Othello by William Shakespeare

In this tragic play by Shakespeare

there is a focus on the evil of man,
an evil that results in the death of
the tragic hero, but also in deaths
of the innocent and good.
Othello by William Shakespeare
The play forces us to ask how
such qualities such as love,
goodness, justice and loyalty can
survive in the world given man’s
capacity for evil and destruction.
 What is a tragedy?

In pairs, mind map as many different ideas as you can

think of about what a tragedy is.

You have 5 minutes

Be prepared to feedback
A tragedy is a specific form of drama
• Tragedy is a type of drama that presents a
serious subject matter about human
suffering and corresponding terrible events 
• The pattern of all tragedies is that some
action takes place or a character does
something to throws life into turmoil.
• Put simply – social order prevails at the
beginning of the play, but very quickly we
see society in a state of disorder.
• The effect of this is that it makes us think
about the complex nature of man and the
world we live in.
 Tragedy
• In Othello, Shakespeare gives full
consideration to the disruptive effects of
man’s behaviour.
• In fact, the consequences are so serious that
it leads to the death of the main character
at the end of the play.
• Any play that ends with the death of the
main character is a tragedy.
• It means that the status quo of society has
been disrupted so much that violence has
taken over and the main character is the
victim.
Tragedy
In Othello, the status quo is shattered.
This occurs when Othello a black man
marries the wealthy white noble woman
Desdemona.
This act has broken the social conventions
of the time.

• What are social conventions?

• How do you think they’ve been broken
here in the 17th century?
Tragedy in Othello
• Once the social conventions
have been broken, we begin to
see the cruel vicious and
murderous side of man.
• We see his self-seeking, his
hatred and violence.
• In the play, Othello comes up
against the evil around him.
Tragedy in Othello
• In Othello, we see an extreme form of
disorder. The whole of life seems close
to chaos and meaninglessness. This
terrible disorder leads to the death of
the tragic hero.
• A bleak, disturbing vision of life is
portrayed through Othello, the tragic
hero.
• Othello is initially a heroic general, but
his own base passions gain control of
his personality.
Background to the play
• The first act of the play takes
place in Venice, which was a
stable and powerful city state in
the 16th century.

• Cyprus, the setting for the rest

of the play, is far less secure.
Venice owned Cyprus, but
Cyprus was now under attack
from the Turks.
The Main Characters
 Summary of the play
CliffsNotes
https://www.youtube.com/watch?v=5j9qTTIB4pQ

The Animated Tales

https://www.youtube.com/watch?v=RicgaOy64l8
 Do you know the plot?

Summarise the key plot points of

the play in one paragraph.
Act 1 Scene 1
Summary:
• Roderigo is unhappy with Iago for failing to promote his marriage to
Desdemona, who has recently married Othello.
• Iago says that Othello has promoted an inexperienced soldier, Michael
Cassio, over him and that he hates Othello and wants to take revenge on
him.
• To cause trouble, Iago urges Roderigo to wake up Brabantio and inform
him of his daughter Desdemona’s elopement.
• Brabantio discovers that Desdemona is not in her room. Calling for
weapons, he sets out to locate Desdemona and Othello.
Act 1 Scene 1
Conflict and tragedy in Othello
• The topic of marriage seems of little political significance.
• However, Shakespeare juxtaposes Roderigo’s failure to marry Desdemona with
Iago’s failure to gain promotion.
• Shakespeare makes it clear that private and public issues will collide.
• At the end of the scene Brabantio arms himself and rouses the neighbourhood.
• Brabantio is making the marriage between Othello and Desdemona a public
and political affair.
• The audience realise that this marriage is going to be at the heart of the play.
Act 1 Scene 1
The language men use to define women:
• The ways in which the male characters discuss women reveal the
patriarchal context of the play.
• Patriarchy: The patriarchal system places the man at the head.
• The imagery makes it clear that the male characters view women as
their possessions. Iago shouts to Brabantio “Look to your house, your
daughter, and your bags!/thieves thieves!”
 Act 1 Scene 1
• Brabantio believes that
Desdemona has subverted the
natural order by eloping and
choosing her own husband
‘treason of blood’.
• The image of Desdemona in ‘the
gross clasps of the lascivious
moor’ make sit plain that her
‘revolt’ is outrageous.
• This is not just because she has eloped
but also because she has chosen a
moor.
• Brabantio chooses to lay the blame at
Othello’s door. According to Brabantio
her ‘youth and maidhood’ have been
‘abused’ by Othello and his love
potions.
• This idea fits in with the renaissance
stereotype of a black man as a sexual
predator.
 Quick questions to show understanding
Use evidence from the text to back up your ideas.
1. Why does Iago have grudges 4. What examples can you find of
against Othello and Cassio? names referring to Othello?

2. Do you think Iago’s motives 5. What is the immediate tone of

are plausible? the play from this first scene?

3. What is the significance of not

referring to Othello by name
throughout the first scene?
 First impressions of the villain
• Iago reveals his villainy early on. He
seems to have a clear motive for
causing Othello harm.
• He tells Roderigo that he is bitter
because ‘preferment goes by letter
and affection/ And not by that old
gradation.’
• Iago stresses that he only follows
Othello to ‘serve his turn upon him.’
• Iago is very good at getting himself out of
trouble. He leaves the stage just as
Brabantio discovers Brabantio is gone.
• There is a lot of truth in Brabantio’s words to
Iago ‘thou art a villain’ yet nobody else sees
it.
• By the end of Act 1 Scene 1 Iago is
established as a manipulative and powerful
character who can instigate and stage
manage chaos effectively.
 First impressions of Iago
What do you think of him as a character?
‘Tis the curse of What do these
‘An old black ram is service – quotations
tupping your white ewe.’ preferment goes
by letter and
reveal about
affection.’ Iago’s character
from the very
‘Poison his delight… beginning?
plague him with ‘I am not what I
flies’ am’
 First impressions of Iago
What do you think of him as a character?
‘Tis the curse of
‘An old black ram is service –
tupping your white preferment goes by
Assign a quote to each
ewe.’ letter and person in your group.
affection.’
Now speak them aloud in
‘Poison his the tone you believe Iago
‘I am not delight… plague would – what meaning is
what I am’ him with flies’ being conveyed here
‘I do hate him
about Iago’s character?
as I hate hell’s
pains’
 How does Shakespeare speak?
• Othello is mainly written in blank verse. • Iambic pentameter

• This form has a regular rhythm , but • In Iambic pentameter the lines are 10
doesn’t rhyme. syllables long.
• Each line is divided into pairs of syllables or
• It is done to fit in with the human speaking ‘feet’.
voice, it is flexible and can show different • Each foot has one stressed syllable followed
tones. by and unstressed one.
Task
Take a look at Iago’s first big speech in Act 1 Scene 1, lines 18-33.
Can you spot a pattern to his speech? Why do you think
Shakespeare has done this?
 Scene analysis
Look at Iago’s use of imagery.

• He wants Roderigo to ‘call up her father , poison his delight’ and

‘plague him with flies’.
• Iago’s use of metaphors associates him with poison, corruption and
disease.
• Shakespeare has begun to prepare us for the poisoning of Othello’s
mind, foreshadowing what occurs in Act 3.
 Iago’s crude and mocking language

• ‘Horribly stuffed with the epithets of war’

• ‘Even now, now, very now, an old black ram / is tupping your white ewe.’
• ‘your daughter and the Moor are now making the beast with two backs’
• ‘the gross clasps of a lascivious Moor’

Discuss
• What is meaning of these quotes? Analyse them.
• Why is Iago using such grotesque animal imagery to describe Othello?
• What effect does it have on Brabantio?

LO: To be able to analyse Shakespeare’s language.

 Iago’s crude and mocking language
Iago speaks a different language from the two other characters. He is crude and
mocking. Iago’s descriptions of Othello, which we would now view as racist, are a
key part of the negative black stereotype that is being created.

Iago’s references to an ‘old black ram’ ‘a barbary horse’ and the ‘beast with two
backs’ reinforce the idea that Desdemona has made an unnatural match.

Does Iago’s use of imagery here, reveal more about Iago’s character than it does
Othello’s?
Othello – First Impressions

Othello
BRABANTIO:
Brabantio
It is too true an evil. Gone she is.
And what’s to come of my despisèd time
Is naught but bitterness. Now, Roderigo,
Where didst thou see her?—Oh, unhappy girl!—
With the Moor, say’st thou?—Who would be a father?—
How didst thou know ’twas she?—Oh, she deceives me
Task:
Past thought!—What said she to you?—Get more tapers, Look at these lines. Is Brabantio
Raise all my kindred. Are they married, think you? presented as a good father?
Justify your answer – it may
RODERIGO: Truly, I think they are. change throughout!

