago's homage to "sweet England" in his song of
  this act
• though this play does not take place in England
• features no English characters
• Shakespeare throws this in to amuse his audience.
  
• He does the same in plays like Hamlet, in which a
  little nod to England is thrown in for comic
  effect, and as an audience pleaser.

42
Analysis Reputation

• Reputation is a theme in the book that obviously
  holds some resonance for Cassio
• Iago also knows the importance of reputation,
  which is why he makes sure that people see him as
  "honest" before anything.
• "Reputation is a most idle and false imposition,"
  Iago says
• this statement is meant as false consolation to
  Cassio, and is filled with great irony.
• Reputation is always of concern when individuals
  are involved

43
Analysis Devil

• Cassio is so grieved that his reputation has been
  hurt that he sees fit to find a villain in all
  that has happened
• Ironically, Cassio misses the identity of the
  real devil in this situation, Iago.
• "Devil" becomes a key word in this play, as
  people try to seek out what is poisoning everyone
  
• Good vs. evil is a major theme in the play
• There is a great deal of gray area
• Iago is the villain
• Everyone else has some blemish of their natures
• No one entirely deserving of the label "good".

44
Act III Scene 1

• Comic relief
• a clown is mincing words with a few musicians,
  then has a little wordplay with Cassio
• Iago enters, and Cassio tells him that he means
  to speak to Desdemona, so that she may clear
  things up with Othello.
• Emilia comes out, and bids Cassio to come in and
  speak with Desdemona about his tarnished
  reputation.

45
Analysis Othellos Uniqueness

• Othello is unlike other Shakespearean dramas for
  two reasons
• the scarcity of comic relief, which only appears
  briefly at the beginning of this short scene.
• there are no subplots running through Othello as
  there are in most Shakespearean plays as a whole.
  
• Both of these differences make Othello one of
  Shakespeare's most focused, intense tragedies.

46
Act III Scene 2

• Othello gives Iago some letters that need to be
  delivered back to Venice
• Iago is in turn supposed to give the letters to a
  ship's pilot who is sailing back to Venice.

47
Act III Scene 3

• Read III.3.1130-1132
• Desdemona decides that she wants to advocate for
  Cassio.
• She tells Emilia so, and that she believes Cassio
  is a good person, and has been wronged in this
  case
• Iago seizes on this opportunity to play on
  Othello's insecurities, and make Cassio seem
  guilty
• Othello then speaks to Desdemona, and Desdemona
  expresses her concern for Cassio
• She is persistent in his suit, which Othello is
  not too pleased about.

48
Act III Scene 3

• Iago then plays on Othello's insecurities about
  Desdemona, and gets Othello to believe, through
  insinuation, that there is something going on
  between Desdemona and Cassio.
• Othello seizes on this, and then Iago works at
  building up his suspicions.
• Othello begins to doubt his wife, as Iago lets
  his insinuations gain the force of an accusation
  against her.
• Othello begins to voice his insecurities when it
  comes to Desdemona, and himself as well.
• Desdemona enters and Othello admits that he is
  troubled, though he will not state the cause.
• Watch movie scene

49
Act III Scene 3

• Read III.3.1132-1134
• Desdemona drops the handkerchief that Othello
  gave her on their honeymoon
• Emilia knew that her husband had wanted it for
  something, so she doesn't feel too guilty about
  taking it.
• Emilia gives it to Iago, who decides to use the
  handkerchief for his own devices.
• Othello re-enters, and tells Iago that he now
  doubts his wife
• Othello demands proof so Iago sets about making
  stories up about Cassio talking in his sleep
• He says that Cassio has the handkerchief that
  Othello gave to Desdemona.
• Othello is incensed to hear that Desdemona would
  give away something so valuable, and is persuaded
  by Iago's insinuations and claims to believe that
  Desdemona is guilty.
• Othello then swears to have Cassio dead, and to
  be revenged upon Desdemona for the non-existent
  affair.
• Watch movie scene

50
Analysis Desdemona

• Desdemona's choice of words to describe Cassio is
  unfortunate
• she calls him a "suitor," not meaning it in a
  romantic sense, although Othello could certainly
  take it that way.
• Desdemona binds her reputation to Cassio's in an
  unfortunate way
• She says that if Cassio is wrong, "I have no
  judgment in an honest face".
• Of course Desdemona means well, but she gambles
  too much on another person's honor.

