‘Othello’ Introduction

William Shakespeare’s Othello centres around two main characters: a general in the
Venetian army called Othello and his manipulative ensign Iago. In this article, our writers
prepared a short summary of the play.

Let’s start with Othello’s synopsis:

At the beginning of the play, readers learn that Iago has resentment towards Othello
because a soldier named Cassio has been promoted in front of him.

First, he convinces a man named Roderigo to start a street fight with Cassio. Othello blames
Cassio for that and takes his rank away. Then, he tricks Othello into thinking that his
beautiful wife Desdemona has an affair with Cassio. He plants seeds of doubts in Othello’s
heart slowly. He also advises other characters in the play, such as Roderigo, Cassio, and
Emilia, and they unintentionally help him execute his master plan. Iago manipulates
everyone.

Enraged, Othello murders his wife. Shortly after, he finds out that Desdemona was faithful
to him. Emilia exposes her husband’s scheme and becomes his last victim. Iago gets caught
by the authorities. In the finale of the play, Othello murders himself. The play ends with the
monologue in which Othello asks the audience to remember him as a good man.

Act 1, Scene 1: Act 1, Scene 2:

Act 1, Scene 3: Act 2, Scenes 1-2:

Act 2, Scene 3: Act 3, Scenes 1-3:

Act 3, Scene 4: Act 4, Scene 1:

Act 4, Scene 2: Act 4, Scene 3:

Act 5, Scene 1: Act 5, Scene 2:

Othello Analysis:

Othello is a tragedy about love, jealousy, loyalty, friendship. It tells the story of the general
of the Venetian army during the conflict between the Ottoman Empire and Venice.
However, there is no war in the play. The war has ended even before starting, and everyone
celebrates peace. Everyone besides Iago.
Othello differs from any other works written by Shakespeare. It is a very compressed play
and has an unusual structure for a Shakespearean tragedy. Some critics even talk about the
notion of double-time that is present.

The first two acts have an average pace and timing. However, towards the end of the play,
in the third act, time starts speeding up. A lot of the events happen very quickly, and there is
a lot of confusion.

Several main conflicts move the play. The first one is Othello’s inner conflict that leads to
the destruction of the marriage and death of both Desdemona and Othello. Despite the
facade of a strong military hero, Othello in the play is a very passive character. Although he
is known as a man of actions, a warrior, his actions do not drive the plot. Even from
Othello’s short summary, it’s apparent that at the beginning of the play, Othello is very
rational. He is confident that Desdemona loves him. In the second part, he becomes
insecure, chaotic, poisoned with jealousy.

The same can be said about Desdemona. At the beginning of the play, she is a very strong
character: she leaves her father, marries interracially, defends her relationships in front of
the Duke, travels to Cyprus, speaks to Othello on behalf of Cassio. However, in the second
half, she becomes a passive woman, or one might even say – she becomes a victim. The
more furious and jealous Othello becomes, the more submissive and passive Desdemona is.
She might be trying to prove her love for Othello in this manner as well.

Contrarily to Othello and Desdemona, Iago is the character who drives the plot. In some
way, he is staging the whole play. For instance, Iago orchestrates a fight between Cassio and
Roderigo. He makes Othello question Desdemona and even proposes a scenario of how the
problem should be dealt with. Iago is the character that speaks the most in the play.
Interestingly enough, once Iago’s plot becomes evident to others, he becomes silent.

Iago’s character is one of the most complex and intriguing characters in the play. A lot of
critics find Iago to be a symbolic character that represents evil and wickedness. However,
from Othello’s summary, readers know that Iago has motifs for hatred:

• He was not promoted

• He suspects that Othello had an affair with his wife, Emilia
• He also thinks that Cassio had an affair with Emilia
• Additionally, he may be in love with Desdemona or even Othello

Iago states that he simply hates Othello. Readers do not know if the affair between him and
Iago’s wife happened, or Iago is trying to manipulate his audience to sympathize with him.

Another essential conflict in the play is the conflict of race. Many critics argue that Othello’s
race is an incidental factor and does not add anything to the understanding of the play.
Moreover, some believe that if you start looking at Othello through the prism of race, it will
take away Othello’s universality as a character. A careful reader will see that it is not that
easy.
There is a lot of racist language in this play. One of the ways it manifests itself is through the
way characters do not use Othello’s name. Iago does not do so in particular; he calls him
“The Moor.” Othello himself believes that Desdemona’s love for him is something unnatural.
However, this thought prevails and drives him crazy only in the second half of the play.

It is crucial to also pay attention to the juxtaposition of two contrasting cities

in Othello’s plot, a dichotomy between Venice and Cyprus. In Shakespeare’s works, it is
more than a simple geographical contrast. It represents the moral and behavioural change
altogether. In Othello, Venice symbolizes civility, while Cyprus serves as a symbol of
wilderness and primitive impulses. No wonder Othello smothers Desdemona in Cyprus.
 Othello Scene by Scene Summary
ACT 1, SCENE 1:

Othello Act 1 starts with the argument between Rodrigo and Iago. It happens on the dark
streets of Venice. Rodrigo, a wealthy nobleman, asked Iago to help him marry Desdemona.
To his disappointment, there was no progress in his efforts to win her heart. He also learned
that Desdemona had married Othello recently.

Othello is the general whom Iago has been serving. He hates Othello and has reasons for
that, as he claims. The main one is that despite Iago’s exemplary service, Michael Cassio was
promoted to the post of lieutenant. Another reason is Othello’s race, as he is a Moore, an
African.

Roderigo fears that he has lost Desdemona and his money because of it. Iago suggests that
to spoil Desdemona and Othello’s ideal life, they have to let Desdemona’s parents know. So,
the family will be against the general. The two come to Desdemona’s father and tell him
that he has been robbed. Brabantio, a prominent Venetian senator, comes out to see who is
making all this noise. In the beginning, he does not believe Roderigo and Iago. Iago tells the
senator again and again that Othello and Desdemona have sexual relationships. Brabantio
ends up looking for his daughter and doesn’t find her. Then, he starts believing them.

Iago leaves Roderigo and goes to search for Othello, who does not know about his
participation in the scheme. Brabantio goes to look for Othello with his men. He is
convinced that the general used some magic charms to attract Desdemona.

ACT 1, SCENE 2:

Othello Act 1 Scene 2 opens with the conversation between Iago and Othello, in which Iago
plays a role of a faithful servant and friend. He tells Othello that Brabantio is not happy with
the marriage and that Desdemona’s father will do everything he can to annul the marriage.
However, Othello is not fearful. He is convinced that the job he has done for Venice should
be enough to protect him and his relationships with Desdemona. Othello also does not see
himself as inferior to Desdemona. He has royal blood in him.

In the middle of the conversation, Cassio enters the room. He tells Othello that Duke wants
to speak with him about Cyprus. In the next moment, Brabantio, Roderigo, and a group of
men enter the room. They are searching for Othello too. Brabantio accuses him of being a
thief right away. Iago continues playing his role and tells Roderigo that he wants to fight
him. Nevertheless, Othello tells everyone to put the swords down.

Brabantio is not ready to calm down. He keeps throwing accusations at Othello. He even
accuses the general of using magic to convince Desdemona to marry him. He wants to arrest
Othello. However, the general offers a different way. He wants to present this case in front
of the Duke.

Duke and his men enter in the next moment. They are speaking about the situation in
Cyprus.
ACT 1, SCENE 3:

Act 1 Scene 3 opens with the meeting between the Duke of Venice and his senators. It is
concerned with news reports about the Turkish invasion of Cyprus. One of the sailors
informs the Senate that the Turks turned towards Rhodes. The senators suggest that the
Turks will attack Rhodes instead of Cyprus.

Othello and Brabantio enter the room together. The Duke appoints Othello to lead the
forces to Cyprus. Yet, Brabantio demands the meeting to be over. He does not want to
discuss political affairs when his daughter has been put under spells. He says that
Desdemona would never marry the one she married. The Duke promises to prosecute the
man responsible for it. Shortly after, he learns that Othello is the one who married
Desdemona.

The Duke gives Othello a chance to defend himself in front of the crowd. The general tells
everyone about their courtship and asks the Duke to send for Desdemona. He wants his
wife to speak for herself. When Othello stops talking, the Duke jokes, “I think this tale would
win my daughter too.”

When Desdemona starts arrives, she tells everyone that her education and manners are the
results of her father’s work. She thanks Brabantio. However, now that she is married, she is
loyal to her husband. As Othello has to go to Cyprus, Desdemona wants to join him too. The
Duke grants this permit. He tells Othello to leave immediately to Cyprus, and Iago will
accompany Desdemona on a different ship later. Desdemona takes Iago’s wife, Emilia, as
her maid.

Brabantio is disappointed with the outcome, and he warns Othello by saying that
Desdemona is not the one to be trusted:

“She has deceived her father, and may thee.”

Nevertheless, Othello is convinced of Desdemona’s faithfulness.

When Iago and Roderigo are left alone on stage, Iago tries to convince him that everything
goes according to his plan. He tells Roderigo to go to Cyprus and wait for Desdemona. He
also reminds him to bring a lot of money to pay for the help.

At the end of the act, Iago stays alone on the stage. He says that he has heard the rumour
that Emilia cheated on him with Othello. He does not believe it but will pretend that it is
accurate to feed his hatred. Iago also plans to take the position of Cassio and break the
marriage of Othello and Desdemona.

ACT 2, SCENE 1:

Othello Act 2 Scene 1 opens in Cyprus when the governor Montano looks out at sea. He
states that the Turkish fleet could not survive the storm, claiming:
 “If that the Turkish fleet
Be not ensheltered and embayed; they are drowned.”

At that very moment, the news is delivered that Cassio has arrived. He saw that the Turks
lost most of his ships and encourages them not to fear the fleet.

Shortly after, Cassio himself arrives. He is cheerful about the Turkish loss but fears for
Othello. The next ship to arrive in Cyprus is the one with Desdemona, Emilia, and Iago.
Roderigo’s ship follows them. As Desdemona sees Cassio, she asks about Othello. She learns
that Cassio does not know where her husband is. However, soon after, Othello’s ship arrives
in Cyprus too.

Everyone waits for the general to arrive. In the meantime, Iago takes this opportunity to
speak to Desdemona and express his views. He is convinced that women are hypocritical
and lazy. He says:

“You are pictures out of the door,

bells in your parlours, wild-cats in your kitchens,
saints in your injuries, devils being offended,
Players in your housewifery, and housewives in your beds.”

He expresses these views in front of his wife, Emilia.

Othello arrives safely and gives a kiss to Desdemona as a sign of his love for her. Everyone
besides Iago and Rodrigo goes to the castle to celebrate the drowning of the Turks. Iago
uses this time as an opportunity to ensure Rodrigo that Desdemona will soon be with
someone more fitting for her. He says that the first candidate will be Cassio even though
Roderigo tries to say that the man is just polite to Desdemona.

Nevertheless, Iago manipulates Roderigo to start a fight with Cassio. It will expel the
lieutenant from the city and make him fall out of favour with Othello.

When Iago stays alone on stage, he delivers his soliloquy. He states that he secretly loves
Desdemona and suspects Emilia that she cheated on him with Othello.

ACT 2, SCENE 2:

Othello Act 2 Scene 2 starts with Herald, who announces that the Turkish fleet has been
completely destroyed. He invites everyone to celebrate the victory and the marriage
between Othello and Desdemona.

ACT 2, SCENE 3:

It’s the night of celebration. Othello asks Cassio to make sure everyone drinks in moderation
while the general goes to bed with his wife. He says, “Good Michael, look you to the guard
tonight.” It is the first night that Othello and Desdemona spend together since marriage.
Iago, the second in command, helps Cassio to watch over the soldiers. He makes remarks
about Desdemona, calling her a beautiful seductress. Cassio says that indeed the woman is
gorgeous, but he also thinks she is modest. Iago invites him to share a drink. At first, Cassio
refuses the invitation saying that he has no tolerance for alcohol. Nevertheless, Iago insists,
and he finally accepts it.

Iago addresses the audience alone. He reveals the part of his plan in which he will make
Cassio drunk. He will also ensure the lieutenant offends the people of Cyprus so that they’ll
expel him from the island.

Cassio returns with Montano and the revellers. He is in an excellent spirit, but he is not
drunk. As he leaves, Iago tells Montano that Cassio is a beautiful soldier but has a terrible
alcohol problem. He is worried that the lieutenant might not be able to manage all his
responsibilities. Upon learning this, Montano wants to report this to Othello. However, Iago
says that he cares for Cassio too much to do that.

In the meantime, following Iago’s direction, Roderigo starts a fight with Cassio. Several
moments later, they rush to the stage, ready to start fighting. However, Montano intervenes
and states that the lieutenant is drunk. Cassio feels offended and begins a fight with
Montano instead, injuring him during this fight.

Others join the fight, too, and Othello is awakened. He and his men come to the place of
conflict, which ends the quarrel immediately. Othello wants to know who started the fight.
At first, Iago and Cassio say that they do not know, while Montano is too injured to speak.
So, Iago points at Cassio, claiming that it pains him to say that.

Iago explains that Cassio chased in with someone. He does not reveal that he knows
Roderigo and adds that the unknown man probably offended the lieutenant. Othello says
that he loves Cassio, but he has to take away his rank.

Desdemona appears for a short time, awakened by the noise. Othello takes her back to
sleep, and everyone except Iago and Cassio leaves too. Cassio is upset:

“O, I have lost my reputation!

I have lost the immortal part of myself, and what remains is bestial.”

Cassio says that he wants to speak to Othello, but Iago urges him to talk to Desdemona
instead. He says that the woman is so kind, and she will ask on his behalf. Additionally,
Othello loves her so much that he will do anything to please her.

When Cassio exits, Iago delivers another soliloquy, in which he claims that the advice he
gave to Cassio is a great one. As Desdemona tries to help the lieutenant, Iago will convince
Othello that his wife is unfaithful. At the end of the speech, Roderigo enters the stage. He is
upset: he got beaten up by Cassio, gave all his money away, and Desdemona is still with
Othello. Iago ensures him that everything goes according to the plan.
As Roderigo exits, Iago explains his future actions to the audience. He will ask Emilia to
arrange a meeting between Cassio and Desdemona. As well as he will make sure Othello
watches them.

ACT 3, SCENE 1:

Othello Act 3 Scene 1 starts with Cassio sending musicians to Othello. He tries to win back
the general’s favor by doing this. While musicians are playing, a clown enters the stage,
whom Othello sent to dismiss the musicians. Cassio pays the clown and asks him to bring
Emilia, who may call for Desdemona. As soon as he leaves, Iago joins the scene.

Upon hearing Cassio’s idea, Iago pretends to be helpful and promises to send Emilia himself.
He also guarantees that he will occupy Othello for them to talk freely. Cassio feels grateful
and thanks Iago for his honesty and goodwill. Iago exits the scene.

When Emilia finally arrives, she tells Cassio that Othello and Desdemona discussed his case.
Desdemona spoke in favour of Cassio and tried to reason with Othello. The general thinks
that it would be nearly impossible to reappoint Cassio because of Montano’s influence in
Cyprus. At the same time, he confesses that he loves Cassio and intends to reinstate him as
soon as possible. Nevertheless, Cassio wants to speak to Desdemona and asks Emilia for
help. She agrees.

ACT 3, SCENE 2:

Othello Act 3 Scene 2 is a short scene in which Othello, Iago, and a gentleman walk
together. Othello gives several letters to Iago that need to be sent to Venice. After that, the
general tells Iago to meet him at fortification. When he exits the stage, Othello goes on a
tour around the fort.

ACT 3, SCENE 3:

Act 3 Scene 3 of Othello starts with Desdemona’s promise to Cassio to help him plead his
case for reinstatement. Emilia, not understanding her husband’s intentions, says that Iago is
preoccupied with the matter “as if it was his.” Desdemona is fooled by Iago’s act too and
calls him “honest fellow.” She also says that she always keeps her promise and asks Emilia to
assure this.

At the same time, Othello and Iago regard the trio from a distance. As Cassio leaves, Iago
makes a remark, “I like not that.” It’s the first time he openly tries to make Othello
suspicious. Othello tries to clarify what Iago means but to no avail. Othello’s attention
focuses on Cassio, and he asks, “Was not that Cassio parted from my wife?” Instead of
answering directly, Iago comments on the look that Cassio has. He describes it as “guilty-
like,” as if he stole something from Othello.

Several seconds later, Desdemona joins them. She immediately starts asking Othello to
reinstate Cassio. He promises to do that but not as quickly as Desdemona wants. She leaves
the stage with Emilia after several attempts to reason with Othello.
Alone with Iago, Othello confesses that he loves Desdemona. Iago asks if Cassio knows that
the Lord loves Desdemona. Othello confirms that: the couple frequently spent time
together with Cassio. He tries to understand the nature of these questions, not seeing that
Iago leads him to some conclusions. Finally, Othello asks if Cassio is honest. Iago does not
reply to this question. It makes Othello angry, and he demands an answer. Intricately, Iago
plants the thoughts about Desdemona’s infidelity into Othello’s mind.

As Desdemona returns, she tries to calm Othello down with the handkerchief that he gave
her. He says that he has a headache and that her “napkin is too little.” He pushes the cloth,
and it falls. No one notices it except Emilia. As she takes it, she says that Iago asked her to
steal this handkerchief many times, “a hundred times.” Finally, she gives it to Iago to please
him, though she doesn’t know why he needs it.

