OTHELLO

A play
by
William Shakespeare
ABOUT THE AUTHOR: WILLIAM SHAKESPEARE

• Born: April 23, 1564, in Stratford-upon-Avon, England

• Died: April 23, 1616, in Stratford-upon-Avon, England (aged 52 years)
• Although he is recognised as the greatest dramatist ever, relatively little is known about
his life. Even his dates of birth and death are only approximations.
• Shakespeare lived during the Renaissance – a period when a new interest and output in
all forms of Art reached a peak that has yet to be surpassed. (During the reign of Queen
Elizabeth I.)
• He was the third of eight children born to John Shakespeare, a successful merchant, and
Mary Arden. It is thought that he was educated at the local school in his village. Being
the oldest son, he should have taken over his father's business, but apparently, he
became a butcher's apprentice and then a schoolmaster.
• He married Anne Hathaway, a farmer's daughter, in 1582. (She was 9 years his senior.)
They had three children.
• He moved to London after he was caught poaching deer.
• By 1592, he'd become successful in the London theatre and had the patronage of Henry
Wriothesley, third earl of Southampton.
• Shakespeare lived in a God-centred universe – it was assumed that all Englishmen were
Christians. (All other faiths / religions / beliefs were heavily criticised and persecuted.)
• The Elizabethan Chain of Being structured the universe in a series of ranks, known as
the Natural Order – God was the supreme power à The Hierarchy of Heaven à The
Hierarchy of the Stars à The Hierarchy of Earth – which ran in this order: King à
Nobility à The Common Man à Animals and Plants.
• During his lifetime, Shakespeare wrote or contributed to thirty-eight plays and wrote
more than 150 sonnets. They were popular with the public, but not critically acclaimed
until well after his death.
• At the time, English drama was seen as a poor cousin to "more European" drama.
However, he was given audiences with Queen Elizabeth I and King James I and he was
financially wealthy.
• His career is generally studied in four periods: the development of his style and prose;
the histories such as Richard II; the tragedies such as Macbeth; and the tragic-comedies.
His last few years were relatively unproductive and he spent much time with his family
in Stratford.
• He was buried in a churchyard in Stratford.

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• Here is a chronology of his works:
Year Title Type of work
1590-92 Henry VI, Parts I, II, and III (play) HISTORICAL
1592 The Comedy of Errors (play)
1593 The Taming of the Shrew (play)
1593 Richard III (play) HISTORICAL
1593 Venus and Adonis (poem)
1594 The Rape of Lucrece (poem)
1594 Titus Andronicus (play)
1594 The Two Gentlemen of Verona (play)
1594 Love's Labour's Lost (play)
1595 King John (play) HISTORICAL
1595 Richard II (play) HISTORICAL
1595 A Midsummer Night's Dream (play) The 'Joyous' Comedies
1595 Romeo and Juliet (play) TRAGEDY
1596 The Merchant of Venice (play) The 'Joyous' Comedies
1597 Henry IV, Parts I and II (play) HISTORICAL
1598 Henry V (play) HISTORICAL
1599 Much Ado About Nothing (play) The 'Joyous' Comedies
1599 As You Like It (play) The 'Joyous' Comedies
1599 The Merry Wives of Windsor (play) The 'Joyous' Comedies
1599 Julius Caesar (play) TRAGEDY
1600 Twelfth Night (play) The 'Joyous' Comedies
1601 Hamlet (play) GREAT TRAGEDY
1602 Troilus and Cressida (play) TRAGEDY
1602 All's Well That Ends Well (play) ‘DARK’ COMEDY
1604 Othello (play) GREAT TRAGEDY
1604 Measure for Measure (play) ‘DARK’ COMEDY
1605 King Lear (play) GREAT TRAGEDY
1606 Antony and Cleopatra (play) GREAT TRAGEDY
1606 Macbeth (play) GREAT TRAGEDY
1608 Coriolanus (play) TRAGEDY
1608 Pericles, Prince of Tyre (play)
1609 Sonnets collection of sonnets
1610 Cymbeline (play)
1610 The Winter's Tale (play)
1611 The Tempest (play)
1613 Henry VIII (play) HISTORICAL
1613 The Two Noble Kinsmen (play)

WHAT IS A TRAGEDY?

• The subject matter deals with serious and important events – historical.
• It has a definitive beginning, middle and end.
• The hero in the ‘story’ passes from happiness to misfortune – either through a character flaw of his/her
own or intervention by Fate, or a combination of the two elements.
• The tragic hero is essentially a “good” guy – the audience experiences his emotions / actions /
downfall with him, with pity and fear.
• All of Shakespeare’s tragic heroes and heroines are from nobility or ranks of royalty – Hamlet,
Macbeth, King Lear, Romeo, Juliet, Antony, and Cleopatra etc.
• Each tragic hero or heroine has to make various moral choices about problems that they face. These
issues deal with the basic human emotions – love, hate, jealousy, ambition and so forth. These choices
and actions of the tragic hero help to determine his or her fate.
• Othello is one of Shakespeare’s most highly concentrated, tightly constructed tragedies, with no
subplots and little humour to relieve the tension.
• Although narrow in scope, Othello, with its intimate domestic setting, is widely regarded as the most
moving and the most painful of Shakespeare’s Great Tragedies.

ABOUT THE PLAY: “OTHELLO”

• Othello is a tragedy in which a good man (Othello) falls to ruin after an evil man (Iago) inflames him with
jealousy.
• In most Shakespearean tragedies, there is a character who begins with a position of eminence from
which he falls, through circumstances that are partly within and partly outside his control. In each
tragedy we see a man, generally good, but flawed in some way, destroyed by his own error or the
malice of another (or both of these); the plays are so written as to excite some mixture of pity, awe or
horror at the tragedy; and to question and perhaps re-affirm the justice of the world.
• Often described as a bullfight in which the consummate skill of the matador (Iago) gradually outwits and
outmanoeuvres the dangerous and splendidly powerful bull (Othello).
• Probably written between 1602 and 1604
• Probably based on Ecatommiti – published in Venice in 1566 and written by Giovanni Battista Giraldi,
also known as Cinthio. Ecatommiti means One Hundred Tales.
• First performed on November 1, 1604, before King James I at Whitehall Palace.
• First printed in a quarto edition in 1622. In 1623 it was printed as part of the First Folio. The first edition
omits oaths and curses that appeared in the quarto edition in compliance with a law passed by
Parliament that forbade blasphemous language in stage dramas.
A (full) PLOT SUMMARY

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Othello is a black Moor. (The word Moors derived originally from the Latin Mauri, the inhabitants of
the ancient province of Mauretania in what is now northern Morocco and western Algeria.) He is a
general in the service of Venice. Venice was a wealthy independent trading republic ruled by an
oligarchy – power was held by a small exclusive class of aristocrats. Because Othello has conquered
the Turks, the Venetians esteem his highly as a military leader. Iago is Othello’s ensign (officer under
his command) and Iago aspires to rise in the ranks. Othello promotes Michael Cassio (a Floretine) to
the position of personal lieutenant and Iago is livid for being passed over. Iago begins a campaign to
poison Venice against Othello.
On a street in Venice, Iago tells Roderigo (a very gullible gentleman of the city) that Cassio is untested
in battle and that his soldierly abilities consist of “mere prattle, without practise”. (Act 1, scene 1)
(Cassio is all talk and no action.)
Iago sells himself as a great military man who has proven his worth in battles at Rhodes and Cyprus.
Iago tells Roderigo that Othello promotes his men on the merits of their political and personal
connections, not on their military and soldierly abilities and skills.
Iago’s intentions are clear – gain revenge against Othello and to do evil.
Othello elopes with Desdemona, daughter of Senator Brabantio. Iago uses this as an opportunity to get
back at Othello. He enlists Roderigo (who also once wooed Desdemona) to wake up Senator Brabantio
late one night. Iago then uses crude racist remarks to turn Brabantio against Othello.
Brabantio is outraged and complains to the Duke of Venice. He says that Othello used spells and
charms (witchcraft) to win Desdemona’s favour. (How else could a “vile black man” win the favour of
a beautiful “white woman”?)

When a fleet of Turks threaten Cyprus (a Venetian protectorate), the Venetian Senate decides to send
Othello to Cyprus to defend it and become the new governor. During the senate meeting, the Duke
listens to Brabantio’s charges against Othello. After hearing Othello speak of his love for Desdemona,
and how he wooed and won Desdemona with tales of his military adventures, he changes his mind
about Othello and gives Othello his approval for the relationship. Desdemona decides to follow
Othello to Cyprus.
Othello is unaware of Iago’s earlier protests to Brabantio (about Othello). Othello orders Iago to
accompany Desdemona to Cyprus.
Roderigo urges Iago to accompany Desdemona. Iago tells Roderigo that Desdemona will eventually
tire of Othello. BUT Iago tells Roderigo that they must first work to discredit Cassio so that
Desdemona will not return to him, when she leaves Othello. Iago says that when Desdemona’s “blood
is made dull with the act of sport”; she will lose interest in Othello and seek sexual satisfaction
elsewhere.

A vicious storm devastates the Turkish fleet and its attack is cancelled. Othello and his men arrive
safely in Cyprus and a celebration follows.
On the first evening in Cyprus, Iago gets Cassio drunk and then has Roderigo start an argument with
Cassio. Montano, the outgoing governor of Cyprus, intervenes and Cassio wounds him. Othello
arrives at the scene of the fight and asks Iago what had happened. Iago plays innocent and says he is
an innocent and unbiased onlooker. He proceeds to tell Othello that Cassio started the fight. Othello
believes him and ‘fires’ Cassio from his charge.
Desdemona arrives and asks what had happened. Othello tells her that all is well and they leave.
Montano is led away and treated for his injuries.
Cassio is alone with Iago and expresses regret about his behaviour. Iago tells him to get Desdemona to
talk to Othello on his (Cassio’s) behalf.
When Cassio speaks to Desdemona, she agrees to speak to her husband on Cassio’s behalf. When she
does so, in an innocent attempt to be helpful, she arouses Othello’s jealousy. (Cassio is far younger
than Othello and Cassio is very handsome.)

Iago’s wife, Emilia, finds a handkerchief dropped by Desdemona. (Othello had given it to his wife as a
gift.) Emilia shows it to Iago and he sees an opportunity to advance his scheme and grabs it from her.
Iago plants the handkerchief in Cassio’s room and tells Othello that Cassio has it. When Othello asks
his wife for the handkerchief and she cannot produce it, he tells her that it was a valued heirloom. (His
mother, on her deathbed, told Othello to give it to his future wife.) He becomes convinced that she
gave it to Cassio and has been having an affair with him. Othello tells Iago he plans to poison

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Desdemona, but Iago advises him to strangle her in her bed. Iago tells Othello that he will take care of
Cassio. (“Let me be his undertaker” Act 4, scene 1)

Letters from the Duke of Venice arrive with Lodovico. Othello is recalled to Venice and Cassio is
named the new governor of Cyprus. Desdemona, innocently, praises Cassio. Othello hits her.
Iago again uses the hapless Roderigo and persuades him to kill Cassio. On a dark street, Roderigo
thrusts his sword at Cassio but fails to kills him. Cassio is turn wounds Roderigo. Iago runs by,
unseen, and stabs Cassio in the leg.
Othello arrives at the scene. He believes that Iago has delivered on his promise (to kill Cassio). He
returns to his castle to kill Desdemona. Others arrive at the scene of the fight between Roderigo and
Cassio. Iago arrives as if he is seeing the fight for the first time. At an opportune moment, he finishes
Roderigo off with a dagger. Cassio is taken away for treatment.

Othello, who is still in love with wife, kisses her awake, asks her to prepare her soul for death, and –
after an exchange of accusations and denials – smothers her with a pillow. As Desdemona lies dying,
Emilia arrives to report the death of Roderigo. Desdemona cries out that she dies as an innocent. “A
guiltless death I die!” (Act 5, scene 2). She dies.
Othello admits that he killed his wife because she was unfaithful to him. He says that Iago can verify
the affair between Desdemona and Cassio. Emilia is shocked and says that Desdemona was always
true to Othello and calls Iago a liar.
Emilia calls for help and Montano, Iago and others arrive. She calls Iago a liar. Othello brings up the
matter of the handkerchief, saying that Desdemona gave it to Cassio. Emilia says that she found the
handkerchief (Desdemona has dropped it) and gave it to her husband at his insistence. Finally, Iago’s
sordid plot unravels.

