OTHELLO

Module 2: Year 11 Advanced English

Introduction
Othello is considered to be one of Shakespeare's most tragic plays centered around the love story between
Othello and Desdemona who get married despite her (Desdemona’s) father’s disapproval. The love story
is disrupted by the villain, Iago. Iago's jealousy and manipulation lead to misunderstandings, jealousy, and
ultimately tragedy. The play explores powerful themes such as trust, betrayal, jealousy, and the
destructive effects of deception. Through its complex characters and intense emotions, Othello proves
how easily love can be corrupted by doubt and lies.

Context/Important to Know
Play is set in two key locations: Venice and Cyprus in the latter part of the 16th century. Majority of the
play takes place in Cyprus. The majority of the play takes place in Cyprus, a strategic island known for its
military importance. Venice represents order, law, and civilization, while Cyprus symbolises conflict, war,
and chaos. Understanding this setting helps explain the tension between peace and violence that runs
throughout the play. Additionally, the social and racial attitudes of the time influence how characters like
Othello, a Moor and outsider, are treated and perceived.

During the late 16th century, when ‘Othello’ was set,

racial attitudes in Europe were often marked by
suspicion and prejudice against people of African
descent. Being a Moor, Othello is viewed as exotic
and different, and many characters in the play reflect
the common stereotypes and fears of the time. Being
of colour was often unfairly associated with danger,
or moral weakness, which influenced how Othello
was treated and perceived by Venetian society. This
racial context is important because it deepens the
tragedy. Othello’s outsider status makes him more
vulnerable to Iago’s deceit and society’s
………………………………………………………mistrust.

CHARACTER PROFILE
(by order of appearance, when they first appear, key characters highlighted)

Iago – Act 1, Scene 1

Othello’s ensign who was passed over for the lieutenant position in favor of Cassio. Iago is young and
treacherous, he is a villain from the start, and though he cites his wounded pride and Othello's alleged
infidelity with his wife Emilia, his actions are without justification. He is immoral but very perceptive,
keen, and able to manipulate people into falling for his deceptions.
Roderigo – Act 1, Scene 1
A Venetian who lusts over Desdemona, a pawn in Iago’s games. Iago promises Roderigo that he shall
have Desdemona's love in return for his help; Roderigo actually receives nothing but his death following
an attempt on Cassio’s life.

Brabantio – Act 1, Scene 1

Desdemona’s father, a senator and renowned Venetian who is not pleased with his daughter’s marriage to
a Moor.

Othello – Act 1, Scene 2

A Moor and an officer in the Venetian Military. He falls in love with and marries Desdemona, despite his
middle age and her young age. Othello is a good man and warrior, undone by his two fatal flaws of
jealousy and pride. Although Othello is eloquent, his later words and actions become rough.

Cassio – Act 1, Scene 2

Othello’s lieutenant. He is the exact opposite of Othello in many respects, which is why Othello admires
him. Othello is led to believe that Cassio has had an affair with his wife, though Cassio has only
honourable intentions towards Desdemona.

Duke of Venice – Act 1, Scene 3

Ruler of the city, Othello’s superior. He is just and allows Othello and Desdemona to stay together, despite
Brabantio’s protests.

Desdemona – Act 1, Scene 3

Othello’s wife, a young venetian woman of high class. Desdemona is almost overly virtuous which causes
her to feel that she must defend Cassio when Othello demotes him. She rarely lies, making it out of
character when she does.

Senators – Act 1, Scene 3

Authority figures of Venice.

Montano (Governor of Cyprus) – Act 2, Scene 1

Main law of Cyprus. Once Othello dies, he serves as “damage control”.

Emilia – Act 2, Scene 1 Gratiano – Act 4, Scene 1

Iago’s wife, and Desdemona’s handmaiden. SHe is entrusted with bringing people into Desdemona’s
presence, staying with her at all times etc. Emilia is not aware of her husband's machinations, nor his
darker qualities. She remains loyal to Desdemona above all others, although she unwittingly plays a key
part in Iago’s treachery.

Lodovico – Act 4, Scene 1

Noble with some relation to Desdemona, carries news.