Emilia exits, and Iago is left alone on the stage. He explains that he will hide “this napkin” in
Cassio’s lodging so that it will become proof of Desdemona’s infidelity. Iago also confesses
that the Moor is already changing with “Iago’s poison.”

Othello comes back to the stage and pressures Iago to find proof of Desdemona’s lie. He
exclaims, “Give me a living reason she’s disloyal.” Iago quickly tells the story about the
handkerchief, and it leaves the general angry, “I’ll tear her all to pieces!”

At the end of the scene, Othello is convinced that Desdemona and Cassio have an affair. He
does not need to see the evidence to confirm it. Iago achieves what he needs, and Othello
promotes him to the rank of lieutenant.

ACT 3, SCENE 4:

The scene starts with Desdemona, Emilia, and the clown speaking about Cassio. Desdemona
asks the clown if he knows where Cassio lodges; she wants him to go and find Cassio so that
they can talk as she has some good news to share. Desdemona hopes that Othello will
reinstate Cassio very soon.

When the clown exists, Desdemona turns to Emilia and asks if she knows the whereabouts
of her handkerchief. Emilia doesn’t tell the truth. Desdemona continues by saying that she
would rather lose the purse full of money. She then states that if Othello would be jealous,
it could make him think badly.

Othello enters the scene, and Desdemona comments that she will not leave him alone until
Cassio speaks to him. Othello talks nicely to his wife and gives compliments about the
softness of her skin. However, in the end, he requests her handkerchief. Desdemona tells
the truth, “I have it not about me.”

Then Othello tells the handkerchief’s story. His mother got it from an Egyptian charmer as
the charmer claimed that it would help her subdue his father. However, if she lost it or gave
it to someone, her husband would leave her. Othello continues by explaining that when his
mother was dying, she gave the handkerchief to him. He tells Desdemona that, “There’s
magic in the web of it.”
Desdemona tries to change the topic and asks her husband to see Cassio. Yet, Othello
demands to know the handkerchief’s location. When he exists, Emilia questions whether
Othello is jealous. Desdemona says she has never seen him this way before.

The next moment, Iago and Cassio enter the scene. Emilia explains that Othello is left in
angry spirits. Desdemona does not think that her husband is capable of jealousy. She feels
that the state of affairs made him sad. However, Emilia insists that Othello is jealous.

Desdemona exits the scene with Emilia to look for Othello, and Bianca enters. She was
looking for Cassio because he has not been coming to her for seven days and nights. Cassio
apologizes and gives her Desdemona’s handkerchief. Bianca assumes that this token has
been given to Cassio by a woman, but he claims that he found the cloth in his chamber.

ACT 4, SCENE 1:

Othello’s Act 4 Scene 1 opens with Othello and Iago, who keeps lying about Cassio and
Desdemona having an affair. The handkerchief is circumstantial evidence used by Iago to
prove that Desdemona is unfaithful. With the use of his words, the villain draws images of
sexual intercourse. He appeals to Othello’s jealousy and tries to make him lose his mind.
After hearing that Cassio has told Iago that he laid with Desdemona, Othello “falls in a
trance.”

Cassio enters and sees Othello in a weird state. Iago says that it is the second time in two
days that the general has had an epilepsy attack. When Othello comes back to his senses,
Iago says that Cassio stopped by. He also informs that Iago arranged to speak with the ex-
lieutenant.

Iago tells Othello to hide during the conversation and look at Cassio’s face. He plans to
question the man about his relationships with Desdemona and determine how often Cassio
has slept with her.

Othello exists, and Iago turns to the audience, telling his real plan. Iago will ask Cassio about
Bianca, his lover. Nonetheless, Othello will think about Desdemona.

Further, in Act 4 Scene 1, the audience sees how Iago brilliantly executed his plan. Cassio
jokes about Bianca and her love, claiming that he does not want to see her anymore. At that
moment, Bianca enters the scene holding the handkerchief. She accuses Cassio of gifting
another woman’s token of love. He also insists that if Cassio doesn’t come to her for supper,
she will not let him come again.

Othello sees all of that and recognizes the handkerchief immediately. He confesses that he
plans to murder his ex-lieutenant. Othello has difficulty reconciling Desdemona’s beauty,
tenderness, education, and love for him with infidelity. Thus, he wants to poison
Desdemona. However, Iago suggests it would be better to strangle her in bed. Additionally,
the villain swears he will prepare everything for Cassio’s death.
Desdemona and Lodovico enter the scene. Lodovico, who has come from Venice, has some
news from the Duke. He asks Othello about Cassio, which makes him very irritated. His state
worsens as Desdemona replies about Cassio. The information in the letters upsets Othello
as well because he has been requested back to Venice. Cassio should be left as his
replacement in Cyprus. Desdemona learns that she will be going back to Venice and shows
her happiness about this news. Othello loses his temper and hits her. After that, Desdemona
leaves the stage.

Lodovico is terrified by Othello’s behaviour and temper. He asks the general to find
Desdemona, but Othello accuses Desdemona of being promiscuous when he does find her.
When the couple, Lodovico suggests that the general got mad.

ACT 4, SCENE 2:

Act 4 Scene 2 starts with Othello questioning Emilia about his wife’s fidelity. Emilia swears
her lady is faithful. She even says that she would “lay down my soul at stake.” Othello does
not believe her and sends for Desdemona, who also swears that she is faithful. Desdemona
is not able to convince him as well, even reminding him that she is a Christian. She continues
to question what is wrong with Othello as the couple stays alone. From this conversation,
the audience learns that Brabantio, Desdemona’s father, has died not long ago.

As the scene continues, Othello keeps harassing Desdemona by calling her names. When
Emilia comes back, the two women try to understand what is happening to the general.
When the servant asks Desdemona how her lord is, Desdemona replies that she has no lord.
Then, she orders Emilia to put up the wedding sheets.

When Iago arrives, he learns about the whole conversation between the general and his
wife from Emilia. He instantly condemns Othello’s behaviour. The audience realizes that
Emilia does not know about Iago’s involvement. However, she understands a third party
involved, a mysterious someone who tries to break Othello and Desdemona apart. Even
when Iago tries to redirect her line of reasoning, Emilia keeps insisting that there is some
villain.

As Emilia and Desdemona exit the stage, Rodrigo enters. He serves as a reminder that the
play is reaching its climax. Rodrigo is more aggressive with Iago than in the previous scenes
and demands some positive results. He starts to understand that Iago is only interested in
his money.

Iago keeps lying to Roderigo. He says that Othello has been called to Mauritania instead of
Venice. He also says that the only reason why Othello can leave is because of Cassio.
Therefore, Cassio needs to be removed.

ACT 4, SCENE 3:

Act 4 Scene 3 starts in quite a small setting. Othello, Lodovico, Desdemona, Emilia, and
others enter a room in the castle. Othello orders his wife to leave and wait for him alone in
their bedroom. After that, Emilia and Desdemona stay on the stage, trying to understand
why he wants to dismiss the servant.

Emilia is suspicious and does not want to leave her lady. However, Desdemona is ready to
do that because, as she says, “We must not now displease him.” She also confesses her love
for Othello. And yet, she suspects that she might die at the hands of her husband that night.
She says:

“If I do die before thee, prithee shroud me in one of those same sheets.”

She tells the story of her mother’s maid Barbary, who fell in love. Barbary sang The Willow
Song about her tragic situation. The man she loved was mad, and she died singing it. That
same song is on Desdemona’s mind all night.

Recalling their last encounter with Othello, Desdemona compliments Lodovico saying that
he is a proper man. Emilia agrees but admires his physical appearance. While for
Desdemona, the way he speaks is more important than his looks.

The conversation between the two women is interrupted by Desdemona singing The Willow
Song. The audience sees that she is bothered by something when she exclaims, “O, these
men, these men!”. Desdemona wonders if women abuse their husbands. The dialogue
between two women allows the audience to understand what they think about men,
women, and the world around them in general.

ACT 5, SCENE 1:

Othello’s Act 5 Scene 1 starts with Roderigo and Iago’s intention to kill Cassio. Their plan is
simple: when Cassio appears on the stage, Roderigo should stab him. Iago also promises to
help his ally to fulfil the goal if needed. He says he will “fix most firm his resolution.”
Roderigo is hesitant to kill Cassio, yet Iago explains that it is a part of a bigger plan.

Roderigo is getting ready to act, and Iago hides. He comments by stung that it would be best
if two men kill each other. If Cassio dies, then Iago’s plan is working. If Roderigo dies, then
Iago will not have to give back the money. Additionally, he fears Cassio will make up with
Othello one day, and then Iago’s tricks will be revealed. That is why Cassio has to die. Iago
does not demonstrate any regard for human life in this scene. For Iago, everything has to
serve his interest.

When Cassio finally appears, Roderigo is unable to kill him and ends up wounding himself.
Due to his inability to accomplish the plan, Iago steps in. He injures Cassio from the back,
who leaves the stage crying.

Othello appears on the stage and speaks about Desdemona and his vengeance. He heard
Casio’s screams and now is ready to kill his wife. So quickly, “honest Iago” was able to turn a
man who was a peacemaker into a man full of rage.
As Othello leaves the stage, Lodovico and Gratiano enter. Cassio comes back, crying as an
infant in front of the two men. Roderigo is still on the stage, wounded and cringing in pain.
When Iago comes back, he tries to be a mediator. He once again pretends to be innocent.
However, Iago shows his loyalty to Cassio and stabs Roderigo. Roderigo is shocked by the
betrayal, calling Iago an “inhuman dog.”

The next moment Bianca enters the stage. She tries to comfort Cassio, who is in pain but
still alive. Iago uses her presence to frame her and accuse her of this crime. Bianca is the
figure Iago wants to get rid of too. Mainly because she can show Othello that Desdemona is
innocent as Bianca is Cassio’s only lover. Iago calls her “a strumpet” to discredit her.
When Emilia comes, she exchanges several lines with Bianca. No wonder Bianca tries to
defend her dignity and says that she is an honest woman, just like Emilia.

ACT 5, SCENE 2:

Act 5 Scene 2 of Othello opens in Desdemona’s chamber. Othello enters it to kill her and
finds his wife in their bed. The room is dark, and Othello carries a candle with him. He
stands over her and admires Desdemona’s beauty. Othello changes his mind for a second.
However, he comes back to his plan and gives a goodbye kiss to his wife. Othello does not
want to scar Desdemona’s body as he wishes to restore her back to perfection via
murdering her.

When she wakes up, Desdemona invites Othello to bed. However, he answers with a
question, asking whether she prayed tonight. Desdemona quickly realizes what Othello
intends to do and asks for mercy. She also wants to know why he plans to kill her. Othello
says that it is because of her affair with Cassio. She tries to defend herself and tells Othello
to send for Cassio. Othello doesn’t trust her:

“Sweet soul, take heed,

Take heed of perjury; thou art on thy deathbed.”

Othello delivers the news that Iago has taken measures and Cassio is dead. Desdemona
starts crying, and it makes her husband even angrier. In his mind, she cries because she
grieves Cassio. Desdemona begs not to kill her, but he is not willing to change his mind.
Othello smothers her.

Emilia arrives and wants to speak with Othello. He lets her in, and Emilia says that Cassio
killed Roderigo. Yet, Cassio is alive.

Emilia hears Desdemona’s weak voice and rushes to her lady. Desdemona says that she will
die guiltless. Emilia tries to understand who killed Desdemona, but she doesn’t tell. She tries
to protect Othello by saying that she committed suicide:

“Nobody; I myself. Farewell

Commend me to my kind lord: O, farewell!”

After these words, Desdemona dies.

Othello tells Emilia about Desdemona not being pure, but she tries to defend Desdemona.
While doing so, she learns that Iago is involved. She repeats several times, “My husband!”
Emilia does not suspect Othello, and yet, he admits the crime.

Montano, Gratiano, Iago, and others enter the chamber, and Emilia addresses her husband.
She finally realizes his plan and accuses him of lying about Cassio and Desdemona. Iago tries
to silence his wife. He even threatens her with a sword, but it doesn’t work:

“No, I will speak as liberal as the north:

Let heaven and men and devils, let them all,
All, all, cry shame against me, yet I’ll speak.”

Emilia also reveals the truth about the handkerchief that it was her who gave it to Iago.
Othello runs at him with a sword, but Montano disarms him. Iago, at that moment, kills
Emilia. She sings a verse from The Willow Song and repeats that Desdemona was faithful:

“Willow, willow, willow,-

Moor, she was chaste; she loved thee, cruel Moor;
So come my soul to bliss, as I speak true;
So speaking as I think, I die, I die.”

From this moment, the truth starts to unveil. Othello finds another sword and stabs Iago. He
is wounded, but he is still alive. As Iago’s plan is wholly disclosed, the general falls in despair.
Everyone tries to understand Iago’s motifs. However, he remains silent till the end of the
tragedy:

“Demand me nothing: what you know, you know:

From this time forth I never will speak word.”

Othello finds another sword hidden in the chamber and delivers his final soliloquy. Right
after, he stabs himself. Othello’s death is as tragic as Desdemona’s: he falls on his wife and
dies near her.
 Othello Scene by Scene Analysis
ACT 1, SCENE 1:

The play starts with a quarrel between Iago and Rodrigo. This opening scene serves two
main functions: it intrigues the audience and reveals Iago’s manipulative nature. He
promises Rodrigo to make Desdemona fall in love with him. In return, Iago gets money from
the wealthy Roderigo. The audience does not know for how long this friendship persisted.
However, what is clear to everyone, Iago does not respect Roderigo. For instance, he says.

“I am not what I am.”

In the opening scene, Iago also explains his reasons for hating Othello. There are several
different interpretations for this profoundly rooted resentment: both professional and
personal. First, he wanted Othello to promote him to the rank of lieutenant. He even claims
that some three influential Venetians had approached the general with this suggestion.
Nevertheless, Othello preferred to promote Cassio instead. According to Iago, Cassio does
not possess the needed knowledge and courage on the battlefield. He calls him “spinster,”
alluding to his young age and absence of sexual experience. Cassio serves a role of a
victimized lieutenant in Othello.

Additionally, everything Cassio knows about war is learned from the textbooks. Iago calls
him a “bookish theoric.” He also notes that Cassio is not Venetian (just like Othello). This
quote might suggest that race plays a role in Iago’s resentment too. Another interpretation
of this hatred can be rooted in his personal feelings towards Desdemona.

Even though the reasons for Iago’s feelings are present in the text, they are less important
than the results of his evil manipulations.

Race plays a vital role in the opening scene as well. The abundance of racial remarks by both
Rodrigo and Iago in Act 1 Scene 1 emphasizes racist attitudes towards Othello. Rodrigo calls
him “the thick lips.” Iago refers to Othello as “an old black ram,” “a Barbary horse,” “the
lascivious Moor.” These animal comparisons of Othello’s race continue to appear in the
play.

Brabantio learns that his daughter, Desdemona, has eloped with Othello. It makes him
furious because she married not one of the “curled darlings of her nations.” It implies that
Othello’s race is more critical to Brabantio than Othello’s achievements and social status as
a general. For instance, when the father recognizes Rodrigo, he tells him that Desdemona is
not a fit for him. However, when he learns that she has eloped with the Moor, Rodrigo
seems like a good match. Iago successfully uses animal comparisons and Brabantio’s racism
to make him furious.

The audience first sees Othello through the eyes of Iago, Rodrigo, and Brabantio. Only later
the audience learns that he is a highly respected figure in Venetian society. Even the Duke of
Venice respects him. He is also highly valued by his soldiers. Yet, at first, we only see him as
a despised person of another race.
When Brabantio wants to go search for the protagonist, Iago decides to join his commander.
He wants Othello to trust him because, without trust, Iago’s plans will not be possible to
accomplish. The public should not know that he is Othello’s enemy too. That is why almost
an entire opening scene happens in the darkness. Before leaving, Iago says:

“Show out a flag and sign of love,

Which is indeed but a sign.”
ACT 1, SCENE 2:

This scene demonstrates a vast contradiction between Othello’s portrayal in the first scene
and the second one. Othello is confident in his self-worth, and he sounds happy and content
about his marriage. He is sure he deserves to be with Desdemona, and their union is based
on love. To Iago, who plays a role of a friend and faithful servant, Othello replies:

“Let him do his spite.

My services which I have done the Signiory
Shall out-tongue his complaints.”

His appearance, way of speaking, and conduct are quite different from the initial
description. He is not a “beast” but is mild in speech and is against unnecessary violence. He
orders him to put the swords down. For instance, when Iago wants to fight Roderigo, he
tells him to step aside. He also tries to reason with Brabantio and suggests finding a civil way
to solve the issues.

In Othello Act 1 Scene 2, the audience sees a powerful man who controls his life both in
personal and professional life. He is confident that the government of Venice respects him,
and that Desdemona truly loves him. Othello is the first character who speaks about love.
He says that his consciousness is clean because he loves Desdemona. His relationships with
his wife are not based on possessiveness and a superior attitude towards women.

At the same time, Brabantio, Desdemona’s father, cannot believe that she married Othello
based on her free will. He suggests that Othello either used black magic, drugs, or other
forms of crime to marry her. It demonstrates Brabantio’s racial prejudice. Despite military
achievements, professional success, royal blood, Othello does not possess a quality needed
to make Desdemona fall in love with him – “whiteness.”

