Guide to Othello Key Facts Analysis of Major Characters, Exercises of Acting

Download Guide to Othello Key Facts Analysis of Major Characters and more Exercises Acting in PDF only on Docsity! Guide to Othello Key Facts Key Facts full title · The Tragedy of Othello, the Moor of Venice author · William Shakespeare type of work · Play genre · Tragedy language · English time and place written · Between 1601 and 1604, England date of first publication · 1622 publisher · Thomas Walkley tone · Shakespeare clearly views the events of the play as tragic. He seems to view the marriage between Desdemona and Othello as noble and heroic, for the most part. setting (time) · Late sixteenth century, during the wars between Venice and Turkey setting (place) · Venice in Act I; the island of Cyprus thereafter protagonist · Othello major conflict · Othello and Desdemona marry and attempt to build a life together, despite their differences in age, race, and experience. Their marriage is sabotaged by the envious Iago, who convinces Othello that Desdemona is unfaithful. rising action · Iago tells the audience of his scheme, arranges for Cassio to lose his position as lieutenant, and gradually insinuates to Othello that Desdemona is unfaithful. climax · The climax occurs at the end of Act III, scene iii, when Othello kneels with Iago and vows not to change course until he has achieved bloody revenge. falling action · Iago plants the handkerchief in Cassio’s room and later arranges a conversation with Cassio, which Othello watches and sees as “proof” that Cassio and Desdemona have slept together. Iago unsuccessfully attempts to kill Cassio, and Othello smothers Desdemona with a pillow. Emilia exposes Iago’s deceptions, Othello kills himself, and Iago is taken away to be tortured. themes · The incompatibility of military heroism and love; the danger of isolation motifs · Sight and blindness; plants; animals; hell, demons, and monsters symbols · The handkerchief; the song “Willow” foreshadowing · Othello and Desdemona’s speeches about love foreshadow the disaster to come; Othello’s description of his past and of his wooing of Desdemona foreshadow his suicide speech; Desdemona’s “Willow” song and remarks to Emilia in Act IV, scene iii, foreshadow her death Analysis of Major Characters Analysis of Major Characters Othello Beginning with the opening lines of the play, Othello remains at a distance from much of the action that concerns and affects him. Roderigo and Iago refer ambiguously to a “he” or “him” for much of the first scene. When they begin to specify whom they are talking about, especially once they stand beneath Brabanzio’s window, they do so with racial epithets, not names. These include “the Moor” (I.i.57), “the thick-lips” (I.i.66), “an old black ram” (I.i.88), and “a Barbary horse” (I.i.113). Although Othello appears at the beginning of the second scene, we do not hear his name until well into Act I, scene iii (I.iii.48). Later, Othello’s will be the last of the three ships to arrive at Cyprus in Act II, scene i; Othello will stand apart while Cassio and Iago supposedly discuss Desdemona in Act IV, scene i; and Othello will assume that Cassio is dead without being present when the fight takes place in Act V, scene i. Othello’s status as an outsider may be the reason he is such easy prey for Iago. Although Othello is a cultural and racial outsider in Venice, his skill as a soldier and leader is nevertheless valuable and necessary to the state, and he is an integral part of Venetian civic society. He is in great demand by the duke and senate, as evidenced by Cassio’s comment that the senate “sent about three several quests” to look for Othello (I.ii.46). The Venetian government trusts Othello enough to put him in full martial and political command of Cyprus; indeed, in his dying speech, Othello reminds the Venetians of the “service” he has done their state (V.ii.348). Those who consider Othello their social and civic peer, such as Desdemona and Brabanzio, nevertheless seem drawn to him because of his exotic qualities. Othello admits as much when he tells the duke about his friendship with Brabanzio. He says, -“[Desdemona’s] father loved me, oft invited me, / Still questioned me the story of my life / From year to year” (I.iii.127–129). -Othello is also able to captivate his peers with his speech. The duke’s reply to Othello’s speech about how he wooed Desdemona with his tales of adventure is: “I think this tale would win my daughter too” (I.iii.170). Othello sometimes makes a point of presenting himself as an outsider, whether because he recognizes his exotic appeal or because he is self-conscious of and defensive about his difference from other Venetians. For example, in spite of his obvious eloquence in Act I, scene iii, he protests, “Rude am I in my speech, / And little blessed with the soft phrase of peace” (I.iii.81–82). While Othello is never rude in his speech, he does allow his eloquence to suffer as he is put under increasing strain by Iago’s plots. In the final moments of the play, Othello regains his composure and, once again, seduces both his onstage and offstage audiences with his words. The speech that precedes his suicide is a tale that could woo almost anyone. It is the tension between Othello’s victimization at the hands of a foreign culture and his own willingness to torment himself that makes him a tragic figure rather than simply Iago’s ridiculous puppet. Iago Possibly the most heinous villain in Shakespeare, Iago is fascinating for his most terrible characteristic: his utter lack of convincing motivation for his actions. In the first scene, he claims to be angry at Othello for having passed him over for the position of lieutenant (I.i. 7–32). At the end of Act I, scene iii, Iago says he thinks Othello may have slept with his wife, Emilia: “It is thought abroad that ’twixt my sheets / He has done my office” (I.iii.369–370). Iago mentions this suspicion again at the end of Act II, scene i, explaining that he lusts after Desdemona because he wants to get even with Othello “wife for wife” (II.i.286). None of these claims seems to adequately explain Iago’s deep hatred of Othello, and Iago’s lack of motivation—or his inability or unwillingness to express his true motivation—makes his actions all the more terrifying. He is willing to take revenge on anyone—Othello, Desdemona, Cassio, Roderigo, even Emilia—at the slightest provocation and enjoys the pain and damage he causes. Iago is often funny, especially in his scenes with the foolish Roderigo, which serve as a showcase of Iago’s manipulative -abilities. He seems almost to wink at the audience as he revels in his own skill. As entertained spectators, we find ourselves on Iago’s side when he is with Roderigo, but the interactions between the two also reveal a streak of cowardice in Iago—a cowardice that becomes manifest in the final scene, when Iago kills his own wife (V.ii.231–242). Iago’s murder of Emilia could also stem from the general hatred of women that he displays. Some readers have suggested that