Othello tries to stab Iago, but Iago stabs Emilia and runs off. Montano and others pursue Iago. Emilia
dies and Montano returns with Lodovico, Cassio (carried on a chair) and Iago (held as a prisoner).
Othello lunges at Iago and wounds him with a sword. When Cassio declares that he did not wrong
Othello, the Moor says that he believes him and asks for Cassio’s forgiveness. Lodovico presents
letters found in Roderigo’s pocket that discloses further details of Iago’s nefarious plot.
Othello, plagued with self-recrimination, stabs himself and falls on the bed, dead. Iago is held for
punishment and will be executed. Cassio is declared the new governor of Cyprus.

THE PLAY IN A VERY SMALL

NUTSHELL
Othello, tragedy written by William Shakespeare c. 1602-1604 that was first performed for James I at Whitehall in 1604. The work
depicts the growth of unjustified jealousy on the part of the protagonist, Othello, a Moor, is accused of stealing Brabantio's daughter
Desdemona, but the Senate approves their marriage and appoints Othello to lead the Venetian army in Cyprus against the Turks.
Promoting Cassio to lieutenant for his help in the courtship of Desdemona, Othello ignores Iago's claim to the post. Iago persuades
Roderigo, an unsuccessful suitor of Desdemona, to fight the happily drunken Cassio, who is discharged. Iago then befriends Cassio
and has him beg Desdemona to plead for him with Othello. At the same time Iago warns Othello that Cassio is having an affair with his
wife. Brilliantly manipulating Othello's jealousy and rising anger, Iago has his wife Emilia, who is Desdemona's serving woman, steal a
handkerchief Othello gave his bride at their wedding, and plants it on Cassio. Convinced of her infidelity, Othello smothers his beloved
wife in their marriage bed. Iago then kills Roderigo (for failing to murder Cassio) and Emilia. But he is too late: Emilia has already
proven Iago's guilt and Desdemona's innocence to Othello. Othello stabs Iago (who is now under arrest), but fails to kill him, and
commits suicide.

The play has a distinctive structure in terms of the five acts:

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The first Act, set in Venice, serves as a prologue to the tragedy that follows,
presenting Othello’s relationship with Desdemona and indicating Iago’s
malice and general motivation. There are 3 scenes that run continuously

The Second Act takes place in Cyprus. It is the most drawn-out of all the
acts in the play. There is a slow pace, which serves to heighten the anxiety
before the arrival of Othello, followed by the joyous reunion of the lovers. It
is the high point of Othello and Desdemona’s relationship. (Iago is bent on
destroying this!) The rest of Act 2 is concerned with the disgracing of Cassio.
Iago uses Cassio to poison Othello’s mind.

The Third Act, also set in Cyprus, sees an increase in the momentum of the
action. Othello becomes more and more suspicious of Desdemona and
Cassio. Iago fuels the fire. Othello’s fate is sealed.

Act Four, also set in Cyprus, sees Iago’s plans develop further.

Act Five is marked by the deaths of Desdemona, Othello, Roderigo and

Emilia. There is a slight lift in mood at the end of the play, as Iago’s initial
plans are ‘destroyed’ and peace is restored in a way. The way forward is
clear.

The play could be seen as falling into three stages of a

single linear plot:

1. Brabantio’s failed rebuke and Othello’s commissioning in Venice
2. The demotion of Cassio and the killing of Desdemona

which leads to

3. Othello’s suicide and Iago’s arrest.

THE CHARACTERS

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OTHELLO: Protagonist and Hero. Integral part of Venetian Civic Society. Black Moor. (mixed
Arab and Berber descent) Christian. Great general in the Venetian army. He is intelligent,
authoritative, tactful, eloquent, courageous and honourable. Married to Desdemona, the daughter
of a prominent Venetian Senator (who, at first, does not take too well to the union). Carries out his
duties nobly and with great dignity. His dedication to duty is only eclipsed by his devotion to
Desdemona, who follows him when he is dispatched to Cyprus. His central weakness is that he is
unable to judge people – he takes them at face value and believes everything he is told by the
wicked Iago. He suffers from conflict between the most civilised part of being a man and the most
barbaric. His Achilles Heel – Jealousy. It takes remarkably little evidence for Othello to be
convinced of her unfaithfulness. His nobility disintegrates under the power of his too-vivid
imagination – he takes Iago’s word and unfounded accusations as fact. This is the reason for him
killing Desdemona. He commits suicide when he realises he had been duped by Iago all along – he
ultimately takes full responsibility for his actions and punishes himself in the extreme. Suicide
damns him forever.

IAGO: Classic two-faced villain of the play. He swears by the god Janus who has a head that
looks both backward and forward – Iago is figuratively, two-faced. (Known in Shakespeare’s time
as a Machiavel – Machiavelli was a political philosopher who was bent on his quest for power) 28
years old, thus much younger than Othello. Military Officer who schemes against Othello when
Othello overlooks him for a promotion. He is unashamedly evil and takes great pleasure in
bringing Othello down. Delights in manipulation, villainy and destruction. He is married to Emilia
(who testifies against him at the end of the play). His utter lack of convincing motivation for his
heinous actions, make him most despised. He even kills his own wife. He accuses Othello on two
occasions of having slept with Emilia. Skilful at manipulating human frailties. Puppet-master – he
manipulates and controls people like puppets. He takes great pride in presenting himself as honest,
yet he is the exact opposite. Highly intelligent, pragmatic and opportunistic – he assesses and
exploits the strengths and weaknesses of others to benefit himself and further his own plans. He is
driven by egotism and a superiority-complex. He views women as sex objects and sees them as
unfaithful by nature – sexual predators. His great misjudgement is his wife, Emilia – she stands up
to him and starts the unravelling of his malicious plot.

DESDEMONA: Brabantio’s daughter. Othello’s wife. (They marry secretly before the
beginning of the play.) Well-rounded character. She is the victim of Iago’s evil plans and Othello’s
jealousy. She is the noblest, most consistent and most unselfish character in the play. Determined,
privileged, dignified and poised. Assertive and outspoken. She validates or upholds Othello’s sense
of self. She embodies the idea of loyalty, goodness and trust, and despite Othello’s cruelty to her,
never wavers in her love for him. Even when he is smothering her in Act V, she forgives him and
tries to shield him from the murder he has committed.

CASSIO (also MICHAEL Cassio): Othello’s lieutenant. Good-hearted. Young and

inexperienced. Truly devoted to Othello. Manipulated by Iago. His lack is self-discipline is evident
when he cannot resist Iago making him drunk. Cassio is the hinge upon which the play turns. His
promotion in Othello’s army enrages Iago. His (non-existent) love affair with Desdemona enrages
Othello. He remains loyal and true to Othello despite his dismissal. He is courteous and charming.

DUKE OF VENICE: Ruler who finds in favour of Othello when Desdemona’s father attacks
Othello’s character. A wise man. Listens to all parties concerned in any disputes.

BRABANTIO or BRABANZIO: Senator and father of Desdemona. Racist. Iago uses

Brabantio’s racism to fuel Brabantio’s hatred for Othello. Self-important. He cannot believe that
his (white) daughter would willingly have wed a (black) Moor. Overshadowed both physically and
politically by Othello. Has a fiery confrontation with Othello. Authoritative.
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LODOVICO: Brabantio’s kinsman. Very active in Act V, scenes i and ii. Brings Othello the
message that he has been recalled to Venice. He discovers the wounded Cassio along with
Gratiano. He criticises Othello for murdering Desdemona and falling from grace to act like a
common slave, not the respected man he once was. He plays an active part in uncovering Iago’s
treachery. A responsible man who seizes control in the final act.

GRATIANO: Brabantio’s brother. A minor character. Accompanies Lodovico to Cyprus.

Mentions Desdemona’s father’s death in the final scene.

RODERIGO: Venetian gentleman and former suitor of Desdemona. (She barely knows that he
exists.) Jealous of Othello “getting the girl”. Manipulated by Iago. He is convinced that Iago can
help him win back Desdemona. Young, rich, inexperienced, gullible and foolish – he trusts Iago
and gives all of his money away. Pathetic and Jealous. He does not kill Cassio, as planned –
incompetent. He is easily persuaded and flattered by Iago – a characteristic that Iago exploits over
and over.

MONTANO: Othello’s predecessor in the government of Cyprus.

EMILIA: Iago’s wife and Desdemona’s attendant. She is not particularly loved by her husband.
A cynical and worldly woman. She is blind to his evil until she discovers that it was Iago who
plotted against Othello and Desdemona. She is fiercely loyal to Desdemona. She is courageous and
outspoken, even when Iago tries to silence her and she stands up to Othello in Desdemona’s
defence. She is the seed of Iago’s downfall.

BIANCA: Cassio’s mistress. She is a courtesan / prostitute in Cyprus. She plays a limited, but
significant role in the play. Cassio gives Desdemona’s handkerchief to her and this starts the great
rift between Desdemona and Othello.

MINOR CHARACTERS: Sailor, messenger, herald, officers, gentlemen, musicians,

attendants, First Senator, Second Senator, Clown (servant to Othello)

SETTINGS
• Othello takes place in Venice (northern Italy) and Cyprus (and island in the eastern Mediterranean,
about 60 km south of present-day Turkey).
• The time is between 1489 and 1571. There were wars between Venice and Turkey at that time. (Although
these wars do not prove to be a major part of the play.)
• The play starts off with a seemingly political overtone – it changes to a domestic tragedy.
• Venice was the centre of commercialism and materialism – it was rife with competition, corruption and
conflict.
• Cyprus yielded substantial harvests of olives, grapes and various grains – it was much prized and
coveted throughout history – Assyrians, Greeks, Egyptians, Romans and Byzantines all fought over and
occupied it.
• England’s King Richard I (Richard the Lion-Hearted) conquered Cyprus in 1191 but later ceded it to the
French.
• Venice seized the island in 1489 and in 1571 the Ottoman Turks brought Cyprus under its control.
ACT I, scene i
• Play starts on a street in Venice, it is night time. (Symbolically this might mean that the meeting is secretive.)
• Fight between Roderigo, a wealthy Venetian and Iago, a soldier in the Venetian army.
• Roderigo has been paying Iago to help him in his suit to Desdemona (Othello’s girlfriend), but seen no progress.
• Roderigo hears that Desdemona has married Othello.

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• Iago assures Roderigo that he hates Othello and he (Iago) will help Roderigo to win Desdemona back. (Iago hates
Othello because Othello promoted Cassio, a Florentine, instead of him and because Othello is Black.)
• Iago believes Cassio has little experience in army and does not deserve title. (“mere prattle, without practice…”)
• Iago advises Roderigo to fire Desdemona’s family up against Othello.
• Iago and Roderigo come to the street outside Brabantio’s home (Desdemona’s father).
• They shout racial slurs against Othello and claim that Othello used tricks and charms to win Desdemona’s hand.
• Brabantio comes to window, does not believe Roderigo, whom he has chased away from Desdemona before.
• Iago uses inflammatory terms and vulgarly tells Brabantio that Othello and Desdemona are having sex. He plays
on the Senator’s fears for his daughter’s safety and well-being.
• Brabantio starts to take Iago and Roderigo seriously and goes in search of Desdemona.
• Iago sees the success of his plan and leaves Roderigo alone and goes to Othello.
• Brabantio is furious that his daughter has been stolen and goes in search of Othello.
• Brabantio thanks Roderigo for his efforts and troubles in alerting him of Desdemona’s situation.