ACT 1, SCENE 3:

In Act 1 Scene 3, the audience learns about the war, which is a significant literary device. It
is a driving force for the plot as it takes Desdemona and Othello away from Venice to
Cyprus. Venice represents civil society and norms, while Cyprus is a place of wilderness.
That’s why Othello behaves differently in two areas.

The audience also learns that the Duke has immense respect for Othello. The entire Venice
relies on the general’s military expertise. That’s why Othello does not fear to face the
Senate and talk of his marriage. He knows he will get their support.
Othello’s defence speech has two parts:
• First, he speaks about his professional achievements. Othello was a soldier from the
age of seven and until recently when he returned to Venice.
• Then, he elaborates on his love for Desdemona. It was earned by his stories and
achievements.

In the beginning, Othello says that he is not good with words:

“Rude am I in my speech
And little blessed with the soft phrase of peace.”

Nevertheless, the audience sees that it is not true. Othello’s speech is vivid, coherent, and
full of literary devices. He uses his speech to defend his and Desdemona’s honour.

Othello’s speech is straightforward, and the audience cannot help but believe him. This
simplicity of words allows people to see him as an honest man. For instance:

“So justly to your grave ears I’ll present

How I did thrive in this fair lady’s love,
And she in mine.”

Othello also says that Brabantio was inviting him to the house and asking to tell his life
story. However, when it comes to Othello marrying Desdemona, his prejudice kicks in. He is
convinced that his daughter is incapable of loving someone like the general. He uses his own
racial bias and correlates them to Desdemona.

In Othello’s speech, Desdemona is a young lady who knows what she wants. This description
is different from the one given by Brabantio. When Desdemona comes in, it is already clear
that Othello won his case. As the Duke says, “I think this tale would win my daughter too.”

Desdemona’s speech is straightforward and concise as well. She delivers it in 10 simple

lines. Her behaviour is very uncommon for the woman of the 16th century as she is
rebellious against her father. Nevertheless, Desdemona is still the product of her time as she
wants to belong to a man anyway. She wants to be with Othello wherever he goes. The
Duke does not oppose it and orders some trusted soldier to take Desdemona to Cyprus for
him. Othello chooses “honest Iago” for this task.

Brabantio is entirely disappointed as he tells Othello:

“Look to her, Moor, have a quick eye to see:

She has deceiv’d her father, may do thee.”

These words do not go unnoticed and create a pending atmosphere of something horrible.
It foreshadows Iago’s plan and Othello’s suspicions of Desdemona’s infidelity. However,
Othello shows complete trust in his wife as he responds, “my life upon her faith!” From this
scene, we understand that Othello and Desdemona’s relationships are based on love and
mutual support.
The scene is closed with Iago’s soliloquy in which he introduces some new reasons for
hatred. He says that there is a rumour that the Moor “twixt my sheets . . . [has] done my
office.” He implies that Emilia cheated on him with Othello. There is no evidence of it, but
he wants to believe in it anyway.

In this soliloquy, Iago talks about the next step in his plan. He knows that Othello trusts him,
so he will try to convince him that Desdemona has an affair with Cassio. Iago is very
optimistic in this scene. It is contrasted with Roderigo’s pessimistic tone and desire to
commit suicide. The reason for this contrast is the fact that Iago sees the “bigger picture.”
He knows that the first step in his plan is to make Othello trust him.

ACT 2, SCENE 1:

In Act 2 Scene 1, the audience sees the commander fully in control of his life. The storm
destroys the Turkish fleet, yet Othello’s ship is safe. It also means that the military reason
why he goes to Cyprus is no longer needed. The audience also sees Desdemona’s love for
Othello. She is worried when she learns that his ship has lost connection with Cassio’s one.
It proves her loyalty and love for her husband.

The scene is also mainly due to the banter between Desdemona and Iago. In this scene, the
antagonist describes his attitude towards women. This conversation enhances the
atmosphere of growing tension between Iago and Desdemona. It leaves a nervous and
uncomfortable sensation. Iago also uses a comic tone to speak about the opposite gender
and sexuality. That’s why it is hard to determine what he thinks about women. The whole
scene is inappropriately funny, especially because Othello’s ship is missing. Desdemona, in
this banter, also demonstrates her speaking skills. She proves once again that she is an
intelligent woman.

When Iago notices how Cassio takes Desdemona’s hand, he changes his initial plan. It
proves him to be creative and a fast thinker. This way, he can solve two problems: to get rid
of both Cassio and Othello.

The tone of the scene significantly shifts when Othello appears. The audience sees how the
crowd celebrates his safe arrival. The general notes that Cypriots are hospitable and
generous people. Everyone except Iago and Roderigo goes to celebrate the drowning of the
Turks.

The plot of Othello opens up an interesting dynamic. The storm destroyed the Turks, and
one thread is gone. However, another line is yet to come. What is also interesting is that the
external thread is destroyed very rapidly. The audience does not get to see Othello as a
military leader.

Othello Act 2 Scene 1 ends with Iago’s soliloquy in which he explains the reasons for his
hatred. However, the real motivations are not very clear. In this scene, Iago even says that
Othello slept with Emilia. He also confesses to the audience that his plan is still confused.
Iago plays with the audience as neither of his suspicions and reasons are backed up.
ACT 2, SCENE 2:

Act 2 Scene 2 is concise. Its purpose is to demonstrate how rapidly the Turks were defeated.
The external thread disappeared by itself. Another function of this scene is to create
contrast between celebration and merrymaking in this scene with further drama and
tragedy.

ACT 2, SCENE 3:

At the beginning of Act 2 Scene 3 of Othello, Iago sexually speaks about Desdemona. For
instance, he says, “she is sport for Jove.” Cassio disagrees with that, and Iago fails to make
him view Desdemona in this way. One of the reasons for that is Cassio’s loyalty and respect
for both Othello and his wife. Unlike Iago, he is honest in his attitude and intentions.

Later in the scene, Iago attempts to convince Cassio to drink with him. However, at first, all
the attempts are unsuccessful. Cassio innocently explains his reasons for refusal:

“I have very poor and

unhappy brains for drinking: I could well wish
courtesy would invent some other custom of
entertainment.”

However, Iago does not give up, and eventually, Cassio accepts a drink. Before that, Iago
used prejudice to manipulate people. With Cassio, it does not work; that is why he uses
alcohol.

Iago continues to mislead everyone about who they are. He makes Cassio believe that he is
honest and forces Montano to think the new lieutenant is an alcoholic. Besides, Iago keeps
in secret his familiarity with Roderigo and claims he loves and cares about Cassio. In Act 2
Scene 3, he behaves like a director. He sets the action and leads the dialogues, tricking
characters into acting in a way that benefits his plan. The whole scene looks a bit chaotic,
especially during the fight, but it helps Iago’s plan. In Act 2 Scene 3, there were some
profound advancements in his plot.

When Othello arrives at the scene, he asks Iago who initiated the fight. Iago replies:

“I had rather have this tongue cut from my mouth

Than it should do offense to Michael Cassio.”

Othello demonstrates absolute trust in him and even calls him once again “honest Iago.”
This scene also shows the proximity of Othello and Iago. With Cassio out of the picture, Iago
gets a place next to the general.

As Cassio cries about his reputation, Iago remarks:

 “Reputation is an idle and most false
imposition, often got without merit, and lost without
deserving.”

However, later in his discussion with Othello, he takes an entirely different point of view. It
depicts Iago as a two-faced person who will take any position if it serves his interests. The
villain has a distinct personality demonstrated to each character. Every other person is blind
to this side of Iago’s nature, and that is why all of them fall into the trap. In this scene,
Cassio loses his reputation and his position because he trusts Iago.

In Iago’s soliloquy in Act 2 Scene 3, he addresses the audience once again about his new
plan. He describes in detail how he will “pour this pestilence into his ear.” He will make
Cassio ask Desdemona for help while making Othello jealous.

ACT 3, SCENE 1:

The musicians at the beginning of Act 3 Scene 1 create a scene within a scene. This episode
provides comic relief. Its purpose here is to give the audience a short break from the tension
experienced in the previous episodes.

For instance, the clown uses puns, irony, and oxymorons in this scene. The reader can find
one of the puns at the very beginning of the set. He says, “Oh, thereby hangs a tail.” The
musicians ask, “Whereby hangs a tale, sir?” which means that the clown compares musical
instruments to kites with tails. Another irony used in the scene is Cassio’s referral to Iago as
honest.

After Iago’s soliloquy in Act 2, the audience knows that Cassio asking for help from
Desdemona will cause a lot of damage to everyone. Everyone falls into Iago’s manipulations,
even his wife. The couple is also a foil for Othello’s and Desdemona’s relationships. This
family is very different from Iago’s one because it is based on love and respect. Act 3 Scene
1 creates a drastic contrast between two couples.

ACT 3, SCENE 2:

Act 3 Scene 2 of Othello is concise. It once again demonstrates the trust that Othello has in
Iago. The scene also reveals the general’s honour and gullibility, which make him vulnerable
to people like Iago.

ACT 3, SCENE 3:

Act 3 Scene 3 is the most extended in Othello. As the scene starts, Desdemona promises to
plead on Cassio’s behalf. She is sure that Othello’s ability to make a sound judgment will
win. Nevertheless, the audience knows that the general cannot decide if he does not have
Iago’s approval or assessment.

This scene also demonstrates how little other characters know about Iago. He fools
everyone; even Emilia believes that her husband is genuinely concerned with Cassio’s well-
being. Only the audience finds out about Iago’s plan and his true intentions. All his remarks
towards the audience serve as a reminder that appearance is not the same thing as reality.
Desdemona’s comment about Iago’s honesty is ironic as well, as he can make anyone
believe in his sincerity. Throughout the scene, as Othello turns against Cassio and
Desdemona, it will get confirmed.

This episode demonstrates that Cassio and Desdemona’s friendship is solid. Just as her
affection for him, she even guarantees that she would rather die than give up hope of
helping him. As Shakespeare explains it in Act 3 Scene 3, Desdemona and Cassio became
friends while Desdemona and Othello started a courtship. Iago uses this fact in his favour.
First, Iago makes an innocent remark about the way Cassio looks. He says, “I like not that.”
Rather than accusing of infidelity, he directs Othello to make this conclusion. He remarks
and dismisses it. Second, he says that Cassio looks ashamed. As Othello asks to explain, Iago
answers nothing. This confuses the general and tricks his imagination. Besides, Iago reminds
Othello how well Desdemona lied to Brabantio. It echoes the warning that Brabantio gave
before their departure to Cyprus. With this method, Iago plants the seeds of suspicion into
Othello’s mind.

Iago, in this scene, acts as a perfect manipulator. He uses the best possible timing to include
the tension and add to the growing doubts. Everything Othello thought is true and certain,
does not look this way anymore. Cassio is suddenly not honest; Desdemona is not innocent.
The two are plotting against him. Only Iago was, is, and remains “honest” in Othello’s eyes.
It makes the general take everything Iago says as the absolute truth.

At the beginning of the scene, Othello still refers to Desdemona with love and kindness.
However, he wants to kill her by the end of the same episode. Othello tries to lie to Iago
that he isn’t jealous as he is afraid to appear weak. Nonetheless, with every new phrase and
detail, the audience sees that Othello is losing this game. At some point, Othello even cries
out, “why did I marry?” He is blinded by jealousy.

The prejudice about women is also demonstrated in Othello’s soliloquy. He starts by saying
that women have a deceitful nature. It contrasts with the thoughts he had about the topic in
the previous scenes. The soliloquy is interrupted by Desdemona, who comes to call Othello
for dinner. He refuses because he is not feeling well. Desdemona tries to comfort her
husband with the handkerchief, but Othello refuses. In the process, the object falls on the
floor unnoticed.

Emilia picks up the handkerchief, and instead of returning it to Desdemona, she gives it to
Iago. The audience learns that Iago has asked her to steal the object many times before.
However, she refused until this moment. She needs and desires to please her husband as
any woman was supposed to do at the time.

After Emilia exits the scene, the audience finally learns why Iago wanted the handkerchief.
Othello gave it to Desdemona as a token of love. In Iago’s hands, it will become living
evidence of Desdemona’s infidelity, an “ocular proof” requested by Othello. Once again,
Shakespeare uses this object to show to the audience the duplicity of things. The
handkerchief is the symbol of both love and jealousy. Othello accepts circumstantial
evidence of Desdemona’s infidelity because Iago completely ensnares him.

At the end of the scene, Othello is ready to kill both Cassio and Desdemona. He slowly turns
into a brutal beast while Iago keeps presenting himself as loyal, helpful, and caring. It gets
him a promotion to the position of lieutenant. Othello never questions Iago’s
trustworthiness because of Iago’s perfect scheme and the reputation that he has gained.

ACT 3, SCENE 4:

By Act 3 Scene 4, Othello is sure that Desdemona and Cassio are having an affair. At first,
Emilia and Desdemona are unaware of his destructive jealousy. Additionally, both of them
do not know that Iago is the one orchestrating it.

The clown opens the scene, and it provides some comic relief. However, it quickly
disappears as Desdemona keeps insisting on speaking to Othello about Cassio. As the
audience knows about Iago’s plan, it creates additional tension. In this scene, the clown
continues making puns. For instance, he plays with the word “lie.” He uses it in two different
ways – to rest and to tell untruths.

When the clown exists, Desdemona remembers about her handkerchief. She foresees what
Othello could have thought if he was a jealous man. She says that the absence of it would
“put him into ill-thinking.” A second later, she drops this topic and tells Emilia that she will
make sure Othello speaks to Cassio. The tension increases because the audience knows
about Iago’s plan and how it can hurt Desdemona.

Othello enters the scene and tries to pretend that everything is the way it used to be. Yet,
the conversation quickly escalates. He makes up an illness and requests the handkerchief.
When his wife says she does not have it, he tells the story behind the origin of the
handkerchief. This piece of cloth is vital as it traces back to his mother. Losing it can cause
unfaithfulness and breakup. He accuses Desdemona indirectly by telling this story.

Emilia tries to calm her lady by saying that Othello’s behaviour is very typical. As for men,
women “are all but food.” This demonstrates different perspectives on gender roles that
women show. Emilia is very cynical towards all men as she was married for a more extended
period than Desdemona, who does not believe Othello can be jealous. She explains to
Desdemona:

“But jealous souls will not be answered so.

They are not ever jealous for the cause,
But jealous for they’re jealous. It is a monster
Begot upon itself, born on itself.”

At the end of the scene, a new character enters the scene. Bianca is very different from
everyone else in Othello. She is Cassio’s lover, and her status is deficient in society. Bianca
was searching for Cassio because he has not communicated with her in one week. He
promises to come and see her. Cassio behaves with Bianca as if he is in love with her.
However, when he hands Desdemona’s handkerchief, he asks to replicate it. It means that
for Cassio, Bianca is not equal.

Despite that, Bianca is the most liberated female character in the play. She is independent
of Cassio and from the way society views her. Bianca asks him about the origin of the
handkerchief directly, not trying to pretend like Othello or play games like Iago. Cassio
demonstrates honesty as well, even though he is not happy with the accusations.

Cassio explains that the handkerchief appeared in his room, and he does not know to whom
it belongs. However, he indeed found the cloth in his room. It is nearly impossible for him
not to understand to whom it belongs. He has been a friend and Othello’s companion for
way too long not to know that the handkerchief belongs to Desdemona.

Bianca’s appearance in the scene is paramount to the entire play as she allows Shakespeare
to emphasize several essential themes. She also demonstrates another feminine social
status: Desdemona belongs to the upper class, Emilia to the middle class, and Bianca
belongs to the lower one. Even though many critics believe her to be a prostitute, there are
no clear indications of that. She also demonstrates true concern and love for Cassio.

ACT 4, SCENE 1:

In Act 4 Scene 1, the audience sees that Othello comes closer and closer to the edge as he
falls into Iago’s trap. The tension keeps accelerating and moving towards the climax in Act 5.
Yet, the audience can still hope for the solution: Iago can get disposed of, or Othello may
start thinking as the man he was at the beginning of the play. However, as the scene
progresses, there are fewer and fewer hopes for a peaceful resolution.

The readers see an enormous transformation that happens in Othello. Iago’s plan unveils
too, and it drags the protagonist into madness. He starts speaking and acting with less
caution. His words become bolder, and he allows himself to talk disparagingly about
Desdemona. At the beginning of the play, Iago was able to manipulate Rodrigo. In Act 4
Scene 1, the audience sees that Iago is in complete control of Othello. He knows that
Othello has a very active imagination. That is why he constantly appeals to it by including
details about nakedness, bed, and sexual intercourse.

With his dual personality, Iago tries to calm Othello down and defend Desdemona, saying
that she might have been innocent lying in bed with Cassio. He also says that since Othello
gave the handkerchief to his wife, it is up to her to decide who it will belong to. These
remarks made the general even angrier as he connected the cloth with the “honour” that
Desdemona lost. As a result of Iago’s cunning machinations, he loses his mind. A once
eloquent, calm, and full of self-control hero is transformed into someone not able to speak.