BRABANTIO:
Oh, heaven, how got she out? Oh, treason of the blood!
Fathers, from hence trust not your daughters' minds
By what you see them act. Is there not charms
By which the property of youth and maidhood
May be abused? Have you not read, Roderigo,
Of some such thing?
 Act 1 Scene 2
Characters
• Iago
• Othello
• Cassio
• Roderigo
• Brabantio
• Officer

LO: To know and understand how Shakespeare presents Othello in Act One of the play;
 Act 1 Scene 2

Iago warns that Brabantio may use his influence to have

Othello arrested and his marriage dissolved.

Othello is confident that his reputation and royal

breeding make him a suitable match for Desdemona .
 Act 1 Scene 2
• Cassio brings a message from the Duke who urgently needs Othello at a
meeting.

• Othello and his soldiers are accosted by Brabantio and his followers.

• Othello commands the men to put away their weapons and denies
Brabantio’s accusations that he has bewitched Desdemona.

• Brabantio decides to go to the council meeting with Othello, so that he can

inform the Duke of Othello’s treachery.
 The language of insults
• The coarse imagery that Iago used to describe the sexual union of Othello
and Desdemona continues.
• Iago compares the marriage of Othello and Desdemona to that of a pirate
who has boarded a treasure ship. Othello has ‘boarded a land carrack’
• The racial insults also continue to fly – when Brabantio cannot believe that
his beautiful privileged daughter would voluntarily ‘Run from her guardage
to the sooty bosom/ of such a thing as thou.’
• This negative language dehumanises Othello

Do you have any sympathy for Brabantio?

 Othello: First Impressions
Which of the following descriptions best matches the images of Othello given
in Act 1 Scene 1? Explain your decisions.

• an untrustworthy stranger • an exotic and attractive figure

• a worthy soldier • a highly respected leader
• a calm, measure, statesman like man • a man for whom sexual desire is
• a man of high principles paramount
• a Moor • a man who has earned a high office for
• an exotic figure, dangerous and unreliable his virtues
• a man with enemies
• a dangerous man
 Othello: First Impressions
Which of the following descriptions best matches the images of Othello given in
Act 1 Scene 1? Explain your decisions.

• an untrustworthy stranger • an exotic and attractive figure

• a worthy soldier • a highly respected leader
• a calm, measure, statesman like man • a man for whom sexual desire is
• a man of high principles paramount
• a Moor • a man who has earned a high office for
• an exotic figure, dangerous and his virtues
unreliable • a man with enemies
• a dangerous man
 Othello: First Impressions
Look again at the list of descriptions.
Which of the following descriptions best matches the images of Othello given in
Act 1 Scene 2? Explain your decisions.
• an untrustworthy stranger • an exotic and attractive figure
• a worthy soldier • a highly respected leader
• a calm, measure, statesman like man • a man for whom sexual desire is
• a man of high principles paramount
• a Moor • a man who has earned a high office for
• an exotic figure, dangerous and unreliable his virtues
• a man with enemies
• a dangerous man

• Why do you think Shakespeare creates two opposing images of Othello in the first two
scenes?
• How does this influence your view of Iago and his relationship with Othello?
 Learning Intentions

• To know and understand the events of Act 1 scene 3.

• To be able to analyse how Shakespeare presents Othello and
Desdemona’s relationship in Act 1 scene 3.
 Act 1 Scene 3
Characters
• Duke
• 1 Senator
• 2 Senator
• Sailor
• Officer
• Messenger

• Brabantio
• Othello
• Desdemona
• Roderigo
• Iago
LO: To know and understand the events of Act 1 scene 3.
 What happens?
• Othello is told to prepare for war against the Turks.

• Brabantio accuses Othello of using witchcraft against Desdemona.

• Othello recounts the history of his relationship with Desdemona. She is brought
into the council to confirm his words.

• Desdemona asks to accompany Othello to Cyprus. Othello places her in Iago’s care.

• Brabantio warns Othello about trusting Desdemona.

• Iago says he will help Roderigo seduce Desdemona and cuckold Othello.
 How does Othello woo Desdemona?
• Re-read lines 129 (‘Her father loved me, oft invited me,’) – line 171 (‘Here comes the lady:
let her witness it.’)
• Look at Othello’s speech as a form of story-telling. Find examples in the text of each of these
narrative techniques:
• Setting the context for what he’s going to reveal
• Vivid & exotic details
• Repetition
• Description of settings
• Recounting thoughts and feelings
• Recounting what was said
• Poetic use of language (alliteration, onomatopoeia etc.)
• Use of figurative language (metaphor, simile, personification )to bring the story to life

LO: To be able to analyse how Shakespeare presents Othello and Desdemona’s relationship in Act 1 scene 3.
 Othello woos Desdemona
• Brabantio thinks that Desdemona defies nature in falling in love with
Othello:
‘A maiden….she, in spite of nature…everything, / To fall in love with what
she feared to look upon?’
• Yet here Othello is erudite and poetic in his language, it does not seem at
all unnatural for a young girl to fall in love with a brave hero.
• Othello’s articulate manner also suggests he is not simply a savage, it
subverts the stereotypes of the day.
• Note too the contrast between Othello’s ability to communicate here and
the lack of eloquence and communication when he is consumed by
jealousy at the end of the play.
 Othello woos Desdemona – Act 1 Scene 3
Her father loved me, oft invited me;
Still questioned me the story of my life
From year to year -- the battles, sieges, fortunes
That I have passed.

Here, Othello shows that, despite his reluctance to embrace Othello as

a son-in-law, Brabantio is still fascinated by him – this is less positive
than it at first appears, because he is essentially ‘othering’ Othello,
considering him something exotic and exciting, rather than an equal.

LO: To be able to analyse how Shakespeare presents Othello and Desdemona’s relationship in Act 1 scene 3.
 Othello: She gave me for my pains a world of sighs.

Desdemona: Saw Othello’s visage in his mind

Act 1 Scene 3

• The audience might wonder, did Othello and Desdemona really just
fall in love with an image of each other?
• Are there hints in Othello’s speech that he is charmed by
Desdemona’s fascination with him, rather than Desdemona
herself?

What do you think?

 Othello woos Desdemona – Act 1 scene 3
I ran it through, even from my boyish days
To th' very moment that he bade me tell it. Look at the
Othello’s language repetition here –
Wherein
here is interesting, I spoke of most disastrous chances,
Othello is not
in that it is the Of moving accidents by flood and field; only repeating
language of a what he told
storyteller – he Of hairbreadth scapes i' the' imminent deadly breach; Desdemona, but
uses vast contrasts, clearly
emphasises the
Of being taken by the insolent foe
emphasising his
danger of his And sold to slavery; of my redemption thence own heroism –
experiences, and how accurate it is
And
presents himself as with it my travels' history:
is unclear.
a hero who escapesWherein of antres vast and deserts idle,
these deadly
terrains. Rough quarries, rocks, and hills whose heads touch
heaven, Even when recounting his telling of these stories, his
language and imagery is romantic – is he trying to
‘woo’ Brabantio and the Duke as well?
 Othello woos Desdemona – Act 1 scene
3
It was my hint to speak -- such was the process;
Does And of the Cannibals that each other eat,
Shakespeare
The Anthropophagi, and men whose heads
expect the
audience to Do grow beneath their shoulders. This to hear
believe these
Would Desdemona seriously incline;
assertions or
view them as But still the house affairs would draw her thence;
boasting?
Which ever she could with haste dispatch, ‘greedy’ and ‘devour’ are
She'd come again, and with a greedy ear both quite animalistic word
choices - suggests
Devour up my discourse;
Desdemona is passionate,
the opposite of the ideal,
demure Jacobean woman.
LO: To be able to analyse how Shakespeare presents Othello and Desdemona’s relationship in Act 1 scene 3.
Othello woos Desdemona – Act 1 Scene 3
which I observing,
Took once a pliant hour, and found good means
To draw from her a prayer of earnest heart Does this mean that Othello
That I would all my pilgrimage dilate, intended to make Desdemona
pity him? Does this perhaps
Whereof by parcels she had something heard, explain why he is so quick to
But not intentively. I did consent, distrust her later in the play,
believing she only married him
And often did beguile her of her tears out of pity?
When I did speak of some distressful stroke
That my youth suffered.