ACT I, scene ii
• Iago arrives at Othello’s home, warns him that Brabantio will force a divorce between Othello and Desdemona.
• Iago lies and tells Othello that it was Roderigo that provoked Brabantio against Othello, not himself.
• A group of men arrive and Iago tells Othello to go indoors.
• Othello stands his ground; he believes that his good name will stand him in good stead.
• Iago says that in his time as a soldier, he has killed many men, but was so enraged by Roderigo’s lies, he almost
punched him! Iago implies that he cannot handle any kind of deceit and lying – the first of many lies in the play.
• Othello assures Iago that he handled the manner in the right way, but not hurting Roderigo.
• The group of men turn out to be Cassio and officers from the Venetian Court – they tell Othello that he is
summoned by Duke of Venice about a matter concerning Cyprus. (island in Mediterranean, controlled by Venice)
• As Cassio and his men prepare to leave, Iago mentions that Othello is married.
• Brabantio, Roderigo and others arrive to accost Othello.
• Brabantio orders men to attack and subdue Othello, but Othello prevents fight by telling men to put swords down.
• Brabantio insults Othello, implying that Othello used magic, potions, drugs to enchant his daughter, Desdemona.
• Othello does not reply to the accusations, he tells Brabantio that he will answer at the council meeting.
• Brabantio decides to take the matter up before the Duke of Venice. (Seeing the Othello is going there in anyway)

ACT I, scene iii

• The Duke’s meeting with his senators is about the imminent Turkish invasion of Cyprus, Venice’s protectorate.
• A messenger announces that the Turks have turned towards Rhodes, another island controlled by Venice.
• Senator announces that he believes Turks have done that to mislead the Venetians. (Parallel to Iago’s deception.)
• Another messenger arrives, reports that the Turks have joined with more forces and are headed back to Cyprus.
• The Senate meeting is interrupted by the arrival of Brabantio, Roderigo, Othello, Cassio, Iago and others.
• Brabantio demands to be heard immediately – his grievance over Othello’s “charms” over Desdemona.
• The Duke initially takes Brabantio’s side, until he hears that the accused is Othello – man he hold in high esteem.
• The Duke offers Othello the chance to speak.
• Othello admits that he married Desdemona, but denies that he used potions and charms to woo her.
• Othello claims that Desdemona fell in love with him at Brabantio’s house, when Othello was telling his life story,
filled with adventures and travels.
• The Duke believes Othello and dismisses Brabantio’s claim.
• Desdemona enters and is asked to whom she is most obedient.
• Brabantio expects her to say her loyalty lies with father, instead she says that she is obedient and loyal to Othello.
• Brabantio resigns himself to decision, withdraws accusations and allows court to return to State Affairs.
• The Duke informs Othello that he must go to Cyprus to defend the island against the Ottoman Turks.
• Othello accepts the order and asks for appropriate accommodation for his wife, Desdemona.
• The Duke suggests that Desdemona stay with her father in Venice.
• Desdemona rebukes the suggestion.
• They couple leave to prepare for their voyage.
• Roderigo and Iago remain behind and Roderigo laments his loss of Desdemona again.
• Iago reassures him that all will be well.
• Iago mocks Roderigo for threatening to drown himself because he is tormented by unrequited love.
• Iago urges Roderigo to accompany him to Cyprus; he will fix the problem there.
• Iago delivers his first soliloquy in which he declares his hatred for Othello and makes it known that he suspects
Othello of sleeping with his wife, Emilia.
• He lays out plan to cheat Roderigo out of his money and to convince Othello that Desdemona slept with Cassio.
• Iago plans to use Othello’s honest and unsuspecting nature to bring him to his demise.

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ACT II, scene i
• On Cyprus, Montano (the island’s governor) watches a storm.
• It is several weeks after the previous scene.
• He announces that no ship could have survived the storm.
• A gentleman arrives and confirms this – Cassio witnessed that the Turks lost most of their fleet in the storm.
• It is still uncertain whether Othello’s ship survived the storm.
• A ship arrives – Iago, Desdemona, Emilia and Roderigo are aboard.
• Othello’s ship arrives soon after that.
• As they stand around waiting, Cassio and Desdemona tease Emilia about being a chatterbox.
• Iago uses this as an opportunity to criticise women in general and being deceptive, lazy and hypocritical.
• Desdemona plays along, laughing as Iago belittles women.
• Cassio takes Desdemona away and tells her that Othello had arrived.
• Iago notices that Cassio took Desdemona’s hand when he led her away. In an aside, he plans to use this so that
Cassio will lose his newly gained position as lieutenant.
• Othello and Desdemona reunite.
• Othello thanks the Cypriots for their welcome and hospitality and orders Iago to unload the ship.
• All but Roderigo and Iago head to the castle to celebrate the drowning of the Turks.
• Iago tells Roderigo again that Desdemona will tire of Othello and will long for a younger, more handsome man.
• Iago states that Desdemona’s first choice will be Cassio and therefore they have to stop that.
• Iago convinces Roderigo to start a fight with Cassio that night – the fight will put Cassio in bad light with Othello.
• Iago delivers a soliloquy in which he explains his actions – he secretly lusts after Desdemona – he still suspects
Othello of sleeping with Emilia and he want to get even with the Moor.
• Iago continues that if he cannot sleep with Desdemona, Roderigo’s accusation of Cassio will make Othello
suspicious and torture his mind.

ACT II, scene ii

• A herald announces that Othello plans a celebration for that evening – firstly because there will be no war with the
Turks, and secondly to celebrate his marriage to Desdemona.

ACT II, scene iii

• Othello leaves Cassio at the celebrations and warns him to practise self-constraint.
• Othello and Desdemona leave to consummate their marriage.
• Once Othello is gone, Iago enters and joins Cassio on guard.
• He tells Cassio that he suspects Desdemona of being a temptress, but Cassio maintains that she is modest.
• Iago persuades Cassio to have a few drinks and invite some more friends to drink with them.
• Iago tells audience his plan – Roderigo and three other drunken Cypriots will join Cassio and Iago on guard duty.
• Amidst all the drinking and partying, Iago will lead Cassio into committing an action that will disgrace him.
• Cassio returns with Montano and becomes drunk and wanders off.
• Iago tells Montano that he does not believe Cassio to be up to the task of being lieutenant, that Cassio has a
serious drinking problem.
• Roderigo enters and Iago points him in Cassio’s direction.
• Montano says that somebody should tell Othello about Cassio’s drinking problem.
• Cassio chases Roderigo across the stage, threatening to beat him
• Montano steps in to prevent the fight and is attacked by Cassio.
• Iago orders Roderigo to leave and “cry a mutiny”
• Cassio stabs Montano.
• An alarm bell sounds and Othello arrives with his attendants. He demands to know what had happened.
• Both Iago and Cassio claim that they cannot remember how the fight started.
• Montano says he is in too much pain to speak and insists that Iago tells the story.
• At first Iago feigns reluctance to incriminate Cassio, saying that he was merely chasing after Roderigo when the
fight began, perhaps an unknown man did something to upset Cassio.
• Othello falls into Iago’s trap, saying that he can see that Iago softened the story because he truly cares for Cassio.
• Othello dismisses Cassio from his service.
• Desdemona arrives and Othello leads her back to bed and says he will look at Montano’s wound.
• Iago and Cassio remain behind.
• Cassio laments his actions and demotion due to a fight he cannot even remember.
• Iago suggests that Cassio appeal to Desdemona because Othello will listen to her. Desdemona’s kind-heartedness
will prompt her to help Cassio to get his position back.
• Cassio leaves and Iago jokes about the irony of the fact that his so-called villainy involves counselling Cassio to a
course of action that would actually help him.
• Iago reminds the audience that he does the most evil when he seems to be doing good.
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• Because Cassio will now be spending more time with Desdemona, Othello will be easy to convince about affair.
• Roderigo enters, upset he has been beaten and angry-Iago has taken his money and he has nothing to show for it.
• Iago tells him to be patient, and tells Roderigo that everything is going according to plan.
• Iago tells the audience that he will convince Emilia to speak to Desdemona on Cassio’s behalf and will arrange for
Othello to witness Cassio’s suit to Desdemona.

ACT III, scene i

• In an effort to win Othello’s favour, Cassio sends musicians to play music beneath the general’s window.
• Othello sends his servant, a clown, to tell the musicians to go away.
• Cassio asks the clown to beg Emilia to speak to him so that he can ask her for access to Desdemona.
• The clown leaves and Iago enters and tells Cassio that he will send for Emilia and he will distract Othello so that
Cassio and Desdemona can speak privately.
• Emilia enters and tells Cassio that Othello and Desdemona have been discussing him and his case.
• Desdemona has pleaded for Cassio, but Othello said that Montano’s reputation and influence in Cyprus would
make Cassio’s reappointment impossible and impractical.
• Emilia allows Cassio to come in and tells him to wait for Desdemona.

ACT III, scene ii

• Iago, Othello and a gentleman walk together at the fort / citadel.
• Othello gives Iago some letters to deliver and inspects the town’s fortifications.

ACT III, scene iii

• Desdemona, Cassio and Emilia are having a conversation.
• Desdemona has just promised to do everything she can on Cassio’s behalf.
• Othello and Iago enter.
• Cassio departs quickly.
• Othello asks if it was Cassio he saw leaving – Iago says that surely Cassio would not behave like guilty man!
• Desdemona pleads with Othello to forgive Cassio and reinstate him as lieutenant.
• Othello says that he will speak with Cassio but is vague in setting a meeting time or date.
• Desdemona scolds Othello for being hesitant.
• Othello says that he will not deny Desdemona anything, but he wishes to be left alone.
• Left alone with Othello, Iago begins his insinuations of an affair between Desdemona and Cassio.
• He reminds Othello that Cassio was the ‘go-between’ them when they were courting.
• Othello asks Iago whether he believes Cassio to be honest – Iago feigns reluctance to answer.
• Othello’s mind is filled with thought of adultery, hypocrisy and becomes most frustrated.
• Iago advises Othello to keep a close eye on Desdemona when she is with Cassio.
• Othello tells Iago to have Emilia watch Desdemona when she is with Cassio.
• Iago feigns innocence (again) and suggests that Othello just let the matter be.
• Othello laments that he has lost his wife because he is too old, Black and has no manner.
• Desdemona and Emilia enter to inform Othello that he is awaited at dinner.
• Othello complains of a headache and Desdemona offers to bind his head with her handkerchief.
• Othello pushes her away and says that the handkerchief is too small. (Emphatic rejection of Desdemona herself.)
• The handkerchief drops to the floor and remains there as Othello and Desdemona exit.
• Emilia stays behind, picks up handkerchief, remarks that her husband has asked her numerous times to steal it.
• Iago enters
• Emilia teases him with a promise of a surprise – he is very happy when Emilia gives him the handkerchief.
• Emilia exits
• Iago plots how he will plant the handkerchief Cassio’s room.
• Othello enters, in torment – he declares that he is overwrought with jealousy.
• He demands that Iago brings him proof of Desdemona’s deceit and that she is a whore.
• Iago protests that it would be impossible to actually see Desdemona and Cassio having sex.
• Iago promises other evidence – he says that when he and C shared a bed, Cassio called out Desdemona’s name in
his sleep.
• The story enrages Othello and Iago reminds him that Cassio was only dreaming.
• Iago says that he saw Cassio wiping his brow with a handkerchief that Othello gave to Desdemona.
• Othello is furious – he vows to get revenge on Cassio and Desdemona. He is fixed on a violent course of action.
• Iago promises to help him and Othello promotes him to lieutenant.

ACT III, scene iv

• Desdemona orders the clown to find Cassio and tell him that she has spoken to Othello in his favour.
• Desdemona wonders to Emilia where her handkerchief might be.
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• Othello enters and tells Desdemona to give him her hand, she does so.
• (Here, the bizarre ‘trial’ for Desdemona’s life begins. Othello assumes the role of the ‘prosecutor’.)
• He asks her to lend him her handkerchief.
• Desdemona cannot produce the handkerchief, Othello insists on seeing it.
• Othello explains history of handkerchief – an Egyptian sorceress gave it to his mother and told her it would make
her desirable and keep Othello’s father loyal, but if she lost it or gave it away, Othello’s father would leave her.
• Othello’s mother gave him handkerchief on her deathbed, instructed him to give to woman he desired to marry.
• Desdemona is unsettled by the story and says that she has the handkerchief, just not with her.
• Othello does not believe her and demands to see the handkerchief.
• Desdemona tries to change the topic by speaking of Cassio. (There is clear lack of communication between them.)
• Othello storms off (the plot unravels until the end, without Iago’s intervention.), Emilia complains about men.
• Cassio and Iago enter and Cassio immediately continues his plight to Desdemona.
• Desdemona tells Cassio that his timing is bad, as Othello is in a very bad mood.
• Iago goes off to ‘soothe’ his master.
• Emilia speculates that Othello is jealous; Desdemona maintains Othello’s bad mood is due to political matters.
• She tells Cassio to wait while she goes to find Othello and bring him to talk with his former lieutenant.
• While Cassio waits, Bianca (a prostitute) enters.
• She scolds Cassio for not visiting her more often. He apologises and says he is under a lot of stress.
• Asks Bianca to copy the embroidery of a handkerchief he recently found in his room onto another handkerchief.
• Bianca accuses him of making her copy embroidery of a love gift from some other woman, but Cassio denies it.
• They make a plan to meet later that evening.