Othello’s emotional instability makes him “fall in a trance.” As Cassio enters, Iago says that
the general “fell into epilepsy.” Apparently, it is not something new for Cassio, which Iago
uses to advance his plan. The villain has decided to participate in furthering the scheme, as
he is sure that Othello will believe almost anything at this point without requesting any
evidence.
The transformation in Othello reveals another side to his personality: he can be violent in his
speech and action. The man we see at the beginning of the play is full of confidence and
self-respect. Due to Iago’s scheme, he loses these qualities.

Cassio, in the scene, demonstrates double standards towards women. He mistreats his
lover, Bianca, in public and acts differently in private. Most probably, he behaves so because
of her social status and the period. Bianca is the only woman in Othello who confronts her
lover about the situation she does not like. It can be seen as a modern quality; however, it
could be viewed as unrefined in Shakespearean time.

Another plot advancement in Act 4 Scene 1 is the appearance of Lodovico, an envoy from
Venice. His appearance serves as a reminder of Venice, the most civilized and refined place.
Shakespeare contrasts Venice and Cyprus and shows how much Othello and Desdemona’s
relationships have changed since Act 1.

ACT 4, SCENE 2:

The previous scenes demonstrate Othello’s behaviour in a public setting. Act 4 Scene 2
happens in a private room inside the castle. As the play accelerates towards the end,
Shakespeare will place the events in smaller and smaller settings.

Othello is unable to speak about anything but Desdemona’s supposed affair with Cassio. He
is not listening to Emilia’s words; he does not want to hear Desdemona as well. The only
thing that speaks inside of him is his monstrous jealousy and all-consuming rage. In this
scene, the audience also sees Emilia’s devotion to her lady. She swears about her
innocence. Instead of believing it, Othello thinks that Desdemona is so crafty in her affair
that even Emilia does not know anything.

When Desdemona appears on the stage, she does not show any signs of fear. It reveals her
courage and dedication. She does not display any sign of being offended. Nonetheless, for
the first time in the play, she says that she has no lord in her conversation with Emilia. For a
second, Desdemona tries to show her power and desire to have personal integrity.

Almost immediately, she orders Emilia to put the wedding sheets. There are several possible
explanations. First, Desdemona and Othello might not have consummated their marriage.
As the audience remembers, the couple has been interrupted several times. Second,
Desdemona could have used it as a reminder of their love. Another explanation for this
comment could be that the wedding sheets can symbolize impending tragedy because many
wives were buried in their wedding sheets.

Even though Othello does not abuse Desdemona physically in this scene, he does that
verbally. He calls her a “whore” and a “strumpet.” In the end, Othello pays Emilia. By doing
that, he implies that Desdemona takes money in exchange for sexual relationships.
Desdemona tries to understand her husband’s behaviour and asks Iago to help her. He
pretends to be innocent and even acts supportive, which allows him to trick everyone
around. Though, Emilia is suspicious of this situation as she claims that there is someone
else involved. From her conversation with Iago, the audience learns that Iago has been in a
similar situation. He has been trapped by jealousy, so he knows so well what a jealous man
is capable of doing.

At the end of Othello Act 4 Scene 2, Rodrigo appears. He has been patiently waiting for the
results, but Desdemona is still with Othello. It looks like Rodrigo gets out of Iago’s control
for a moment. Iago tries to avoid it by telling a blatant lie. He claims that Othello goes to
Mauritania, and Desdemona will travel with him. Iago immediately suggests a plan to
prevent it: Rodrigo should kill Cassio.

ACT 4, SCENE 3:

Act 4 Scene 3 of Othello is particularly long, but it does not have much action compared to
the previous episodes. In this scene, Desdemona prepares to go to sleep and has a private
conversation with Emilia. Their dialogue provides a window for the audience to see the
inner thoughts and beliefs both women have. It is the only scene in Othello that has only
women in it most of the time. Until this moment, the audience heard about the nature of
women coming from men, mainly from Iago.

The scene opens with Othello, Desdemona, Lodovico, and others after dinner. Othello takes
Lodovico for a walk and orders Desdemona to go to her bed. He also instructs her to dismiss
Emilia. This order is unusual, and both women try to find reasons for that when Othello
leaves. This uncertainty creates tension and serves as a foreshadowing that something
terrible is about to happen.

Emilia remarks how happy she is that Othello manages to control himself. She also states
that she wishes Desdemona never met him. Desdemona quickly responds that she loves
Othello with all her heart, including all his flaws. The women’s views on the general are
different due to many factors. First, Desdemona is blindly in love. Second, she is a
noblewoman whose obligations are to be a good wife and defend her husband. That is why
she remains loyal to Othello despite his attitude.

This purity of Desdemona also creates a tragic component to the play. Emilia is a middle-
class woman, and she is more pragmatic and realistic about men, including her husband and
Othello. Emilia also allows herself to comment on Lodovico’s physical appearance,
demonstrating her sexuality. At the same time, Desdemona’s comment makes it evident
that looks in men are not essential for her.

The conversation between the two women continues, and Desdemona mentions her
mother’s maid and The Willow Song. The story of Barbary, whose lover went mad and left
her, echoes the story of Desdemona. She confesses that the song “will not go from my
mind.” It demonstrates her inability to have a happy ending. In Desdemona’s
monologue, The Willow Song serves as a foreshadowing of her death and sorrow.

Emilia is also older and more experienced than Desdemona. Her honesty with Desdemona is
provocative and unusual for the Elizabethan public. Emilia turns the dialogue towards all
men in the audience, saying that women, just like men, have feelings and motives.
ACT 5, SCENE 1:

The tragedy moves fast towards the end as Iago’s plan is successfully completed. At the
beginning of the scene, the villain shows how far he can go to achieve the desired goal. He
does not offer any value for human life and is ready to get rid of anyone on his way. The
death of every significant character in the play is Iago’s goal. He uses everyone like pawns in
his game. For instance, the audience sees that he wants to see both Cassio and Roderigo
dead. His attitude towards life is inhuman. He resembles an animal more than a man.

Othello is not present for most of the scene. He appears shortly and disappears to look for
Desdemona. Yet, the central figure in this scene in Iago has to act discreetly as he does not
want to put his plan in jeopardy. For that reason, he decides to kill Roderigo, the only
character who knows that Iago is a villain. If Iago lets him live, then the man might tell the
truth to everyone. Another reason is that Iago does not want to return the money that
Roderigo gave him.

When Roderigo sees Iago’s betrayal, he calls him an “inhumane dog.” Once again, it parallels
the fact that the villain behaves like an animal. After killing Roderigo, Iago loses his honour.
The men from Venice witness his acts, and Iago tries to frame Bianca for conspiring against
Cassio. Once again, he pretends to be innocent and helpful while being evil.

For the first time in the play, Iago’s plan did not go as he wanted. He confesses that he
wanted to see both men dead. So, if Cassio can escape death, then Othello can ruin it as
well. Nonetheless, Iago decides to proceed. He knows that he will either destroy everyone
or get punished.

Emilia, Iago’s wife, acts protectively in the scene too. She supports his accusations regarding
Bianca. Iago’s claims are misogynistic, and the location is full of disparaging verses. Another
example of hidden misogyny is Emilia’s conversation with Bianca. She herself calls Bianca “a
strumpet.” It shows how easily others convince us. The audience isn’t sure if Bianca is an
honest woman.

ACT 5, SCENE 2:

Before Act 5 Scene 2, the scenes were mainly happening in public areas. Now, the action
takes place in a more private setting, Desdemona’s chamber. Not only the audience enters
the most personal of all possible locations, but also this is the first time the audience sees
the couple alone. It resembles a romantic setting: the darkness, the wedding sheets,
Desdemona is sleeping. However, if Othello could not control his rage and jealousy in public
before, what would restrain him now?

This last scene is essential for the plot structure. The audience can see the deepest of
Othello’s thoughts and parallels with the deepest rooms in the castle. The atmosphere is
taut and claustrophobic. Desdemona is trapped in the patriarchal society with no way to
escape, and Othello is trapped by Iago’s racism and villainy.
As Othello enters the room where Desdemona is sleeping, he starts doubting his plan for a
second. What is peculiar is that he doesn’t question the moral aspect of Othello killing
Desdemona, but it is her beauty that makes him wonder. He quickly comes back to his
senses and reminds himself that her appearance has put him in this situation first place.

Othello’s soliloquy in Act 5 Scene 2 is very inconsistent. It shows how ruptured his thoughts
are at the moment. He cannot fully control his mind. First, he calls Desdemona “a
monument.” A second later, he calls her “a flickering flame.” At the very end of the
monologue, he compares Desdemona to a rose. Throughout the monologue, the audience
cannot help but hope that Othello will change his mind. He does not use any “bad” language
as in the previous scenes. He speaks once again like a tragic hero. Othello does not believe
he is guilty; he considers his actions to be just. This soliloquy demonstrates how delusional
the hero is:

“Be thus when thou art dead, and I will kill thee,
And love thee after.”

The same hope remains during Othello and Desdemona’s conversation. His first question is
whether she prayed before going to sleep. He explains that he would not kill her if she did
not. Othello, throughout this scene, appears to feel no remorse for the actions he is
planning to take. On the contrary, he thinks he is doing Desdemona a favour in a way by
killing her. This way, he helps her soul to go to heaven.

Desdemona remains calm for the majority of their conversation. She tries to explain the
situation and defend herself. For the Elizabethan audiences, this scene might have been
unusual because the reasoning was not the quality associated with women.

As the scene progresses, the conversation between Othello and Desdemona looks more like
a trial. The audience already saw such a scene in Act 1, when the Duke questioned Othello.
The “prosecution” in Desdemona’s chamber finishes the plot structure.

Another parallel between Act 1 and Othello’s ending is the absence of light in both scenes.
The play starts in darkness with the light carried by Iago, the tragic villain, and it ends with
Othello holding the candle in Act 5 Scene 2. This structure emphasizes how much the
protagonist has changed. He got corrupted by Iago and his evil nature. Thus, Othello is
completely overtaken by his emotions. Even the way he kills Desdemona is chosen by Iago
in Act 4 Scene 1:

“Do it not with poison, strangle her in her bed, even

the bed she hath contaminated.”

Desdemona realizes that it is a waste of time to reason with Othello, and she simply begs to
let her live for thirty more minutes. But, instead, Othello, who has shown concern for her
soul, strangles her. Desdemona’s death is tragic because of her innocence. She dies at the
hands of her husband, whom she loves dearly. Shakespeare shows that innocent people
cannot survive in the wicked world.
Some critics find it difficult to reconcile with the fact that Desdemona took the blame for
her death. Nonetheless, she demonstrates a Christian type of love and devotion. Another
detail worth noticing is the number of times Desdemona died in the scene. Othello
smothers Desdemona twice, yet she comes back to life long enough just to take the blame
for his actions.

Emilia’s character opens up in this scene, too, as more solid, and independent. She praises
Desdemona and tries to understand Othello’s intentions. Now, he is the one who tries to
defend himself. He explains that he acted this way because of Iago. Emilia is terrified of this
news as she puts two and two together.

When Montano, Iago, and Gratiano enter, Emilia puts Iago on the spot. He tries to silence
his wife. However, soon after, his entire plan becomes apparent. The only proof of
Desdemona’s infidelity unravels the truth. Emilia says that she took the handkerchief and
gave it to Iago. Othello rushes at Iago, but Montano disarms him. Iago kills Emilia, and as she
dies, she asks to be buried near Desdemona. She also sings a verse from The Willow Song:

“What did thy song bode, lady?

Hark, canst thou hear me? I will play the swan.
And die in music.”

This song and death tie two women together. Both women died at the hands of their
husbands.

Othello and Cassio make up, and the general asks Iago to explain his treacherous actions.
Throughout Othello Act 5 Scene 2, the protagonist is exceptionally eloquent. As if Othello
from Act 1 is coming back to life. He is no longer an inarticulate and beastlike character as
he once has been. It is Iago who convinces Othello to comply with the racist stereotypes of
society. In a way, he is forced to behave the way society expects him to – like a beast. Once
Othello learns the truth, his senses come back to him.

Iago refuses to explain his motif in the end. For Iago, words symbolize the power of
manipulation. After the truth becomes evident, he decides to confuse everyone with his
silence. No one needs any answers from Iago anyway because the men find a letter in
Rodrigo’s pocket.

Othello comes back to his senses and assumes responsibility for his actions. He behaves
nobly. Othello’s final soliloquy delivers his desire to be remembered like the man he was
before the events of the play. His speech ends with his death. The final scene is full of
corpses.
 ‘Othello’ Character by Character Analysis
Othello:

The protagonist of the play. Othello is the general of the army of Venice, a Christian Moor
who earned the respect of others. He is seen as a powerful, honest, and straightforward
figure. However, his age and race make him an easy target for the evil plots of his ensign
Iago.

The general of the Venetian army, a Christian Moor, Desdemona’s husband – these are
some of the parts of Othello’s description. However, these are only one side of the coin. The
combination of Othello’s character traits makes him a complex hero.

He is a foreigner from Africa, different by race and culture. That makes his status more
complicated. On the one hand, he is an experienced soldier who won the post of general by
intelligence and excellence in the military. He is courageous, intelligent, and respected by
his troops. However, on the other hand, he is a black Moor. His appearance is often
described with such expressions as “the thick-lips,” “a Barbary horse,” and “an old black
ram.” At times, the protagonist presents himself as an outsider because he recognizes
himself as an outsider or feels insecure about being different from other Venetians.

Othello is constantly referred to as “Moor.” He is black among all the white people. When
Othello (character) was referred to as black, others meant not only his skin but the concept
of colour symbolism. While white meant honour and innocence, black was guilt and
wickedness.

Othello shares his life story with Desdemona. She sees right through it, and they both get
involved in the secret marriage. Othello grew up in slavery and danger, and he’s used to the
battlefield. Desdemona is the angel who brought love to Othello’s life. However, when it
comes to managing love and marriage, he’s inexperienced. His insecurities make it easy for
Iago to persuade him in Desdemona’s infidelity. Othello is a military man, active in his
actions. Just the certainty that his wife betrayed him made the protagonist judge and
execute Desdemona.

Iago manipulates Othello into believing that his wife has cheated, yet never provides any
actual proof. However, the main character is eager to think that she is indeed unfaithful.
That might be for two reasons:

• First, he believes that all women are inherently disloyal

• Second, he might absorb the racist comments and believe that he is not good
enough for Desdemona because of his skin colour

There might also be another possibility. Desdemona isn’t the one who Othello loves the
most. It’s himself. Being an outsider has driven the main character to perfectionism. He is
incredibly self-disciplined and obsessed with his self-image. A cheating wife ruins the
reputation of a perfect general.
Throughout the play, the author uses animal imagery to describe characters, specifically,
Othello. It was used to highlight the evil in the characters. In the beginning, Othello was a
nobleman. Yet, he was constantly compared to animals throughout the play due to his race.
As jealousy was overtaking him, he started to express animalistic behaviours. In other
words, he was becoming evil.

The execution of Desdemona leads to the realization of the terrible act he had done. He
destroyed the best he had in himself. The guilt consumes him, and he lies next to
Desdemona and stabs himself.

Desdemona:

The daughter of the Venetian senator Brabantio. Later in the play, Othello’s wife. She is a
young, intelligent, and independent woman. She is fully capable of defending her marriage
and responding to Othello’s jealousy.

Desdemona is a young, beautiful, bold, and independent woman. The love for Othello
makes her take many risks. She refuses to marry any of the rich Venetian men. Instead, she
becomes Othello’s wife. Even though he is a nobleman, he is a Moor, an outsider. She rebels
against her father and does not marry a white man of choice. To add more, she rebels
against the Venetian society, where interracial marriages were frowned upon.

Throughout the play, Othello and Desdemona’s relationships were going through some
changes, and so was she. In the beginning, they loved and respected each other. However,
Iago’s evil plot and Othello’s jealousy ruined it. Desdemona was an adventurous and
independent woman, but after verbal and physical abuse, she becomes passive. She insists
on her innocence until the very end. With her dying breath, she blames herself for the abuse
from Othello’s side.

Desdemona was, literally, into her husband. She was madly in love with him. However, the
reader could track some naivety in the character of Desdemona when it came to marital
relationships. She asked Emilia if it was possible that a woman cheated on her husband. She
wasn’t aware that Othello suspected her of infidelity, as the thought would’ve never crossed
her mind. She’s loyal to her husband, even deathbed, as she finds it unbearable to think that
her husband turned against her.

Strangely enough, Desdemona knew she was going to die. She asks Emilia to put her
wedding sheets and to bury her in them. The last time Desdemona is alive, she sees Othello
and sings The Willow Song she learned from her mother’s maid. So, how does Desdemona
die? Her husband strangles her.

Iago:

Othello’s ensign and the main villain of the play. He desires revenge, though for unclear
reasons. He claims that’s because the lieutenant position was given to somebody else.
However, other times he provides different versions. It seems as he’s experiencing the
delight in manipulation and hurting people.
Iago is the central character and Othello’s villain. Shakespeare presented him as a collection
of puzzles as he is an artist of evil. Such Iago’s character traits, like charm and honesty
– Honest Iago – when driven by jealousy and desire for revenge, make his evil plots easier to
come true.
What’s interesting, Iago never provides solid motivation for his actions. He claims that he is
upset with Cassio for taking the lieutenant position, with Othello for allegedly sleeping with
his wife and becoming the general, despite the race. These do not explain Iago’s hatred for
the general in full. There is a list of victims of Iago: Othello, Desdemona, Cassio, Roderigo,
and his wife, Emilia. He damages people’s lives and enjoys it.