Iago’s true, underlying motive for persecuting Othello is his homosexual love for the general. He certainly seems to take great pleasure in preventing Othello from enjoying marital happiness, and he expresses his love for Othello frequently and effusively. It is Iago’s talent for understanding and manipulating the desires of those around him that makes him 3 Othello is now concerned only with rendering justice:Iago: Do it not with poison. Strangle her in bed, even the bed she hath contaminated. (4.1.202) Othello: Good, good! The justice of it pleases. Very good! (4.1.204) Othello claims that he is not seeking revenge. However, by refusing Desdemona the chance to defend herself, it is not clear how his form of justice differs from pure vengeance. The Moor is going to make sure the adulteress pays for her crime and her deception. After all, she made him look like a fool: "Yet she must die, else she'll betray more men" (5.2.6). Othello is going to save others from falling into her diabolical trap; he is acting as judge and executioner without permitting Desdemona an attempt to prove her innocence. One must ask if these are the actions of a mentally weak man, a mere puppet in the hands of lago? Othello cannot trust his wife on earth because he is incapable of understanding why she loves him and, therefore, cannot believe her love is genuine. After she is dead, he will be free to love his idealistic image of Desdemona without worry:Be thus when thou art dead, and I will kill thee, And love thee after ... (5.2.18-9) Othello kills Desdemona under the guise of righteous indignation and will not admit his true motive. When Othello finds out Desdemona truly is the pure and innocent emblem he created in his mind, he is obligated to commit suicide. The Moor must again render justice, this time upon himself. Othello's remorse and subsequent suicide is the only reason why we should not place him on the same villainous level as Iago. But, at the same time, his feelings of guilt after-the-fact cannot be allowed to exonerate him. Othello has an obligation to allow Desdemona to contend the charge of adultery. He chooses to disregard that obligation in favour of satisfying his own fixations. It would be easier for us to defend Othello and cast all the blame on Iago. Iago is an aberration, but Othello is 'Everyman', fighting an internal battle between good and evil. It would feel better to see Othello as a mental weakling, driven insane by his pain and confusion. We could then say with certainty that he did not choose evil over good. But we cannot exonerate him. Othello's sin against Desdemona is as heinous as Iago's sin against Othello. Othello proves it with his own words:Desdemona: Kill me to-morrow; let me live to-night! Othello: Nay, an you strive- Desdeemona: But half an hour! 4 Othello: Being done, there is no pause. Desdemona: But while I say one prayer! Othello: It is too late. (5.2.80-5) Othello plot sumaary Othello: Plot Summary Act I, Scene I The play opens on a warm Venetian night, where a conversation is underway between Roderigo, a gentleman, and Iago, a soldier under Othello's command. Roderigo, who has been courting Desdemona, is upset with the news that she has eloped with Othello, a great Moorish warrior who is now a general in the service of the ruler of Venice. Iago confesses to Roderigo that he hates the Moor because another soldier, Michael Cassio, has been promoted to lieutenant instead of Iago. He reveals that he only remains in Othello's service to facilitate his plans of revenge: "I follow him to serve my turn upon him" (I.i.42). It is not surprising that Iago sees Roderigo as a useful puppet in his evil schemes. He tells Roderigo that they should first inform Desdemona's father of the Moor's marriage to his daughter. Her father, prejudiced and ignorant, will surely be livid when he hears that a black man has wed Desdemona. Roderigo hopes that her father, Brabantio, will use his political status to see that their marriage is quickly annulled. But Iago knows that the Duke would not jeopardize Othello's desire or ability to fight for Venice in the Turkish wars by punishing him for marrying a Venetian nobleman's daughter. Othello's punishment for wedding Desdemona is not part of Iago's plan. His plan at the moment is only to make Othello believe that he is a trustworthy confidant. When Othello is confronted by Brabantio, Iago will be there to lend his counsel and support. Iago and Roderigo stand below Brabantio's bedroom window and Roderigo calls his name. To ensure a response, Iago adds,Awake! What ho, Brabantio! Thieves! thieves! thieves! Look to your home, your daughter, and your bags! Thieves! thieves! (I.i.79-81) Brabantio comes to the window and Iago tells him to dress at once and come down, for "an old black ram/Is tupping your white ewe" (I.i.88). Unable to understand Iago's reference to the union of Othello and Desdemona, Brabantio demands to know why they are bothering him at such a late hour. Roderigo explains that his daughter is in the 'clasps of a lascivious Moor' and Brabantio rushes into Desdemona's room to find it empty. He runs downstairs and out into the street without even changing into his day clothes. Furious, he demands to know if they have married and when Roderigo answers yes, Brabantio cries 'treason'. Roderigo tells him where he can find Othello and Brabantio hurries off in a rage. Act I, Scene II The scene opens on a Venetian street where Iago has joined Othello and his attendants. Iago is quick to report his conversation with Roderigo to Othello. Of course, Iago's retells the story to accommodate his cunning plan. He says that Roderigo "prated"And spoke such scurvy and provoking terms Against your honor That with the little godliness I have I did full hard forbear him. (I.ii.6-9). Cassio arrives with news that the Duke requires Othello at an urgent war meeting. Brabantio and Roderigo enter and Brabantio lashes out at Othello: "O thou foul thief, where hast thou stow'd my daughter?" (I.ii.62-4). Othello responds to the verbal attack with grace and dignity. Brabantio demands that Othello go to prison. Othello calmly tells him that he cannot for the Duke needs him at once. Brabantio decides to take the matter to the Duke, since he is already awaiting Othello. He is sure that the Duke will brand Othello a criminal as he has done, sure that his is "not an idle cause" (I.ii.95). Act I, Scene III The Duke and his senators gather in the council chamber. They are concerned with the news that a Turkish fleet is planning an attack on Cyprus, which is governed by Venice. They are discussing a counter attack which will be led by Othello, when Brabantio comes storming in, accusing Othello of corrupting his daughter, Desdemona, with "spells and medicines bought of mountebanks". Othello asks that they summon Desdemona, for her testimony is the only defense he needs. While they wait for her, Othello describes to the Duke the real way in which he won Desdemona's heart. She arrives, with Iago following her. She tells the Duke and her shocked