ACT IV, scene i

• Othello and Iago enter.
• Iago argues that it is OK for a woman to be naked with a man, if nothing happens.
• Iago continues to torment Othello – he says if he gave Emilia a handkerchief, it would be hers to do with what she
wants.
• These continuous remarks drive Othello crazy at the thought of Desdemona being unfaithful to him.
• Othello keeps asking Iago for information about Cassio’s comments to him.
• Iago says Cassio admitted to him that he (Cassio) has ‘lain’ with Desdemona – Othello is dumbstruck and goes
into a fit.
• Cassio enters and Iago says that Othello has having his second epileptic fit in two days.
• He warns Cassio to stay out of the way.
• Othello comes out of his ‘trance’ and Iago tells him that Cassio stopped by and he has arranged to speak with him.
• Iago orders Othello to hide (while Iago speaks with Cassio) and observe Cassio’s face during their conversation.
• Iago tells Othello that he will get Cassio to retell story of when he slept with Desdemona and when he plans to do
so again.
• Othello withdraws and Iago tells the audience his actual intention – he will joke with Cassio about Bianca and
how she is pursuing him, Cassio will laugh about the matter and Othello will think he is talking about Desdemona.
• The plan works! Cassio tells Iago details of affair with Bianca and makes gestures implying her sexual advances.
• Bianca enters with the handkerchief and again accuses Cassio of giving her another woman’s love gift.
• Bianca says if Cassio does not show up for supper that evening, he will no longer be welcome to go back to her.
• Othello (in hiding) has recognised ‘his’ handkerchief and wonders, aloud, how he should murder his ex-lieutenant.
• Othello has difficulty is seeing Desdemona as an adulterer, and expresses that he still loves her.
• Othello says he will poison his wife, Iago advises him to strangle her in the bed that she committed the adultery.
• Iago promises to arrange Cassio’s death.
• Desdemona enters with Lodovico, who has come from Venice with a message from the Duke.
• Lodovico irritates Othello with enquiries about Cassio; Desdemona irritates Othello by answering Lodovico’s
questions.
• The content of the letter from Venice also upsets Othello – he has been recalled to Venice, and has to leave Cassio
as his replacement in Cyprus. (Not only does Cassio ‘get’ his wife, but he also replaces him in his position in
Cyprus.)
• When Desdemona hears that they will be going to Venice, she is delighted and Othello hits her.
• Lodovico is shocked at Othello’s behaviour, asks Othello to call Desdemona back. (She left room after being
struck.)
• Othello calls her back and calls her a false, promiscuous and pretentious woman.
• He tells Lodovico that he will obey the Duke’s orders and storms off.
• Lodovico is amazed at Othello’s change – the self-controlled man he once knew is no longer.
• Iago refuses to answer Lodovico’s questions and tells him that he will have to see for himself.

ACT IV, scene ii

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• Othello interrogates Emilia about Desdemona’s behaviour – Emilia insists that Desdemona has does nothing
wrong. (Othello does not believe a word that Emilia says – despite the fact that Emilia is speaking the truth!)
• Othello tells Emilia to call Desdemona, and implies (when Emilia is gone) that Emilia is a “bawd” (Female pimp).
• Emilia returns with Desdemona and Othello send Emilia to guard the door.
• Othello weeps and says that he feels betrayed, the “fountain” from which is future children will flow, is polluted.
• Desdemona denies being unfaithful.
• Othello insults her and calls her a whore. (His insults are grossly exaggerated and insensitive; makes Desdemona
seem to be the worst woman and wife in the world.)
• Othello storms out and Emilia comforts Desdemona, who maintains her love for her husband.
• Desdemona tells Emilia to lay her wedding sheets on the bed for that night.
• At Desdemona’s request, Emilia brings in Iago and asks him why Othello has been treating her so badly.
• Emilia says that Othello must have been deceived by a villain.
• Iago assures Desdemona that Othello is merely upset by some official business.
• A trumpet flourish calls Emilia and Desdemona away to dinner with the Venetian emissaries.
• Roderigo enters, still frustrated with his unrequited love.
• He plans to tell Desdemona how he feels so that she can return all the jewels that Iago was supposed to give him,
from him.
• Iago tells Roderigo that Cassio is being assigned to Othello’s place.
• Iago continues the lie and says Othello has been dispatched to Mauritania, Africa. (Othello going back to Venice.)
• He tells Roderigo that only way to prevent Desdemona from going with Othello to Africa is to get rid of Cassio.
• He persuades Roderigo to kill Cassio.

ACT IV, scene iii

• After dinner, Othello proposes a walk with Lodovico and sends Desdemona to bed – he tells her to dismiss Emilia
and that he will be there soon.
• Desdemona seems aware of her imminent doom / fate as she prepare for bed – she tells Emilia that if she should
die before Emilia, Emilia should use the wedding sheets as her shroud. (burial cloth)
• As Desdemona undresses, she sings a song called “Willow”, about a woman whose love left her. (A resigned
acceptance of misfortune that Desdemona seems to embrace.)
• The song makes Desdemona think about adultery and she asks Emilia she would cheat on her husband.
• Emilia says that she will not deceive her husband – but if a woman cheats on husband, only husband be to blame.
• Desdemona says that she would rather answer bad deeds with good deeds, than more bad deeds.
• She readies herself for bed.

ACT V, scene i
• Iago and Roderigo wait outside the brothel where Cassio is visiting with Bianca.
• Iago gives Roderigo a sword and positions him where he will be able to ambush Cassio.
• Iago prepares to leaves, Roderigo asks him not to go too far in case he needs help in killing Cassio.
• Cassio appears, Roderigo attempts to stab him but cannot penetrate his armour,
• Cassio retaliates and wounds Roderigo.
• Iago appears and stabs Cassio in the leg and run off.
• Cassio does not know who stabbed him and falls down.
• Othello enters and hears Cassio’s cries of murder.
• Othello believes that Iago has killed Cassio and returns home to kill Desdemona.
• Lodovico and Gratiano enter and hear Cassio and Roderigo’s cries.
• They cannot see anything because of the darkness and are hesitant to help, in case it is a trap.
• Iago enters, carrying a light.
• He pretends to discover Cassio, who begs him for help and then finds Roderigo, who Iago stabs
• Lodovico and Gratiano are still unable to see Iago and they do not know what he has done.
• The three men approach each other and they question Cassio about his injuries.
• Bianca enters and begins to cry out when she sees the wounded Cassio.
• Iago questions Cassio about his assailant but Cassio has no explanation.
• Iago suggest that Roderigo is to blame; Cassio says he does not know Roderigo.
• Attendants carry off Cassio and Roderigo’s body.
• Emilia enters and Iago tells her what has happened and blames the injuries and deaths on “the fruits of whoring”.
• He and Emilia scold Bianca and whose house Cassio had dined that evening.
• Iago arrests Bianca and sends Emilia to tell Othello and Desdemona what had happened.

ACT V, scene ii
• Othello, holding a candle, stands over Desdemona and is preparing to kill her.
• He bends down to kiss her one last time.
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• She wakes and he tells her to prepare to die.
• Desdemona, clearly frightened, asks her husband why he means to kill her.
• Othello responds that she has been unfaithful to him, he has seen proof – the handkerchief in Cassio’s possession
• Desdemona denies this, but Othello does not believe her.
• He says that Cassio admitted the affair, but cannot speak anymore, as he has been killed by Iago.
• Desdemona weeps for Cassio which only enrages Othello more.
• Desdemona wrestles with Othello but is no match for him and he smothers her.
• Emilia calls from outside the door and Othello thinks that it is Desdemona crying out and is not dead yet.
• He wants to be merciful and smothers her again.
• Othello draws the curtains around the bed and lets Emilia in.
• Emilia informs Othello that Cassio killed Roderigo.
• Othello asks is Cassio is dead too and Emilia says that Cassio is alive and well.
• Othello realises that his plan has flopped.
• Desdemona cries out that she has been murdered – but that she killed herself – she (finally) dies.
• Othello admits that he killed Desdemona, blames it on her infidelity which Iago told him about and proved to him.
• Emilia calls for help and brings Montano, Gratiano and Iago to the scene.
• Iago’s plans are revealed by Emilia.
• Othello falls on the bed, weeping for his dead wife.
• Gratiano announces that Brabantio is dead – happily before he could hear of his daughter’s death.
• Othello tries to cling to Iago’s “truth” (perhaps to make himself feel less guilty) about the handkerchief in
Cassio’s room.
• Emilia, unable to hide her husband’s actions anymore, admits that she found the handkerchief and gave it to Iago.
• Othello runs at Iago, but is stopped by the others.
• Iago stabs his wife and runs off, pursued by Montano and Gratiano.
• Othello is left alone with the dead bodies of the women and searches for another sword.
• Emilia dying words are the lyrics to the son “Willow”.
• She tells Othello that Desdemona was always true to him and loved him with all her heart.
• Gratiano returns to find Othello armed and mourning the death of his wife.
• Montano, Lodovico, Iago (held prisoner) and Cassio arrive.\
• Othello stabs Iago and wounds him.
• Lodovico orders the soldiers to disarm Othello.
• Lodovico produces a letter found on Roderigo that reveals everything about Iago’s plans.
• Othello, perhaps to find some sort of reconciliation, asks Cassio how he came about the handkerchief.
• Cassio tells Othello that he found it in his room.
• Lodovico tells Othello that he will have to return to Venice with them and stand trial.
• Othello stabs himself with a dagger that he hid.
• Othello falls on the bed next to his wife, and dies.
• Lodovico tells Iago to look on the consequences of his action.
• He names Gratiano as Othello’s heir and puts Montano in charge of Iago’s execution.
• Lodovico prepares to leave for Venice to bear the news from Cyprus to the Duke and the Senate.

THEMES

1. Jealousy has the power to destroy

Jealousy destroys Iago (he was passed over for promotion) and Othello (he was jealous of Desdemona’s alleged
affair with Cassio). Loyalty and rationality are abandoned as the effects of jealousy are felt. The huge irony in
the play is the fact that Iago is jealous of Othello and therefore decides to “bring him down” by making Othello
jealous of Desdemona and Cassio! Jealousy leads to both these men’s downfalls. Jealousy is illogical and irrational
– Othello believes Iago, not Desdemona, he loses confidence in himself and his marriage and thus makes enormous
mistakes in judgement.

2. Hatred is often skin deep

Racial prejudice is a crucial issue in the play. It isolates Othello – makes his feel like a detective and an outcast.
(He wonders why he is worthy of Desdemona and whether she had fallen for a handsome white man, Cassio)
Brabantio and Iago are the most bigoted characters. They have strong opinions on ethnicity and refuse to accept

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different views. Brabantio is enraged that his daughter has eloped with a black Moor. Iago cannot accept that he
has to take orders from a black man.

3. True love requires courage

Desdemona marries Othello knowing well that his colour, cultural background and his advanced age will arouse
controversy. But she never falters in her love for him and remains true, even when her father speaks out against
Othello. She does not allow others’ bigotry to affect her. True love requires mutual trust and Iago’s destroys
Othello’s trust in Desdemona.

4. Bad things happen to good people

Desdemona is pure and innocent, the ideal wife. Othello is noble and loving, the ideal husband. But Othello
murders Desdemona and then kills himself. Chance, character flaws (Othello’s jealousy) and the presence of evil
(Iago) can often militate against happy endings.