So, what motivates Iago? From what we’ve gathered, no real motives exist. However, Iago
might be the “Vice” figure. These are generally personifications of immoral behaviours. That
might be the case with Iago, as Shakespeare likely borrowed that literary tradition.

Another possible motivation for Iago’s behaviour might be the deep love for the general.
There was a suggestion that one of the underlying motives for the ensign’s hatred was the
attraction to Othello. After all, he did enjoy ruining Othello’s marriage and expressed his
love for the general constantly.

One of the lives Iago ruined was Emilia’s. Her murder could derive from both betrayal and
his hatred towards all womanhood. He poorly treated her throughout the play, constantly
disrespected her, and questioned her intelligence.

Iago enjoyed ruining people’s lives a little too much. He did it with a certain elegance as if
enjoying his mastermind. He would stop at times and tell the audience about how great he
is. Although quite unpleasant, Iago was indeed intelligent to plot his plans. He was able to
deceive other characters at the time. And yet, the question of his punishment was left
unanswered. Cassio is responsible for the decision whether to punish Iago or not.

Roderigo:

A suitor of Desdemona. He is young, rich, and foolish, convinced that Iago will help him win
the woman over. One major event upsets Roderigo – Othello married Desdemona. He is
desperate enough to agree to help Iago kill Cassio, especially if the latter might be
Desdemona’s lover.

Roderigo is an unintelligent, wealthy person who thinks that he might win Desdemona by
presenting her expensive gifts. He asked Iago to be his wingman, but the ensign used
Roderigo to make as much profit as possible.

Roderigo was planning to marry Desdemona. That’s why he is pretty upset over the fact that
she secretly married a black man. Iago and Roderigo often call Othello racist and derogatory
names.
Iago promises to help Roderigo with Desdemona. He is always ready to help Iago if it means
that there is a chance of getting together with the woman he likes. He is suspicious of Iago
but still allows him to be used for the evil plots.

As Iago mentioned that there is a possibility of Cassio sleeping with Desdemona, Roderigo
was desperate enough to agree to help kill the lieutenant. He constantly falls for Iago’s
smooth talk. That all ends with his tragic death. He gets stabbed in the back (literally) by
Iago.

Cassio:

Michael Cassio is a young, inexperienced soldier who gets promoted to the lieutenant
position. This upsets Iago, who is more experienced than the young man. He is loyal to the
general and friendly with his wife. He is intelligent yet seems clueless about Iago’s evil plots.

Cassio in Othello is young, handsome, and charismatic. However, he has his flaws. He is
lightweight and a ladies’ man. Iago sees right through it and decides to use it for his benefit.
When Cassio gets drunk and loses his lieutenant position, he turns to Iago for help and
support. The ensign advises him to talk to Desdemona to persuade her husband to give
Cassio his job back. The young man worries about his reputation, and he blindly trusts Iago.
His flirtatious charisma and friendly manner of communicating with women caused him
some trouble. Plus, kissing Emilia in front of Iago might not have been the best idea. It
becomes easier for Iago to persuade Othello that Cassio slept with Desdemona.

Even though the lieutenant is respectful towards Desdemona, he has some prejudice about
women. There are only two existing categories of women in Cassio’s opinion: virgins and
whores. That explains the friendly attitude towards Othello’s wife. However, he still had the
tendency of mocking Bianca, the courtesan girl, who was head over heels in love with him.

Maybe, because he lacks military experience or is not Venetian, Cassio is a somewhat

trusting character. That’s why he is often compared to Desdemona. However, unlike her, he
evolves as a character. He understands that Iago is responsible for Desdemona’s death and
helps Othello unveil the truth. He’s a changed man by the end of the play, way more
cautious and attentive than before.

Emilia:

Iago’s wife and Desdemona’s attendant. She highly respects Othello’s wife and has
complicated relationships with her husband. She is a smart, sweet, and loyal woman.
Though she betrays Desdemona at first, she redeems herself.

At the beginning of the play, it might seem that Emilia is one of Iago’s puppets. She agrees
to encourage her mistress to advocate on behalf of Cassio and steal the handkerchief. These
suggest that she might have been aware of Iago’s plans and gladly helped him.

However, as the play progressed, Emilia provides an interesting perspective on

womanhood. She claims that men are usually to blame when their wives cheat on them.
Men cheat all the time, so women should have equal rights to do the same. Emilia’s
monologue is a feminist manifesto. Or the closest thing we can get, considering it was
written in the 1600s.

Throughout the play, Emilia and Desdemona develop a strong relationship. Though different
at first, cynical and worldly, Emilia becomes good friends with young Desdemona. In fact,
they bond thanks to issues with their husbands. While Emilia was trapped in toxic
relationships with Iago, Desdemona had perfect, though temporary, relationships with
Othello.

Emilia and Iago’s relationship is not something to describe as “perfect.” The ensign would
constantly embarrass and disrespect his wife. He would make terrible remarks about her
lacking intelligence. She stole the handkerchief in hopes that he would appreciate her at
least a little bit. And yet, he didn’t.

One wrong action from Emilia’s side resulted in Desdemona’s death. When she realized that
Othello killed his wife, she immediately lashed out at him. The man has just proven that he’s
capable of killing, and she fearlessly promises to bring him justice. Then, she understands
that Iago played an essential role in Desdemona’s death. She insists on telling everyone the
evil plots of her husband. He threatens her to be quiet, but she doesn’t listen. Iago stabs his
wife in desperation. Though she couldn’t undo Desdemona’s death, she could shed light on
the truth and die behind her mistress.

Bianca:

She is one of the three female characters of the play. Bianca (Othello) is a courtesan. She is
in love with Cassio, who treats her poorly throughout the story. Yet, she can be viewed as
the only truly independent woman.

Bianca is a Venetian courtesan who is in love with Cassio. He is affectionate about her, but
she’s not as important to him as his career. It first reveals itself when Bianca finds
Desdemona’s handkerchief in his room. Cassio asks her to copy the pattern, and she doesn’t
take this lightly. Bianca suspects that he has a new lover and becomes Cassio’s jealous lover
in Othello. That plays well for Iago’s plan.

When the ensign insinuates that there is a romance between Desdemona and Cassio, Bianca
enters with the handkerchief and refuses to copy it. This moment plays a crucial role in the
play. Her outburst convinces Othello that something is going on between his wife and the
lieutenant. This moment of jealousy also disproves Emilia’s theory that only men experience
this feeling.

Bianca, in Othello, is a character that’s being socially pressured. She was a prostitute. At that
time, married women were seen as ideal as their husbands ruled them. Meanwhile,
prostitutes controlled themselves. Society was petrified by those women, as they could be
in perfect control of their lives. Bianca is the perfect example of the fear of such power. She
was not afraid to show her affection for Cassio, though he would not accept it. He was
scared to see himself under her control.
Even though Bianca fancied Cassio and received payments and gifts from him, she was a
free woman. No man owned her. Besides, Bianca’s character traits reveal that she’s not a
shallow prostitute. She’s an empowered woman who shatters beliefs about male
superiority.

As Iago stabbed Cassio, Bianca was accused of being part of the group which attacked the
lieutenant. She is led off to be questioned about the attack and not mentioned in the play
anymore.

Brabantio:

The Venetian senator and Desdemona’s father. The marriage of his daughter with the
general comes as a shock to Brabantio. Othello was his friend. He feels betrayed by this
action.

Duke of Venice:

The official authority in Venice. Highly respects Othello with no racial prejudice. He is
responsible for sending Othello to Cyprus.

Montano:

Montano in Othello is the governor of Cyprus before the main character’s arrival.

Lodovico:

Brabantio’s relative. He acts as a messenger, bringing letters from Venice to Cyprus.

Gratiano:

Brabantio’s relative, who accompanies Lodovico. Othello‘s final scene was chaotic, yet
Gratiano mentions that Desdemona’s father has passed away.

Clown:

Othello’s servant. He only appears for two short scenes. However, he reflects Othello’s
language, as the latter gets consumed by jealousy.
 ‘Othello’ Themes
Racism:

The fact that Shakespeare made Othello black is a crucial thematic element of the play.
Many critics argue that Othello’s race does not matter. Nevertheless, it cannot be true. Our
relationship with racism is very different from the time Othello was written. Racism in the
16th century was a widespread phenomenon.

Unlike the rest of Europe, Venice was a very cosmopolitan city, a hub in which Europeans,
Africans, Asians all lived together in relative peace. However, it does not mean it was a
tolerant and inclusive place, and there is a lot of textual evidence of that in Othello.

Othello starts not with Othello himself but with Iago talking negatively about Othello. Only
in the second scene, the audience sees Othello and hears the main character speaking for
himself. Before that, the audience depends on the descriptions that are coming from Iago,
Roderigo, and Brabantio.

The three characters express race prejudice towards Othello and offer a sneak peek of how
race relations in Elizabethan England looked like. In these first lines, which produce an
immense effect on the audience, Othello is being called “the Moor,” “the thick lips,” “a
lascivious Moor,” and “an old black ram.” Iago tells Brabantio:

“an old black ram

is tupping your white ewe.”

The Elizabethan audience was not prepared even to imagine an interracial couple, but
because Iago is such a malicious character, the audience is on Othello’s side.

This scene, at the very beginning of the play, is penetrated with racial commentaries.
Brabantio, Desdemona’s father, is Othello’s long-term friend, but he strongly opposes this
marriage. He invites Othello to his house, he respects him as a soldier, but Brabantio can’t
imagine Othello as his son-in-law.

He even thinks that Othello used some witchcraft to attract Desdemona because, otherwise,
it would be impossible or unnatural for a fine white lady to fall in love with “the Moor.”
Desdemona loves Othello, but she makes some racially insensitive comments as well. She
says, “I saw Othello’s visage in his mind.” Here she accepts that her love for him is alienated
from his appearance. She has to justify to the audience why and how she was able to
overcome Othello’s blackness. She states that she is “colour-blind,” which is, in fact, a subtle
form of racism.
“Blackness”/ “Whiteness” Opposition

There are other characters that, without an intention to offend, express hidden racism not
towards Othello per se but towards black people in general. For instance, the Duke says that
Othello is “far more fair than black,” implying that being “fair” is more desirable than being
black and that an educated black man loses his blackness and transcends the race.
Throughout the play, Iago purposefully places “blackness” in opposition with “whiteness.”
He even influences other characters to approach this matter in a similar manner, including
Othello himself.

It is interesting that Iago never questions Othello’s ability as a leader or a soldier. He always
targets Othello’s skin colour and Othello’s cultural identity. Iago does not mention Othello’s
name and calls him “the Moor” to reduce Othello to his skin colour. He is the voice of racism
in Othello.

When Othello goes to the Senate to defend himself and his marriage in front of the Duke, it
is not his love that helps him save the situation but Othello’s important and influential
status in Venice.

Othello that the audience sees on the stage for the first time is not the same Othello that
kills Desdemona. At the beginning of the play, Othello is confident, and he knows he
deserves Desdemona. His reply to Iago is calm and noble:

“Let him do his spite.

My services, which I have done the signiory,
Shall out-tongue his complaints; ’tis yet to know –
I fetch my life and being
From men of royal siege, and my demerits
May speak unbonneted to as proud a fortune
As this that I have reach’d; for know, Iago,
But that I love the gentle Desdemona,
I would not my unhoused free condition
Put into circumscription and confine
For the sea’s worth.”

Brabantio’s racial prejudice does not allow him to understand the relationships between
Desdemona and Othello, but Othello is not offended by that. It shows the immense self-
confidence and self-worth that Othello has. He even says, “haply, for I am black.”

Iago speaks about Othello and Desdemona’s relationships as a form of violence. He also
eroticizes Othello even before Othello sets foot on the stage. Othello explains the basis of
their love by stating:
“She lov’d me for the dangers I had pass’d,
And I lov’d her that she did pity them.”

It is contrasted to the eroticized explanation Iago gives about their marriage. Iago believes
that their love is not more than “merely a lust of the blood, and a permission of the will.”

Othello’s Self-Identity

The theme of identity in Othello is present throughout the play. Iago influences Othello’s
own perception of himself, which later results in Othello’s insecurity.
Even in the name of the play, Othello’s otherness is highlighted. The Moor of Venice
embodies two opposing concepts – alienation and assimilation. Othello will always be an
outsider for the Venetians. However, it also implies that Othello lost his “Africanness.”

Othello’s identity is not very clear. His cultural and geographical background is not
mentioned in the play as if it is not essential. Othello is rootless and, in a way, it shows a lack
of interest and a lack of information Elizabethans had about African nations.

Othello has been a soldier since he was a boy; it is a great part of him. However, when
Othello arrives in Cyprus, he learns that the war with the Turks is over before it even
started. Without these military achievements and battles, Othello feels insecure about
himself and becomes an easy target for Iago.

Several attempts later, the audience realizes that Iago’s manipulations were successful
because Othello starts doubting Desdemona’s sincerity and even her love for him.

Iago starts by attacking Othello’s cultural otherness. He reminds Othello that he does not
know Venetian women because he is an outsider. Then, he goes on and attacks Othello’s
blackness. He says:

“She did deceive her father, marrying you;

And when she seem’d to shake and fear your looks,
She lov’d them most.”

Here, Iago hints that Othello is inferior to white men.

From now on, the audience will see how Iago accomplishes the dismantling of Othello’s
racial identity and forces Othello to see himself through Iago’s racist lens.

“The Noble Moor”

Several characters continuously positively refer to Othello. They call him “the noble Moor,”
“brave Othello,” “noble Othello.” The audience itself is very sympathetic to Othello.
By doing that, Shakespeare tries to dismantle a stereotype that the audience has about
black people. Othello is one of the noblest characters that Shakespeare ever created. The
attitude that Iago, Roderigo, and Brabantio have towards Othello contrasts with the ones
who love and respect Othello. The theme of race in Othello centres around this division.

“The Black Devil”

Othello’s last speech is very different from his first one in the Senate. The protagonist, who
was once very proud of himself, is now humiliated. He even reduces the significance of his
military achievements by saying, “he has done the state some service.”

In his last speech, Othello compares himself with “a circumcised dog,” reducing himself to
the lowest of the lowest. It drastically contrasts with the way Othello describes Desdemona
in this last speech. He says:
 “a pearl away
richer than all his tribe.”

Othello also compares himself with a savage who is not able to understand the value of the
pearl. He calls himself “Indian” and “The Turk” in the last lines of the play. By doing that,
Othello supported and reinforced racial prejudice against others.

Quotes about Racism

“Even now, now, very now, an old black ram

Is tupping your white ewe. Arise, arise!
Awake the snorting citizens with the bell,
Or else the devil will make a grandsire of you.
Arise, I say!”
– Iago, Act 1 Scene 1
“Ay, there’s the point. As, to be bold with you,
Not to affect many proposèd matches
Of her own clime, complexion, and degree,
Whereto we see in all things nature tends—
Foh! One may smell in such a will most rank,
Foul disproportion thoughts unnatural—
But pardon me—I do not in position
Distinctly speak of her, though I may fear
Her will, recoiling to her better judgment,
May fall to match you with her country forms
And happily repent.”
– Iago, Act 3 Scene 3
“Speak of me as I am. Nothing extenuate,
Nor set down aught in malice. Then must you speak
Of one that loved not wisely but too well;
Of one not easily jealous, but being wrought,
Perplexed in the extreme; of one whose hand,
Like the base Judean, threw a pearl away
Richer than all his tribe; of one whose subdued
eyes,
Albeit unused to the melting mood,
Drop tears as fast as the Arabian trees
Their medicinal gum.”
– Othello, Act 5 Scene 2

Jealousy:

At the very beginning of the play, readers see two characters that are completely consumed
by that feeling. Iago, the actuator of the plot, is jealous and hateful towards Othello because
he did not get the position of Lieutenant. Iago cannot stand others being more successful
than he is, and that is why he comes up with a plan of revenge. Besides the professional
jealousy that Iago has towards Othello, he is also jealous of Cassio, the solder that was
promoted ahead of Iago. He claims:

“I know my price. I am worth no worse a place.”

He feels that Othello was unjust for choosing Cassio to be a lieutenant.

The second character who is driven by jealousy is Roderigo. He is in love with Desdemona,
and he is upset about her marriage to Othello. He is even ready to pay Iago to have a chance
to be with Desdemona. Obviously enough, Roderigo is jealous of Othello as well.

The difference between Iago and Roderigo, which becomes apparent in these first scenes, is
that Roderigo’s motifs are based on his love for Desdemona, while Iago’s motifs are coming
from the place of hate. Besides, Iago enjoys triggering this emotion in others. His whole plan
of revenge is based on the fact that Othello is naturally jealous, Roderigo is naturally foolish,
Desdemona is very naive, and Bianca is very liberated.

Iago masterfully creates lies about Desdemona’s unfaithfulness till Othello is convinced that
Desdemona has an affair with Cassio. Othello becomes downright furious and blinded by
the destructive force of his own emotions. However, Iago is different. Despite having such
strong hate, he is able to approach his plan with a cold heart. He is pragmatic, reserved, and
able to control his emotions to a great degree.