LO: To be able to analyse how Shakespeare presents Othello and Desdemona’s relationship in Act 1 scene 3.
 My story being done,
Further suggestion
She gave me for my pains a world of sighs: of D’s passion –
She swore, in faith, 'twas strange, 'twas passing strange; who wooed whom?
'Twas pitiful, 'twas wondrous pitiful.
Does Desdemona She wished she had not heard it; yet she wished
mean she wishes That heaven had made her such a man. She thanked me;
she was a man or
that heaven And bade me, if I had a friend that loved her,
would give her I should but teach him how to tell my story,
such a husband?
And that would woo her. Upon this hint I spake.
Does this seem a secure
She loved me for the dangers I had passed,
Note how respectfully foundation for
Othello addresses And I loved her that she did pity them. marriage?
Desdemona here, and
This only is the witchcraft I have used.
trusts her to support Indication of the
Here comes the lady. Let her witness it.
his story. Think of what prejudice Othello faces.
a contrast this is from
the end of the play.
LO: To be able to analyse how Shakespeare presents Othello and Desdemona’s relationship in Act 1 scene 3.
 What is Brabantio’s explanation of how
Othello stole Desdemona?

• Look at lines 59 – 64

• Explain how Brabantio believes his daughter to have been stolen

away.
 A sign of prophecy and irony
As Desdemona declares her love for Othello to her father Brabantio.
Brabantio warns Othello that he will need to keep a close eye on her.
“Look to her Moor, if thou hast eyes to see. She hath deceived her
Do you have
father and may thee.”
any
sympathy
Ironically, Brabantio refers to Othello using his “eyes to see” - which is
for
how Othello judges people and situations. However, towards the end of
Brabantio?
the play when he judges Desdemona, he is so twisted by Iago’s lies that
he is unable to see the truth about either character.

This warning from Brabantio is used later in the play by Iago as evidence
of Desdemona’s infidelity.
 Act 1 Scene 3 – Who said it?
• How much do you know?

• Complete the worksheet!

 Jealousy in Othello
Look at your copy of Iago’s Soliloquy – annotate as we go through these tasks

By the end of Act 1 Scene 3, Iago reveals why he hates Othello and tries to justify
his reasons in lines 374 – 395.

One of his first reasons is as follows:

I hate the moor, and it is thought abroad that twixt my sheets he’s done my
office.

What does this mean?

 By the end of the act
• By the end of this act, Iago’s soliloquy reveals to the audience some
of his reasons for hating Othello.

• Iago’s willingness to act on ‘suspicion….. as if for surety” suggests

there is an inherent evil nature to his character, and that the
motives he gives are purely incidental.

• IRONICALLY, this is exactly what Iago is able to convince Othello to

do – change from being a man who judges by what he sees, to
judging by what he hears.
 Evil Iago
‘The Moor is of a free and open nature/That thinks men honest
that but seems to be so’

• Another of Iago’s evil characteristics is his ability to see positive

qualities – ones that Othello is proud of - as signs of weakness.

• The audience is aware that Iago see this trait as a flaw and makes
a person susceptible to being taken advantage of.

• In this soliloquy, Iago expresses how he intends to take

advantage of Othello, by using his trusting nature against him.
 Iago’s changing style of language

• When Iago is talking to Roderigo about winning back Desdemona

from Othello, he speaks in fast paced prose.

• Alone on stage, delivering his soliloquy to the audience, Iago

returns to blank verse. This highlights Iago’s ability to manipulate
his style to suit his purpose and audience.

• What rhythm scheme does he use throughout this speech?

Why does Shakespeare do this?
 Task
• In groups, discuss and annotate Iago’s speech.
• Consider the use of rhythm, imagery and word choice.
• What does this soliloquy tell us about Iago?
 Iago’s Soliloquy – Act 1 Scene 3
Action:
• Iago reveals his plan of fooling Roderigo, tricking Othello into believing
Cassio (lieutenant) is pursuing Desdemona and justifying that their honest
nature will lead them to their destruction.

Characters:
• Iago: the manipulative speaker who plans to destroy all of the characters
he describes.
• Roderigo: Iago's "friend" that trusts in Iago's honesty and takes his advice
wholeheartedly.
 Iago compares his
Thus do I ever make my fool my purse: "friend" Roderigo to an
object only to pay him
• Iago reveals his For I mine own gain'd knowledge should profane, money as he continues
inner motive to If I would time expend with such a snipe. to make false promises.
take down Roderigo is considered
Othello by stating But for my sport and profit. I hate the Moor: Iago's purse.
his belief that And it is thought abroad, that 'twixt my sheets
Othello slept with
Emilia (his wife). He has done my office: I know not if't be true;
His "office" is But I, for mere suspicion in that kind,
Iago's sexual duty
to Emilia that he Will do as if for surety. He holds me well; Othello’s trust in Iago, his
belief that he is honest and
believes Othello The better shall my purpose work on him. reliable will make it easier for
took over.
• Iago uses a very direct and powerful verb "hate" to Iago to manipulate him –
• *foreshadowing: taking advantage of Othello’s
Iago wants to his open his argument suggesting his simple motives
good nature.
ranking ("office") that will be concealed by complicated lies and evil
back from plans.
Othello. • The use of this direct verb is Iago's way of telling us
his plan to destroy openly, but only after his plans
have come to fruition do we realize the early
revelation of his plan in Act 1.
Proper has the
double meaning of Cassio's a proper man: let me see now:
being both attractive
in physical attributes
To get his place and to plume up my will
as well as an In double knavery--How, how? Let's see:--
attractive target for After some time, to abuse Othello's ear
Iago to base his plan That he is too familiar with his wife.
upon. He hath a person and a smooth dispose
Iago compares Othello to
To be suspected, framed to make women false. an animal (ass) that will
The Moor is of a free and open nature, follow wherever it is lead
That thinks men honest that but seem to be so, regardless just like
And will as tenderly be led by the nose Othello will trust Iago
As asses are. even without evidence.
I have't. It is engender'd. Hell and night
Must bring this monstrous birth to the world's light.

Iago personifies his plan as a birth that will take place as a result of his villainous intentions.
Imagery of “hell” and “monstrous” also foreshadow the incredibly dark and disturbing events to come.
 Iago’s Soliloquy – Act 1 Scene 3
Iago goes through his thought process of the plan he intends to pursue, describing
each character and justifying why it will work and why the characters are the ideal
victims.

• Chunk 1: Iago discusses how he is taking advantage of Roderigo's money. (his

intentions for later)
• Chunk 2: Iago reveals his hatred for Othello and the cause which will foreshadow
the exact actions of how his plan will play out.
• Chunk 3: Iago reveals how he will use Cassio for his plan's fruition.
• Chunk 4: Iago discusses why each of these characters are ideal for the success of his
plan.
• Chunk 5: Iago states the result of his plan and justifies its inevitable success.
 Comparing Othello and Iago’s Language
Othello
• Emotive
• Descriptive
• Sometimes bombastic
• Calm, and confident
• Dignified blank verse
• Imagery concerns sea or heavens – reflects propensity
toward chaos/uncertainty
• This language reflects his lofty ideals.
Heroic Language – powerful, dramatic, images that know no
bounds – sky, heaven, hell, death or fate.
 
His language later becomes chaotic, showing signs of
madness. Sentences become fragmented and he uses more
obscenities. His language is broken and he is prone to
violent outbursts.
 
His language only returns to its former majesty at the end of
the play after he realises what he has done.
Iago
• Manipulative
• Manufactures expressions for persuasive effect
• Imagery is terse and dry
• Bestial images – esp. of animals mating (ewes,
horses, goats, monkeys, dogs)
• Iago often speaks in prose (esp. when
manipulating Roder.)
• Images of base physical functions
• Images of money and trade
This language reflects the depravity of his mind.
 
Anti-Heroic Language – plain, direct, ironically
understated.
 
Iago remains in control of language throughout
the play.
 
He skilfully uses insinuations, subtle hints,
questions and indirect accusations.
 Looking ahead
Similarities in their Language

• Othello’s language starts to become more depraved as his jealousy

grows – he then starts to use Iago’s imagery (e.g bestial, diabolical)

• Both characters use images of war and soldiers – Othello sees the
glory of war, Iago views war as an economic venture. This shows
Othello’s courage and idealism in contrast to Iago’s self-interested
character.
 HOMEWORK
Read Iago’s last soliloquy in Act 1 Scene 3, and write a detailed
paragraph (or two!) explaining:

• What your is impression of Iago when he speaks his soliloquy

here
• How this soliloquy identifies the contrasts (and similarities?)
of Iago and Othello
• Why this soliloquy is important in the play as a whole
• How soliloquies like this increase our understanding of the
tragedy
 Act 2 Scene 1

Characters • A voice
• Montano • Desdemona
• 1 Gentleman • Iago
• 2 Gentleman • Emilia
• 3 Gentleman • Othello
• Cassio • Roderigo
 Learning Intentions
• To know and understand the events of Act 2.
• To know and understand how Iago is presented in Act 2.
• To be able to analyse Shakespeare’s language and presentation of
Iago.
 A Summary of Act 2

Working in pairs to summarise Act 2 in one of the following

ways:
• One sentence outlining the key events
• Ten key words which sum up the action and themes in Act 2
• 3 key quotations

• You have 5 minutes!