father that she did fall in love with Othello for the "visage in his mind" (252). She begs to be allowed to go with Othello to Cyprus. The Duke grants her permission to accompany Othello, but Othello must leave immediately. Desdemona must meet him there at a later time, and Othello entrusts Iago with her safe passage: "Honest Iago/My Desdemona must I leave to thee" (I.iii.295). The senate adjourns and leave the council chamber, followed by Brabantio, Othello, Desdemona, and all the rest, except for Iago and Roderigo. Iago assures Roderigo that Desdemona's love for Othello is fleeting and that, if Roderigo will come to Cyprus, he will continue scheming to break up the newlyweds. Roderigo agrees and leaves to make preparations to sail for Cyprus. Once alone, Iago reveals phase two of his evil plan -- the destruction of Michael Cassio, the soldier who received the promotion from Othello. He will make Othello believe that Cassio is Desdemona's secret lover, thereby ruining both of his enemies with the same lie. Act II, Scene I Act II opens in Cyprus where Montano, the Venetian governor and his friends discuss a tempest that might have destroyed the Turkish fleet. A messenger comes in with the news that the enemy ships have indeed been pulled under by the waves. But they soon begin to fear that the very same storm has taken the lives of Othello and his crew. Cassio arrives, confirming that Othello cannot be located. One ship does land, carrying Iago, Desdemona, Roderigo, and Iago's wife, Emilia, who has come to look after Desdemona. Desdemona is shaken with fear for her husband, but, much like her warrior husband, she is brave and steady, and keeps her worry to herself. She converses with Iago and Emilia, and is sure to include Cassio in the discussion. Cassio is an old and beloved friend of Othello's and he too is afraid that the ship has been lost at sea. Out of this great concern for Othello's safety, Cassio takes Desdemona by the hand. Iago delights in this overt display of affection that he will use against them. A trumpet sounds and to everyone's relief Othello enters. He greets Desdemona with a kiss and addresses the crowd, proposing a great feast in celebration of the Venetian victory. All but Iago and Roderigo move from the seaport to the royal castle. Iago tells Roderigo that Cassio is also in love with Desdemona and that, to help their plans, Roderigo should pick a fight with Cassio while he is on duty. This will hurt Cassio's reputation and ruin his friendship with Othello and help keep him apart from Desdemona. Desperate, Roderigo agrees: "I will do this if you can bring it to any opportunity." (II.i.276). They bid each other goodbye and Iago walks off alone. He soliloquizes that he intends to "make the Moor thank and love" him, while at the same time planting thoughts of jealousy in Othello's mind -- thoughts so strong "That judgement cannot cure." (II.i.296) Act II, Scene II On a street in Cyprus a herald announces the great victory feast and party that Othello has planned. All the soldiers have full liberty to make merry until eleven o'clock that evening, at which time they must return to their posts. Act II, Scene III In the great hall of the castle Othello, Desdemona, and Cassio speak briefly about Iago. Othello tells Cassio that Iago is "most honest". Othello and Desdemona leave and Iago comes in to join Cassio. Iago asks him to partake in a glass of wine. Cassio agrees, but insists that he have only a little, for he has "no brains for drinking". But reason gives way to temptation and soon Cassio is drunk. Although he should know better, Cassio takes his post as usual. Iago sends Roderigo to engage Cassio in the fight and within moments the two come bursting back into the hall, swords clashing. They duel until Othello rushes in and demands that they stop. Disappointed and angered by Cassio's behavior, Othello dismisses him from duty. Othello leaves and Iago convinces Cassio that, in order to regain Othello's favour and his position as lieutenant, he must persuade Desdemona to speak to Othello on his behalf. Cassio leaves, confident that Iago's plan will work to restore his friendship with Othello. Iago is also sure that his plan will be a success, but with much different results. His intent is to make it appear that Desdemona is pleading for her long-time lover. Desdemona will become Iago's most valued pawn:So I will turn her virtue into pitch, And out of her own goodness make the net That shall enmesh them all." (II.iii.336-8) Act III, Scene I Outside the castle, Cassio has gathered some musicians in the hopes of putting Othello in a good mood. Cassio asks Emilia if she will grant him access to visit Desdemona. Iago overhears and offers to fetch Desdemona at once. Desdemona agrees to an interview with Cassio and Emilia shows him to Desdemona's chamber. Act III, Scene II In this short scene Othello makes plans to inspect some parts of the fortifications built by his troops. The she hath contaminated" (IV.i.202-3). Othello responds like a heartless monster: "Good, good! The justice of it pleases. Very good!" (IV.i.204). Iago wants the privilege of killing Cassio himself and he will report back to Othello before midnight. Desdemona appears with Lodovico, her kinsman, who brings word from the Duke that Othello must return to Venice and that Cassio will be placed in charge of the soldiers in Cyprus. When Desdemona openly expresses her happiness for Cassio's promotion, Othello strikes her, screaming "Devil!". Timidly, Desdemona says that she will leave Othello's presence for fear she will anger him more. Lodovico, surprised at Othello's behavior, asks him to call her back. Othello does, only to brand her a devious manipulator in front of her kinsman. He orders her away and storms off to prepare for his trip back to Venice. Lodovico wonders if this is the noble Moor whom the senate believes to be a master of all situations. Iago tells Lodovico that he has changed much and that his treatment of Desdemona is at times even worse than what they have just witnessed. Lodovico says that he is sorry to have been so deceived by the Moor and the scene comes to a close. Act IV, Scene II In a room of the castle Othello has found Emilia to question her about her knowledge of Desdemona's affair. She tells him that she has been with them every time they have spoken, and that she has heard nothing that would be considered suspicious in the least. She begs Othello to put such thought out of his mind at once, for Desdemona is as true and loyal a wife as any woman could be. She adds, "If any wretch have put this in your head/Let heaven requite it with the serpent's curse!" (IV.ii.15-6). Othello commands her to leave. He does not want to hear the truth and ignores her testimony. He calls her a madam, lying to protect her whore Desdemona. When Desdemona enters Othello coolly asks her to come to him. Desdemona is very afraid and when he orders Emilia to leave Desdemona begs to hear the reason for his fury. He asks her what she is and she replies that she is his