5. Racism
Iago is among the most evil of characters in all of Shakespeare’s plays. He uses racist slurs throughout the play.
Brabantio is racist too and not accepting of Othello as a husband for Desdemona. Racial prejudice isolates
Othello and makes him feel like an outcast. In Shakespearean times, black men were supposed to be violent,
jealous, lecherous and treacherous and often associated with black magic. YET Shakespeare uses Othello to
“break” this mould – Othello is a kind, gentle and honourable man. BUT then in Acts 4 and 5, Othello conforms to
the racial stereotypes until he accepts responsibility for his actions and then discards the “mould” again.
Desdemona’s white skin is often used as a metaphor for her innocence, Othello’s Black skin as a metaphor for his
underlying evil and wicked ways.

6. The Incompatibility if Military Heroism and Love

Othello is a soldier, first and foremost. His life revolves around his career in the military. Although Desdemona
accompanies him to Cyprus, she is always in the background. He woos Desdemona with tales of his adventures in
the military. Othello confuses his identity as a successful soldier with his image of being an (apparent)
unsuccessful husband.

7. The Danger of Isolation

The action of Othello moves from the bustling metropolis of Venice to the remote Cyprus. The characters on the
island have nothing much to do, so preying on each other comes easily. The characters are often left alone to
their thought, isolated.

8. Sight
In both act 1 and act 2, there are references to physical sight limitations – this parallels to Othello’s
metaphorical blindness in Act 3.

9. Animals
Iago calls Othello a “Barbary Horse” and an “old black ram” and tells Brabantio that his daughter and Othello are
“making the beast with two backs”, and several other references to animals and their characteristics – goats,
puppies, hens, cats, beasts, monsters – these images convey a sense that the Laws of Nature, rather than those
of society, are the primary forces governing the characters in the play. The animal references to Othello are
racist and defamatory and vulgar.

10. Appearance versus Reality

At the beginning of the play, Othello appears strong and self-disciplined and Iago presents himself as loyal and
trustworthy. Later, Othello is revealed as a victim of his emotions and Iago as a disloyal and evil man. Othello is
an honest man and therefore believes that all men are honest. Iago’s appearance is manly and attractive,
therefore people tend to confide in him and believe what he says. In Othello virtually every character is fooled
by appearance and the inability to see reality and its terrible consequences.

IMAGERY IN THE PLAY

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Othello is rich in memorable figures of speech, several of which have become part of our everyday
language. (Line references in this study guide refer to Maskew Miller Longman “Active
Shakespeare” (play and study notes) edition of “Othello”.)

“For daws to peck at.” – Act 1, scene 1, line 64

Iago uses a metaphor to compare his heart to bird food. He comments on what he would do if he were like other men
who make no attempt to hide their true feelings. Iago is, after all, the master of false impressions.

“I will a round unvarnish’d tale deliver. – Act 1, scene 3, line 89

Othello defends himself against accusations that he abducted Desdemona, saying that he will tell the whole truth,
unvarnished.

“To mourn a mischief that is past and gone / Is the next way to draw new mischief on. – Act 1, scene 3,
lines 202-203
Using alliteration, the Duke of Venice advises Brabantio not to fret over a lost cause.

“The robb’d that smiles steals something from the thief.” – Act 1, Scene 3, line 206
After the Duke of Venice exonerates Othello before the council, he advises Brabantio in this paradox to accept the
verdict in good humour rather than to protest it with petty grumbling.

“Virtue! a fig!” – Act 1, Scene 3, line 318

Iago belittles virtue in his metaphor. (Virtue is definitely not something that Iago has much of!)

“The food that to him now is as luscious as locusts, shall be to him shortly as bitter as coloquintida” – Act
1, Scene 3, line 346-347
In a metaphor, Iago compares current events to food – in a simile he compares the taste of the food to the delicious
taste of locusts. He predicts that the sweetness of Othello’s life will soon turn bitter. (Coloquintida is an alternate name
for Colocynth, a vine that bears a fruit resembling a lemon.)

“O! beware, my lord, of jealousy; / It is the green-ey’d monster which doth mock / The meat it feeds on.” –
Act 3, Scene 3, lines 169-171
In this metaphor, Iago tells Othello that jealousy in monstrous. Iago’s observation is also an example of irony – it is
Iago who is flaming the jealousy in Othello. Iago, too, also suffers from jealousy aimed at Cassio.

“Poor and content is rich, and rich enough.” – Act 3, Scene 3, line 176
Iago (falsely) consoles Othello with a paradox after Othello’s suspicions of Desdemona arise.

“Speak of me as I am; nothing extenuate, / Nor set down aught in malice: then, must you speak / Of one that
lov’d not wisely but too well.” - Act 5, Scene 2, lines 340-341
Before stabbing himself, Othello explains that he loved Desdemona deeply, but not wisely. Alliteration (wisely, well)
in line 400.

IRONY IN Othello
Othello’s prejudice – the Ultimate Irony
Othello is the victim of racial / ethnic prejudice, yet Othello commits the most heinous of prejudice acts –
he forejudges his wife as a “cunning whore” (Act 4, scene 2, line 91). He murders her without considering
confuting evidence and his execution of his wife demonstrates that prejudice is an equal-opportunity
affliction.

Iago’s “good name”

Iago is an evil man who masquerades as an honourable one.

IMPORTANT SYMBOLS / IMAGES IN Othello

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The Handkerchief – From the moment it is introduced in the play, the handkerchief becomes the
most important symbol. As a charmed gift given to Othello’s mother, the handkerchief
represents Othello’s mysterious and exotic heritage, a heritage denied (by himself) as a
Christian and Venetian citizen. The handkerchief represents Desdemona’s loyalty and chastity.
The fact that Othello is convinced that she gave it to Cassio means (to Othello) that she has
given her body to another man. By positioning the handkerchief in Cassio’s room, Iago manages
to “convict” Desdemona of adultery. When, in the next scene, Bianca is found to be in
possession of the handkerchief, Desdemona herself seems no better than a prostitute. (She
‘allows’ what was once a symbol of Othello’s love and commitment, to be passed around and
copied.)

The “Willow” song – As she prepares for bed in the final act, Desdemona sing a song about a
woman whose lover betrays her. She was taught the song by her mother’s maid, Barbary, who
suffered the misfortune of being betrayed by her lover. Desdemona dies singing the song. The
song represents melancholy and a resigned acceptance of her alienation from Othello and his
affections. Emilia also mutters some of the lyrics of the song just before she dies.

Entrapment and Ensnaring – One of the central images in the play. The motif of a spider
catching a fly in its web is constant – Iago spins a web of lies and deceit and it ‘catches’ his
prey. (Evil ensnares good.) False appearances are projected in order to deceive and entrap.

Language Usage in Othello – Othello and Iago use very different ways of speaking and imagery
in the speeches:

Othello: He uses poetic language, smooth flowing, dignified, stately, lofty, solemn, sensuous,
and moral. He makes many references to heroism and adventures, sun, moon, stars, Heaven and
Hell. When Othello’s rationality is affected by Iago, he begins to speak like Iago and uses
similar imagery – his poetic language becomes hesitant, abrupt and sometimes even crude.

Iago: Her uses matter-of-fact prose, not much creative imagery, cynical, critical, calculated,
cold, self-centred, immoral. Draws imagery from lower orders of nature – repelling. He uses
crude sexual images and reduces people to levels of animals.

A Glossary of terms used in the play and this studyguide:

• Allusion – a direct reference to a person, place or event.

• Anon – soon (“I will be there anon” – I will be there soon!)
• Aside – a comment made by a character in the play that is intended to be heard only by audience, not the other characters on the stage.
• Climax – the moment of greatest tension in the play.
• Dénouement – the section after the climax, when the play “fizzles” – works itself out.
• Diction – The writer’s choice of words – vocabulary
• Dramatic Irony – When the audience knows more about some aspect of the action than some of the characters on the stage.
• Dramatis Personae – the characters in the play
• Ere – before
• Hence – From here
• Iambic Pentameter – the metre in which Shakespeare wrote his works – there are 5 repetitions (an unstressed and stressed syllable) in
each line. It follows the natural rhythm of speech.
• Imagery – the creation of sensory impression through the use of figurative language.
• Juxtapositioning – the placing next to each other of contrasting elements or scenes.
• Lewd – sexually course and aggressive
• Motif – a recurring theme or patters of imagery
• Plot – the events that happen during the course of the play
• Soliloquy – a speech made by a character, alone on stage. The character reveals intimate thoughts and deep emotions to the audience.
• Stage directions – instructions for the actors regarding their positioning on stage, their entrances and exits.
• Subtext – meaning implied in the text – needs to be interpreted.
• Suspension of belief – when the audience does not apply logical rules of life to a situation. I.e. in an aside, we believe that the other
characters on stage cannot hear the main character speaking.
• Symbolism – a physical object that is used to represent something.
• Theme – a central issue to the play
• Tone – an attitude that a speaker or writer displays towards the person who is addressed – the feeling of the writer or speaker is
conveyed through his/her ‘tone of voice’.

QUESTIONS ON EVERY SCENE:

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ACT I, SCENE i

1. What is Roderigo complaining about in the opening scene?

2. Why does Iago say he hates Othello so much, and what does he mean when he says: "In following him,
I follow but myself."
3. How many times does Iago refer to Othello as “the Moor”? Why does he do this?
4. What do Iago and Roderigo hope to accomplish by shouting insulting remarks about Othello and
Desdemona under Brabantio's window?
5. What is Roderigo’s previous relationship to Brabantio and his daughter?
6. How does Brabantio assume the Moor won his daughter?
7. Why is it significant that Othello and Desdemona eloped?

ACT I, SCENE ii

1. What are Othello and Iago talking about at the opening of this scene?
2. When Iago warns Othello that Brabantio is "much-loved" and may try to separate him and Desdemona,
what is Othello's answer and what does it suggest about what Othello’s values?
3. What does Othello mean when he says: "My parts, my title, and my perfect soul/ Shall manifest me
rightly."
4. According to Brabantio, how has Othello seduced his daughter?
5. How does Brabantio show racial prejudice towards Othello? Mention two offensive images Brabantio
uses.
6. Two groups of men approach Othello’s home in this scene. Name the groups and their intentions.
7. Othello says, “Keep up your bright swords, for the dew will rust them”. What does he mean by this and
what does this show of Othello?

ACT I, SCENE iii

1. What danger is Cyprus facing?

2. Why has the Duke summoned Othello?
3. In response to Brabantio's accusation that Othello has bewitched his daughter, Othello explains how
she originally fell in love with him. How did it happen and why has Othello's description been called "the
Othello music"?
4. What do we learn about Othello and Desdemona in Othello’s long defence of himself?
5. How is the argument settled once Desdemona arrives?
6. What is the point of Iago's "Virtue, a fig" speech?
7. How would you characterize the difference between the way Othello and Iago talk, both in their subject
matter and their style?
8. At the end of this scene, Iago gives a second reason for hating Othello; what is this reason?
9. What did the city of Venice symbolize to members of the Elizabethan audience? What was the
reputation of Venetian women?
10. Identify each of the following quotations in terms of the following:
a. The speaker
b. The context
c. The implications of what is said
i. I follow him to serve my turn upon him
ii. I am not what I am.
iii. O heaven! How got she out? O treason of the blood.
iv. For if such actions may have passage free / Bond-slaves and pagans shall our
statesmen be.
v. ‘twas pitiful, ‘twas wondrous pitiful.
vi. I do perceive here a divided duty.
vii. A man of honesty and trust.

ACT II, SCENE i

1. Where are we now?

2. What role does Montano play?
3. What has happened to the Turkish Fleet?
4. What does the discussion of women between Desdemona and Iago tell us about them?
5. What character trait in Emilia does Iago criticise? Why does Emilia remain silent?