LO: To know and understand the events of Act 2.

 Act 2
What happens?

• Othello tells everyone the Turkish fleet has been defeated.

• Iago persuades Roderigo that Desdemona is in love with Cassio in
order to inspire jealousy, a major theme in this play.
• Iago gets Roderigo to agree to start a fight with Cassio while he is on
the night watch that evening.
 Act 2 Scene 1 Summary
• The Turkish fleet is destroyed by a storm, but all the characters arrive safely in
Cyprus.

• Iago dislikes the courteous way Cassio greets Emilia.

• Othello is overjoyed to be reunited with Desdemona.

• Iago persuades Roderigo to provoke Cassio into losing his temper in the hope of
discrediting him.

• Iago reiterates his desire to have revenge on Othello and Cassio. He suspects them
both of cuckolding him.
Is Iago honest?
 Iago’s misogyny
• As they wait for Othello to arrive, Iago and Desdemona banter. Iago
portrays all women, whether beautiful, ugly, smart, or foolish, as
generally deceptive and sex-starved. But he also says that a woman
with perfect virtue would be boring. Desdemona defends women
against him, though she's clearly amused by Iago.
• Iago expounds the prejudices against women and female sexuality
that he will later use to manipulate Othello. Given the comic tone of
his banter with Desdemona, however, it's hard to tell how he "really"
feels about anything.

Task: Contrast Iago’s and Cassio’s treatment of women in lines 83-174.

 Key points: Cassio
• Cassio has a very polished, courtly way of speaking, especially of ladies.
e.g. he speaks of Desdemona:
– "excels the quirks of blazoning pens“
– "divine Desdemona"

• As Iago finds out later, he has no love for her, though much respect; so it
is with much irony that Cassio is charged as being Desdemona's lover

• Othello sees Cassio as a model Florentine, all poise and polish, which is
something Othello wants to be, but thinks he is not.

• Othello's insecurities mean that Cassio is promoted over Iago, but also
lead Othello to hold Cassio at a distance.
 Analysis: Women
• Though Iago is married, he does not have as favourable an impression of
women as Cassio does.
• Women are "wildcats in your kitchens, saints in your injuries, devils being
offended“
• He even declares that they "rise to play, and go to bed to work“
• Iago's perception of women as deceptive, dominating, and lusty influences
the way he portrays both Emilia and Desdemona.
• Iago is able to convince other men that they are anything but what they are.
 Is Iago honest?
• Iago is very dishonest to the other characters in the play of Othello.
• To Othello he is extremely two-faced. He declares that ‘I hate the moor’ and that he is
only with him and supporting him so that he ‘can serve his turn upon him.’ This suggests
that Iago is only with Othello to seek revenge.
• He is also particularly dishonest to Roderigo, he jokes in his soliloquy that ‘he makes my
fool my purse.’ This implies that Iago is using Roderigo for money, instead of helping him
to win Desdemona’s hand.
• The only way in which Iago is honest is through his soliloquys to the audience. It is here
that he reveals his true insidious nature. It is in these asides that Shakespeare shows
Iago’s evil intent and the true nature of his dishonesty.
• Iago uses the trust that Othello, Cassio and Roderigo have in him to manipulate and
deceive them.
• At the end of Act 1 Scene 3, Iago reveals his plan to corrupt and destroy the others lives,
suggesting that Cassio and Desdemona are having an affair, ‘after some time to abuse
Othello’s ear that he is too proper with his wife.’
• Iago’s dishonesty is a key feature of his manipulative and evil nature.
 Epithets
An epithet is an adjective or describing phrase added before a name or noun which
defines the person or thing; for example, ‘honest Iago’.
In Act 2 there are several examples of epithets applied to various characters.
First identify who said each of the following; then discuss how appropriate the
description is:
Epithet Who said it? Is it appropriate? Why?
the warlike Moor
valiant Cassio
bold Iago
the virtuous Desdemona
brave Othello
divine Desdemona
the lusty Moor
honest Iago
 Epithets
the warlike Moor Third Gentleman 2.1 line 27

valiant Cassio Desdemona 2.1 line 87

bold Iago Cassio 2.1 line 75

the virtuous Desdemona Cassio 2.3 line 325

brave Othello Montano 2.1 line 38

divine Desdemona Cassio 2.1 line 73

the lusty Moor Iago 2.1 line 294

honest Iago Othello & Cassio 2.3 line 330

 Honest Iago
• In this scene, everything hinges on Iago’s ability to persuade those around him that he can
be trusted, not just by Othello, but by Cassio as well.
• Look at the examples of the way Iago operates.
• Explore how he succeeds in manipulating those around him by matching the strategies
listed below to a quotation from this scene on the handout:
What Iago does Example of this (quote)
Cajoling (persuade (someone) to do something by sustained
coaxing or flattery)
Insinuating (hinting at something bad in an indirect and
unpleasant way)
flattering
reassuring
saying what people want to hear
lying
appearing reluctant to say something
pretending he is nicer than he is
 Honest Iago
To Cassio
• …but one cup: I’ll drink for you
• What, man, ‘tis a night of revels, the gallants desire it.
To Montano
• You see this fellow that is gone before;
He is a soldier fit to stand by Caesar
And give direction: and do but see his vice;
'Tis to his virtue a just equinox,
The one as long as the other: 'tis pity of him.
I fear the trust Othello puts him in.
On some odd time of his infirmity,
Will shake this island.
• I do love Cassio well; and would do much
To cure him of this evil--But, hark! what noise?
LI: To know and understand how Iago is presented in Act 2.
To Othello
Touch me not so near:
I had rather have this tongue cut from my mouth
Than it should do offence to Michael Cassio;
Yet, I persuade myself, to speak the truth
Shall nothing wrong him.
More of this matter cannot I report:
But men are men; the best sometimes forget:
Though Cassio did some little wrong to him,
As men in rage strike those that wish them best,
Yet surely Cassio, I believe, received
From him that fled some strange indignity,
Which patience could not pass.
 Honest Iago
To Cassio
• As I am an honest man, I thought you had received
some bodily wound; there is more sense in that than
in reputation. Reputation is an idle and most false
imposition: oft got without merit, and lost without
deserving: you have lost no reputation at all,
unless you repute yourself such a loser.

• You or any man living may be drunk! at a time, man.

I'll tell you what you shall do. Our general's wife
is now the general: may say so in this respect, for
that he hath devoted and given up himself to the
contemplation, mark, and denotement of her parts and
graces: confess yourself freely to her; importune
her help to put you in your place again: she is of
so free, so kind, so apt, so blessed a disposition,
she holds it a vice in her goodness not to do more
 Iago’s Soliloquy
• Read through Iago’s soliloquy (‘And what's he then that says I play the
villain?’ 2.3)
• Take one line at a time and decide what you consider to be a key word
in that line. Highlight or underline that word. You should finish with a
27 word ‘skeleton’ of the speech.
• Now annotate the speech in more detail, look at repeated words or
phrases, contrasts and contradictions. What does the speech reveal
about the concerns and ideas of the play so far?

LI: To be able to analyse Shakespeare’s language and presentation of Iago.