loyal wife. He calls her "as false as hell" and a labels her a strumpet and a whore. Desdemona is stunned when she realizes what she is being accused of, and she can only deny the charges against her, which fall upon deaf ears. When Emilia re-enters to check on Desdemona, Othello walks out, telling Desdemona to keep their conversation a secret. Emilia asks Desdemona is she is all right and she replies that she cannot tell if she is awake or dreaming. Shaken to her very core, she cannot regain her composure, but asks Emilia to fetch her husband. Emilia is surprised at Desdemona's request for Iago, but she agrees and leaves to search for him. When Iago comes into the room, Desdemona begs for his counsel. Iago tells her that a matter of state is weighing heavy on Othello's mind and he assures her that all will soon be well. She leaves the room and Iago immediately sends Roderigo to kill Cassio. Roderigo agrees to the murder because Iago convinces him that Cassio's death will force Othello to remain in Cyprus and thus Desdemona will also stay and continue to be close to him. Act IV, Scene III In another room, Othello is gathered with Desdemona, Emilia, and Lodovico. Othello tells Desdemona to dismiss Emilia and get to bed, and he will be up shortly. While she gets ready for bed she speaks with Emilia, who helps her unpin her gown. Desdemona sings a sorrowful song about a woman who is abandoned by her lover and she waits for Othello's knock at the door. She asks Emilia how any woman could do what she herself is falsely accused of doing. Emilia replies that she can certainly understand why women sometimes cheat on their husbands and, considering the way men treat their wives, it is oftentimes wholly justifiable. Desdemona bids Emilia good night and the scene ends with Desdemona's lines so characteristic of her virtuous nature. She prays that the poor way in which she has been treated by Othello will teach her, not to hate or seek revenge, but to forgive and improve upon her own faults: "Good night, good night/Heaven me such uses send/Not to pick bad from bad, but by bad mend!" (IV.iii.102-3) Act V, Scene I Out on the streets Iago positions Roderigo to ambush Cassio. Roderigo stands in the shadows with his sword ready, and Iago watches close by, mentioning to the audience that he hopes each one will kill the other so that he will not have to return Roderigo's money and jewels. Cassio appears and Roderigo attacks him, but Cassio's thick coat shields him from the point of the rapier. Cassio strikes Roderigo, wounding him, and Iago is forced to crouch down and stab Cassio in the leg. Cassio's injury causes him to fall to the ground and when Othello arrives, he is delighted to see what he believes is the corpse of Cassio. He quickly leaves for the castle, ready to administer Desdemona's punishment. Lodovico and Gratiano appear and Rogerigo asks for their help. Iago comes out of the dark and pretends to be shocked by the chaos. Cassio is very much alive and he identifies Rogerigo as one of his attackers. Iago, aware he must silence Roderigo for good, expresses his outrage at the attack and stabs Rogerigo in a fit of supposed righteous indignation. Roderigo cries "O damn'd Iago! O inhuman dog!" (V.i.63), and dies. Iago orders Emilia to tell Othello what has happened and, when Biana arrives upon the scene, Iago accuses her of being Roderigo's accomplice and places her under arrest. Act V, Scene II The scene shifts to Desdemona's bedchamber in the castle. Desdemona is sleeping peacefully when Othello enter with a lantern. He stands for a long while at the foot of her bed, staring at her, overcome with feelings of love. He declares that he will not scar her beautiful face, but rather he will kill her "bloodlessly". He kisses her one last time and she awakens and sweetly asks her husband to come to bed. He orders her to say one final prayer and to prepare for death. She begs him to tell her what she has done and he reveals it is because she gave his handkerchief to her lover, Cassio. She pleads with him to fetch Cassio who will support her innocence, but he says the Cassio is dead. She begs Othello to let her live, "Kill me tomorrow; let me live to-night!" (V.ii.80). But Othello will not listen to her cries, and cooly tells his horrified wife that "It's too late" (V.ii.88). He smothers Desdemona where she lay. Emilia bangs on the door, reporting to Othello that Cassio has been injured but that he is still alive. Othello draws the curtains on Desdemona' bed to hide his heinous deed and lets Emilia in to tell him more. But Desdemona, not quite dead, lets out a faint cry professing her innocence one last time. Emilia demands to know who has hurt her, and even now Desdemona loves Othello enough to protect him: "Nobody -- I myself. Farewell" (V.ii.124). Desdemona dies, and Othello cowardly denies that he has murdered her. But Emilia does not believe him and he at last blurts out that he is guilty, but only of sending a "liar gone to burn in hell!". He threatens Emilia to keep silent but she screams "murder" and alerts the whole castle. Montano and Iago run into Desdemona's chamber, and Othello again speaks of the handkerchief. Emilia tells Othello that Iago made her steal the handkerchief, and, beginning to comprehend the terrible truth, he lunges at Iago, but is promptly disarmed by Montano. Iago grabs Emilia and stabs her, much to the dismay and shock of Montano. As she lay dying, Emilia remembers Desdemona's song and confirms that she was chaste and in love only with the "cruel Moor". Iago runs away and the men chase after him, leaving Othello by himself. He has a sword hidden in the chamber and he waits for the men to return with Iago as prisoner. Othello stabs Iago, only to wound him, and is again disarmed. He asks forgiveness of Cassio who is now in the room, and Cassio obliges. More information about Iago's plot is revealed in a letter left by Roderigo and picked up by Cassio as he lay on the street. Othello gives a final speech and pulls out a dagger he has hidden well. He stabs himself and falls dying next to Desdemona. He last words are to his innocent wife and victim: "I kiss'd thee ere I kill'd thee. No way but this/Killing myself, to die upon a kiss." (V.ii.358-9) Othello short summary Othello Summary In a street in Venice, the villain Iago complains to Roderigo that Othello the Moor chose Cassio to be his lieutenant, rather than Iago. Iago vows to stay loyal to Othello only as long as it works to his advantage. They then inform Barbantio that his daughter Desdemona is sleeping with Othello. Barbantio hesitates to believe them, since Roderigo has been an unwelcome suitor to his daughter, but he soon finds she is missing. At Othello's house, Cassio and other officers arrive summoning Othello to the Duke of Venice on urgent matters. Barbantio then arrives and orders Othello arrested, until he learns of the Dukes summons. At the Duke's chambers, Barbantio accuses Othello of using spells and potions to win Desdemona. He, however, proves this is not so, and Barbantio