Nevertheless, Iago and Emilia as well become the victims of Iago’s jealousy. Iago’s
reasoning, just like Othello’s, is entirely overtaken by the desire for revenge. His whole life is
paranoically centred around this scheme.

In the middle of the play, the audience learns that Iago also has several personal reasons for
jealousy. Firstly, Iago suspects that Emilia, his wife, has had an affair with Othello. Secondly,
Iago himself may be in love with Desdemona. There is no evidence or any material proof in
the play that both of these reasons are true.

Desdemona dies because of Iago’s plan, and he does not tell the audience why he believes
Emilia has had an affair. He says, “I hate the Moor,” and it is thought abroad that “twixt my
sheets he’s done my office.” The last phrase means that Othello did something that only Iago
is allowed to do. There is a great chance, Iago simply tries to manipulate the audience to get
them on his side.
Bianca

Bianca is another peculiar character that serves as an excellent example of the theme of
jealousy in literature. She is a secondary character and can be viewed as a parallel to
Roderigo. Both are desperately in love with people who do not love them back.
However, Bianca is a mere object in the eyes of men. Cassio does not love her and has no
plans to marry her. In his conversation with Iago, he claims:

“Tis the strumpet’s plague

To beguile many and be beguiled by one.”
She suspects that Cassio has an affair when she sees the handkerchief but still offers him
supper and rushes to help him when he was stubbed. She truly loves him, and her jealousy
does not search for revenge. Instead of planning how to hurt her lover in secret, she speaks
to him and asks him directly.

“Jealousy Is a Green-Eyed Monster”

In the middle of the play, when the destructive force of jealousy starts to kick in, Iago tells
Othello, “O beware, my Lord, of jealousy! It is a green-eyed monster!” This metaphor
perfectly describes jealousy as a potent and destructive emotion.

Othello is a jealousy victim himself. At the beginning of the play, Othello is a strong and
determined man who is sure that he deserves to be with Desdemona. However, in the
second part of the play, Othello doubts himself and feels inferior to others. He says, “haply
for I am black, and have not those soft parts of the conversation that chamberers have.” He
feels so insecure. He convinces himself that Desdemona is unfaithful to him due to him
being black and less eloquent than the Venetians. He does not have any solid proof that
Desdemona has an affair with another man. Therefore, he invents it.

Another victim of the “green-eyed monster” is Desdemona. At the beginning of the play,
Desdemona is a romantic character, but she becomes a tragic one because of the monstrous
effect of jealousy. Some critics, such as Coleridge, argue that it was not Othello’s jealousy
that killed Desdemona but Iago’s envy.

Iago keeps personifying jealousy throughout the play by saying that “jealousy is a green-
eyed monster.” He also compares jealousy with a plague or a fatal disease. He says that he
will put the Moor “into a jealousy so strong that judgment cannot cure.” Emilia, Iago’s wife,
also calls jealousy a monster:

“But jealous souls will not be answer’d so;

They are not ever jealous for the cause, but jealous for they’re jealous.
It is a monster Begot upon itself, born on itself.”

Love and Jealousy

Love and jealousy are deeply intertwined in Shakespearean tragedies. However, more
emotions are triggered by Iago’s plan. Envy, hate, passion, desire to restore one’s dignity, a
desire for justice create a mix of feelings that turned the protagonist into a monster. Othello
breaks when he sees Bianca with the handkerchief he gave to Desdemona as the first gift.

To conclude, Othello is a play that can be seen as a battle between love and jealousy. On the
one hand, the audience sees Othello, who is losing his mind due to jealousy. On the other
hand, Desdemona continues loving Othello despite everything he has done to her.

The audience sees how possessive and corruptive love could be as Othello’s murderous
jealousy becomes stronger than any other emotion. Desdemona’s love is based on trust. It is
forgiving; it is Christian-like. Desdemona’s ability to forgive Othello at the end of the play
helps the audience forgive Othello.
Quotes about Jealousy

“Look to her, Moor, if thou hast eyes to see.

She has deceived her father, and may thee.”
– Brabantio, Act 1 Scene 3
“I hate the Moor,
And it is thought abroad, that ‘twixt my sheets
Has done my office. I know not if ‘t be true,
But I, for mere suspicion in that kind,
Will do as if for surety.”
– Iago, Act 1 Scene 3
“O, beware, my lord, of jealousy!
It is the green-eyed monster which doth mock
The meat it feeds on;”
– Iago, Act 3 Scene 3
“But jealous souls will not be answered so.
They are not ever jealous for the cause,
But jealous for they are jealous. It is a monster
Begot upon itself, born on itself.”
– Emilia, Act 3 Scene 4
Appearance vs. Reality:

One of the most fundamental philosophical questions of western philosophy is the question
of how things seem to be and the way they are. As one of the greatest thinkers of all time,
Shakespeare was preoccupied with this question as well.

Appearance versus reality is a major theme in Othello, the Moor of Venice, because almost
every character has two sides to their personality. Iago is the antagonist of the play.
Shakespeare demonstrates the difference between certainty and illusion, shadow and
substance, stability, and fluidity through him. In a way, he is the “literary device” that
exposes the contradiction between reality and how it appears.

At the beginning of the play, both the reading and the viewing audience sees some sort of
stability. A perfect marriage, which is based upon true love, a noble hero, who is honest,
brave, and virtuous. Othello is confident that Desdemona loves him for who he is; he is a
military hero who everyone well respects.

This world of order and peace gets distorted by Iago, who does not believe in ideal love,
friendship, loyalty, or absolute truth. He believes in the fluidity of all things, and he himself
does not have a stable identity of his own.
Iago

In Act 1 scene 1, the audience witnesses a multitude of Iago’s personalities. He is a friend to

Roderigo and a dark shadow telling Brabantio about Desdemona’s marriage. Yet, he is a
loyal servant of Othello. In this scene, Iago presents factual truth to both Brabantio and
Othello. However, each character receives a different version of the events. This first scene
is an excellent example of the contrast between appearance and reality.

Iago easily adopts a new identity and abandons the old one. He tells Roderigo that he is:

“Trimmed in forms and visages of duty,

Keep yet their hearts attending on themselves.”

Iago claims here that he is not the only one who mixes up reality with appearance. He is
convinced that people do that to pursue their own agenda all the time. Till this point, the
audience can still relate to Iago. He did not lose his humanity in their eyes yet.

He explains the reason why he does not like Othello. He promoted a man named Cassio in
front of him. At the end of the same scene, the audience gets to hear two more reasons why
Iago is so full of hatred towards Othello.

However, as he continues with his plot, the readers start seeing him for what he actually is:

“For when my outward action doth demonstrate

The native act and figure of my heart
In compliment extern, ’tis not long after
But I will wear my heart upon my sleeve
For daws to peck at. I am not what I am.”

Desdemona

Iago is not the only one who mixes appearance with reality. Desdemona is a good example
of that.

She falls in love with Othello through the stories about his heroic past. In a way, she falls in
love with the representation of Othello and not with Othello himself. She does not know
him very well. Therefore, she cannot immediately understand what causes this sudden
change in Othello’s behaviour.

Iago, on the contrary, knows Othello really well. He is also a great manipulator and
psychologist. Like a good manipulator, Iago understands that he needs to remain patient. He
tells Roderigo:
“How poor are they who have not patience!
What wound did ever heal but by degrees.”
Iago waits for an opportunity and only then acts.

Honesty

Iago makes Desdemona appear untrustworthy while Iago seems righteous. It is crucial to
note that almost every character in the play calls Iago honest. In total, the word “honest” is
applied to Iago more than 50 times throughout the play. For instance, Othello says:
 “This fellow’s of exceeding honesty
And knows all qualities with a learned spirit
Of human dealings.”

Othello has no reason to think Iago is not honest. Nevertheless, he trusts him but does not
believe Desdemona.

Othello says about his wife:

“I do not think, but Desdemona is honest.”

He states that he does not believe Desdemona would have an affair. However, the synthetic
structure here is fundamental. Othello uses double negation to say that Desdemona is
honest, which means that he does not believe in it. Iago brings up another powerful
argument by saying:

“She deceived her father by marrying you.”

By reminding Othello that Desdemona was not honest before, he makes him doubt her even
more.

When Iago provides “an ocular proof” (the handkerchief), and Desdemona lies about it,
Othello will believe anything Iago tells him. The level of trust Othello puts in “honest Iago” is
also shown through the scene in which Iago suggests a script for Desdemona’s murder.
Othello agrees with him.
Cassio and Roderigo

It is very peculiar to see how Iago manipulates Roderigo and Cassio. He also uses their
weakest point.

Iago understands that for Cassio, his reputation plays an essential role, and that Cassio truly
loves and respects Othello. So, he makes sure all of it is being used against Cassio.

With Roderigo, Iago uses a similar technique and exploits his love for Desdemona. He feeds
Roderigo with ideas about Desdemona’s immorality to make sure Roderigo believes he has
a chance.
Emilia

Emilia is another character that has a double personality. On the one hand, she is very loyal
to Desdemona. On the other hand, she played a crucial role in her husband’s scheme. It
makes her the first one to realize that Iago is the one responsible.

Her husband exploited their marriage and her obedience to succeed with his plan. But
Emilia eventually saw the whole picture and influenced the outcome, accusing Iago of his
crimes and making the reality evident for the others. Furious, Iago stabs her, thus, commits
his first murder in plain sight and shows his true self.
 Othello’s Farewell Speech Analysis

One of the most important scenes that show appearance vs. reality is Othello’s farewell. In
this speech, he asks the audience to see the events with a positive outlook. He tells them to
see him not as a villain who just killed his innocent wife but as a husband who loved his wife
too much.

There is a lot of contradictions in this speech. For instance, he states that he is “not easily
jealous,” and in the following sentence, he adds, “wrought/ perplexed in the extreme.” It
shows that Othello actually cannot accept reality. He tells the audience “to speak of me as I
am.”

He shows very little emotion about Desdemona’s murder and is very focused on restoring
his reputation in the audience’s eyes. One of the ways in which he tries to do it is by
speaking beautifully.

Othello uses a lot of metaphors to mask what has happened. He says:

“Indian, a pearl away

Richer than all his tribe.”

This metaphor shows that Othello did not understand what a horrible thing he committed.
He speaks so poetically and beautifully about killing an innocent person. The audience sees
that this speech is an inaccurate narration of the play’s events, and it emphasizes this great
disparity between appearance and reality.

Quotes about Appearance vs. Reality

“For, sir,
It is as sure as you are Roderigo,
Were I the Moor I would not be Iago.
In following him, I follow but myself.
Heaven is my judge, not I for love and duty,
But seeming so for my particular end.
For when my outward action doth demonstrate
The native act and figure of my heart
In complement extern, ’tis not long after
But I will wear my heart upon my sleeve
For daws to peck at.
I am not what I am.”
– Iago, Act 1 Scene 1
“O heaven! How got she out? O treason of the blood!
Fathers, from hence trust not your daughters’ minds
By what you see them act.”
– Brabantio, Act 1 Scene 1
“So come my soul to bliss, as I speak true.
So speaking as I think, alas, I die.”
– Emilia, Act 5 Scene 2
Sexism:

In Shakespeare’s time, women did not possess the same type of freedom modern women
have. Elizabethan society was extremely patriarchal, meaning that men were considered
superior to women in all regards: intellectually, physically, emotionally. Women were born
to be objectified by men, serve them, and be treated as their subordinates or, even worse,
their possessions. The Bible supported this point of view, and disobedience was seen as a
crime against God.

This belief was deeply ingrained into the fabric of Elizabethan society. Not surprisingly,
Shakespeare’s plays reflect this belief as well. The question of the gender roles
in Othello becomes one of the most important in the entire play.

There are only three female characters in Othello - Desdemona, Emilia, and Bianca. All of
them are maltreated by their partners. These three females have different socioeconomic
statuses, and it dictates the way male characters approach them and the level of freedom
and respect they get.

In the play, men respect the boundaries of married women as they belong to their
husbands. However, Iago believes all women are “whores,” and there is no difference
between a housewife and a street lady. He claims:

“Come on, come on, you are pictures out of doors, Bells in your parlours, wild-cats in your
kitchens, Saints in your injuries, devils being offended, Players in your housewifery, and
housewives in … Your beds!”

An analysis of the three women in Othello will allow readers to see that even though all
three women in Othello have strong personalities, they have been oppressed by culture and
male dominance. This systemic oppression made women content with their secondary
status in society and their families. The way Desdemona, Emilia, and Bianca are portrayed
in Othello could not be more contrasting. This contrast between them forms the core of the
female theme in Othello.
Desdemona

Desdemona is the first female character readers encounter in the play. From the first pages,
readers see that she has very little control over her destiny. She tries to resist her father’s
authority, but not because she wants to regain her freedom or find her voice. She fights it
because she is in love. She wants to marry Othello and live an adventurous life with him.
Desdemona’s first words in the play show the deep respect for her father and his dominant
position in her life:

“My noble father, I do perceive here a divided duty. To you, I am bound for life and
education. My life and education both do teach me how to respect you. You are the lord of
my duty, I am hitherto your daughter. But here’s my husband, and so much duty as my
mother showed to you, preferring you before her father, so much I challenge that I may
profess due to the Moor my lord.”
This speech shows Desdemona’s intelligence, her emotionality, her eloquence. In fact, she
sounds more eloquent than her father or Othello himself. It is also peculiar that the issue of
“duty” remains unchallenged by Desdemona. She sees herself as a possession that should
be transferred from one man to another. Desdemona cannot imagine herself being
alienated from men completely. She thinks that she only exists in relation to them.
After she is approved to get married, she is treated as a possession by her husband, Othello.

She has to ask for permission to go to Cyprus with him, but Othello views her as a
commodity that needs transportation and protection. A little bit later in the play, the Duke
tells Othello to “use her well.” It can be interpreted in two ways: the first one is to take care
of Desdemona. Well, the second one is to take advantage of her, to use her literally.
In Elizabethan times, marriages, especially in higher society, were strictly pre-arranged.
Desdemona breaks all the societal norms when she chooses her husband. Iago tells her
father, “hath made a gross revolt, tying her beauty, wit, and fortunes in an extravagant and
wheeling stranger.” As a result of her actions, Brabantio disowns her.

Later in the play, Desdemona realizes her entrapped position, but it is already too late. She
suffers abuse in Othello’s hands, and he verbally abuses her by calling her “whore.” She has
no place to go back as her father does not want to see her again.

Desdemona realizes it, saying, “this is my wretched fortune.” She accepts her destiny, even if
it is to die.
Emilia

Emilia, another woman in the play, is Desdemona’s only faithful supporter. She explicitly
questions the world’s injustice, “Hath she forsook . . . / Her father, and her country, all her
friends, / To be called a whore?”

Emilia does realize that the position women have in society is unjust. In their private
conversation, she tells Desdemona that all the problems are coming from men. She is the
voice of feminism in Othello. However, Emilia speaks her mind only in front of Desdemona.
When it comes to speaking for herself or defending herself, she is not able to do that.

Emilia is Iago’s wife. She obeys him and unknowingly helps him in his scheme. However,
Iago does not show any love or respect for her. He is jealous and upset with her as he thinks
that Emilia and Othello had an affair. Iago claims that Othello:

“Twixt my sheets
He’s done my office.”

Iago objectifies his wife and deprives her of humanity by calling her “seat,” “sheets,” or
“office.”

The audience does not feel that Iago has any feelings for Emilia. She is merely a possession
for him. He kills her without hesitation because she reveals his evil plan and decides to stay
loyal to Desdemona. In a way, in this last scene, she behaved unfaithfully to her husband,
and therefore she deserves to be killed.
Her death is very spontaneous and symbolic at the same time. Once Emilia finds her voice
and speaks up, Iago uses violence to make sure she keeps silent. Most of the women are
silenced in Othello.

Men, who are witnessing the argument between Emilia and Iago, are all armed. It would be
reasonable to take a stand and defend an unarmed woman. However, no one intervenes,
and she has no means to defend herself.

Bianca

At the beginning of the play, Iago tells the audience that Bianca is a whore. However, there
is no evidence in the text that supports this claim. After all, Iago is not the most reliable
source of information in the play.

Bianca is a crucial character because she creates a parallel with Othello, a parallel with
Desdemona, and a parallel with Emilia. She is not involved in scheming, Iago is not trying to
use her in his plot, and she has the authority of her own.

Besides Othello, Bianca is the only other character in the play who gets jealous. How she
reacts proves that Othello’s actions could be prevented. Her love for Cassio does not change
after she suspects him of having an affair with another woman. She does not want revenge.
She just wants to know the truth.

The way Cassio and Bianca communicate does not look like they are in a prostitute and
client relationship. Cassio calls her “my most fair Bianca,” “my love.” They address one
another so sweetly that it sounds like two people that are in an equal power partnership.

Bianca is judged and accused by other characters for having an intimate relationship outside
of marriage. However, Cassio does not get the same type of judgment for having premarital
sex. It proves that there are double standards in Othello’s presentation of women.

For many years, critics and the audience were unfair to Bianca as well. However, she is
simply a financially and sexually independent woman. Her life belongs to her and not to her
husband or her father. She is aware of her sexuality and challenges the norms.