 Annotating Iago’s Soliloquy
• A fantastic video by another teacher – please annotate your copy as
you watch:
https://www.youtube.com/watch?v=q7oDbT4t-5o
 Act 2 Scene 3
• Iago gets Cassio to drink a bit, knowing that he cannot hold his liquor at all.
• Iago also tries to get Cassio’s feelings about Desdemona, but his intentions are innocent
• Iago hopes to cause a quarrel between Cassio and Roderigo
• Iago wants to see Cassio discredited through this, so that he might take Cassios place.
• Cassio fights with Roderigo
• Montano tries to hinder Cassio, but Cassio ends up injuring him.
• The noise wakes Othello, who comes down to figure out what has happened.
• Montano tells what he knows of it all, and Iago fills in the rest making sure to fictionalize his part
in it all.
• Cassio is stripped of his rank, and all leave Cassio and Iago alone.
• Iago tries to convince Cassio that a reputation means little
• Iago suggests talking to Desdemona, maybe he can get her to vouch for him with Othello.
• This will help Iago get the impression across that Desdemona and Cassio are together
• Iago then gives a soliloquy about knowing that Desdemona will speak for Cassio, and that he will
 Analysis: Honesty
• "Honest" emerges as a key word in this scene
• It is a term laden with irony, and a constant reminder of the dramatic irony
inherent in Iago’s dealings.
• None of the characters in the play have any idea of Iago’s plans and evil
intentions: Othello and Cassio are especially innocent of this knowledge.
• The audience knows exactly what Iago is up to, and is able to see his deceptions
for what they are
• Iago’s words interest the audience because of how much dramatic irony they are
laden with
• Curiosity to find out whether Cassio and Othello will come to know as much as
the audience does about Iago’s deviance.
• The word "honest" draws attention to how Iago’s motives are hidden from the
characters onstage
 Analysis: Juxtaposition
• Iago and Cassio are juxtaposed in this scene to bring out Cassio’s flawed
honour and courtliness and Iago’s manipulativeness and deceptiveness.
• Cassio stands in especially sharp contrast to Iago when Iago speaks lustfully of
Desdemona
• Cassio is full of honour when it comes to women, and the ideals of a courtier
as well.
• "He's a soldier fit to stand by Caesar," Iago says, the allusion to Caesar stating
the fact that he knows Cassio's true quality.
• Iago strikes gold when he figures out Cassio's weakness for drink
• "Hell be as full of quarrel and offense as my young mistress dog,“
• Iago’s metaphor shows that he knows how liquor can separate even the best
man from himself
• Iago’s metaphor reinforces his perceptiveness, and the light/dark imagery
 Analysis: Reputation
• Reputation is a theme in the book that obviously holds some
resonance for Cassio
• Iago also knows the importance of reputation, which is why he makes
sure that people see him as "honest" before anything.
• "Reputation is a most idle and false imposition," Iago says: this
statement is meant as false consolation to Cassio, and is filled with
great irony.
• Reputation is always of concern when individuals are involved
 Analysis: Devil
• Cassio is so grieved that his reputation has been hurt that he sees fit
to find a villain in all that has happened
• Ironically, Cassio misses the identity of the real devil in this situation,
Iago.
• "Devil" becomes a key word in this play, as people try to seek out
what is poisoning everyone
• Good vs. evil is a major theme in the play
• There is a great deal of grey area: Iago is the villain
• Everyone else has some blemish of their natures
• No one entirely deserving of the label "good".
 Groups

 Sit in your groups.

 Read and discuss the question you have on your table.
Write down your response on the whiteboards.
 Setting
Discuss:

Why does Shakespeare change the setting from Venice (Act 1) to Cyprus
(Act 2)?

• Cyprus is ‘half-way house’ between civilised Venice & barbaric & foreign east. –
Perhaps signifies the inner conflict Othello faces between civilised self & jealous self.
• Medical theory of foul humours believed to be affected by heat, therefore
Shakespearean audience would have believed Othello is adversely affected by heat.
• Cyprus is military base – transgressions dealt with in military fashion
• Allows opportunity to see characters out of familiar environment & therefore less
constrained by usual codes of behaviour. Also allows emotions to intensify.
 Setting
Discuss:
What is the significance of the storm in Act 2?
Does the storm act as a metaphor? How

• The storm is a symbol of unrest and foreshadows the trouble about to be seen in Othello and
Desdemona’s turbulent relationship.
• The storm marks the end of the peaceful part of the play, and is an act of fate, marking the
end of the external threat (attack from the Turks) and the internal threat (Iago)
• It also signifies Othello’s soon-to-be-seen volatile & destructive nature, which contrasts with
Desdemona’s calm and virtuous character.
• Might the storm also represent Iago himself and be a metaphor for his violent desires?
• Iago, arrives to the Island first, signifying that he will be in charge in this Cyprus setting.
• The storm mirrors the chaos of Act 1 Scene 1
 Concluding our ideas
Write a paragraph explaining how Shakespeare presents
Iago in Act 2.

Success Criteria:
• Articulate creative, informed and relevant responses to
literary texts, using appropriate terminology and
concepts, and coherent, accurate written expression
• Demonstrate detailed critical understanding in analysing
the ways in which structure, form and language shape
meanings in literary texts
 Learning Intentions
• To know and understand the events of Act 2.
• To know and understand how Iago is presented in Act 2.
• To be able to analyse Shakespeare’s language and presentation of
Iago.
 Homework
• Read Act 3.
• Select five quotations which sum up the act and annotate
each quotation – saying a lot about a little.
Reflecting on what we have learnt

One thing I’d What I already

Two things I
like to know knew but
more Othello
in next Iago
have learned Desdemona
understand
today…
lesson... better
 Learning Objectives
• To know and understand the events of Act 3.
• To know and understand how Iago is presented in Act 3.
• To be able to analyse Shakespeare’s language and presentation of
Iago.
 Act 3 Scene 3 Lines 1 - 89
Characters:
• Desdemona
• Emilia
• Cassio
• Iago
• Othello
• What is your impression of Desdemona in the first 34 lines of the
scene? Is she submissive? Flirtatious? Confident?
• What does Iago mean by his first line in this scene ‘Ha, I like not that.’
(line 34)? What is Iago insinuating?
 Act 3 Scene 3
In this scene, Iago begins to poison Othello’s mind into believing that
Desdemona is having an affair with Cassio. At first, Othello cannot
believe that Desdemona would behave in such a way, but slowly Iago
makes suggestions that get into Othello’s imagination and he begins to
believe it could be true.
 Act 3 Scene 3 lines 90 - 281
Characters:
• Othello
• Iago

• Who has the most power in this conversation? Does the power shift at all? If so
where?
• Who sets the agenda of the conversation (chooses the topic)?
• Who initiates the dialogue? Does each person wait till the other has finished or
does one person keep interrupting?
• Are there any words / images which are repeated or which seem particularly
important?
 Act 3 Scene 3 Lines 90 - 281

Re-read Act 2 Scene 3 lines 331 – 357.

What is Iago’s plan as outlined in this soliloquy?
• ‘Chaos is come again’ – some Elizabethans believed that a state of Chaos existed before
the world began and when the world ended Chaos would come again. – On a personal
level, ‘Chaos [coming] again may mean the end of Othello’s world – personal disorder on a
cosmic scale.
• Iago sets the agenda ‘Did Michael Cassio…’ suggests he has the most power.
• Look at the number of questions at the beginning of the extract. – Suggests uncertainty
• Look at repetition of ‘think’ – Iago implying doubt as to Cassio’s honesty
• Line breaks suggest interruption – fast paced, therefore anxious / passionate exchange
• ‘Men should be what they seem’ – shockingly hypocritical – does Iago’s dishonesty know
no limit?
 Shakespeare’s Language – Frank Kermode

• ‘The pivotal scene of the play…’ p.173 – ‘…And the scene ends with
the pair swearing a joint oath of loyalty and vengeance.’ p.177.
• What is Kermode’s argument here?
• To what extent do you agree with his view?
 Learning Objectives

• To know and understand the events of Act 3.

• To know and understand how Iago is presented in Act 3.
• To be able to analyse Shakespeare’s language and presentation of
Iago.
 Act 3 Scene 4

Characters:
• Desdemona
• Clown
• Emilia
• Iago
• Cassio
• Bianca
 Act 3 Scene 4
• Reread lines 32 – 47.
• How many times is the word ‘heart / hearts’ mentioned?
• How many times is the word ‘hand / hands’ mentioned?
• What might these two images signify?
 Learning Intentions
• To revise Othello Acts 1, 2 & 3.
• To know the sequence of events in the first three Acts of Othello.
• To understand how the relationship between Othello and Iago
changes over the course of the first three acts of the play.
• To be able to discuss and analyse the way Shakespeare uses language
to present the changing relationship between Othello and Iago.
 Starter
• Working in pairs, complete the Tarsia jigsaw puzzle on
the first three acts of ‘Othello’.
• Match the correct answers to the questions.
• If you have got all the questions correct, the final shape
should resemble a triangle:

To revise Othello Acts 1, 2 & 3.

 Learning Intentions
• To revise Othello Acts 1, 2 & 3.
• To know the sequence of events in the first three Acts of Othello.
• To understand how the relationship between Othello and Iago
changes over the course of the first three acts of the play.
• To be able to discuss and analyse the way Shakespeare uses language
to present the changing relationship between Othello and Iago.
 Sequencing the play so far

• In your pairs, read through the statements of events in the

play.
• Put these statements in the correct chronological order,
following the order in which events unfold in the script.