reluctantly blesses their marriage. We then learn that the Turkish fleet (the Ottomites) is sailing toward Cypress. The Duke asks Othello to go defend it, and Desdemona asks to come with. Othello asks Iago to take care of Desdemona and follow him to Cyprus. Roderigo laments to Iago that he has lost Desdemona since Othello has married her. Iago convinces Roderigo to make money by selling his lands and fighting in wars. Over time, Iago feels Othello will tire of Desdemona and she will again become available. Iago, for his own part, reveals to the audience that he is only using Roderigo for his money. He also begins to plot his revenge against Othello for choosing Cassio. At Cyprus, the governor Montano reports that a tempest has droned the Turkish fleet, effectively eliminating their threat. Next, Cassio arrives, then Iago, his wife Emilia, and Desdemona, and lastly, Othello. In private, Iago tells Roderigo he believes Desdemona is in love with Cassio, based on their flirting before Othello arrived. He convinces Roderigo to pick a fight with Cassio to get Cassio in trouble with the local authorities. Alone, Iago reveals his plans to make Othello jealous of Cassio and/or Roderigo for courting Desdemona. That evening, after supper, Othello and Desdemona head to bed, while Iago arrives with wine, hoping to get Cassio drunk. He does, then Roderigo eggs him on, and a fight ensues, pulling Montano into the melee. Othello breaks it up, and after Iago explains (pretending not to know Roderigo), Othello tells Cassio he is no longer his lieutenant. Privately, Iago convinces Cassio to entreat Desdemona to ask Othello to reinstate him. Alone, Iago reveals that he'll use their private meetings to convince Othello that Desdemona is disloyal. At the Citadel (Othello's lodging), Cassio entreats Desdemona to help him. When Iago and Othello appear in the distance, Cassio leaves. Desdemona relays Cassio's penance, then leaves herself. Iago begins dropping hints of his "suspicions" about Cassio and Desdemona to Othello, to which Othello probes Iago for his thoughts, and Iago pretends to reluctantly reveal them. Thus, Iago plants the seed that Desdemona is being disloyal to Othello. All throughout, Othello keeps stating how he genuinely believes Iago is of "exceeding honesty". Iago leaves and Desdemona appears calling Othello to dinner. He, already becoming (wrongly) suspicious, is rude to her when she tries to cure his "headache" with her handkerchief, given to her by Othello as his first gift to her. They leave, and Emilia appears and picks up the handkerchief, remembering that her husband Iago has asked her to steal it repeatedly before. Iago appears and takes it from her; then privately states that he'll plant it at Cassio's room to fuel Othello's suspicions. Othello reappears, and reveals to Iago how greatly depressed he has become. Othello yells at Iago and demands proof of the suspicions which Iago has planted in his head. Iago then claims he has heard Cassio talk of his love for Desdemona in his sleep. Iago also claims he's seen Cassio wipe his beard with Desdemona's handkerchief. This being the final straw, Othello names Iago his lieutenant and orders Iago to kill Cassio within the next three days. As for Desdemona, Othello wishes her dead too. In her room, Desdemona and Emilia look for the lost handkerchief. Othello appears and claims to have a cold and asks to see it. Desdemona says she doesn't have it, but promises it is not lost. Othello, enraged, leaves. Cassio again appears and entreats Desdemona to talk to Othello. She tells him she has tried, but Othello has become irritable. Cassio's mistress Bianca appears and he asks her to copy the handkerchief he found in his room (Desdemona's), since he likes it, but fears someone will ask for it soon. At his chamber, Iago eggs Othello on more as Othello slowly goes crazy, since Iago tells him Cassio admitted sleeping with Desdemona. Iago rejoices as Othello goes into a seizure/trance. Iago convinces Othello to hide while he questions Cassio about Desdemona. In reality, Iago plans to speak to Cassio about Bianca, eliciting laughter and smiles. Othello sees this and thinks they are talking about escapes with Desdemona. Bianca then appears, enraged, and throws the handkerchief at Cassio, accusing him of getting it from another lady. This, too, Othello sees. After Cassio and Bianca leave, Iago comes to Othello With Cassio gone, Iago tells Montano of Cassio's drinking problem turning Montano's high regard for Cassio into dust. Iago also tells Roderigo to attack Cassio. This happens, and Cassio wounds Roderigo and then Montano who was trying to break up the fight. Othello is now awake and Cassio's name ruined. Othello though he loves Cassio, has no choice but to demote him from his position as his lieutenant. Next Iago comforts Cassio by suggesting he speak with Desdemona who could put in a good word for him with Othello. Iago comforts a wounded Roderigo, telling him he has won by ruining Cassio's name. Iago has his wife Emilia ensure Desdemona and Cassio will talk so Othello can see his wife talking with Cassio, allowing Iago to convince Othello that Desdemona is being unfaithful... Act III. 4 Cassio tells Iago that he has arranged to meet Desdemona, Iago helping Cassio to do this. Iago's wife, Emilia, tells Cassio that Othello would like to reinstate him as his lieutenant but the fact that Cassio's fight is public news, prevents Othello from doing this immediately. Emilia tells Cassio that she can arrange a meeting with Desdemona. Some time later, Cassio speaks with a very sympathetic Desdemona who assures him that Othello still very much loves Cassio. Furthermore, Desdemona resolves to keep putting in a good word for Cassio until he is again Othello's lieutenant. At a distance, Iago manipulates Othello by first suggesting shock and then hiding his outbursts from Othello. This guarantees Othello's attention, as Iago plants seeds of doubt in Othello's mind about Desdemona's fidelity especially where Cassio is concerned. Iago leaves Othello almost convinced that his wife is having an affair with Cassio. Othello now complains of a headache to Desdemona, which results in her dropping a strawberry patterned handkerchief, Othello's first gift to her. Emilia picks this up gives it to Iago who decides the handkerchief could help his manipulation if he ensures Cassio receives it. Iago arranges to place the handkerchief near Cassio's lodgings or home where he is certain to find it and take it as his own, unaware that it is Othello's gift to Desdemona. A furious Othello returns to Iago, certain his wife is faithful and demanding proof from Iago of Desdemona's infidelity. Reluctantly and hesitantly, Iago tells Othello he saw Cassio wipe his brow with Desdemona's handkerchief. Othello is convinced, cursing his wife and telling Iago who is now promoted to lieutenant to kill Cassio. Othello will deal with Desdemona... 