51
Analysis Jealousy

• Jealousy is soon addressed specifically by Iago.
• "It is the green-eyed monster," Iago tells him
• The "green-eyed monster" becomes a symbol
  representing Othello's dark feelings, a specter
  lurking in his mind and beginning to steer his
  behavior.
• Iago's speech is also deeply ironic, since it
  points out Othello's flaws, and the root of his
  tragedy
• Othello has no idea of the significance of these
  statements, and so neglects to take them to
  heart.

52
Analysis Insecure

• Othello is deeply insecure about his personal
  qualities and his marriage
• Insecurity becomes a theme that weakens his
  resolve not to doubt Desdemona.
• Othello uses his black skin as a symbol for how
  poorly spoken and unattractive he thinks he is.
• All of his claims are very much beside the point
  his words are actually more complex and beautiful
  than those spoken by any other character in the
  play.
• Because he begins to believe that Desdemona
  cannot love him, he starts to believe her guilty
  of infidelity.
• The leap is great, but it is all a product of
  Othello's own insecurities and his incorrect
  conception of himself, another theme of the play.
  
• How Othello sees himself directly influences how
  he views Desdemona's love

53
Analysis Imagery

• Othello begins to use the black/ white imagery
  found throughout the play, to express his grief
  and rage at Desdemona's alleged treachery.
• "My name, that was as fresh as Dian's visage, is
  now begrimed and black as mine own face," Othello
  says.
• Although the allegations against Desdemona are
  personally hurtful to him, Othello focuses more
  on the public ramifications, rather than the
  private
• There is great irony in this concern, since this
  rumored betrayal is a private one, and also since
  Othello's name is highly regarded, because
  nothing has really happened.
• Iago's "proofs" also rely on the animal imagery
  which has run throughout the play
• he makes Desdemona and Cassio seem like lustful
  lovers, by describing them as "prime as goats, as
  hot as monkeys" (400).
• This comparison is calculated, since Iago knows
  that thinking of Desdemona as lusting after
  another man disturbs Othello greatly.

54
Analysis Handkerchief

• The handkerchief, the most crucial symbol and
  object in the play.
• The handkerchief, to Desdemona, symbolizes
  Othello's love, since it was his first gift to
  her.
• Othello thinks that the handkerchief, quite
  literally, is Desdemona's love
• When she has lost it, that must clearly mean that
  she does not love him any longer.
• The handkerchief also becomes a symbol of
  Desdemona's alleged betrayal

55
Analysis Proof

• "Proof" is a key word in this scene
• Othello demands that Iago prove Desdemona
  unfaithful by actually seeing evidence of her
  guilt.
• Iago manages to work around this completely he
  plays off of Othello's jealousy, telling him
  stories that damn Cassio and mention the
  handkerchief
• Othello trusts Iago's words to convey proof, and
  is thwarted by Iago's dishonesty
• Othello only realizes later that he has been
  tricked and has seen no proof, when it is too
  late for him to take his actions back.

56
Analysis Language

• This act represents the beginning of Othello's
  giving up language
• From this point forward, notice how Othello's use
  of imagery and story become less and less
  frequent, and how he begins to rely upon Iago for
  speech and explanation.
• Othello is reduced by Iago and his own jealousy
  to single lines of speech, monosyllabic utterings
  of "O!" and the like.
• And just as language is the power with which
  Othello was able to woo Desdemona, his loss of it
  is a resignation of this power which attracted
  her to him.
• Othello suspects his wife's language, and
  Cassio's as well he is distracted from suspicion
  of Iago
• Othello begins to lose his power over himself,
  and over others, when he loses his beautiful
  language
• This resignation marks a huge shift in the
  balance of power between Othello and Iago
• Iago becomes more dominant in the relationship,
  and begins to steer Othello.