LO: To know the sequence of events in the first three Acts of Othello.
 Othello – Acts 1, 2 & 3
1. Iago complains to Roderigo about ‘the Moor’ and the fact that Cassio has been promoted
over him.
2. Iago and Roderigo go to Brabantio’s house and whip the senator into an emotional frenzy
by telling him in lewd language of his daughter Desdemona’s elopement with the Moor.
3. Brabantio publically accuses Othello of witchcraft as he believes that this is the only way
his daughter Desdemona would fall in love with a black man.
4. Othello calmly tells the story of his courtship with Desdemona and how she was initially
attracted to him because of his adventurous stories.
5. Desdemona tells her father that she is married to Othello.
6. Othello is ordered to Cyprus to defend it against a Turkish invasion. He requests that
Desdemona accompanies him.
7. In a soliloquy, Iago reveals for the first time that he has heard a rumour that Othello has
slept with his wife, Emilia.
LO: To know the sequence of events in the first three Acts of Othello.
 Othello – Acts 1, 2 & 3
8. A storm at sea destroys the Turkish fleet.
9. Othello arrives safely in Cyprus.
10. Iago deliberately gets Cassio drunk, taking advantage of his low tolerance of
alcohol.
11. Iago speaks with Montano about Cassio, highlighting his ‘vice’ – his propensity
to drink.
12. Cassio wounds Montano in a brawl when Montano accuses him of being drunk.
13. Iago tells Othello that Cassio started the fight. Consequently, Cassio is
dismissed from office.
14. Iago suggests to Cassio that he enlist the help of Desdemona to get his job back.

LO: To know the sequence of events in the first three Acts of Othello.
 Othello – Acts 1, 2 & 3
15. Desdemona assures Cassio that she will help him to get reinstated.
16. Iago, in a seemingly reluctant fashion, drops hints to Othello about Cassio’s honesty
and about Cassio’s feelings for Desdemona.
17. Othello orders Iago to set Emilia to watch Desdemona for any sign of her infidelity.
18. Emilia steals Desdemona’s handkerchief which was a love token given to her by
Othello.
19. Emilia gives the handkerchief to Iago.
20. Iago claims to have heard Cassio talk in his sleep of ‘Sweet Desdemona.’
21. Iago claims that Cassio has Desdemona’s handkerchief.
22. When Desdemona denies that she has lost the handkerchief Othello informs her of
its magical powers and sentimental value.
23. Cassio gives Bianca the handkerchief stating that he found it in his bedroom.
LO: To know the sequence of events in the first three Acts of Othello.
 Learning Intentions
• To know and understand how the relationship between Othello and
Iago changes over the course of the first three acts of the play.
• To be able to discuss and analyse the way Shakespeare uses language
to present the changing relationship between Othello and Iago.
 Re-capping the play
• Working in pairs, look back through the first three acts of the play and
choose three or four short extracts which you feel highlight the changing
relationship between Iago and Othello.

• Annotate your extracts to show the ways in which this changing relationship
is revealed in the language the two men use when they speak to each other.

• Consider:
• Imagery
• Sounds and associations of individual words
• The type of utterance (e.g. question, command or statement)

LO: To understand how the relationship between Othello and Iago changes in Acts 1 – 3.
 Feedback from homework
• Working in pairs, look back through the first three acts of the play and
choose three or four short extracts which you feel highlight the changing
relationship between Iago and Othello.

• Annotate your extracts to show the ways in which this changing

relationship is revealed in the language the two men use when they speak
to each other.

• Consider:
• Imagery
• Sounds and associations of individual words
• The type of utterance (e.g. question, command or statement)
LO: To understand how the relationship between Othello and Iago changes in Acts 1 – 3.
 Is this whole play really about a
handkerchief?

• What is the main purpose of Act 3 scene 4?

• Why is the handkerchief so important to Othello?

• How does he describe it?

• What does it symbolise?

 Act 4 Scene 1

Characters
• Othello
• Iago
• Cassio
• Bianca
• Lodovico
• Desdemona

LO: To be able to discuss and analyse Shakespeare’s language

 Act 4 Scene 1 Lines 1 - 43
• Characters:
Iago
Othello
• Re-read this extract.
• Identify in the extract anything that is
evidence
direct advice
innuendo
hints or rumours
• What do you learn about the techniques that Iago uses to persuade Othello
of Desdemona’s infidelity?
• What do you think an audience reaction to this scene might be?
LO: To be able to discuss and analyse Shakespeare’s language
 Act 4 Scene 1
Characters
• Othello
• Iago
• Cassio
• Bianca
• Lodovico
• Desdemona

LO: To be able to discuss and analyse Shakespeare’s language

 Learning Objectives
• To know and understand how the relationship between Othello and
Iago changes over the course of the first three acts of the play.
• To be able to discuss and analyse the way Shakespeare uses language
to present the changing relationship between Othello and Iago.
 Act 3 Scene 3
Turning point - changes Othello from devoted and trusting to insanely jealous

• Iago suggests Desdemona's infidelity

• Begins subtly
"Ha! I like not that. […] I cannot think it, / That he would steal away so guiltylike, /
Seeing you coming.”
• The sneering tone of Iago’s “Ha!” immediately garners interest from Othello.
• He wonders what Iago has noticed and sees Cassio leaving Desdemona.
• Iago quickly seizes this opportunity to subtly suggest that this encounter may not have
been as innocent as it first appeared.
• His use of the words “steal” and “guilty-like” imply to Othello that Iago believes
something has been happening that should not have been.
• This smallest suggestion is enough to stir Othello’s jealousy as he later questions Iago
about this encounter.
 Act 3 Scene 3
• Iago's skilful manipulation of this long discussion leads Othello to generate the idea of
Desdemona's affair himself.
• At this point Othello's jealousy allows him to be completely controlled by Iago
“Look to your wife; observe her well with Cassio; / Wear your eyes thus: not jealous nor
secure.”
• This is the crucial suggestion to the success of Iago’s plan. Having instructed Cassio to
appeal to Desdemona’s good nature, he will give Othello countless opportunities to see
them together.
• Desdemona’s appeals on behalf of Cassio will also take on new meaning in the jealous
eyes of Othello.
• Changes Othello from devoted and trusting to insanely jealous
• Having already persuaded Othello of Desdemona’s unfaithfulness, Iago obtains the proof
that turns Othello's jealousy into murderous rage.
• He uses the handkerchief, a symbol of their love, to destroy their happiness and leads to
the tragic end of the play.
 Act 3 Scene 3
As we watch this scene, carry out the following tasks:

1. Take notes about the language and tactics Desdemona uses to try and persuade
Othello.
2. Share your observations about Desdemona’s attempts to persuade Othello to
reconcile with Cassio. What does she do? What kind of language does she use? How
successful is she, and why?
3. Referring to the text from the scene, consider Desdemona’s strength in this scene.
How strong and confident does she seem in this performance? How is this
communicated through language and through action? Could this scene be played in
a different way?
4. Share your observations about Iago’s attempts to persuade Othello that Desdemona
might have been unfaithful to him. Examine his persuasive techniques, comparing
and contrasting them to the techniques Desdemona used. Whose are more
effective, and why?
 Act 3 Scene 3 – What they’re really thinking
https://www.youtube.com/watch?v=YW1XPzpiXSk
• Each group will look at a different section of the scene between Iago and Othello.
• Within your groups, you should choose:
- one person to be Iago
- one to be Othello
- one to be Iago’s thoughts
- one to be Othello’s thoughts.
• Discuss the extract and annotate what the characters are thinking as they converse.
• Each group will read their section of the script to the rest of the class. After each
of Iago and Othello’s lines, the character representing their thoughts should express
what they are really thinking or feeling.
• Discuss the results of each read-through with the rest of the class, encouraging
them to think about how and why Iago succeeds in persuading Othello.
 Act 3 Scene 3 - Othello’s Soliloquy
• Now we hear Othello in a soliloquy (258-277), and the range of the imagery
he uses underscores the appalling change in his character.
• There is only one thing now of which Othello is certain — the "exceeding
honesty" of Iago.
• The Moor is obsessed with the need to prove or disprove Desdemona's
fidelity.
• Othello's mental agony approaches the emotional climax of the play; here is
the first turning point of the drama.
• Othello's mind and soul are torn with irrational images of Desdemona's
infidelity and of his own unworthiness.
 Critical Essay
Choose a play in which there is a scene involving a significant discovery
or deception or revelation.