5 Desdemona worries about her missing handkerchief and comments that if she lost it, it could lead Othello doubting her fidelity. Emilia when asked about Desdemona's lost handkerchief, lies, denying having seen the handkerchief she picked up and gave to Iago. Othello enters; asking Desdemona for the very same handkerchief and Desdemona assures him that the handkerchief is not lost and will be found. Desdemona now tries to change the subject to Cassio, but Othello continually stresses the value the handkerchief has to him, this leading to Othello angrily ordering his wife away. Cassio arrives, Desdemona telling him that her attempts to help him are not going well. Iago claims total ignorance to the cause of Othello's fury. Cassio gives Othello's handkerchief, which he found, to his suspicious mistress Bianca who reluctantly starts to copy its patterning (presumably its strawberry motif / design) for him. Act IV. Iago fans the flames of Othello's distrust and fury with Desdemona's supposed "infidelity" by first suggesting Desdemona shared her bed with Cassio and then that her giving away the handkerchief is no big deal when Iago knows exactly how hurtful to Othello, giving away this sentimental gift is. Next Iago suggests to Othello that Cassio will "blab" or gloat to others about his conquest of Desdemona before telling Othello that Cassio boasted to him that he did indeed sleep with Desdemona. Meeting later with Cassio, Iago cunningly talks to Cassio about Cassio's mistress Bianca, each smile and each gesture made by Cassio infuriating a hidden Othello who thinks Cassio is talking about sleeping with Desdemona (Othello's wife). 6 Next Bianca (Cassio's mistress) arrives, angrily giving back the handkerchief Cassio gave to her. This infuriates Othello since as Iago puts it, Cassio not only received Othello's handkerchief from his wife but then gave it away to his whore (Bianca) as if it were worthless. Othello decides to kill Desdemona by strangulation in her bed, Iago's idea. Iago pledges to kill Cassio. Lodovico arrives, announcing that Othello is to return home and Cassio is to be the next Governor of Cypress. Desdemona's joy for Cassio enrages Othello, leaving Lodovico and Iago to wonder how much Othello seems to have changed and leaving poor Desdemona to wonder how she offended the man she truly loves... Othello questions Emilia as to whether Desdemona was unfaithful to him. Annoyed that Emilia's answers suggest nothing has happened between Desdemona and Cassio, Othello dismisses her comments as those of a simple woman. Othello meets Desdemona, Desdemona becoming increasingly upset with her husband's anger towards her, an anger she cannot understand. Othello eventually reveals to Desdemona that her infidelity is the source of his anger, Desdemona pleading her innocence on deaf ears. Emilia and Desdemona discuss Othello's strange behavior. Emilia is certain some evil fellow has twisted Othello to believe Desdemona has been unfaithful, not realizing that this evil man is her own husband Iago. We learn that Iago has been pocketing Roderigo's gifts to Desdemona, which never reached her. Fearing Roderigo will learn this, Iago tells Roderigo that Cassio must die since Iago benefits if ever man dies. 7 Lodovico tries to calm Othello down. Othello orders Desdemona to bed to await him later, an order Desdemona dutifully obeys out of love for Othello. Emilia notices that Othello is much calmer now and tells Desdemona her bed has been made with her wedding sheets as requested. Desdemona asks to be buried in those same sheets should she die before Emilia, a hint of trouble ahead (Foreshadowing). Emilia is barred from joining Desdemona in her bedchamber, angering her. Desdemona, depressed, recalls a song (The Willow Song) of a maid who was similarly abused by her husband and sings it. Desdemona and Emilia talk about infidelity. Desdemona would not be unfaithful to her husband (Othello) for all the world; the more cynical and worldly Emilia would for the right price... Act V. Iago and Roderigo wait in a street to ambush Cassio. Iago tells Roderigo how to kill him. Iago does not care which ends up dead. Iago is worried that about Roderigo's increasing questioning of what happened to jewels that were given to him to pass on to Desdemona... Roderigo attacks Cassio but Cassio wounds Roderigo instead. Iago from behind stabs Cassio, wounding him in the leg. Othello hearing Cassio's cries is pleased, announcing that he too will soon kill (Desdemona). Lodovico and Gratiano and Iago reappear, Iago claiming total innocence to Cassio's injuries even though he inflicted them. Seizing Roderigo, Iago stabs and wounds him "in revenge" for wounding his "friend" Cassio. Gratiano and Lodovico tend to Cassio's wound. Bianca, Cassio's mistress arrives, Iago cleverly laying suspicion for Cassio's injuries on his innocent mistress, making Iago less suspicious... 8 Othello enters Desdemona's bedchamber (bedroom) trying to convince himself that he is killing her for her own good. He kisses his still asleep wife one last time. Desdemona awakens, but Othello will still kill her, telling her to pray so her soul will not die when she does. Desdemona again asks what wrong she has committed, Othello telling her that she gave Cassio his handkerchief, by which he means he thinks she had an affair with him. Desdemona pleads her innocence, telling Othello to bring Cassio over to prove she did not give away her handkerchief. Othello says he confessed and is dead, Desdemona's fear and surprise prompting Othello to believe she does care for him. Othello kills Desdemona. Emilia banging on the door outside cannot stop this. Later Emilia is let in, revealing Iago has killed Roderigo and Desdemona who was thought dead, murmurs her last breaths but loyally does not say Othello killed her. Othello tells Emilia he killed her and Emilia despite Iago's attempts to remove her reveals the truth about the handkerchief; she found it, and then gave it to Iago. Iago now in trouble, stabs his wife Emilia and escapes. Emilia dies, singing the "Willow Song" before criticizing Othello for killing his loving wife. Lodovico, Montano, Cassio and the now captured prisoner Iago soon appear, Othello stabbing Iago but not killing him before having his sword removed. Lodovico is disappointed that Othello, a man so honorable has reverted to acting like a slave. Othello tries to argue that killing his wife was a noble action but it falls on deaf ears. 9 Lodovico learns that Othello and Iago plotted Cassio's death. Lodovico reveals letters in the dead Roderigo's pocket proving Cassio was to be killed by Roderigo. Iago proudly confirms that Cassio did find the handkerchief in his bedchamber because Iago placed it there to be found. Othello, realizing what he has done, kills himself with a concealed weapon and lies himself on top of his wife. Cassio is placed in charge of Iago and Lodovico leaves to discuss this sad matter with others abroad... The History of Othello The History of Othello According to the Accounts of the Master of the Revels (published in 1842), Othello was performed in 1604. The full entry reads: "By the King's Majesty's Players. Hallowmas