Bianca – Act 3, Scene 4

Courtesan/prostitute who visits Cassio frequently. Cassio asks her to make a copy of Desdemona’s
handkerchief, and the fact that the handkerchief is found in her hands, further incriminates Cassio. She is,
importantly, the only female in the play who Cassio shows less than full respect to.

SCENE SUMMARY
(important scenes highlighted)

Act 1, Scene 1: Begins with Iago and Roderigo on the streets of Venice. Iago has just informed him
(Roderigo) that his commanding officer, Othello, has just eloped with Desdemona. Rodrigo is outraged as
he has been attempting to court (get with) Desdemonda. Iago speaks of his hatred for Othello as he
promoted Micheal Cassio to the role of lieutenant instead of himself. The two men then end up at
Desdemona’s house late at night, together they shout at Desdemona’s father (Brabantio) to alert him that
his daughter has run away with a Moor. When Brabantio sees that Desdemona is gone a search party is
raised which Roderigo joins. Meanwhile Iago runs away wishing for his identity to be kept secret in an
attempt to stay in the good graces of Othello, despite just outing him to Brabantio.

Act 1, Scene 2: Iago is with Othello, warning that an angry Brabantio is looking for him. Then Cassio
(Othello’s newly promoted Lieutenant) arrives with a letter from the Duke detailing Turkish aggression in
the Mediterranean and calling for Othello to make his way immediately to the Dukes Court. Brabantio,
enraged by his daughter's marriage to Othello, then appears and accuses Othello of using witchcraft to
seduce Desdemona. Brabantio initially wants to arrest Othello but then decides to go with him to the
Duke’s court, where he will be able to present his case against Othello.

Act 1, Scene 3: When Othello and Brabantio arrive at the Duke’s meeting, Brabantio is quick to accuse
Othello of drugging his daughter into marriage. Othello responds with an account saying, Brabantio used
to invite Othello over to his house, where Othello would tell his stories of war. It was through these
stories that Desdemona fell in love with Othello. Othello suggests that they summon Desdemona to hear
her side of the story. She arrives and supports Othello’s version of events. Brabantio is deeply
disappointed in his daughter. When the Duke orders Othello to Cyprus, Desdemonda insists to go with
him. Meanwhile, Rodrigo, who is upset about how things have turned out, is reassured by Iago who
encourages him to go to Cyprus.

Act 2, Scene 1: There is a storm out at sea which destroys the Turkish fleet headed to attack Cyprus.
Desdemona, cassio, roderigo, iago and emilia are safe in their ship. They all wait for Othello’s ship to
arrive, and while waiting, Iago notices the close friendship between Cassio and Desdemona. He schemes
that he can cause trouble by making it seem like these two are having an affair, so Cassio may lose his
position as lieutenant. Othello announces the Turkish fleet has been destroyed in the storm.

Act 2, Scene 2: Othello sends a herald announcing there is a celebration that the fleet was destroyed, and
to celebrate Othello’s marriage.

Act 2, Scene 3: Iago encourages Cassio to drink, knowing he can't handle alcohol well, and then sends
Roderigo to provoke him. Cassio, drunk and agitated, lashes out at Roderigo, who quickly runs away.
When Montano steps in to calm things down, Cassio turns on him and injures him. The chaos causes
Othello to arrive and, seeing the disorder, he demotes Cassio from his position as lieutenant. The scene
ends with Iago pretending to be helpful and loyal, even though he’s the one who caused the chaos. After
Othello leaves, Cassio is devastated and laments that his reputation is ruined. Iago then pretends to
comfort him and slyly suggests that Cassio speak to Desdemona to get back into Othello’s good graces.
Once Cassio leaves, Iago reveals in a soliloquy that this is exactly what he wanted, now he can use
Cassio’s closeness with Desdemona to make Othello jealous.

Act 3, Scene 1: Cassio asks a clown (a servant) to find Desdemona and ask her to help him get his job
back after he lost it. The clown goes off to find her. Soon enough, Desdemona appears and promises
Cassio she will speak to Othello to support him. They talk about how much Cassio wants to be trusted
again, and Desdemona is determined to help him.