57
Analysis Chaos vs. Order

• In the battle between order and chaos, chaos
  seems to be winning out.
• Othello abandons his reason in judging Iago's
  "proofs," and his abandonment of language also
  marks a descent into chaos.
• Although it is a chaos controlled by Iago, order
  and reason are on the losing side
• Raging emotions and speculations begin to rule
  Othello's fate, as he comes closer and closer to
  his tragic end.

58
Act III Scene 4

• Desdemona asks the clown where Cassio is the
  clown goes off to fetch him.
• Desdemona is looking everywhere for the
  handkerchief, very sorry to have lost it she
  knows that her losing it will upset Othello
  greatly
• Othello enters, and asks for Desdemona's
  handkerchief she admits that she does not have
  it, and then Othello tells her of its
  significance and alleged magical powers.
• Desdemona does not like Othello's tone he seems
  obsessed with this object, and Desdemona is so
  frightened by him that she wishes she had nothing
  to do with it.
• She interrupts Othello's inquiry by bringing up
  Cassio's attempt to get back into Othello's
  favor Othello becomes angry, and storms out.

59
Act III Scene 4

• Cassio then enters, with Iago and laments that
  his suit is not successful, and that Othello does
  not seem likely to take him back.
• Desdemona is sorry for this, since she knows that
  Cassio is a man of worth
• She tells Cassio and Iago that Othello has been
  acting strange, and is upset, and Iago goes to
  look for him, feigning concern.
• Emilia thinks that Othello's change has something
  to do with Desdemona, or Othello's jealous nature

60
Act III Scene 4

• Read III.4.1136-1137
• Bianca comes in, and Cassio asks her to copy the
  handkerchief that he found in his room
• It is Desdemona's handkerchief, though Cassio has
  no idea.
• He claims he does not love her, and gets angry at
  her for allegedly suspecting that the
  handkerchief is a gift of another woman.
• Bianca is not disturbed, and leaves with the
  handkerchief.
• Watch movie scene

61
Analysis Double Meanings

• Othello's words often have a double meaning
• When he is describing Desdemona's hand, he says
  it is "moist" and "hot an allusion to a lustful
  nature.
• He says she is of a "liberal heart" this could
  mean a generous heart, but could also be
  indicating Desdemona's supposed licentiousness.
• "Here's a young and sweating devil here, who
  constantly rebels," Othello says the metaphor
  speaks badly of Desdemona, and betrays his
  distrust of her.
• In the next breath, he says, "tis a good hand"
  the juxtaposition of the two statements shows
  Othello trying not to betray his disappointment
• He is deeply disturbed, and seems to be
  questioning and examining her to prove that she
  really is the harlot

62
Analysis Magic Hanky

• Here, Othello finally elaborates upon the
  handkerchief's importance for Desdemona.
• "There's magic in the web of it," Othello says
  he language is full of mystical, dark images
• Othello reveals that he believes the handkerchief
  to literally symbolize Desdemona's affection
• The irony is that although the handkerchief is
  lost, Desdemona still loves him.
• The theme of appearance vs. reality appears

63
Analysis Bianca

• Cassio's behavior toward Bianca is in sharp
  contrast to the courtly politeness he shows
  Desdemona and Emilia.
• This is because of Bianca's station as a
  courtesan not regarded the same respect as
  ladies
• Bianca proves to be as perceptive as Emilia and
  Desdemona, and even more realistic about matters
  of love.
• The change in Cassio's tone and behavior around
  Bianca betray a cultural bias of the time toward
  women of certain stations
• His behavior would not have been thought mean at
  the time, because of Bianca's lowly status.