Day, being the first of November, a play in the banqueting house at Whitehall called The Moor of Venice." Other evidence supports the fact that Shakespeare wrote the play in or before 1604. As William Rolfe explains in his book A Life of William Shakespeare: Stokes (Chronological Order of Shakespeare's Plays) shows that it was written before 1606 by the fact that in the quarto of 1622 (i.1.4) we find the oath "S'blood" (God's blood), while this is omitted in the folio. This indicates that the quarto was printed from a copy made before the act of Parliament issued in 1606 against the abuse of the name of God in plays, etc. So "Zounds" and "by the mass" (in ii.3) are found in the quarto but not in the folio (293). Eighteen years passed before Othello was first put into print in 1622 by Thomas Walkley. Walkley's was a quarto edition, known as Q1, and it was the last Shakespearean edition of a single play before the collected edition, known as the First Folio (printed by Heminge and Condell in 1623). Othello was one of Shakespeare's most popular plays throughout the 17th century. The preface to the first quarto tells us felt an obligation to Desdemona to break free of Iago’s manipulation and speak the truth. Cassio’s was also an enthusiastic admirer of Desdemona. Although Cassio wanted only the help of Desdemona in getting his position back as Othello’s Lieutenant, it cannot be denied that he also worshipped her (Coleridge 174). However, Cassio was too loyal to Othello to have any relationship beyond friendship. His admiration came form his acknowledgement of Desdemona’s fearlessness of public forum. Cassio also knew that Desdemona would plead on his behalf simply because she feared the repercussions of his demotion in Venice. Cassio recognized Desdemona’s political concerns. He knew that she would help him get his position back out of love for Othello and his reputation, and through her recognition that Cassio was more qualified than Iago. Cassio knew that Desdemona was constantly striving for her voice to be heard and she demonstrated her intellect through word and deed. Ironically and tragically, Desdemona’s desire for her voice to be heard fed into Iago’s web of deception (Walker 2). Both Desdemona and Othello were under the impression that Iago was an honest man. Thus, when Othello accused Desdemona of adultery, she went to Iago for help. Naturally Iago, who put the idea of adultery in Othello’s head, told Desdemona that Othello was troubled by business with the state. In this way Iago avoided the revealing of his manipulation. To Desdemona he appeared to be comforting and supporting in her time of confusion. To Othello, Iago had the appearance of a loyal servant by informing him of Desdemona’s “affair.” These manipulative actions by Iago can be related to William Blake’s “A Poison Tree.” The lines of Blake’s poem indicate the wrath that one man had for his enemy and how he used his wrath to manipulate his enemy. It reads: I was angry with my friend: I told my wrath, my wrath did end. I was angry with my foe: I told it not, my wrath did grow. And I watered it in fears, Night and morning with my tears; And I sunned it with smiles, And with soft deceitful wiles. And it grew both day and night, Till it bore an apple bright. And my foe beheld it shine, And he knew that it was mine, And into my garden stole, When the night had veil’d the pole; In the morning glad I see My foe outstretched beneath the tree (531). Iago’s foes were Cassio, Roderigo, Desdemona, and Othello. He used deceit to make his wrath against them all look as though he was just trying to help them. His actions were like the poison fruit on Blake’s tree that looked so appealing. Iago lured everyone into his trap until they were all under his control. Desdemona, although an intelligent woman seeking liberation, fell into Iago’s trap because she loved Othello and was upset that he had considered her a “whore.” She was a very trusting person and did not think that Iago would her hurt. Although she was striving to be play an equal role of the men in Venice, at times her sensitivities overpowered her desire to break the gender barriers. In Taylor’s book, he states that children who are father-identifiers still revert to their own type (314). Thus Desdemona was still influenced by matriarchal themes such as love and emotion, rather than power. This is why she had such a strong desire to make amends with Othello. It is also the reason in which she put so much trust into Iago. Desdemona’s matriarchal sensitivities are like those of the character Frances in Irwin Shaw’s “The Girls in Their Summer Dresses.” Like Frances, Desdemona wanted to be loved and acknowledged by her husband. When Frances said to her husband, “I’m good for you,…I’ve made a good wife, a good housekeeper, a good friend. I’d do any damn thing for you” (499), her desire to be acknowledged as a good wife derived from her matriarchal tendencies of sensitivity. Desdemona, like Frances, could not control her feelings of insignificance. Both were striving to be the best wives that they could be and both felt that their roles as wives were being threatened. Therefore, their matriarchal instincts were to do anything in their power to alleviate the tension between their husbands. This desire by Desdemona to please her husband can also be attributed to her intelligence and liberation. She does not merely listen to Othello’s accusations, but instead tries to explain her situation. She could have very easily let Othello control her but she made her point known and told the truth about her circumstance. Desdemona, just before her death, challenges Othello as she had challenged her father and defends herself with the same straightforward precision she used before the Senate: And have you mercy too! I never did Offend you in my life; never loved Cassio But with such a general warranty of heaven As I might love; I never gave him token. (Oth. V. ii. 59-62) Even in her death, Desdemona proved her liberation by showing that she controlled her own desires. Unfortunately Desdemona, by destroying the gender barriers, sealed her own fate. Because the men of Venice were unable to comprehend Desdemona’s self-control, her death was inevitable. Othello realized that Desdemona’s body and mind were her own domain. Upon this realization, Othello also saw that he had lost his power. By taking charge of her own destiny, Desdemona revealed to Othello that he was destined to lose control. Forced to deal with Desdemona’s rebelliousness and the pressures of Iago, Othello murdered his wife. Sadly, the ultimate price that Desdemona had to pay for her liberation was death. Themes Themes, Motifs & Symbols Themes Themes are the fundamental and often universal ideas explored in a literary work. The Incompatibility of Military Heroism & Love Before and above all else, Othello is a soldier. From the earliest moments in the play, his career affects his married life. Asking “fit disposition” for his wife after being ordered to Cyprus (I.iii.234), Othello notes that “the