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6. According to Iago, women deceive. What qualities does he give them? Do you agree with his view?
7. In lines 167-169 of this scene, what does Iago notice and what does he plan to do as a result?
8. What does Iago's advice to the lovesick Roderigo reveal about what he thinks of Desdemona's love for
Othello?
9. What plans does Iago set up with Roderigo?
10. What does Iago's last speech in the scene reveal about his attitude toward Othello?
11. What emotion seems to be governing Iago’s thoughts and actions?
12. How does Iago’s conclusion To suckle fools and chronicle small beer constitute an anticlimax?
13. How is Cassio involved in Iago’s feelings?

ACT II, SCENE ii

1. What does the proclamation say?

2. How has Othello created a perfect occasion for Iago’s evil work?

ACT II, SCENE iii

1. What does Othello mean in lines 7-10?

2. How do Iago and Cassio’s views of Desdemona differ?
3. How does Iago get Cassio to drink more than he should?
4. How does Iago dishonour Cassio in this scene and what does he advise Cassio to do in order to be
reinstated?
5. How does what Iago says, get Cassio fired?
6. What does Cassio complain about losing? How does Iago respond?
7. What is Roderigo’s complaint? How does Iago answer it?
8. What new details does Iago add to his plan in his last soliloquy of this scene?

ACT III, SCENE i

1. Why does Cassio bring musicians? What is Othello’s response to them?

2. What does Emilia tell Cassio that Desdemona is already doing for him?

ACT III, SCENE ii

1. What is the function of this scene?

2. Explain the irony of Othello inspecting the OUTER fortifications of Cyprus. (Think of Iago’s plans.)

ACT III, SCENE iii

1. As Cassio pleads his case to Desdemona, Othello and Iago approach: Why does Iago comment: "Ha, I
like not that"?
2. Why does Desdemona agree to help Cassio?
3. How successfully does Desdemona plead for Cassio? What is Othello’s response to Desdemona as
she leaves?
4. What is the principal strategy that Iago uses (over and over in this scene) to convince Othello that his
wife has betrayed him with Cassio?
5. By line 344, what is Othello's state of mind?
6. What is the primary thing Othello has lost through Desdemona's betrayal?
7. What kind of proof does Othello ask for in line 371?
8. Will Othello keep an open mind until he has seen real proof? Why / Why not?
9. What is a cuckold?
10. What is the significance of Othello’s dismissal of Desdemona when she tries to help him?
11. How does Iago treat his wife?
12. What is Iago going to do with the handkerchief? What is Emilia’s role in this?
13. Cassio’s apparent ‘night-ramblings’ enrage Othello. How much value does it have as proof of
Desdemona’s unfaithfulness? How much value does Iago give it? Why? How much value does Othello
give it? Why?
14. According to the editor's stage directions, what do Othello and Iago both do at the end of this scene and
how might this be significant?

ACT III, SCENE iv

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1. What is the subject of the witty discussion between Desdemona and the clown?
2. How could the impending tragedy have been averted here?
3. Desdemona tells a small lie here – what are the consequences? Could she foresee it?
4. Why is the handkerchief that Desdemona has lost so important to Othello? Discuss the history and
significance.
5. What does the argument between Desdemona and Othello tell us about them?
6. What is Emilia’s view of men? What does this show about her?
7. What does Cassio do with the handkerchief he found?
8. How does Bianca’s jealousy differ from that of the deep feelings of Othello?

ACT IV, SCENE i

1. What statements about Desdemona’s behaviour is Iago now making?

2. What does Othello's language in lines 33à suggest about his state of mind? How is his language now
much more like that of Iago than it was?
3. How does Iago go about providing the visual proof of Desdemona's infidelity that Othello had earlier
asked for?
4. Why does Iago get rid of Cassio / Why does he avoid a confrontation between Othello and Cassio?
5. Why has Lodovico come from Venice?
6. What action of Othello’s surprises Lodovico?
7. How does Desdemona react to being hit by her husband?
8. How does Iago respond to this?
9. How will this advance his plans even if everything else fails?

ACT IV, SCENE ii

1. Why is Othello questioning Emilia?

2. What is his response to her answers? (What is his attitude?) Quote one word to support your answer.
3. Why are there so many references to brothel in this scene?
4. How correctly does Othello identify his weakness in lines 48-65?
5. What possibility is raised in line 82-94? How is it dashed?
6. How helpful to Desdemona can we expect Iago to be? Why?
7. Why doesn't Desdemona react more strongly when Othello accuses her of infidelity?
8. What is Roderigo complaining about?
9. What is Roderigo the first one to discover?
10. Does Desdemona know anything about Roderigo’s suit or the gifts he has sent her through Iago?
11. Why does Iago tell Roderigo it is necessary to get rid of Cassio?
12. Explain the dramatic irony in Desdemona asking Iago for advice.

ACT IV, SCENE iii

1. As Emilia prepares her mistress's wedding bed, Desdemona talks of her mother's servant, Barbary,
who was forsaken by a mad lover. Then she and Emilia talk about whether they would be unfaithful to
their husbands or not. What is the significance of this conversation?
2. Explain Desdemona and Emilia’s views on men and the relationships between men and women.
3. Explain the significance of the “willow song”.

ACT V, SCENE i

1. How does Iago justify the deaths of Roderigo and Cassio?

2. What happens when Roderigo attacks Cassio?
3. Who wounds Cassio?
4. What does Othello assume has happened?
5. Why does Iago appear in his shirt?
6. Why does Iago kill Roderigo?
7. This scene might be confusing. Arrange the following events in the order that they happen in the scene:
a. Lodovico and Gratiano remain at a distance because they fear a trap.
b. It’s so dark that Iago is not seen when he stabs Roderigo.
c. Roderigo stabs Cassio, who does not die.
d. Bianca enters and is blamed for what happened.
e. Iago enters in his nightdress.
f. Othello leaves to kill Desdemona.

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 g. Iago treats Cassio with false concern and binds the wound that he (Iago) inflicted.
h. Othello thinks Iago’s plan to kill Cassio has been successful.
i. Lodovico and Gratiano come forward.
j. Cassio wounds Roderigo.
k. Iago stabs Cassio in the leg and runs off.
l. Cassio calls for help.
m. Othello hears the noise and observes from a window.
n. Emilia enters, blames Bianca and then is sent to tell Desdemona and Othello the news.
o. Lodovico and Gratiano enter.

ACT V, SCENE ii

1. As he enters Desdemona's bedchamber in order to kill her, Othello mutters: "It is the cause, it is the
cause, my soul." What is he talking about? In what way might he be rationalising Desdemona's murder?
2. What tone and justification does Othello try to give the murder of Desdemona?
3. Desdemona understandably shows her grief at the news of Cassio’s death. How does Othello
misinterpret her reply?
4. Othello makes two false statements. What are they?
5. In her death throes, Desdemona seeks to excuse Othello. Why?
6. Why does Othello draw the bed curtains after the murder?
7. Whom does Desdemona blame the murder on? Why?
8. What happens when Othello confesses to murdering Desdemona?
9. What does Othello realise now?
10. What has happened to Desdemona’s father?
11. Why does Iago try to silence his wife?
12. What does Emilia reveal to Othello?
13. Why does Othello attack Iago?
14. How do Roderigo’s pockets conveniently help to clarify much of what happened?
15. Who gets Othello’s estate? Why?
16. What happens to Iago? Is it justified?
17. Often at the end of a play, Shakespeare's tragic heroes have a moment of insight: According to what he
says, what is Othello's insight into himself?

SHORTER QUESTIONS
QUESTIONS BASED ON PLOT

1. Despite his cleverness and luck, Iago eventually suffers a downfall. Discuss 3 reasons why Iago meets
his doom.
2. Othello is often seen as a play that represents a struggle between good and evil. Explain.
3. The subject of loyalty plays an important part in Othello. Discuss in terms of at least three of the
characters.
4. Discuss how irony operates in Othello. Give at least 3 examples.
5. Discuss Othello as a tragic figure and the reasons for his fall from grace.
6. Discuss the function of the handkerchief in the plot of Othello.
7. Othello and Iago hold very different opinions on human nature. Compare their views.
8. Discuss the use of darkness as a motif in Othello.
9. Discuss the reasons Othello is vulnerable to Iago’s persuasive tactics.
10. Othello has been called Shakespeare’s most exciting play. Discuss 5 ways that Shakespeare creates
excitement in the play.

QUESTIONS BASED ON CHARACTERS

1. Discuss Iago's motive for planning Othello's ruin.

2. Compare Desdemona and Emilia as wives to their respective husbands.
3. Analyze Desdemona's character from two points of view: the world of the play and the world of today.
4. How does Othello's race affect the outcome of the play?
5. What is Roderigo's function in the play?
6. Discuss the techniques Iago uses to manipulate others.
7. In what ways can Iago be seen as the perfect actor?
8. How do Cassio and his personality affect the outcome of the play?

20
9. What role does Bianca play in the drama on Cyprus?
10. Discuss Iago's view of human nature.
11. How does Othello regain his nobility in Act V after the earlier disintegration of his character?
12. Is Iago a tragic figure? Explain your answer.
13. What do Iago's soliloquies tell us about him?
14. In what ways do Desdemona's mistakes contribute to her death?

QUESTIONS BASED ON THEMES

1. Discuss the use of appearance vs. reality as it affects the play.

2. How is jealousy used as a theme throughout the play?
3. Discuss the different ways the term loyalty can be applied to Desdemona, Emilia, Cassio, and Iago.
4. How does friendship--both false and true--operate as a theme?
5. Discuss the difference between professional jealousy and sexual jealousy as they affect the characters.
6. What are the views on adultery of Othello, Iago, Emilia, and Desdemona?
7. In what ways does the innocence of Desdemona and Othello affect the play's outcome?
8. How is hate shown to be a destructive emotion?

A LIST OF POSSIBLE ESSAY TOPICS

1. Discuss the role that race plays in Shakespeare’s portrayal of Othello. How do the other characters react to Othello’s
skin colour or to the fact that he is a Moor? How does Othello see himself?

2. Discuss the importance of setting in the play, paying close attention to physical details that differentiate Venice from
Cyprus and that define the particular character of each location as it pertains to the plot of the play.

3. Discuss the role of Emilia. How does her character change during the course of the play? pay particular attention to
moments when Emilia decides to be silent and when she decides to speak. What is the effect of her silence about the
handkerchief? Do we forgive this silence when she insists on speaking in spite of Iago’s threats in the final scene?

4. Analyse one or more of the play’s bizarre comic scenes: the banter between Iago and Desdemona in Act 2, scene 1; the
drinking song in Act 2, scene 3; the clown scenes in Act 3, scenes 1 and 4. How do these scenes reflect, distort, echo or
comment on the more serious matter in the play?

5. “For he was great of heart,” says Cassio of Othello in the last moments of the play. Do you think Othello was “great of
heart”? Is this the only way in which he can be seen as “great”?

6. What do you think Shakespeare is saying about love and duty in Othello?

7. “Othello is a play of violent contrasts, of language, character and mood.” Discuss these and any other contrasts you have
found in the play.

8. Outline the part played by Cassio in Othello and show in detail what he contributes to the dramatic interest of the work.

9. “Iago was a brilliant opportunist who had plenty of motives to prompt his schemes, and heaven-sent human material
with which to develop them.” Discuss.

10. “A credulous husband and foolish wife.” Discuss this estimation of Othello and Desdemona.

11. Some have said that the focus of Othello is not the title character, as is the case with Shakespeare’s other great tragedies,
Macbeth, King Lear and Hamlet. Is Othello simply too one-dimensional to be considered a great tragic hero? Does his
seemingly unrealistic gullibility lessen our interest in him and his suffering?

12. Why does Othello not investigate Iago’s accusations? Why does Othello not seek his own proof of Desdemona’s
betrayal?

13. Samuel Taylor Coleridge once wrote that Iago’s soliloquies are the “motive-hunting of motiveless malignity.” Is this an
accurate observation? Does Iago have a motive or motives for his hatred of Othello? Even if he does, are his actions
justified?