There are a lot of sexist remarks in Othello that penetrate the text. Iago is a misogynist, and
throughout the whole play, he keeps calling Bianca names. He calls her – “strumpet,”
“trash,” “creature,” and etc. All of this harassment happens behind her back, so she cannot
defend her dignity. Only when Emilia calls her “strumpet” in her face, Bianca responds:

“I am no strumpet
but of life as honest as you, that thus
abuse me.”

Unlike Desdemona and Emilia, she can speak for herself.

 Female Sexuality

Alongside the female oppression in Othello and continuous female abuse in Othello,
Desdemona has power over her husband due to her sexuality. Desdemona is not afraid to
use her sexuality to persuade Othello. For instance, when she decides to talk about Cassio’s
case, Desdemona knows how strong her influence on Othello is. Otherwise, she would not
agree to talk to Othello about that. She is beautiful, she is young, and Othello desires her.

The sex theme and sexual remarks are present throughout the play. Mainly, Iago is the one
who brings these conversations up. However, even Othello himself talks about sex on
multiple occasions.

At the beginning of the play, Othello tells Desdemona, “Come, my dear love, / The purchase
made, the fruits are to ensue.” This comment shows that Othello views marriage as a
“purchase” and “the fruits” as sex. A woman is expected to fulfil the sexual desires of her
husband. However, a woman who shows her sexuality is immediately labelled as a “whore.”

Throughout the play, the word “whore” has been used more than ten times and towards all
three female characters. However, most of the time, it is being used in regards to Bianca,
the third heroine. All women in Othello are innocent and, nevertheless, suffer verbal and
physical abuse. The audience sees these women through the prism of masculinity and male
judgment, but it is evident that these women have stories of their own. They have minds of
their own, feelings of their own, and voices of their own. Those women are not weak or
passive, as many critics believe. They are simply oppressed.

Quotes about Women

“Come on, come on. You are pictures out of door,

Bells in your parlours, wild-cats in your kitchens,
Saints in your injuries, devils being offended,
Players in your housewifery, and hussies in your beds.”
– Iago, Act 2 Scene 1
“O curse of marriage,
That we can call these delicate creatures ours
And not their appetites! I had rather be a toad
And live upon the vapor of a dungeon
Than keep a corner in the thing I love
For others’ uses.”
– Othello, Act 3 Scene 3
“But I do think it is their husbands’ faults
If wives do fall. Say that they slack their duties,
And pour our treasures into foreign laps;
Or else break out in peevish jealousies,
Throwing restraint upon us. Or say they strike us,
Or scant our former having in despite,
Why, we have galls, and though we have some grace,
Yet have we some revenge. Let husbands know
Their wives have sense like them. They see and
smell,
And have their palates both for sweet and sour,
As husbands have. What is it that they do
When they change us for others? Is it sport?
I think it is. And doth affection breed it?
I think it doth. Is ‘t frailty that thus errs?
It is so too. And have not we affections,
Desires for sport, and frailty, as men have?
Then let them use us well. Else let them know,
The ills we do, their ills instruct us so.”
– Emilia, Act 4 Scene 3
 ‘Othello’ Symbols
Handkerchief:

In Othello, the handkerchief, which Othello presents to Desdemona, serves as a significant

symbol. It bears a lot of importance due to its origin and the meaning that Othello attaches
to it.

Othello gives the handkerchief as “a token of love,” therefore, for him, it serves as proof of
mutual belonging to one another. However, at some point in the play, the symbol of love
becomes proof of Desdemona’s infidelity. It becomes the essence of the Shakespearean
tragedy. Some critics even say that the handkerchief in Othello is the most dominant symbol
in the entire play.

For the first time, this object appears in the play when Desdemona offers it to Othello, and
he rejects it. Instead, he says that her “Napkin is too little.” It can refer to three things. First,
it can mean that Othello’s trust in Desdemona is already depleting. Also, by calling it “a
napkin” instead of a “handkerchief,” Othello is belittling its importance. Third, it can mean
that Othello’s fixation over the handkerchief starts with Iago turning it into proof of
infidelity.

At first, the handkerchief does not seem that crucial. Its importance becomes more and
more evident from the moment when Desdemona drops it. The object turns into a tool in
the execution of Iago’s plan and, ultimately, into an “ocular proof” of Desdemona’s affair.
The audience will see how Iago uses the handkerchief to condemn Desdemona.

After Othello’s wife drops the handkerchief, it is being passed through the hands of every
central character in the play. For each person, Desdemona’s handkerchief means
something:

• For Othello, the handkerchief symbolizes their marriage bond, love, and
Desdemona’s purity. Later on, though, it becomes a symbol of infidelity and
cuckoldry.

• For Iago, it is a symbol of the power and control he has over Desdemona and
Othello.

• For Desdemona, it is a symbol of Othello’s love.

• For Bianca, it symbolizes jealousy and passion.

• For Emilia, her desire for a happy marriage and subjection to her husband.

In a way, the handkerchief becomes a shared property in the play.

When Desdemona drops the object, Emilia picks it up and gives it to Iago. She does not
know why Iago wants it so much. As she says later, he asked her to steal the handkerchief at
least a hundred times before.
Iago is opportunistic and changes his plan immediately after Emilia hands it to him. It shows
that Iago is always one step ahead of everyone. The audience sees what Iago does with the
handkerchief later on.

When Othello demands the “ocular proof,” Iago tells him that he has one. Iago mentions to
Othello that he saw Cassio wiping his beard with the strawberry handkerchief without being
conspicuous. For Othello, it can mean only one thing. If his wife offered their “token of love”
to Cassio, she probably offered her body to him as well. At that moment, Othello calls for
blood and revenge.

The audience understands that for Othello, the handkerchief means more than it means for
Desdemona. Her primary focus is Othello, and she does not need any external affirmation of
their love for one another.

At the same time, Othello misplaces his love for Desdemona, and the object that supposes
to represent their love becomes the proof of love itself in Othello’s mind. The strawberries
that used to symbolize Desdemona’s virginity now serve as a symbol of her whoredom.

Two Stories of One Handkerchief

Othello gives two different stories about the origin of the handkerchief. He claims that an
Egyptian gave it to his mother. He states:

“She told her, while she kept it

‘Twould make her amiable and subdue my father
Entirely to her love, but if she lost it
Or made gift of it, my father’s eye
Should hold her loathèd and his spirits should hunt.”

He believes that his mother used the handkerchief to control her husband, Othello’s father.
She may have been so afraid to lose it because it would mean an end to their marriage.

Othello most probably made up this version of the origin of the handkerchief to test
Desdemona. He wants his wife to tell him the truth about the whereabouts of the personal
object. Desdemona is bothered by the story and lies to Othello for the first time. She says
that the handkerchief is still with her.

In European Medieval Literature, a handkerchief is a symbol of female favour. For

Desdemona, it serves as a symbol of Othello’s love for her. However, usually, it would be a
female who would give a handkerchief to the man she loves.

The audience gets two versions of what, according to Othello, is the history of the
handkerchief. In Othello’s second story of how he got it, he says that his father had given it
to his mother to prove his love. While earlier, he was telling that an Egyptian charmer had
presented it to his mother.
After that, the couple never talks about the handkerchief until the deathbed scene. Being
confronted by Othello, Desdemona explains that Cassio:

“Found it, then.

I never gave it to him.”

She did not lose the handkerchief, nor she gave it away.

Obviously, both stories cannot be accurate. Most probably, the second story is true.
However, Othello’s attitude towards the handkerchief changed. He started believing that it
has some magic powers.

In the beginning, when Desdemona offers the handkerchief to Othello, he rejects it. It shows
that he does not think it has any magic powers. Later on, he believes that it is a charm
against adultery. The transformation of the symbolic meaning of the handkerchief causes
the shift of the story behind it.

Handkerchief as an Ocular Proof

As the handkerchief passes from person to person, Othello’s suspicions grow. Ultimately, for
Othello, it served as proof of Desdemona’s purity. Therefore, every time he sees it in
someone else’s hands, her innocence becomes compromised.

The path of the handkerchief in Othello starts before the audience sees Othello and
Desdemona. It is a part of their “backstory.” It turns into a visual representation of their
love, then into ocular proof of Desdemona’s infidelity, and in the end, it becomes the
evidence of Iago’s manipulation.

When Bianca finds the handkerchief, Cassio asks her to make a copy of its embroidery.
Shakespeare uses irony in this scene to show that it, in fact, does not mean anything.
When Othello sees the handkerchief in Bianca’s hands later on in the play, it means only
one thing for him. He believes Iago wholeheartedly. Thus, the ocular proof is found.

The Willow Song:

The Willow Song is one of the essential symbols in Othello. It’s a song that Desdemona
recalls in Act 4 Scene 3. It was originally sung by her mother’s servant, Barbara.

Just a few moments before Desdemona dies, while she prepares to go to sleep, she
mentions The Willow Song to Emilia. She tells the story behind it and sings it. Desdemona
states that this song was on her mind all night long. However, she feels free to say this only
in private.

Desdemona talks to Emilia about the significance of The Willow Song while they are
changing the bedsheets. Desdemona asks her servant to put her wedding sheets on, then
suddenly she adds that she wants to be buried covered in her wedding sheets.
Many critics were wondering what the effect of The Willow Song and the interruptions to it
is. With its constant interruptions and pauses, it sounds more like a cry of Desdemona about
her lost love. The constant inclusion of the line, “sing willow, willow, willow,” gives an idea
of how fragmented Desdemona’s memories and thinking are at night before her death.
Barbara, her mother’s servant, was also left by her lover, as he went mad and abandoned
her. She says:

“she was in love, and he she lov’d prov’d mad,

And did forsake her: she had a song of ‘willow,’
An old thing ’twas, but it express’d her fortune,
And she died singing it.”

As a result of this betrayal, Barbara died heartbroken while singing The Willow Song.

Just like “poor Barbary,” Desdemona sings the song about her sad destiny, which she
chooses to accept but hopes to change. That is why she requests the bedding to be
changed.

In Othello, The Willow Song becomes a swansong for Desdemona and Emilia since both will
sing it just before dying. It ties all three females together: Barbary, the servant, Desdemona,
and Emilia, another servant. The song goes,

“The poor soul sat sighing by a sycamore tree

Sing all a green willow.
Her hand on her bosom, her head on her knee
Sing willow, willow, willow.

The fresh streams ran by her, and murmer’d her moans

Sing willow, willow, willow;
Her salt tears fell from her and soft’ned the stones.
Sing willow, willow, willow.

Sing all a green willow must be my garland.

Let nobody blame him, his scorn I approve

He was born to be fair, I to die for his love,

I call’d my love false love but what said he then?

Sing willow, willow, willow.
If I court more women, you’ll couch with more men”

The Willow Song in Othello represents many things. It symbolizes the tragic destiny of a
woman that has to live in a male-dominated society. It reveals her loneliness and
acceptance of her fate, betrayal and hurt.

The earliest known version of this song dates to the end of the 15th century. However,
traditionally it is very different from the one Shakespeare incorporated into Othello.
The major transformation of the song is connected with gender. In the original version, the
song is about a man who is betrayed by his lover. Shakespeare adjusted the verses to fit
Desdemona’s gender and tragic circumstances.

In Desdemona’s song, Shakespeare also alters the words and includes lines. For instance,
Desdemona misremembers the line:

“Let nobody blame him; his scorn I approve.”

This phrase later parallels Desdemona’s final words:

“Nobody, I myself. Farewell.

Commend me to my kind lord. O, farewell”

By asking nobody to blame Othello, she defends his abuse and forgives him freely. She
chooses to remain faithful to Othello despite all the pain he causes her.

This line is the only phrase that is coming directly from Desdemona herself. The audience,
who know the original willow song, immediately recognizes this inclusion. She looks back at
the scene in which Othello physically abused her and asks not to be harsh to him.

At the same time, Desdemona foreshadows that something more tragic is about to happen
to her. The name “Barbara” correlates with Othello’s nickname “the barbary horse,”
exposing the inner connection between these two females and their tragic lives.

The Willow Song foreshadows Emilia’s death as well. Like Barbara, Emilia is a servant, she is
married to a madman, and she dies because of him.

After being stabbed by Iago, Emilia sings The Willow Song. First, as a way to remember her
mistress, but also as a way to accept her female destiny. She cries out:

“Willow, willow, willow. Moor, she was chaste.

She loved thee, cruel Moor.”

At the end of the play, via Desdemona’s song, Emilia obtains her voice and speaks up. Her
words become a continuation of The Willow Song.

The willow scene in Othello is one of the most intimate dialogues between women in
Shakespeare. The friendship that two women share in the play stands in opposition to the
male friendship between Iago and Othello, Othello and Cassio, Iago, and Roderigo.

This scene allows both characters to express themselves freely. The fact that it is done
through the song and not through a soliloquy shows that two women are still learning how
to be free in a world dominated by men.
Candle:

The candle that Othello blows out before he kills Desdemona symbolizes her life. Seconds
before he smothers her, he says, “put out the light, and then put out the light.” By saying
that, Othello means that he can blow the light of a candle and lit it up again. However, he
cannot kill Desdemona twice: her life is too fragile and gentle.

Othello concludes:
“If I quench thee, thou flaming minister,
I can again thy former light restore,
Should I repent me: but once put out thy light,
Thou cunning’st pattern of excelling nature.”

One of the symbols and motifs connected with the candle’s image in Othello is the
symbolism of light and darkness. Shakespeare does not talk about the physical absence of
light. In Othello, darkness reflects the internal qualities of the characters. No wonder Iago’s
opening scene starts in darkness because it mirrors his personality.

Shakespeare created a play with a circle composition that starts and ends with the scenes in
complete darkness. Othello kills Desdemona in total darkness as well. It symbolizes a shift in
Othello’s personality.

Moon:

Traditionally in literary works, the moon symbolizes purity and romance. However,
in Othello, the moon refers to something completely different: it brings tragedy and death.
Seconds after Othello murders Desdemona, he blames the moon for it. He says:

“It is the very error of the moon;

She comes more nearer earth than she is wont
And makes men mad.”

Othello connects his madness with planetary proximity to the earth and its effect on him.
Some critics believe that Othello meant it in a figurative way. In fact, he was talking about
the changeability and fickleness of women that drive men crazy and make them act stupid.

Wedding Sheets:

The symbolism of the wedding sheets in Othello is another crucial aspect of the play. It
represents Desdemona’s purity and virginity. The first wedding night between Othello and
Desdemona never happened because it was constantly interrupted.

When Desdemona does not possess her handkerchief anymore, she tries to replace it with
the wedding sheets to prove to Othello that she is innocent. This moment of changing the
sheets in Act 4 Scene 3 resembles some sort of ritual in which sacrifice has to be made.
Othello, who is blinded and overwhelmed with anger and jealousy, does not notice her
wedding sheets when he comes to kill her. Desdemona tries to present “an ocular proof” of
her loyalty. However, it is too late.

Usually, wedding sheets symbolize the bride’s virginity and love between the newlywed
couple. However, in Othello, it transforms into a symbol of marriage destroyed by jealousy.
These mutually exclusive symbols and meanings create an atmosphere of ambiguity in the
play.
 ‘Othello’ Imagery

William Shakespeare tends to incorporate meaningful imagery in his plays to describe the
hidden flaws in the characters’ personalities. For example, in Othello, animal imagery is used
to demonstrate the darkest aspects of human nature. This device helps the audience to fully
grasp the meaning of the play and what the author tries to say.

In this section, we’ll explore some of the most crucial examples of imagery in Othello.

Animal Imagery in Othello:

At the time Othello was written, the universe was seen as the Chain of Being. In this
hierarchy, humans were considered superior to animals. So, when Iago uses animal imagery
to refer to others, he is implying their innate inferiority. It becomes undeniable when Iago
describes Othello’s personality.

In the play, there are forty-five mentions of animals or beast creatures. The first one to use
animal imagery to describe others is Iago. In the very first act of Othello, Iago is using it in his
conversation with Brabantio in an attempt to dehumanize Othello and convince
Desdemona’s father to act out of anger. He says:

“Even now, now, very now, an old black ram

Is tupping your white ewe.”

This repetition of “now” creates a sense of urgency. Brabantio feels that he has to act.
Iago also compares “an old black ram” with Othello and “white ewe” with Desdemona.
Then, he continues:

“you’ll have your daughter covered with Barbary horse.”

Together with racial commentaries, these metaphors illustrate a strong despise that Iago
has towards Othello’s ethnicity and Othello’s personality.

Iago tries to scare Brabantio by making an analogy about Desdemona and Othello’s sexual
intercourse. He compares the couple as if they are “making the beast with two backs.” Here
Iago implies that making love to Othello makes Desdemona beastlike as well. This vulgar and
rude image makes Brabantio’s anger grow.

Throughout the play, Iago shows a lack of consideration for animal life. He tells Roderigo:

“Come, be a man. Drown thyself? Drown cats and blind puppies.”

By comparing Othello with an animal, Iago implies that Othello does not deserve to live or
that his life has less value.
Flawed Characters as Animals:

Additionally, Shakespeare uses animals in Othello as a way to reveal flawed characters in the
play. For instance, by comparing Desdemona with “a white ewe,” he emphasises
Desdemona’s naivete. By constantly invoking beastlike imagery when talking about Othello,
Shakespeare creates an atmosphere of growing tension and prepares the audience for what
is yet to come.