64
Act IV Scene 1

• Read IV.1.1137-1140
• Othello is trying, even after swearing that
  Desdemona was unfaithful, not to condemn her too
  harshly.
• He is talking with Iago about the handkerchief
  still, and its significance in being found
• Iago whips Othello into an even greater fury
  through mere insinuation, and Othello takes the
  bait.
• Othello falls into a trance of rage, and Iago
  decides to hammer home his false ideas about his
  wife.
• Iago calls Cassio in, while Othello hides
• Iago speaks to Cassio of Bianca, but Othello
  believes that is talking of Desdemona
• This is the last "proof" he needs before
  declaring his wife guilty.
• Bianca comes in, and gives the handkerchief back
  to Cassio, since she swears she will have nothing
  to do with it.

65
Act IV Scene 1

• Othello is incensed by Cassio, still believing
  that he was speaking of Desdemona, rather than
  Bianca.
• Othello is resolved to kill Desdemona himself,
  and charges Iago with murdering Cassio.
• Lodovico, a noble Venetian whom Desdemona knows,
  has recently landed Desdemona and Othello
  welcome him there.
• When Desdemona mentions Cassio, Othello becomes
  very angry and slaps her in front of everyone
• Lodovico especially is shocked at this change in
  Othello, and has no idea how such a noble man
  could act so cruelly.

66
Analysis Othellos Transformation

• Othello's trance also marks his descent into the
  savage
• Ironically, he becomes the passion-stirred,
  wicked pagan that others had accused him of
  being.
• Iago notes that Othello "breaks out into savage
  madness" in this fit indeed, the primal seems to
  be taking over the more civilized aspects of
  Othello.
• Othello refers to himself as a "horned man,"
  ashamed of this descent

67
Analysis Othellos Confusion

• "O, the world hath not a sweeter creature,"
  Othello declares of Desdemona he still decides
  that she shall not live for what she has
  supposedly done.
• There is great irony in this scene, as Othello
  declares that Desdemona is of a soft and kind
  nature, yet condemns her for being lustful and
  immoral.
• Note Othello's reticent tone, even when he is
  condemning Desdemona to death
• Chaos and jealousy have triumphed over reason,
  still there is a part of him that knows Desdemona
  is good

68
Analysis

• When Othello strikes Desdemona, he shows the
  severity of his change.
• Just her mention of Cassio sends him into an
  unreasonable rage
• Although one of his greatest fears regarding
  Desdemona's alleged infidelity was that it would
  blacken his name and reputation
• The irony is that Othello is doing that himself
• Savagery is taking over his civility, he
  continues to become the cruel, jealous,
  passion-spurred "savage" that Brabantio accused
  him of being.
• He is beginning to become a stereotype by his own
  doing, as he falls farther and farther from
  himself.

69
Act IV Scene 2

• Othello questions Emilia about Desdemona's guilt
• Emilia admits to having seen nothing, though
  Othello does not believe her.
• Emilia swears that Desdemona is pure and true.
• Othello believes that Emilia is in on all this
  too
• Othello leaves, and Desdemona and Emilia try to
  figure out what has happened to Othello
• Emilia thinks that someone has manipulated
  Othello into accusing Desdemona, and has poisoned
  his mind

70
Act IV Scene 2

• Read IV.2.1142-1143
• Iago is there to dispel this opinion, so that
  Emilia does not inquire further into her theory.
• Iago comes across Roderigo he is not pleased
  with how Iago has handled things, and knows that
  although Iago is promising him Desdemona's favor,
  he has done nothing to indicate that he has
  worked to achieve this.
• Iago quiets him by making him believe that if he
  kills Cassio, then he will win Desdemona
• Watch movie scene