14. Explore the character of Desdemona. What is her role in the play? What does she represent?

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POSSIBLE ANSWERS TO QUESTIONS:
Please note: these are mostly my opinions and ideas. Feel free to disagree /elaborate / disregard! J

QUESTIONS ON EVERY SCENE:

ACT I, SCENE i

1. Iago does not listen to him when he speaks.

2. Othello passed him over for promotion – he will pretend to obey Othello, but serve him only to further
his own interests.
3. 4 times – makes him out to be uneducated, rough, emphasise his skin colour and therefore race /
culture.
4. Infuriate Brabantio and get Brabantio to take action against Othello and discredit him / have him jailed?
Brabantio will fight their battle for them?
5. Roderigo had courted Desdemona in hopes of winning her hand and marrying her. Did not succeed.
6. Magic, witchcraft, trickery, potions etc.
7. They did not face the public and marry publicly – perhaps knew it would be difficult (considering their
race differences and age gap, etc.) They did it behind her father’s back – no consent, as tradition
expects.

ACT I, SCENE ii

1. Iago is telling Othello how Brabantio ‘bad-mouthed’ him and said insulting things about him.
2. Othello is not too worried; he really loves Desdemona and fears no man. He is confident about their
marriage and will not stand back to Brabantio. he is noble and brave man who truly loves Desdemona.
3. His character and esteem in society will attest to his character and intentions. he has always been
respected in society and therefore fears no judgement for his marriage to Desdemona.
4. Witchcraft, potions etc.
5. Calls him a thief (stole his daughter) Othello “enchanted” Desdemona – she was put under his spell.
“Sooty bosom” – unclean and ‘unpure’.
6. Brabantio’s men – to confront him about the marriage. Duke’s men – to call him to court to discuss
situation in Cyprus.
7. Do not fight – swords will rust due to dew, not bloodshed and fighting. he is a pacifist (if need be) and
does not see a reason for bloodshed in this situation. He is a mild and passive man. Othello believes
that this situation can be resolved by talking, not fighting.

ACT I, SCENE iii

1. Invasion from the Turks. (Ottoman Forces)

2. Othello must go to Cyprus and lead the defence against the Turks.
3. Othello told Brabantio and Desdemona the tales and adventures of his life. Desdemona became
completely infatuated with the spirited and ‘adventured’ man and Othello fell in love with her pity and
love and soul.
4. They truly are in love and want to be together. They are kindred souls.
5. She affirms that Othello used NO potions or spells. She wilfully fell in love with him and married him.
6. Further affirmation of Iago’s character – he does not believe in virtue, he is an unprincipled man.
7. Othello is calm and collected, mature style and vocabulary. He relies on his words and wisdom in his
speech to convey his message and intent. Iago is aggressive and uses crude words. He is
inconsiderate in his choice of words.
8. Iago claims that Othello has slept with his wife, Emilia.
9. Venice was a glamorous and exciting place to be in. It was a well-governed republic. there was a great
amount of sexual freedom in Venice. It was not unheard of to be a courtesan / prostitute. Even the
married woman would take lovers. The women were sophisticated and often educated.
10. Identify the following quotations in terms of the following: (These excerpts come from scenes 1-3)
a. The speaker
b. The context
c. The implications of what is said

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 i. I follow him to serve my turn upon him – Iago ; speaking to Roderigo about Othello ;
Iago will only serve as Othello’s ensign in order to further his own (evil) ambitions and
plans.
ii. I am not what I am. – Iago ; speaking to Roderigo ; affirmation of Iago’s two-facedness.
iii. O heaven! How got she out? O treason of the blood. – Brabantio ; speaking to Iago and
Roderigo after they had informed him of Desdemona’s marriage to Othello ; Start of
Brabantio’s hatred for Othello, Iago succeeds in turning another person against Othello.
iv. For if such actions may have passage free / Bond-slaves and pagans shall our
statesmen be – Brabantio reacting to news of Desdemona’s eloping ; he implies that if
the Othello / Desdemona marriage should be true and validated, slaves and pagans will
soon take over as rulers in Venice.
v. ‘twas pitiful, ‘twas wondrous pitiful. – Othello ; speaking to Duke about his love for
Desdemona ; we see that Othello really loves Desdemona and that there was no
trickery involved in their marriage.
vi. I do perceive here a divided duty. – Desdemona ; addressing Duke and court ; she
feels torn between her husband and father. She feels loyal to both. Brabantio raised
her but now she loves Othello.
vii. A man of honesty and trust. – Othello ; speaking about Iago ; Othello has asked Iago to
accompany his wife to Cyprus. Othello trusts Iago.

ACT II, SCENE i

1. Cyprus
2. Montano is the governor of Cyprus
3. A terrible tempest / storm has left the fleet broken / dispersed. They have been drowned or stranded.
4. Desdemona is a strong woman able to use wit and sarcasm as well as Iago. Iago has a clear disdain
for women. He sees them as unworthy humans only on earth to fulfil the most primal functions.
5. Iago states that Emilia speaks without thinking, says silly things. Emilia remains silent as she (perhaps)
is so used to verbal belittling from Iago that she does not respond to his insults. She knows that he is
not joking.
6. Women (according to Iago) are lazy and deceive their husbands in thinking they will be great lovers,
companions and housewives, meanwhile they are not.
7. Cassio and Desdemona are aside and seem to be in a comfortable relationship. They are quite close.
He decides to use this to his advantage. Iago will make Othello believe that Desdemona and Cassio are
having an affair.
8. Iago believes that Desdemona will soon tire of Othello and seek other men. He believes that
Desdemona has a superficial love for Othello.
9. Roderigo should provoke Cassio after making him drunk. Cassio will then be discredited and be on
Iago’s side in order to win Othello’s favour back.
10. He truly hates Othello and will do anything in his power to get his revenge and destroy Othello. He has
no morals!
11. Revenge / hatred
12. Iago considers raising children and keeping track of household accounts, to be trivial and meaningless.
Instead of explaining his intricate plan to ruin Othello, Iago refers back to females and their tasks in the
household.
13. Iago is most jealous of Cassio and will use Cassio to plan Othello’s ruin.

ACT II, SCENE ii

1. Othello invites all to a party in celebration of the Turks’ demise and also to celebrate his marriage to
Desdemona.
2. There will be opportunity for Othello to see how Cassio and Desdemona interact. Alcohol always sets
tongues lose.

ACT II, SCENE iii

1. Othello wishes Desdemona to follow him to the bedroom so that they can consummate their marriage.
2. Iago believes her to be using Othello and not truly as honest and noble as she seems. Cassio has to
utmost respect and loyalty to Desdemona. He reveres her greatly.
3. Iago convinces Cassio that it is OK to drink, due to the festivities and party.

23
4. Iago tells all that Cassio is a drunkard. Cassio gets very drunk and has a brawl with Roderigo and
Montano and injures Montano. Iago tells Cassio to get Desdemona on his side, so that she can plead
with Othello to have his title reinstated. (This is all to add fuel to the “affair-fire”,)
5. Iago tells Othello that Cassio started the fight and that he was drunk and disorderly.
6. His reputation. Iago tells him that a person’s reputation is false and useless, that he will recover despite
all this.
7. That he was drunk and did not know what he was saying and doing. Iago advises him to get
Desdemona on his side.
8. He will get Cassio to become close to Desdemona and the affair-plan will be perfect.

ACT III, SCENE i

1. To hope to please Othello and win some favour with him, in order to reinstate him as lieutenant.
2. Speaking in his favour with Othello, trying to get Othello to change his mind about Cassio.

ACT III, SCENE ii

1. Acts as a bridge between the two longer scenes, it moves the time-scheme forward.
2. The outer walls of Cyprus might be strong and defendable, but the inner sanctum of Cyprus is rotting –
Iago is planning Othello’s downfall. If Othello falls, so too does much of the order and sanctity of
Cyprus.

ACT III, SCENE iii

1. Iago sees Cassio and Desdemona together and says that line to start the suspicion in Othello’s mind
about his wife and Cassio’s affair.
2. She will speak to Othello on Cassio’s behalf and try to plead his case. (This will, of course, only further
Othello’s suspicions once Iago’s plan starts.)
3. She does - Othello dismisses her appeals for Cassio at first but then agrees to see him within the next
few days. He says that he will not deny her anything, obviously Cassio’s case rests upon her shoulders.
He says that he will come to her soon.
4. He tells Othello over and over how much he loves him and is loyal to him and that he will always serve
him. He then proceeds to tell Othello how often he has seen Cassio and Desdemona together and
talking alone. Iago argues that Desdemona betrayed her father by marrying him (Othello) and therefore
will not think twice about betraying her husband too.
5. He is convinced of Desdemona’s betrayal and is distraught.
6. Honour and integrity.
7. Proof of Desdemona’s betrayal – the affair between her and Cassio.
8. No – his jealousy consumes him completely. He truly believes Iago and sees no reason to mistrust him.
Desdemona’s incessant pleading for Cassio spurs on the jealousy too and Othello sees this as proof.
9. A man whose wife has been unfaithful to him.
10. He has already rejected her.
11. Badly, chauvinistically, abusive, belittling
12. Plant it on Cassio and let Othello on about Cassio’s possession of it. Emilia picked it up when
Desdemona dropped it and gave it to her husband, upon his insistence.
13. Iago states that Cassio utters Desdemona’s name in his sleep. It does not carry any value / weight as
proof, but Iago insists it happened more than once and is therefore relevant. Othello sees it as
irrefutable proof.
14. They leave together – Iago has Othello completely in his palms, Othello trusts Iago implicitly. The plan
is working.

ACT III, SCENE iv

1. Desdemona asks the Clown about Cassio’s whereabouts and asks him to fetch Cassio.
2. Emilia could have told Desdemona that she dropped the handkerchief and returned it to her.
3. She lies about her loss of the handkerchief. Othello now believes that she gave it to Cassio and sees
this as the first of many lies that Desdemona will tell him about her and Cassio.
4. Othello’s mother gave it to him to give to his bride. It had been blessed by an Egyptian priestess / seer
to bind her to her husband.
5. They speak ‘around’ each other. Neither gets straight to the point.
6. Men need women only to carry their children and make their food. She is a cynic.
7. He gives it to Bianca to make a copy of it, as he finds it beautiful.

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8. Bianca could move on to another man if Cassio betrays her. Othello is unable to forgive and move on.

ACT IV, SCENE i

1. Desdemona is kissing and having sex with Cassio behind Othello’s back. She is a whore. She is
without honour and respect for her husband.
2. Erratic and angry. He is now violent in the imagery he uses and without reason.
3. Cassio produces the handkerchief. Iago speaks to Cassio about Cassio’s affair with Bianca. Without
using her name, Cassio tells Iago the details of their affair. Othello assumes that Cassio is speaking
about Desdemona.
4. If Othello should speak to Cassio, Cassio will deny the affair and tell Othello about Bianca and his affair
with her. Iago wants Othello’s mind to stay suspicious and because he does not have the ‘real’ proof to
back his story up, he cannot have a confrontation between Cassio and Othello. Cassio might also alert
Desdemona, who will in turn refute Iago’s story.
5. He has come to tell Othello that he is to return to Venice, since the Cyprus / Turkish war is not longer
going to happen.
6. He is rude to his wife and slaps her.
7. She rushes off and claims that she does not deserve any punishment / abuse.
8. He tells Lodovico that Othello has changed much since arriving in Cyprus.
9. Lodovico will go back to Venice and tell the Senate that Othello is not what they thought he is – he is a
violent and abusive husband and a poor leader. Iago will win, no matter what.

ACT IV, SCENE ii

1. Emilia is Desdemona’s lady-in-waiting, her servant and close friend. Othello wants to know whether
Emilia knows anything about an affair between Desdemona and Cassio.
2. Unbelieving – “simple”
3. Othello believes that Desdemona is a whore and belongs in a brothel. Emilia is hiding the affair from
Othello and therefore acts as Desdemona’s “pimp”!
4. Othello states that he is not a patient man. He does NOT correctly identify his irrational jealousy.
5. Desdemona refutes being a whore and unfaithful to Othello. He does not listen to her reason or
counter-arguments.
6. NONE – if Desdemona is seen as the whore, Othello will fall – Iago will be the winner.
7. She does not believe that he can possibly suspect her of something so vile. Desdemona believes in
Othello’s pure soul and their trusting relationship.
8. Iago is not keeping up his end of the bargain. Roderigo has paid him much money, yet Desdemona is
still with Othello.
9. A special commission from Venice has appointed Cassio in Othello’s position in Cyprus.
10. No, she does not. He has not given her any jewels or gifts or messages.
11. Desdemona and Cassio are having an affair and Cassio must be “gotten rid of” so that Desdemona will
fall into Roderigo’s arms.
12. He is planning her and Othello’s downfalls. In fact, the situation she is in now, is because of Iago’s
meddling and scheming.