Multiple times Iago compares Othello with “an ass,” probably meaning that Othello is very
stubborn and not that intelligent. Iago says:

“The Moor is of a free and open nature

and will as tenderly be led by the’ nose
as asses are.”

In the next scene, he reinforces this image by saying:

“make the Moor thank me, love me, and reward me for making him egregiously an ass.”

In the Elizabethan era, there was a common belief that African descendants were less
intelligent than Europeans. This attitude towards people of a different race was called
scientific racism. Iago has the same attitude towards Othello. He does not refer to him
besides “the Moor” or without using animal imagery.

Another excellent example of how animal imagery exposes the flaws of the characters is
Roderigo. Iago uses bird imagery to show Roderigo’s limited intellectual ability. He says:

“For I mine own gain’d knowledge should profane,

If I would time expend with such a snipe.
But for my sport and profit.”

Othello’s Use of Animal Imagery:

In the second part of the play, Othello adapts animal imagery as well. As his suspicions
grow, his speech becomes more and more derogatory towards Desdemona. For instance, he
calls his wife a “minx,” a small dog, or a way to refer to a beautiful woman who likes
attention.

Later in Act 4, Othello says that Desdemona can “sing the savageness out of a bear” and
that she has “crocodile tears.” These animal symbols essentially become jealousy symbols
that show Othello’s lack of trust towards Desdemona and his changing attitude towards her.

If at the beginning of the play, Desdemona symbolized purity and cleanliness for Othello.
Later he starts using animal metaphors while talking about her. When Othello becomes
completely poisoned with jealousy, he compares Desdemona with:
 “A cistern for foul toads
To knot and gender in!”

This comparison shows how low she fell in Othello’s eyes.

Animal Imagery and the Rules of Nature:

Animal references also convey the idea that the characters act based on the rules of nature.
In Othello, most characters in the play act based on their primary instincts rather than moral
norms.

As Othello himself turns into “a beast,” it is easier for him to believe that Desdemona and
Cassio behave like horny animals as if:

“Were they as prime as goats, as hot as monkeys

as salt as wolves in pride
and fools as gross
as ignorance made drunk.”

Later in the play, Othello refers to Cassio and Desdemona as “goats and monkeys.” It is a
sign that Othello’s reasonable mind is breaking down.

In Act 4 Scene 1, the audience witnesses Othello falling into a trance. At this moment,
Othello is unable to talk and cannot control his own body, just like a beast.

The epilepsy episode symbolizes Othello’s complete estrangement from who he used to be
at the beginning of the play. When Othello comes back to his senses, he calls himself:

“A hornèd man’s a monster and a beast.”

A peak of Othello’s animalistic behaviour happens in the bed-chamber scene when Othello
smothers Desdemona. At that crucial moment, he shows a lack of human emotions. He
behaves like a predator.

Iago’s desire for blood and violence makes him look more like a dog than a human. Roderigo
calls him “an inhuman dog,” and when Iago’s manipulations are exposed, Lodovico calls Iago
“O, Spartan dog.”

Spartan dogs were trained to hunt and kill, so this metaphor connotes Iago’s inhumanity.
The fact that Iago stops talking after his deeds are exposed reinforces this image.
Throughout the play, it is Iago who looks at others as animals. However, in the end,
everyone sees that it is Iago who is inhumane.

Nature Imagery:

In Othello, nature serves as an example of meaningful imagery as well. In many ways, it

represents the power of human thoughts and emotions and the natural order of things.
When Iago compares himself with “a gardener,” he puts himself above nature and above
others. He is convinced that he has power over everyone else. In a way, he believes himself
to be God-like.

Iago talks a lot about poisonous plants. For instance, he says:

“The Moor already changes with my poison.

Dangerous conceits are in their natures poisons.”

He then continues:
“Not poppy nor mandragora
nor all the drowsy syrups of the world
shall ever medicine thee to that sweet sleep.”

He is obsessed with the poisonous plant because the kind of ideas and feelings he exposes
through his manipulations will eventually bring pain and death.

Othello uses plant metaphors as well. He compares Desdemona to a weed that at first
looked like a flower. Later in the play, when Iago’s plan is revealed, Othello compares
Desdemona’s life to one of a rose.

Black and White Imagery:

On a more profound level, the opposition of light and dark symbols in Othello can also
symbolize racism. Desdemona’s whiteness is constantly juxtaposed with Othello’s blackness.
Also, nearly all commentaries that Iago makes about Othello are charged with racial
connotations and references to Othello’s complexion.

Throughout the play, Othello is referred to not by his name but labelled as “The Moor,” “old
black ram,” “black devil.” Almost every character in the play insults Othello because of his
ethnicity and colour of skin.
 ‘Othello’ Biblical Allusions

This famous line uttered by Iago, “I am not what I am,” most probably was considered
blasphemy by the Elizabethan audience. Here, Iago alludes to a famous scripture said by
Yahweh in the Old Testament. This phrase shows the nature of God, who is self-sufficient
and constant. The thematic significance of Iago’s statement “I am not what I am” reveals
Iago’s changing and, in a way, diabolic nature that is in direct opposition to God’s goodness
and stability.

The plot of Othello itself reminds readers of The Garden of Eden. Iago is like the serpent
who feeds lies to the first couple – Adam and Eve. Just like the devil, Iago uses his own
deceitfulness to corrupt the characters. He exposes inner fears and causes his victims to
harm themselves and others.

Iago states about Othello:

“The Moor is of a free and open nature

That thinks men honest that but seem to be so;
and will as tenderly be led by th’ nose
As asses are.”

He knows that Othello easily trusts people, and it will be possible to implant these doubts
into his mind.

Iago also knows that Othello loves Desdemona dearly. Iago says:

“His soul is so enfettered to her love

That she may make, unmake, do what she list,
Even as her appetite shall play the god
With his weak function.”

Othello is like Adam, who allows his wife to become more crucial than his love for God, and,
ultimately, it kills him.

For Iago, Othello’s open nature is a weak point that can be exploited. Just like the devil, who
turned into the serpent and used Eve’s curiosity to make her eat the forbidden fruit, Iago
turns into Othello’s loyal friend to make Othello’s passionate nature work against him.
 ‘Othello’ Foreshadowing and Irony

In his works, Shakespeare used a lot of literary devices to add more interest to the stories.
One of such devices is foreshadowing. In Othello, Iago directly tells the audience about his
plans. However, there are also less obvious examples in the play. In one of the scenes,
Othello describes his behaviour and attitude towards Desdemona: either he loves her or
falls into an emotional “chaos.”

There is a moment that foreshadows Desdemona’s death. She sings The Willow Song that
talks about a lover who went mad. Her mother’s maid died while singing it. Desdemona
changes the words, indicating that she takes the blame for her own death.

Another literary device used in many of Shakespeare’s plays is irony. In Othello, verbal irony
is evident when a character says something that contrasts their actual intentions. An
example of it would be Iago: there were several instances when he said something different
from his intentions. Other types of irony used in the play are dramatic and situational.
 ‘Othello’ Genre

The classical tragedies depict the fall of the hero, who struggles with the circumstances of
fate and then has a noble defeat. Such stories evoke pity in the audience since the times of
ancient Athens. Shakespeare’s tragedies are slightly different from the classic form. Our
writers have explored this topic concerning Othello.

Elements of Shakespearean Tragedy:

Shakespeare’s tragedy has one main distinction – the main character has an issue that leads
to his downfall. The “tragic flaw” also often leads to the death of other significant
characters. Generally, all of Shakespeare’s works include one more of the following
elements of tragedy:

• The contrast between good and evil

• A tragic hero
• Internal and external struggles
• Greed and/or revenge
• Mysticism/supernatural elements
• A tragic waste

Shakespeare followed a five-part structure for his plays:

ACT ITS PURPOSE

Act 1 Outlines the situation and presents the
characters
Act 2 Develops the situation and continues the
action
Act 3 Presents the climax of the story and a
specific change
Act 4 Continues developing the action
Act 5 Delivers the resolution of the conflicts

The Tragedy of Othello:

Iago plots to revenge by telling lies and leading Othello to his downfall. Due to the rumours,
the general kills his wife, Desdemona. He later understands what he did and kills himself.
Iago is arrested.

So, is Othello a tragedy? Yes, definitely.

One of the main characteristics of the Shakespearean tragedy is the main hero’s weakness
that results in his downfall. Many might say that Othello’s tragic flaw is jealousy. However,
more recent interpretations suggest that his flaw was accepting the prejudices people had
against him. He believed that he was unworthy of Desdemona’s love, and that’s what led to
his destruction.
Another Shakespearean tragedy characteristic present in Othello is the social status of the
main character. At the beginning of the play, he is a respected nobleman. That’s why, in the
end, his downfall is perceived as more tragic.

Lastly, Othello is a victim of external pressure. The evil and manipulative plots of Iago lead
to his self-destruction, not solely his actions and jealousy.

Othello and Aristotelian Tragedy:

Initially, Aristotle outlined three elements that constitute a tragedy: hamartia, catharsis, and
anagnorisis.

• Hamartia is the tragic flaw of the main character that we’ve already discussed
above.

• Catharsis is the metaphor used to describe the actual effects of tragedy on the
audience. Its prime purpose is to serve as a moral lesson and show the flaw’s
adverse effects. At the end of the play, Othello realizes that he let Iago lead him
astray, and because of his blind trust, he killed his wife.

• Anagnorisis is the revelation of specific facts before unknown to the character. In

the play, Othello realizes that Iago is evil, and his wife was innocent all of the time.

Based on the set criteria, Othello is a tragedy. Yet, it has some characteristics that
distinguish it from the classics.

Othello’s plot progression is quite unusual. The central conflict begins late and develops
with progressive speed. The other peculiarity is that the audience sees the whole play
through the villain’s eyes rather than the main character. Besides, the hero becomes an
antagonist himself. He’s well-respected and loved initially, but as he gives into the raging
jealousy, he becomes evil.

Writing Style of Othello:

The duality of speech mainly characterizes the play. From the very beginning, the
antagonist, Iago, uses it to disguise his intentions. He speaks differently in the presence of
other people. When he talks to Brabantio about Othello, he uses foul language. However,
when he speaks to the audience, he is polite and poetic.

Iago’s manipulative speech makes others do what he needs them to do. Othello is under his
control, which can be seen through his language as well. When the general becomes mad
with jealousy, he uses repetitions. That suggests that Othello loses his control, as he is so
overwhelmed. However, once he calms down and realizes what he did, he sounds poetic
again.
Shakespeare often uses prose as the expression of madness. The shift from verse to prose
shows the emotional change in characters as Othello’s jealous rage and Cassio’s drunken
behaviour are done in prose. It shows that they are not composed.
 ‘Othello’ Important Quotes Explained
Quote 1:
“For, sir,
It is as sure as you are Roderigo,
Were I the Moor I would not be Iago.
In following him, I follow but myself.
Heaven is my judge, not I for love and duty,
But seeming so for my particular end
For when my outward action doth demonstrate
The native act and figure of my heart
In complement extern, ’tis not long after
But I will wear my heart upon my sleeve
For daws to peck at. I am not what I am.”
(Iago, Act 1 Scene 1)

This is one of Othello’s famous quotes. Iago says it in the first scene of the play. The irony of
these words is that the villain shows his true colours to Roderigo. He reveals his deceitful
nature and promises never to announce his true feelings to the world. To a certain extent,
he even warns Roderigo that he might hurt him. However, Roderigo is too naive. Quotes like
these remain unnoticed by him. That’s mainly the reason he suffers later in the play.

The quotation contains two popular phrases. The first one is the idiom “to wear my heart
upon the sleeve.” It means exposing genuine emotions to others. The other phrase is “I am
not what I am.” The expression is contrasted to God’s statement in the Bible, “I am what I
am.”

Quote 2:
“Even now, now, very now, an old black ram
Is tupping your white ewe. Arise, arise!
Awake the snorting citizens with the bell,
Or else the devil will make a grandsire of you.
Arise, I say!” (Iago, Act 1 Scene 1)

In these lines, Iago informs Brabantio that Desdemona has secretly married Othello. He uses
various epithets to describe the general in the worst way to evoke racial prejudice and
anger. Othello is an outsider in Venice. There was intense discrimination against black
people at the time. What’s more, black men were seen as predators.

Iago talks a lot about Othello’s race. Quotes like “black ram” and “Barbary horse” are used
in the context of sexual relationships. He uses discrimination to cause Othello’s downfall.

Quote 3:
“She loved me for the dangers I had passed,
And I loved her that she did pity them.” (Othello, Act 1 Scene 3)
The quote explains the origins of Othello’s and Desdemona’s love. She was attracted to his
story-telling capabilities, while he appreciated her sympathetic approach. There might be a
chance that the two fell in love with the images of one another.

Quote 4:
“Look to her, Moor, if thou hast eyes to see.
She has deceived her father, and may thee.” (Brabantio, Act 1 Scene 3)

In these lines, Desdemona’s father tells Othello that he feels ashamed that his daughter ran
away with the Moor. She didn’t settle for a man of her father’s choice. Instead, she got
involved in an interracial relationship.

Brabantio warns Othello about his daughter. He says that she deceived her own father so
that she might do the same to her husband. The words are important later in the play, as
Iago feeds Othello’s jealousy. Quotes from Desdemona’s father ring in his ears.

Quote 5:
“I hate the Moor,
And it is thought abroad, that ‘twixt my sheets
Has done my office. I know not if ‘t be true,
But I, for mere suspicion in that kind,
Will do as if for surety.” (Iago, Act 1 Scene 3)

These quotes show why Iago created the evil plans. He justifies his actions by believing that
Othello has slept with Emilia. However, that’s highly unlikely. Emilia was an older white
woman of lower social class, not well known for her good looks. Besides, Othello had only
Desdemona on his mind. Thus, Iago is not jealous for a particular reason. He is jealous
because he is jealous.

To put it shortly, he is not interested in truth and evidence. He is focused on revenge. He

wants to hurt Othello for reasons unknown to the reader. That’s why he comes up with
justifications for his actions.

Quote 6:
“Oh, I have lost my reputation!
I have lost the immortal part of myself and what remains is bestial.” (Cassio, Act 2 Scene 3)

After a drunken quarrel with Roderigo, Cassio loses his position as a lieutenant. He feels like
nobody after he loses his rank. It is a reputation that makes a good man, and Cassio was left
without it. What’s quite interesting is that Othello holds the same belief. He is motivated to
murder Desdemona, as her alleged affair has ruined his reputation. Both men believe that
they are nothing more than “animals” without a status.

Quote 7:
“O, beware, my lord, of jealousy!
It is the green-eyed monster which doth mock
The meat it feeds on;” (Iago, Act 3 Scene 3)
This famous line belongs to Iago: he warns Othello about the dangers of his grudge. The
phrase “the green-eyed monster” is now used to describe jealousy. Here, Shakespeare used
the expression to describe how jealousy slowly consumes a person. The feeling gets
stronger if it is continuously fed with doubts. It toys with its victims before destroying them.

Quote 8:
“O curse of marriage,
That we can call these delicate creatures ours
And not their appetites! I had rather be a toad
And live upon the vapor of a dungeon
Than keep a corner in the thing I love
For others’ uses.” (Othello, Act 3 Scene 3)

Othello presents Desdemona as “the creature” with an “appetite,” while he is described as a

“toad” in a “dungeon.” The general thinks of himself as a cuckold. He wants to believe that
his wife’s infidelity is an inevitable part of him being a great man. However, he can’t
convince himself. That’s why Othello settles for being described as a cuckold as if it was
worse than death.

Quote 9:
“Hath puddled his clear spirit, and in such cases
Men’s natures wrangle with inferior things,
Though great ones are their object.” (Desdemona, Act 3 Scene 4)

Desdemona understands that something is wrong with her husband. She says that men get
angry with little things, while in fact, they are worried about bigger ones. She doesn’t think
that he might be jealous, as she never gave him a reason to be jealous.

Quote 10:
“But I do think it is their husbands’ faults
If wives do fall. Say that they slack their duties,
And pour our treasures into foreign laps;
Or else break out in peevish jealousies,
Throwing restraint upon us. Or say they strike us,
Or scant our former having in despite,
Why, we have galls, and though we have some grace,
Yet have we some revenge. Let husbands know
Their wives have sense like them. They see and
smell,
And have their palates both for sweet and sour,
As husbands have.” (Emilia, Act 4 Scene 3)

Emilia’s monologue was considered a plea to women’s liberation during the Renaissance
era. Comparing Desdemona’s and hers lives, Emilia delivers a critical message: if men can do
something, women can also do so.
She begins her speech with a confident statement of men’s fault and presents a cynical view
of marriage. Emilia believes that if men commit adultery, women will too. One bad deed
always initiates another one.

This is not a submissive woman’s quote. Emilia presents a view on gender equality in rights
and actions, which was revolutionary.

Quote 11:
“Speak of me as I am. Nothing extenuate,
Nor set down aught in malice. Then must you speak
Of one that loved not wisely, but too well;
Of one not easily jealous, but being wrought,
Perplexed in the extreme;” (Othello, Act 5 Scene 2)

Just as Cassio, Othello believed that reputation defines a good man. As he takes
responsibility for his actions, he doesn’t want people to remember him like that. He doesn’t
want to be defined by one foolish act of jealousy. He wants people to remember him as an
honourable man, even though he strangled his wife.