Act 3, Scene 2: Iago is instructed by Othello to deliver letters to Venice, Othello then inspects the
fortifications with his men.

Act 3, Scene 3: Iago skillfully manipulates Othello by planting the seed of jealousy in his mind. He
pretends to be reluctant to speak badly about Desdemona but drops hints and lies that suggest she is
unfaithful with Cassio. Iago uses vague language and pauses to make Othello imagine the worst without
direct proof. Meanwhile, Desdemona talks to Othello about helping Cassio get his job back, which makes
Othello more suspicious because Iago had warned him about Cassio. Othello becomes overwhelmed by
jealousy and starts to believe Iago, even asking to see “ocular proof”.

Act 3, Scene 4: Following an intense scene, Scene 4 begins with Desdemona seeking Cassio but instead
meeting a clown, and they share a funny, pun-filled conversation. Desdemona then worries because she
has lost the special handkerchief that Othello gave her, which means a lot to him. When Othello asks for
the handkerchief, Desdemona hesitates and tells a rare small lie, saying she doesn’t know where it is. This
makes Othello angry and suspicious, and he storms offstage in frustration. Iago and Cassio arrive, but
Iago quickly leaves upon hearing the cause of Othello’s rage. Later, Bianca comes in, upset because
Cassio has given her the handkerchief, and she thinks it means he’s involved with another woman. This
scene is important because the lost handkerchief becomes false proof that Iago uses to convince Othello
that Desdemona is unfaithful.

Act 4, Scene 1: Iago pushes Othello further into jealousy through telling him that Cassio has slept with
Desdemona, Othello becomes so overwhelmed that he falls into a trance. Iago then tricks Cassio into
laughing about Bianca, but Othello, watching nearby, thinks Cassio is laughing about Desdemona. When
Bianca enters and angrily returns the handkerchief, Othello sees it as final proof of Desdemona’s betrayal.
Enraged, he vows to kill her. The scene ends with Othello striking Desdemona in public, revealing how
much Iago's manipulation has changed him.

Act 4, Scene 2: Othello questions Emilia about Desdemona's faithfulness, but she insists Desdemona is
innocent. After Othello angrily accuses Desdemona of being unfaithful and storms off, Desdemona is
devastated and turns to Iago for help. She, along with Emilia, tells him what happened and begs him to
explain why Othello is acting this way. Emilia begins to suspect that someone has lied to Othello. Iago
continues to pretend he’s helping, while secretly keeping his plan in motion.
Act 4, Scene 3: Desdemona prepares for bed, troubled by Othello’s strange and angry behavior. She sings
the sad “Willow Song,” sensing something bad is coming. As she talks with Emilia, she wonders if
women really cheat on their husbands. Emilia argues that husbands should lead by example and treat their
wives well, or they risk driving them to unfaithfulness. The scene highlights Desdemona’s innocence and
Emilia’s bold, realistic view of gender roles and marriage.

Act 5, Scene 1: Iago tells Roderigo to attack Cassio, hoping they’ll kill each other. Roderigo fails and gets
wounded instead. Iago has to think quickly and secretly stabs Cassio’s leg (without him knowing who it
is). To cover his tracks, Iago kills Roderigo and pretends to be shocked by the violence. Others arrive, and
Iago keeps pretending to be honest and helpful. The scene ends in confusion, with Iago still hiding his
true intentions.

Act 5, Scene 2: Othello confronts Desdemona in their bedroom and, convinced she has been unfaithful,
smothers her to death. Emilia enters and reveals that Desdemona was innocent and that Iago has lied to
Othello. Upon realising this mistake Othello is devastated and shows remorse. Following Iago’s killing of
Emilia to silence her from the truth, Othello takes his own life, delivering a final, sorrowful speech about
his love and remorse for Desdemona. The scene ends with Lodovico vowing to report the tragic events
truthfully and see that Iago is punished.