71
Analysis Emilia

• Emilia, ever perceptive, knows that someone has
  done this to Othello which is the truth.
• It is ironic that Emilia thinks of this, and
  condemns the man who must be manipulating
  Othello, since the one who has devised this whole
  thing is her own husband
• Iago is there to hush this suspicion, but they
  know something is awry

72
Analysis Foreshadowing

• Roderigo, at last, is the one to accuse Iago of
  treachery
• He has discovered the truth, that Iago's "words
  and performances are no kin together."
• Iago does his best to deny this, and convinces
  Roderigo to kill Cassio in order to win Desdemona
• Roderigo's accusation means
• Iago will be revealed by Roderigo if Roderigo is
  not satisfied
• Roderigo will have to die so that Iago's plans
  will go through.
• Othello is a tragedy and this confrontation
  foreshadows Roderigo's death.

73
Act IV Scene 3

• Othello tells Desdemona to go to bed, and dismiss
  Emilia
• Emilia regrets Desdemona's marriage, although
  Desdemona cannot say that she does not love
  Othello.
• Desdemona knows that she will die soon she sings
  a song of sadness and resignation, and decides to
  give herself to her fate.
• Desdemona asks Emilia whether she would commit
  adultery to win her husband the world.
• Emilia, the more practical one, thinks that it is
  not too big a price for a small act
• Desdemona is too good, and too devout, to say
  that she would do so.

74
Analysis Desdemona

• Desdemona knows of her impending death she is
  almost too good to live
• The "Willow Song" and her tale of her mother's
  maid also foreshadow Desdemona's death.
• She is not trying to fight it she seems like a
  totally different woman than the one who stood up
  to her father and the Venetian nobles.
• Desdemona is suddenly depicted as being meek
  this sudden shift in her character is strange,
  and the source is unknown.
• Her character is parallel to that of Ophelia
  both are good, virtuous, obedient, but both are
  subjected to tragic fates because of their own
  innocence.
• Desdemona's fate is unfair and unearned, yet she
  is the martyr of the play,

75
Analysis Individualize Women

• Emilia pronounces what seems like a theme of the
  play, up until this point
• "let husbands know, their wives have sense like
  them they see, and smell, and have their palates
  both for sweet and sour, just as their husbands
  have" (96-99).
• Indeed, this is one of the reasons why Othello is
  so angry at Desdemona the thought that she could
  have desire in her, just as he does, bewilders
  him and angers him
• That she could have opinions and ideas
  independent of his own, especially about Cassio
  and his rightful place, also upset him.
• Othello is good at heart but does not
  individualize women

76
Act V Scene 1

• Read V.1.1144-1146
• Iago has Roderigo poised and ready to pounce on
  Cassio, and kill him if either of them is
  killed, it is to Iago's benefit
• Roderigo and Cassio fight, and both are injured
• Othello hears the scuffle, is pleased, and then
  leaves to finish off Desdemona.
• Iago enters, pretending that he knows nothing of
  the scuffle
• Roderigo is still alive, so Iago feigns a
  quarrel, and finishes him off.
• Cassio is carried away, and Roderigo is already
  dead.
• Emilia also comes in, and pins more blame on
  Bianca she has done nothing, but Iago has some
  quick work to do if he is to exonerate himself in
  this mess.
• Watch movie scene

77
Analysis

• Iago addresses the audience directly about his
  intentions, and his actions
• Iago is only truly honest with the audience like
  Richard III
• This creates an undercurrent of dramatic irony
  throughout the play, since the audience knows all
  of his plans, and individual characters know
  little or nothing
• Although Othello is the title character of the
  play, Iago has more lines and more interaction
  with the audience as well.
• It is Othello's tragedy that is the focus of the
  play, but Iago succeeds in stealing the show he
  is more interesting than any of the protagonists
  in the play.
• Iago proves himself a consummate actor
• appearance vs. reality
• Iago claims to know nothing of this battle
• Iago is many selves in this act
• he is friend and advisor to Roderigo
• betrayer and murderer of Roderigo
• consoler of Cassio
• the lead officer in this