tyrant custom . . . / Hath made the flinty and steel couch of war / My thrice-driven bed of down” (I.iii.227–229). While Desdemona is used to better “accommodation,” she nevertheless accompanies her husband to Cyprus (I.iii.236). Moreover, she is unperturbed by the tempest or Turks that threatened their crossing, and genuinely curious rather than irate when she is roused from bed by the drunken brawl in Act II, scene iii. She is, indeed, Othello’s “fair warrior,” and he is happiest when he has her by his side in the midst of military conflict or business (II.i.179). The military also provides Othello with a means to gain acceptance in Venetian society. While the Venetians in the play are generally fearful of the prospect of Othello’s social entrance into white society through his marriage to Desdemona, all Venetians respect and honor him as a soldier. Mercenary Moors were, in fact, commonplace at the time. Othello predicates his success in love on his success as a soldier, wooing Desdemona with tales of his military travels and battles. Once the Turks are drowned—by natural rather than military might— Othello is left without anything to do: the last act of military administration we see him perform is the viewing of fortifications in the extremely short second scene of Act III. No longer having a means of proving his manhood or honor in a public setting such as the court or the battlefield, Othello begins to feel uneasy with his footing in a private setting, the bedroom. Iago capitalizes on this uneasiness, calling Othello’s epileptic fit in Act IV, scene i, “[a] passion most unsuiting such a man.” In other words, Iago is calling Othello unsoldierly. Iago also takes care to mention that Cassio, whom Othello believes to be his competitor, saw him in his emasculating trance (IV.i.75). Desperate to cling to the security of his former identity as a soldier while his current identity as a lover crumbles, Othello begins to confuse the one with the other. His expression of his jealousy quickly devolves from the conventional—“Farewell the tranquil mind”—to the absurd: Farewell the plum’d troops and the big wars That make ambition virtue! O, farewell, Farewell the neighing steed and the shrill trump, The spirit-stirring drum, th’ear piercing fife, The royal banner, and all quality, Pride, pomp, and circumstance of glorious war!” (III.iii.353–359) One might well say that Othello is saying farewell to the wrong things—he is entirely preoccupied with his identity as a soldier. But his way of thinking is somewhat justified by its seductiveness to the audience as well. Critics and audiences alike find comfort and nobility in Othello’s final speech and the anecdote of the “malignant and . . . turbaned Turk” (V.ii.362), even though in that speech, as in his speech in Act III, scene iii, Othello depends on his identity as a soldier to glorify himself in the public’s memory, and to try to make his audience forget his and Desdemona’s disastrous marital experiment. The Danger of Isolation The action of Othello moves from the metropolis of Venice to the island of Cyprus. Protected by military fortifications as well as by the forces of nature, Cyprus faces little threat from external forces. Once Othello, Iago, Desdemona, Emilia, and Roderigo have come to Cyprus, they have nothing to do but prey upon one another. Isolation enables many of the play’s most important effects: Iago frequently speaks in soliloquies; Othello stands apart while Iago talks with Cassio in Act IV, scene i, and is left alone onstage with the bodies of Emilia and Desdemona for a few moments in Act V, scene ii; Roderigo seems attached to no one in the play except Iago. And, most prominently, Othello is visibly isolated from the other characters by his physical stature and the color of his skin. Iago is an expert at manipulating the distance between characters, isolating his victims so that they fall prey to their own obsessions. At the same time, Iago, of necessity always standing apart, falls prey to his own obsession with revenge. The characters cannot be islands, the play seems to say: self-isolation as an act of self-preservation leads ultimately to self-destruction. Such self-isolation leads to the deaths of Roderigo, Iago, Othello, and even Emilia. Motifs Motifs are recurring structures, contrasts, and literary devices that can help to develop and inform the text’s major themes. Sight and Blindness When Desdemona asks to be allowed to accompany Othello to Cyprus, she says that she “saw Othello’s visage in his mind, / And to his honours and his valiant parts / Did I my soul and fortunes consecrate” (I.iii. 250–252). Othello’s blackness, his visible difference from everyone around him, is of little importance to Desdemona: she has the power to see him for what he is in a way that even Othello himself cannot. Desdemona’s line is one of many references to different kinds of sight in the play. Earlier in Act I, scene iii, a senator suggests that the Turkish retreat to Rhodes is “a pageant / To keep us in false gaze” (I.iii.19–20). The beginning of Act II consists entirely of people staring out to sea, waiting to see the arrival of ships, friendly or otherwise. Othello, though he demands “ocular proof” (III.iii.365), is frequently convinced by things he does not see: he strips Cassio of his position as lieutenant based on the story Iago tells; he relies on Iago’s story of seeing Cassio wipe his beard with Desdemona’s handkerchief (III.iii.437–440); and he believes Cassio to be dead simply because he hears him scream. After Othello has killed himself in the final scene, Lodovico says to Iago, “Look on the tragic loading of this bed. / This is thy work. The object poisons sight. / Let it be hid” (V.ii.373–375). The action of the play depends heavily on characters not seeing things: Othello accuses his wife although he never sees her infidelity, and Emilia, although she watches Othello erupt into a rage about the missing handkerchief, does not figuratively “see” what her husband has done. Plants Iago is strangely preoccupied with plants. His speeches to Roderigo in particular make extensive and elaborate use of vegetable metaphors and conceits. Some examples are: “Our bodies are our gardens, to which our wills are gardeners; so that if we will plant nettles or sow lettuce, set hyssop and weed up thyme . . . the power and corrigible authority of this lies in our wills” (I.iii.317–322); “Though other things grow fair against the sun, / Yet fruits that blossom first will first be ripe” (II.iii.349–350); “And then, sir, would he gripe and wring my hand, / Cry ‘O sweet creature!’, then kiss me hard, / As if he plucked kisses up by the roots, / That grew upon my lips” (III.iii.425–428). The first of these examples best explains Iago’s preoccupation with the plant metaphor and how it functions within the play. Characters in this play seem to be the product of certain inevitable, natural forces, which, if left unchecked, will grow wild. Iago understands these natural forces particularly well: he is, according to his