QUOTES

QUOTE Character - Scene Technique Information

“I am not what I am” Iago- A1, S1 Biblical parody

“Beware my Lord of Iago - A3 S3 Zoomorphism Iago’s warning to Othello to

jealousy! It is the green Metaphor “Beware…of jealousy”
eyed monster which Imagery employs the technique to
doth mock the meat it zoomorphism, likening the
feeds on” technique to a “green-eyed
monster”. This metaphor
captures the dual nature of
jealousy as a

When I love thee not Othello - A3, S3 Personification Reveals the deep emotional
Chaos is come again Symbolism dependence Othello has on
Desdemona. “Chaos is
come again” implies that
his love is the only thing
keeping him stable. Othello
sees love and order as
intertwined, when his love
falters, so does his
rationality. Additionally,
chaos becomes the collapse
of his moral compass.
Zounds, sir, you’re Iago - A1 S1 Animal Imagery Iago gives a highly
robbed; for shame, put Juxtaposition manipulative speech laced
on your gown; your Repetition with racist, animalistic and
heart is burst; you have Hyperbole violent imagery, designed to
lost half your soul; even Metaphor provoke disgust and fear in
now, now, very now, an Brabantio. The metaphor of
old black ram is the black ram and white
tupping your white ewe is powerful as it
ewe. Arise, arise; dehumanises Othello and
awake the snorting reduces his love to
citizens with the bell, or something of a savage
else the devil will make nature.
a grandsire of you

You’ll have your Iago - A1 S1 Animalistic imagery This quote shows Iago
daughter covered with a using crude sexual and
Barbary horse, you’ll racial imagery. By
have your nephews comparing Othello to a
neigh to you, you’ll Barbary horse, Iago
have coursers for dehumanises him, framing
cousins, and jennets for his relationship with
germans. Desdemona as unnatural
and grotesque.
Furthermore, he mocks the
idea of mixed-race
offspring suggesting they’ll
be more animal than
human, demonstrating key
themes of racial fears.

These Moors are Iago - A1 S3 Tone: condescending Iago reinforces the idea that
changeable in their Othello is unfaithful by
wills. virtue of his race.

What a full fortune Roderigo - A1 S1 Imagery The exclamation “what a

does the thick-lips owe, Synecdoche full fortune” expresses
if he can carry it thus! bitter envy that Roderigo
feels as Othello, someone
who he thought was
inferior, has won
Desdemona’s love. The use
of thick lips, strips Othello
of identity and humanity.

Your fair daughter, at Roderigo - A 1 S1 Sexual innuendo “The gross clasps of a

this odd-even and dull Imagery lascivious Moor” uses a
watch o’night, Metaphor vulgar metaphor to suggest
transported with no Contrast Desdemona has fallen into
worse nor bette guard, immoral, animalistic lust.
but with the knave of The lines “knave of
 common hire, a common hire” and “a
gondolier, to the gross gondolier” evoke social
clasps of a lascivious degradation through
Moor. contrast with Desdemona’s
nobility.

Men should be what Iago - A3 S3 Irony Ironic because it is spoken

they seem, by Iago who is the character
Or those that be not, who isn’t what he seems.
would they might seem Being presented as “honest
none! Iago” while secretly
plotting Othello’s downfall.
The irony here lies in the
fact that Iago is preaching
honesty whilst embodying
words of hypocrisy.

THEMES

Jealousy
Jealousy is a central theme in Othello, driving the plot and shaping the characters' actions. It begins subtly
but grows into a destructive force, especially in the mind of Othello, who becomes consumed by
suspicion and doubt. The play explores how jealousy can distort reality and lead people to make irrational
decisions. It highlights how easily trust can be undermined when envy takes hold. Shakespeare presents
jealousy not just as a personal flaw, but as something that can be manipulated and weaponised by others.
Ultimately, it shows how unchecked jealousy can lead to tragedy, heartbreak, and irreversible
consequences.

Disorder and Chaos

In Othello, disorder and chaos unravel both within characters and across society as trust collapses and lies
take root. The once orderly structure of Venetian life is thrown into turmoil, especially as Iago’s
manipulations destabilise relationships and hierarchies. Psychological chaos is mirrored in the characters'
behavior, especially Othello’s descent into confusion and rage. As the boundaries between truth and
deception blur, characters lose control over their actions and decisions. Shakespeare uses this theme to
show how fragile human order can be when disrupted by manipulation and emotional unrest. The result is
a world where justice falters, love is twisted, and tragedy becomes inevitable.