78
Act V Scene 2

• Read V.2.1146-1150
• Othello enters Desdemona's room while she is
  asleep and still is determined to kill her.
• He justifies this with images, metaphors, and
  ideas of her rebirth after death
• Desdemona awakens, and he tells her to repent of
  any sins before she dies
• Othello tells her that he found her handkerchief
  with Cassio, though Desdemona insists it must not
  be true
• She pleads with Othello not to kill her right
  then, but he begins to smother her.
• Emilia knocks, curious about what is going on
• Othello lets her in, but tries to conceal
  Desdemona, who he thinks is already dead.
• Emilia brings the news of Roderigo's death, and
  Cassio's wounding.

79
Act V Scene 2

• Emilia soon finds out that Desdemona is nearly
  dead, by Othello's hand
• Desdemona speaks her last words, and then Emilia
  pounces on Othello for committing this horrible
  crime.
• Othello is not convinced of his folly until Iago
  confesses his part, and Cassio speaks of the use
  of the handkerchief
• Othello is overcome with grief.
• Iago stabs Emilia for telling all about his
  plots, and then Emilia dies
• Venetian nobles reveal that Brabantio,
  Desdemona's father, is dead, and so cannot be
  grieved by this tragedy now.
• Othello stabs Iago when he is brought back in
• Othello then tells all present to remember him
  how he is, and kills himself.
• Cassio becomes temporary leader of the troops at
  Cyprus
• Iago is taken into custody, and his crimes will
  be judged back in Venice.
• Watch movie scene

80
Analysis Literary Terms

• Othello's farewell to Desdemona is a return to
  his former eloquence
• Though he believes Desdemona's soul to be black,
  he can only focus on her whiteness he pledges
  not to mar "that whiter skin of hers than snow"
• The metaphor highlights Desdemona's innocence, as
  does comparing her to a "light" to be put out.
• There is irony in Othello's references to
  Desdemona here
• he describes her with words that suggest her
  brightness and innocence
• he is determined to condemn and kill her.
• She is also "the rose" to Othello, another
  beautiful image
• Othello's allusion to Prometheus explains his
  wish to put out Desdemona's light in order to
  restore her former innocence.
• Before Othello felt only hatred and anger, now he
  is forced to feel his love, along with his
  mistaken determination to see Desdemona die.

81
Analysis Lines

• Desdemona's last words are especially cryptic
• When asked who killed her, she remarks
• "nobody, I myself commend me to my kind lord."
• This could be seen as a kind of condemnation of
  Othello for killing her
• She might be trying to absolve her husband of
  blame with her last breath
• If this is so, it certainly does not sit well
  with her line
• "falsely, falsely murdered," which seems to refer
  both to Desdemona's death, as to Emilia's mention
  of the death of Roderigo and wounding of Cassio.

82
Analysis Parallelism

• Emilia's fate is parallel to Desdemona's
• She was more realistic than Desdemona
• She too was betrayed by her husband
• She died through other's wrongs.
• Desdemona might be a more central figure in the
  play, but Emilia is the conscience
• Emilia knows how human nature works
• She knows of husbands' jealousies, of how men
  believe women are less human, of how people are
  naturally prone to folly.
• She is the sole voice of reason in the play, the
  only besides Desdemona who is uncorrupted by
  Iago's manipulations.

83
Analysis Oxymoron

• Othello insists that he is an "honorable
  murderer
• Iago was surely killed out of anger
• Desdemona out of jealousy and offended pride.
• Othello still denies the flaws in himself that
  have led him to this end.
• Iago was definitely the catalyst for Desdemona's
  death and Othello's jealous rages but the seeds
  of jealousy and suspicion were already inherent
  in Othello
• It certainly makes the resolution of the play
  more neat to believe that Othello is returned to
  his nobility
• Since he still denies the deep wrong he has
  committed, he cannot be fully redeemed or
  forgiven.