By referring to appropriate techniques, explain how the discovery or

deception or revelation is presented and discuss how its impact
contributes to your appreciation of the play as a whole.

COPY THIS DOWN

 Learning Intentions
• To know and understand how Desdemona changes over the course of
the play;
• To be able to discuss and analyse the way Shakespeare uses language
to present the change in Desdemona.
 Starter
• Discuss what happens in Act 4 - look at your one-page sheets to help
• Summarise Act 4 in 5 bullet points.

LO: To be able to discuss and analyse Shakespeare’s language

 Act 4
Key moments:
• Othello strikes Desdemona, and makes the decision to suffocate her
in their bed
• Desdemona sings about her sorrow and distress
 Desdemona’s Song, Act 4 scene 3:
‘My mother had a maid called Barbary,
She was in love, and he she loved proved mad
And did forsake her. She had a song of “Willow,”
An old thing ’twas, but it expressed her fortune
And she died singing it. That song tonight
Will not go from my mind. I have much to do
But to go hang my head all at one side
And sing it like poor Barbary.

What is the possible significance of this quotation?

• Desdemona is preparing for bed, afraid that Othello is wrongly angry with her for being unfaithful. She
sings "The Willow Song", a mournful folk ballad, in which a lady laments her lost love.
• Desdemona only has time to sing two verses before she breaks off to talk to her maid Emilia.
• But Shakespeare’s audience would have been familiar with the ending of the original ballad, and they
would have known that it foretold tragedy.
• The earliest record of "The Willow Song" is in a book of lute music from 1583. There were eight verses, and it was
originally about a man who dies because of his love’s cruelty and betrayal. Shakespeare changes the victim in the
song from a man to a woman, making it more relevant to Desdemona.

• Shakespeare's audience would have understood that the inclusion of the song foretells imminent tragedy for
Desdemona, due to the cruelty of her lover Othello.

• In the play, Desdemona says she learnt the song from her mother's maid, Barbara, who met with a tragic end whilst
singing it:

• Later in the play, Desdemona’s own maid Emilia makes Othello realise Desdemona’s innocence, and she is
stabbed by her own husband, Iago, for betraying him. She refers to the song and its ominous prediction, and then
sings it herself as she dies:

“What did thy song bode, lady?

Hark, canst thou hear me? I will play the swan.
And die in music.
Willow, willow, willow —
Moor, she was chaste; she loved thee, cruel Moor;
So come my soul to bliss, as I speak true;
So speaking as I think, I die, I die.”

• As well as forewarning the audience of the tragedy to come, The Willow Song gives both Desdemona and Emilia a
way to openly express their sorrow, as they cannot articulate their distress. It highlights the innocence of the two
women, and the cruel acts of their husbands.
 Desdemona’s Change
• Read the quotations on the handout.
• Annotate each quotation with the impression that they give about
Desdemona’s character. (E.g. Does she seem confident / naïve /
upset? etc.)
• Focus on each quote in turn and identify what it is that she says and
how she says it which gives this impression.
• You should also find the quotes in your copy of the play in order to
see how it appears in context, for example how the others characters
react to what she says.

LO: To be able to discuss and analyse Shakespeare’s language

 Learning Objectives
• To know and understand the events of Act 5;

• To be able to discuss and analyse the way Shakespeare uses language

to present turbulent events of Act 5.
Act 5 Scene 1 lines 1 - 22
• Characters:
• Iago
• Roderigo

• Makes notes:
• How many imperatives does Iago give Roderigo? What
does this suggest about their relationship?
• How does this scene compare with Act 1 Scene 1?
• What does Iago mean when he says of Cassio ‘He hath a
daily beauty in his life / That makes me ugly.’
 Act 5 Scene 1 lines 1 - 22
• High number of imperatives – demonstrates the power Iago has over
Roderigo.
• 1.1 & 5.1 - both take place outside at night & both scenes feature Iago &
Rodrigo plotting villainy.
• Iago getting Rodrigo to do his dirty work – emphasises the upper hand he has
in the relationship, and his capabilities as a manipulator, not only of Othello.
• ‘He hath a daily beauty in his life / That makes me ugly.’
• Is Iago contemptuous of himself? Or is he referring to Cassio’s natural charm
& manners? Either way, he sees himself as “ugly” but it seems only in
comparison to Cassio’s good looks, education and charm.
 Act 5 Scene 1 lines 23 - 36
• Characters:
• Roderigo
• Cassio
• Othello

Make notes:
• What observations can you make about Othello’s language and
sentence types lines 31 – 36?
 Act 5 Scene 1 lines 23 - 36
What happens
From behind, Iago darts in and stabs Cassio in the leg, then runs away. From a
distance, Othello hears Cassio's shouts of pain and believes that Iago has killed Cassio.
Moved by Iago's loyalty to him, Othello steels himself to go and kill Desdemona in her
bed.

Analysis
• Iago's actions are cowardly, sending Roderigo ahead of him and then attacking Cassio
from behind.
• Othello once again misinterprets what has happened, though, to Iago's benefit.
• Othello's professed admiration for Iago, coupled with his newly misogynistic and
violent plans for Desdemona, contrast poignantly from his declarations of love in 1.3.
 Act 5 Scene 1 lines 37 -
• Characters:
• Cassio
• Gratiano
• Lodovico
• Roderigo
• Iago
• Bianca
• Emilia

Make notes:
• What evidence is there in this section that the scene is taking place at night?
What is the dramatic significance of this?
• What observations can you make about Iago’s behaviour in this section?
 Act 5 Scene 1 lines 37 -
• Iago here reveals the full extent of his villainy and treachery, killing
the character with whom he has plotted onstage since 1.1 in order
to cover his tracks.
• Although the other characters dismiss Bianca as a prostitute, she
shows real affection for Cassio.
• Iago, however, uses misogynistic stereotypes to implicate the
(innocent) Bianca (“Gentleman all, I do suspect this trash to be a
party in this injury”)and further put himself in the clear.
 Act 5 Scene 2 lines 1 - 22
Homework
Make notes:
• Is this speech in verse or prose? Why is this significant?
• Are any words or phrases repeated? What does this suggest about Othello’s state of mind?
• What does it say in your notes about the word ‘cause’? Why does Shakespeare have
Othello repeat this word?
• Why is the phrase ‘put out the light’ repeated (look in your notes)?
• What might ‘Promethean heat’ mean?
• What types of sentences are used here (e.g. imperatives / declaratives / exclamations /
interrogatives)? What does this suggest about Othello’s state of mind?
• Look at where Shakespeare has used end stopping and where enjambment has been used.
What observations can be made about the structure of the lines here?
 Act 5 Scene 2 lines 23 - 104
Task
Make notes:
Find evidence for each of these different readings of the scene:
1. Othello has already decided to kill Desdemona. Nothing she says will make
any difference at all. The dialogue is full of legalistic language as if Othello
has tried her, found her guilty and is now sentencing her.
2. Othello feels that he has to kill Desdemona but he doesn’t really want to do
it. His love for her still makes this an unbearably difficult task.
3. Othello is still in the grip of jealousy and irrationality. He ignores all her
pleas and all the evidence because he is no longer the honourable, noble
man that he once was.
 Learning Objectives
• To know and understand the events of Act 5;

• To be able to discuss and analyse the way Shakespeare uses language

to present turbulent events of Act 5.
 Act 5 Scene 2 lines 105 - End
Characters
• Emilia
• Othello
• Desdemona
• Montano
• Gratiano
• Iago
• Lodovico
• Cassio
 Othello – Final Impressions
• Re-read Othello’s last two speeches in the play.
• What impression of Othello does Shakespeare leave the audience
with?
 What Does the Ending Mean?
• The play ends in a spectacle of tragic violence: Emilia intercepts Othello after he’s
murdered Desdemona and reveals Iago’s treachery. Her revelation is corroborated by
information from Cassio and a letter found in Roderigo’s pocket.
• In a vain attempt to prevent his scheme from being revealed, Iago stabs and kills Emilia,
and is then taken prisoner while Othello, lamenting the loss of his wife, kills himself
next to her. Notably, Iago is left wounded but alive at the end of the play. Cassio is
charged with determining Iago’s punishment, and urges “the time, the place, the
torture, oh, enforce it” (5.2.).
• The ending symbolizes the culmination of the violent forces put in motion by Iago at
the start of the play. He aimed at “practicing upon [Othello’s] peace and quiet / Even to
madness” (2.1.).
• Iago has been so successful that Othello feels compelled to kill himself, explaining that
“I kissed thee ere I killed thee—no way but this, Killing myself to die upon a kiss” (5.2.).
• Not only has Othello murdered his beloved wife, he also has to face the horrible truth
that his suspicions of her adultery were completely unfounded.
Sparknotes, 2019
 What Does the Ending Mean?
• Othello’s suicide serves as a kind of trial in which he decides on and enacts a punishment
for his crime of killing Desdemona.
• In his final speech, he explains how he hopes to be remembered, saying “When you shall
these unlucky deed relate / Speak of me as I am” (5.2.).
• Perhaps because he knows he has never been fully accepted by Venetian society, and
that they will be quick to twist his reputation into that of a barbaric killer, Othello spends
his final moments reminding his audience of the ways he has faithfully served Venice.
• Immediately before he stabs himself, Othello draws a comparison to how he killed “a
malignant and turbaned Turk…the circumcised dog” (5.2.).
• The comparison might suggest that Othello, as a result of his crimes, now sees himself as
an outcast who deserves to die in the same way, or it might imply that by voluntarily
punishing himself for his crimes, he acts in a way that is consistent with his previous
military valour.
• Either way, Othello asserts an autonomy and control over his destiny that contrasts
sharply with the way he has been manipulated throughout most of the play.
Sparknotes, 2019
 Carousel Task
Things to include:

• Ideas
• Observations
• Key quotations
• Analysis
 Task
Plan for the following essay questions:

1. Choose a play in which a central character is in conflict with or rejects another character.
Briefly explain the circumstances of the conflict or rejection and go on to discuss the consequences of this
conflict or rejection for the play as a whole.
(You should write on Iago’s conflict with Othello – be clear that part of what is interesting is that it is conflict
that Othello is unaware of).

2. Choose a play in which a major character at times feels isolated from those around him or her.
Explain the reasons for the isolation and, with reference to appropriate techniques, discuss
how the character’s response to his or her situation contributes to your understanding of the
play as a whole.

3. Choose a play in which one scene makes a major dramatic impact on the audience.
With reference to appropriate techniques, explain how the dramatic impact of the scene is
created and discuss how the scene contributes to your appreciation of the play as a whole.
Choose a play which has an effective opening scene or concluding scene.
By briefly referring to details of the scene, explain how the dramatist made it effective and discuss how it contributes to your appreciation of the text as
a whole.

Introduction
• Title
• Author
• Refer to Task (TART)
• Outline the play (briefly)
• Outline your overall argument – why is this an effective concluding scene?
- Othello has changed – what he does to Desdemona – para 2
- BUT there is redemption for him – he accepts he is wrong, language changes back to how we first knew
him, punishes himself accordingly. – para 5
- We realise the full extent of Iago’s cruelty and consequences of his manipulation – he has led Othello to
take such awful steps in the murder of Desdemona; - para 3 also see how Iago cruelly casts aside anyone,
including his own wife.- para 4
- Consequences for all the characters – Othello, Desdemona and Emilia, but also Iago – he’s not given a
 Para 1
How does the play build to this scene
- Iago’s hatred for Othello and subsequent manipulation
- Othello’s own insecurities due to his race, and how he is treated as an
‘other’ by the other characters in the play
- The symbolism of the handkerchief – tainted, changed from a symbol of
love to one of (supposed) infidelity and betrayal
- Othello changing – his language from being very articulate, charming, to
brutish, striking Desdemona, calling her a whore; in a sense becoming
more like the man who has manipulated him so cunningly
- Sense of foreboding building, leading to this climactic scene
 2 Othello has changed – what he does to
Desdemona
P: One of the harshest realities of the concluding scene of the play is the dawning realisation on the
audience of how much Othello has changed. No longer the articulate, loving husband and general we
initially meet at the beginning, we greet him in Act 5 Scene 2 standing over his sleeping wife,
contemplating how he will murder her for her supposed infidelity. He contrasts admiring her beauty
with reiterating the ‘need’ for her death:
E: “…I’ll not shed her blood, nor scar that whiter skin of hers than snow, and smooth as monumental
alabaster: yet she must die, else she’ll betray more men.”
E: Othello’s desire not to “shed” Desdemona’s blood seems to suggest he does not want there to be
gruesome evidence of his crime, emphasising his denial over how brutal this act will be. His
admiration of her skin – the pale colour foreshadowing her death – tells us that he clearly still loves
his wife, but this is so incongruous to the violent act he is contemplating, and highlights the
breakdown in his once-clear sense of logic and reason. As well as this, we can Iago’s insidious
influence in his misogynistic language, and need to protect men from “treacherous” women.
Ultimately, this soliloquy not only reveals the toll Iago’s lies have taken on Othello’s sense of reality
and reason, but show us how far the honourable general has fallen as he contemplates this ruthless
act.
Choose a play which has an effective opening scene or concluding
scene.
By briefly referring to details of the scene, explain how the
dramatist made it effective and discuss how it contributes to your
appreciation of the text as a whole.

• How play has led to this

• How Othello has changed
• The extent of Iago’s manipulations – what Othello does to Desdemona
• Iago kills Emilia
• Redemption for Othello before he dies?
• Consequences for everyone, including Iago.
Answers to questions on drama should refer to the text and to
such relevant features as characterisation, key scene(s), structure,
climax, theme, plot, conflict, setting . . .

Choose a play in which a major character at times feels

isolated from those around him or her.
Explain the reasons for the isolation and, with reference to
appropriate techniques, discuss how the character’s
response to his or her situation contributes to your
understanding of the play as a whole.
 Learning Objectives
• To know and understand the different types of desire presented in
‘Othello’;

• To be able to analyse the ways Shakespeare presents desire as a

destructive force.
 The Destructive Nature of Desire
• What do we understand by the phrase ‘the destructive nature of
desire?
• Assign a scribe (or 2!)
• As a class create a mind map which focuses on the different examples
of the destructive nature of desire in the play.
• Othello regarded as the play about sexual jealousy.
• Shakespeare was writing ‘Othello’ in 1603, at same time working on
‘Measure for Measure’ another play about sexual desire, both based
on Italian stories found in Cinthio Giraldi’s book Gli Hecatommithi
(1565) (‘A Hundred Tales’).
• Othello & Desdemona only recently eloped when O is convinced of
D’s infidelity. – 2.3 couple not yet consummated their marriage
‘’Come, my dear love, / The purchase made, the fruits are to ensue; /
That profit’s yet to come ‘tween me and you.’
• O & D travel to Cyprus together on separate ships – why is not
explained, but it does mean the couple have had v little time together
to build the bonds of marriage.
• The fact that Cassio is the accused lover make D’s alleged infidelity all
the more painful – double betrayal.
 Context
• Shakespeare was writing ‘Othello’ in 1603, at same time working on
‘Measure for Measure’ another play about sexual desire, both based
on Italian stories found in Cinthio Giraldi’s book Gli Hecatommithi
(1565) (‘A Hundred Tales’).
• Read the chart on the next slide. What do Shakespeare’s alterations
add to the tale? – Think particularly about the destructive nature of
desire.
 Cinthio vs Shakespeare
Cinthio Shakespeare
Un Capitano Moro (1565) Othello (1603)
(‘A Moorish Captain’)

Othello… unnamed, happily married for years Othello… newly married

A Moor A Christian convert

Handsome, age not specified Much older, more than 40
Hates the idea of leaving his wife behind Doesn’t mind if his wife stays in Venice

Cassio - married Cassio, a Florentine bachelor

Iago, who has a daughter, is in love with Disdemona, but Iago – childless
thinks she loves Cassio; he attempts to kill Cassio and beats
her to death with a sand filled stocking whilst Othello stands
by.
Othello, tortured, incriminated by Iago, then banished, Othello kills himself, Brabantio dies from grief, after his
hunted down and killed by Disdemona’s vengeful family. arrest Iago, like Othello is Cinthio’s tale ‘never will speak.’
 Different Strands of Desire
Working in groups look at the different types of desire in ‘Othello.’

• Group 1 – Consider Iago’s desire for revenge / for Othello.

• Read the article ‘Iago on the Couch’.
• What view of Iago is given here?
• What is your view of Iago?
• Select the ideas in this article that would be pertinent to your essay.

• Group 2 – Consider Othello and Desdemona’s relationship.

• Read the article ‘Tragic Consummation in Othello’
• What view of Othello and Desdemona’s relationship is given here?
• What is your view of their relationship?
• Select the ideas in this article that would be pertinent to your essay.
 Planning the Essay
• Working in your new groups, share with each other the articles you
were reading and the notes that you made.
• Now start planning your essay as a group – it’s okay if you have
different ideas, but use the discussion time to bounce ideas around
and to consider different perspectives.