Appearance Vs Reality
The gulf between appearance and reality underpins every act of deception and betrayal in Othello. Iago
exemplifies this duality, donning the mask of honest loyalty while secretly orchestrating chaos. His
cunning insinuations and carefully constructed “proofs” trick Othello into trusting illusion over truth.
Even characters of steadfast virtue, like Desdemona and Cassio, appear tainted through fabricated
evidence. Othello’s tragic downfall stems from his inability to see beyond these false surfaces.
Shakespeare warns that trusting illusion over truth can unravel the bonds of trust and pave the way to ruin.
MOTIFS
Sight and Blindness
​ Blindness as Ignorance of Gullibility:
Othello is metaphorically blind to both Iago’s deception and Desdemona’s innocence as
his sight is made clouded by jealousy and the false evidence of Desdemona’s infidelity,
thus he misreads the truth.
​ False Sight:
Iago claims to ‘see’ the truth of Desdemona’s infidelity but is in fact planting lies, yet
characters often trust him, and trust to see what he makes of an occurrence, even when
told the truth of the matter.
​ Vision and Self-knowledge:
Othello’s tragedy is his trust in the wrong people, and thus his journey and character arc
is the transformation of his blindness becoming clarity, where he only realises the truth
after it’s too late. He does not believe another’s explanation while he believes Iago’s, and
does not search out the truth for his own.
Quotes:
“This honest creature doubtless sees and knows more, much more, than he unfolds.” - Othello,
ACT THREE, SCENE THREE. Othello believes Iago sees more than he reveals, when in fact Iago is
blinding him.
“If she be false, O, then heaven mocks itself.” - Othello, ACT THREE, SCENE THREE. Othello
momentarily doubts what he sees or is told but quickly loses that clarity.
“Then you must speak of that loved not wisely but too well.” - Othello, ACT FIVE, SCENE
TWO. Othello finally sees the truth after murdering Desdemona.
“Men should be what they seem.” - Iago, ACT THREE, SCENE THREE. Iago mocks the idea of
clarity and honesty while exploiting people’s trust in his appearance.

Flora and Fauna

​ Plant imagery often appears in the context of manipulation, corruption, and growth — especially
in Iago’s dialogue.
“Our bodies are our gardens, to the which our wills are gardeners.” - Iago, ACT ONE, SCENE
THREE. Iago’s metaphor of control and manipulation: Iago suggests people can cultivate their
desires — he presents himself as one who can ‘garden’ others, manipulating them like plants.
“Dangerous conceits are in their natures poisons, which at the first are scarce found to distaste,
but with a little act upon the blood, burn like the mines of sulphur.” - Iago, ACT THREE, SCENE
THREE. Jealousy as something planted: Iago describes jealousy as a slow-growing poison,
planted through suggestion and deceit.

“Blessed fig’s end! The wine she drinks is made of grapes: if she had been blessed, she would
never have loved the Moor.” Sexual and racial insults: Iago mocks Desdemona’s natural desires
using plant imagery ironically, casting her love as unworthy or impure.
 “The Moor already changes with my poison. Dangerous conceits are in their natures poisons…
not poppy nor mandragora nor all the drowsy syrups of the world shall ever medicine thee to that
sweet sleep.” - Iago, ACT THREE, SCENE THREE. Planting the seeds in the mind. The way of
which Iago’s plots consume the other characters and determine their behaviour makes his evil
scheming seem organic, and the force of nature.

​ Animal imagery is used to degrade, racialise and sexualise other characters, especially Othello
and Desdemona — especially in Iago’s dialogue, again.
“Even now, now, very now, an old black ram is tupping your white ewe.” - Iago, ACT ONE
SCENE ONE. Bestial dehumanisation of Othello: Iago evokes violent animal imagery to portray
Othello’s sexuality as beastly and unnatural.
“Exchange me for a goat when I shall turn the business of my soul to such exsufflicate and blown
surmises.” - Othello, ACT THREE, SCENE THREE. Othello adopts the imagery. Othello states
that if he ever lets jealousy and suspicion influence his soul, he should be exchanged for a goat, a
symbol for a fool. Iago’s bestial language is influencing Othello’s music.