84
Analysis Conclusion

• Of course, all threads are wrapped up in this
  last scene of the play
• Letters are produced that expose Iago's part in
  these unfortunate events
• These letters have not been mentioned or shown
  earlier in the play.
• Cassio seems to have been kept alive merely to
  testify about his part in this whole debacle

85
Tragedies Excite

• Shakespeare was as good a philosopher as he was a
  poet
• He understood the love of power and mischief and
  that these loves were natural to man
• Why are tragedies so interesting to people?
• Why do they read the newspaper and watch the news
  to hear about the latest Iago?

86
Characterization of Iago

• Great analyst Harold Goddard noted
• Iago is always at war
• He is a moral pyromaniac setting fire to all
  reality
• He was passed up by Cassio because he cannot stop
  fighting
• Since Othello is thought of as the God of War, he
  is Iagos only god
• Othello is everything to Iago because war is
  everything

87
Characterization of Iago

• Iago rejects a Christian God in a way when he
  says
• I am not what I am
• This is contradictory to St. Pauls I am what I
  am
• Iago sets about to destroy his god
• Uses mastery of timing to plot using openings
• Employs a grand program of uncreation

88
Characterization of Iago

• Iago went unchanged during revisions of
  Desdemona, Emilia, and Othello between the Quarto
  and First Folio
• He speaks eight soliloquies and Othello only
  three

89
Theme of Marriage

• Marriage is a problem of grand proportions
• Emila is a martyr
• Iago says A fellow almost damend in a fair
  wife
• Othello and Desdemona never consummate their
  marriage
• This makes it easier for Iago
• Marriage is damnation

90
Tragedy Characteristics

• There is no conscience in Othello
• Shakespeare had a tragic obcession with the idea
  of a good name living on after the protagonists
  death
• Horatio to discuss Hamlet
• Cassio to tell of Othello
• Tragedies, literary or human, depend on imperfect
  knowledge
• Shakespeare came naturally to histories, comedies
  and romances, but tragedies took work
• The tragedies especially are not religious in any
  reguard
• No killer kills in the name of any god, ever
• War is the religion in Othello, Macbeth, Lear,
  and Romeo and Juliet (Tybalt)

91
Tragedy Characteristics

• Many critics rate Othello below Macbeth and
  Hamlet because
• There is no extrinsic force operating Iago
• The evil is too pure
• There is no remorse shown
• Humans are too evil
• What do you think?

92
Characterization of Othello

• Even in his final suicide speech he does not
  achieve atonement
• Audience is more like Iago than Othello so he
  cannot be forgiven
• Othello does not have the power of expression of
  Hamlet or Macbeth
• He is distinct, divided and flawed
• Has a Julius Caesar complex
• Ambiguous
• Hard to tell when they are being arrogant or just
  stating facts
• Both refer to themselves in the third person

93
Characterization of Othello

• He is Iagos antitheses until he starts to come
  undone
• He should be a character in a romance, like
  Claudio or Benedick
• He is the wrong character in the right play
• Othello, analyst Brower believes, would have come
  apart from Desdemona without Iago
• Nothing in Othello is marriage material

94
Analyzing the Clowns

• The clowns scarcely come onto the stage and the
  play excludes all laughter
• Unlike the drunken porter in Macbeth
• The asp-bringer in Antony and Cleopatra

95
Sources of Othello

• Shakespeares source is Cinthio but he changed a
  few things
• Iago is Shakespeares own invention
• Cinthios Ensign is Iagos basis but
• Ensign falls in love with Desdemona
• She shuns him in favor of Othello
• Ensign blames it all on Cassio
• Ensign beats Desdemona to death
• The characters were flat, not round, and the
  shock and inwardness of a rejected solider is
  absent

96
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