ACT IV, SCENE iii

1. Desdemona (unknowingly) is being accused of the exact thing they are talking about. We see that
Desdemona will never betray Othello.
2. Desdemona believes in love and commitment and the inherent goodness of Othello. She believes in
her vows and the relationship. Emilia is much ‘harder’ about men and marriage. Perhaps because she
has been in such an abusive relationship for so long, she has become a cynic.
3. As she prepares for bed in the final act, Desdemona sing a song about a woman whose lover betrays
her. She was taught the song by her mother’s maid, Barbary, who suffered the misfortune of being
betrayed by her lover. Desdemona dies singing the song. The song represents melancholy and a
resigned acceptance of her alienation from Othello and his affections. Emilia also mutters some of the
lyrics of the song just before she dies.

ACT V, SCENE i

1. If Roderigo dies, he will not have to repay the money / jewels and have the man “off his back”. Cassio is
a threat to him in terms of power. If Cassio is not around, he will be promoted to take over on Cyprus,

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 perhaps even in Venice in Othello’s place. Cassio might also refute the affair and therefore the entire
plan will fall away.
2. Roderigo fails to kill Cassio and is stabbed by Cassio instead.
3. Iago
4. Cassio has attacked Roderigo, as Iago said he would.
5. He wants to appear to have been sleeping and NOT involved in the plot to get rid of the 2 men.
6. Roderigo is able to lay the whole plan out, he has to be eliminated in order for Iago to succeed.
7. This scene might be confusing. Arrange the following events in the order that they happen in the scene:
• Roderigo stabs Cassio, who does not die.
• Cassio wounds Roderigo.
• Iago stabs Cassio in the leg and runs off.
• Othello hears the noise and observes from a window.
• Othello thinks Iago’s plan to kill Cassio has been successful.
• Lodovico and Gratiano enter.
• Lodovico and Gratiano remain at a distance because they fear a trap.
• Iago enters in his nightdress.
• Lodovico and Gratiano come forward.
• Cassio calls for help.
• Iago treats Cassio with false concern and binds the wound that he (Iago) inflicted.
• It’s so dark that Iago is not seen when he stabs Roderigo.
• Bianca enters and is blamed for what happened.
• Emilia enters, blames Bianca and then is sent to tell Desdemona and Othello the news.
• Othello leaves to kill Desdemona.

ACT V, SCENE ii

1. He feels that he is entitled to kill Desdemona because she committed adultery. By killing her, he is
preventing her from betraying other men in future. He is protecting the other men from her. The cause
of his actions, is Desdemona.
2. Rational tone and “eye for an eye” justification.
3. Her lover is dead and she is distraught. This is the final affirmation for Othello that his wife is an
adulterer.
4. Cassio admitted to the affair by having the handkerchief on his person and saying that Desdemona
gave it to him.
5. She truly loves him and cannot fathom why he is doing this to her.
6. Perhaps hide the murder from Emilia who is calling from outside the room.
7. Herself. She loves Othello so much that she will not pin her murder on him.
8. Emilia is outraged and calls Othello a “blacker devil”. Emilia proceeds to tell Othello that Desdemona
had never cheated on him. Emilia tells Othello that her husband is a liar.
9. He had been duped by Iago and killed his wife without reason.
10. Her father has died back in Venice.
11. She will tell of the handkerchief and reaffirm that Desdemona never cheated on Othello.
12. She gave the handkerchief to Iago, after she picked it up when Desdemona dropped it.
13. He realises he has been duped and is infuriated. Iago is now the target of his rage.
14. They find a letter that tells of the plan, from the very start.
15. Gratiano, he is the next governor of Cyprus.
16. He is imprisoned taken away. Justifying is hard – death penalty would have been appropriate, but it is
difficult to justify such a penalty.
17. His jealousy made him irrational and Desdemona died for no reason whatsoever. He was an IDIOT!!!!

QUESTIONS BASED ON PLOT

(These answers are very short and will need much more in depth analysis and discussion.)

1. Emilia betrays him and confesses to the handkerchief story. Over-inflated ego. Roderigo does not go
along all the way.
2. Othello (good) vs Iago (evil). Iago’s evil intentions and actions (indirectly) lead to Othello and
Desdemona’s deaths. Emilia vs Iago. Many other aspects to be mentioned.
3. Desdemona remains loyal to Othello until her death. Othello believes in loyalty in a marriage. Iago
promises his loyalty to Othello and schemes and manipulates because Othello believes him and in his
(albeit false) loyalty. Emilia is loyal to Desdemona.

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4. Iago is supposedly the loyal and trustworthy servant of Othello. It is Othello’s belief in Iago that leads to
his and Desdemona’s deaths. Othello is untrusting of Desdemona yet gets angry when people don’t
trust him. The handkerchief-episode / theme.
5. We feel a certain amount of sympathy for Othello at first and then again just before he commits suicide.
He is a strong, wise and likable character who major flaw (mistrust in his wife) leads to his downfall.
Although he cannot sympathise with him killing Desdemona, we feel pity for the ‘warrior’ whose fall from
grace is so masterfully manipulated by his supposed confidant.
6. Othello’s mother gave him the handkerchief to give it to his wife. It is a very sentimental ‘heirloom’ and
given to Desdemona as a token of faith and love. The confusion with the handkerchief fuels Othello’s
mistrust of Desdemona. Iago exploits Othello’s suspicions by taking the handkerchief from Emilia (who
picked it up after Desdemona carelessly dropped it) and telling Othello that Desdemona gave it to
Cassio.
7. Othello believes in human goodness and kindness. Iago believes in and exploits all negative and hurtful
aspects of the human character. Iago builds ‘relationships’ with people with the sole intent of gaining
something to further himself and his plans.
8. Othello (being a dark-skinned Moor) is the ‘black’ to Desdemona’s ‘white’. Darkness generally
symbolise bad deeds, evil – Iago! Most confusions and evil deeds take place in darkness – the fights
etc.
9. Iago exploits the one thing Othello is not 100% sure of – Desdemona’s faithfulness and love. Othello
struggles to understand WHY Desdemona loves him so much (solely based on the adventures he told
her about?). Iago realises that the only way to destroy Othello, is to fuel Othello’s suspicions of
Desdemona (and women in general). Iago, being the trusted advisor and friend, is able to manipulate
the situation and Othello’s mind.

QUESTIONS BASED ON CHARACTERS

1. Othello overlooked Iago over for promotion and promoted Cassio instead. Iago perhaps jealous of
Othello’s relationship with Desdemona?
2. Desdemona is a faithful and loving wife to Othello. She cannot fathom how Othello can suspect her of
adultery. Emilia is in a very difficult relationship with Iago, who is a manipulative, chauvinistic and hurtful
husband. She goes along with Iago’s plan (regarding the handkerchief) until she realises that her
friend’s death was caused by the confusion and then stands up against Iago and reveals the truth.
3. In the play, Desdemona plays the dutiful and faithful wife. We look up to her morals and convictions. In
the modern world, her subservience and forgiveness of Othello infuriates us. She should have spoken
up when she had the chance and not let things get so out of control!
4. The fact that Desdemona is white and he is black, is a sore point for him. He believes (after Iago plants
the seed of doubt) that Desdemona will not stay happy with him. Elizabethans were not very ‘open’ to
blacks and the idea of an interracial marriage was almost unheard of.
5. He is the poor sod who is also duped by Iago and is almost a catalyst in his plans. Iago uses him.
6. He makes himself seem honest and trustworthy and always on the lookout for his friends. He plays on
Othello’s Achilles Heel – his jealousy. He exploits the little vulnerable part of each human he comes into
contact him.
7. Othello believes him and his intentions. He gets people to do exactly what he plans for them to do.
8. Cassio is a kind and caring man. The fact that he dotes on Desdemona plays right into the plan, as
Othello sees it as romantic affection rather than just Cassio being a nice guy.
9. She is Cassio’s lover and he gives her the handkerchief. Cassio discusses his relationship with her with
Iago and Othello overhears it, and assumes that Cassio is speaking about his relationship with
Desdemona.
10. Humans are weak and not willing to step on others to get what they want. (In his mind, what he rightly
deserves.) All humans can be manipulated and each person has a weakness that can be exploited.
11. He pleads guilty to Desdemona’s murder and tries to get others to forgive him. he commits suicide
rather than live with the knowledge that he killed his innocent wife due to being manipulated by Iago.
12. NO! The audience never feels sorry for him, there is never any pity or sympathy for him. A real tragic
hero always evokes some kind of sympathy / pity from the audience. As far as the play goes, Iago has
no good / redeeming features that the audience can relate to.
13. He is a selfish brute who has no qualms about stepping on others to get what he wants.
14. She never considers her relationship with Cassio to be wrong and when she (time after time) defends
him and his honour, Othello sees it as an affirmation of their affair.

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QUESTIONS BASED ON THEMES

1. Iago as everyone in the play sees him and how he really is. Desdemona and Cassio’s friendship and
how Othello sees it. Cassio’s discussion of his relationship with Bianca and how Othello interprets it.
(Discuss each at length.)
2. Othello’s jealousy of Cassio and Desdemona’s relationship is the pinnacle around which the entire plot
turns.(Discuss)
3. Desdemona remains loyal to Othello even while he is killing her. Emilia is loyal to Iago, until she
realises that Desdemona’s death is due to his deeds, then she turns on him. Cassio remains loyal to
Othello and Iago, thinking the latter can help him. Iago is loyal only to himself and his devious schemes.
4. Iago and Othello. Othello and Desdemona. Desdemona and Emilia. Discuss. (Might be more.)
5. Iago is both professionally and sexually jealous of Othello. Othello is sexually jealous of Cassio and
Desdemona.
6. Othello and Desdemona sees is as a sin and will not tolerate it. Iago sees it as part of life and perfectly
natural. Emilia says that if a wife cheats on her husband, he deserves it. (Neglected her)
7. They are both naïve and too trusting in the inherent goodness of humans.
8. So many people die unnecessary deaths in the play!

LIST OF SOURCES USED FOR THIS

STUDY GUIDE
PLEASE NOTE!
This study guide may not be sold, reproduced or used outside Queen’s College. It has been set up
by amalgamating various sources / study guides / website articles. NONE of the sources have been
directly quoted / cited. I have, however, adapted many ideas and questions from the various
sources.
I have NOT obtained the permission of the authors of these works to use their articles. (They are
mostly free sites on the internet) I have, however, included a list of sources. I have included, as far
as possible, the names of the authors of the articles.

1. Johnsen-Neshati, K. “A Cultural Context for Othello”

www.shakespearetheathre.org/plays/articles.aspx
2. www.universalteacher.org.uk/shakespeare/othello.htm
3. Geiger Ellis, W + Reed, A.J.S. “A Teacher’s Guide to the Signet Classic Edition of William
Shakespeare’s OTHELLO” A Signet Classic Study Guide.
4. Sparknotes – www.sparknotes.com/shakespeare/othello.html
5. Sagar, K. “Othello” 2001
6. www.english/sxu.edu/boyer/304_rdg_qst/oth_nor_qst.htm
7. www.library.thinkquest.org/10502/othstud.htm
8. www.sharpsville.k12.pa.us/MY%20WEBS/Othello%Study%20Questions.htm
9. www.msu.edu/user/jansonma/Othello_m.htm
10. www.cummingsstudyguides.net/xOthello.html
11. www.people.vcu.edu/-bgriffin/Othello/oth-sq.htm
12. "Othello", Microsoft® Encarta® 2007 [DVD]. Microsoft Corporation, 2006.
13. www.absoluteshakespeare/othello.com
14. www.enotes.com
15. Gosher, S+B, (Maskew Miller Longman) – X-Kit – The Definitive Literature exam kit for
“Othello” 2005
16. Ratcliffe, P + Turner, A. Macrat Study manual – “Othello”

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