Hell, Demons, and Monsters

​ Jealousy is often compared to monsters and being a demonic presence/influence from hell by
numerous characters.
​ Jealousy and Evil as Hellish Forces:
Jealousy is depicted as a demonic and corrupting power, consuming the soul like fire
from hell.
“O, beware, my lord, of jealousy: it is the green-eyed monster which doth mock the meat
it feeds on.” - Iago, ACT THREE SCENE THREE. Iago planting the seed of monstrous
jealousy. Iago personifies jealousy as a monster, mocking and devouring its victims —
setting Othello on a path of self-destruction.
​ Dehumanisation and Monstrosity:
Characters are referred to as monsters or demons, suggesting they have lost their
humanity due to passion, lust, or evil intent.
“Hell and night must bring this monstrous birth to the world’s light.” - Iago, ACT ONE,
SCENE THREE. Iago explicitly calls his plot a ‘monstrous birth’, conceived in hell,
setting a demonic tone for the entire play.
“Devil!” - Othello, ACT FOUR, SCENE ONE. Othello strikes Desdemona and calls her
this in public. Desdemona’s angelic vs. Othello’s monstrous contrast. In a bitter reversal,
Othello now sees the innocent Desdemona as the evil, dating his consumption of Iago’s
lies.
​ Language of Damnation:
The language of hell reflects both Iago’s role as a devilish tempter and Othello’s internal
torment as he begins to believe he is damned.
“I am not what I am.” - Iago, but echoed in Othello’s transformation, ACT ONE, SCENE
ONE. Othello sees himself as demonic. Iago’s devilish paradox reflects the evil behind a
false appearance, and later on, Othello adopts this darkness, feeling he has become
monstrous.
 “Whip me, ye devils, from the possession of this heavenly sight!” - Othello, ACT FIVE,
SCENE TWO, just before killing Desdemona. Othello invokes devils and punishment,
suggesting he sees himself as damned for his actions.

SYMBOLS
The Handkerchief
The handkerchief means different things to different people. Desdemona keeps it as a symbol of
Othello’s love (note that she drops it when Othello begins to get suspicious); Iago manipulates it to
become a symbol of Desdemona’s faith and chastity (sexual purity, and thus a lack thereof), and uses it as
evidence of her infidelity. To Othello, the handkerchief is the promise of love and enchantment, so when
Desdemona seemingly gives it to Cassio, he sees it as her attempting to both offer herself and bewitch
Cassio, despite Cassio’s gifting of it to Bianca. The handkerchief represents fidelity.

The ‘Willow’ Song

​ ACT FIVE. Desdemona sings a song about a woman who is betrayed by her lover; the lyrics
suggest that both the man and woman were unfaithful to each other. She was taught the song by her
mother’s maid, who died similarly to the woman in ‘Willow’. To Desdemona, the song represents a
melancholy, and a resigned acceptance of her alienation from Othello’s affections, and thus she
questions Emilia about the nature and practice of infidelity.

The Candle
​ Mere moments before he murders Desdemona, Othello takes a moment to reflect on the candle he
has brought with him and compares it to Desdemona’s life, or rather, ‘light’. "Put out the light, and then
put out the light." - Othello, ACT FIVE, SCENE TWO. Comparing murder to snuffing out a candle
highlights how fragile and vulnerable Desdemona is at that moment. Othello acknowledges that while he
could always light the candle again if he extinguishes it and regrets it, he would not be able to bring
Desdemona back to life.
​ Additionally, light itself often signifies truth and wisdom, and thus extinguishing it emphasises
Othello’s unwillingness to see the reality of Desdemona’s innocence.
​ On top of that, putting out the candle entices Iago’s influence. Throughout the play, Iago’s actions
have been associated with darkness (his ‘play the villain’ soliloquy where he describes undertaking the
‘blackest sins’ - ACT 2, SCENE 3). Thus, putting out the candle may also signify Iago’s complete
manipulation of Othello.