Othello

1. Othello

2. Dramatis Personae • Duke of Venice • Othello: Moor, married to Desdoma • Iago: Solider in Othello’s army • Cassio: Lieutenant in Othello’s army • Desdemona: Othello’s wife • Emilia: Iago’s wife • Rodreigo: Solider, love Desdemona

3. Act I Scene 1 • Read I.1.113-114 • Othello begins in the city of Venice, at night • Roderigo is having a discussion with Iago, who is bitter at being passed up as Othello's lieutenant. • Though Iago had greater practice in battle and in military matters, Cassio, a man of strategy but of little experience, was named lieutenant by Othello. • Iago says that he only serves Othello to further himself, and makes shows of his allegiance only for his own gain • He admits that his nature is not at all what it seems. • Iago is aware that the daughter of Brabantio, Desdemona , has run off with Othello, the black warrior of the Moors. • Brabantio knows nothing of this coupling • Iago decides to enlist Roderigo, who lusts after Desdemona, and awaken Brabantio with screams that his daughter is gone. • Watch movie scene

4. Act I Scene 1 • At first, Brabantio dismisses these cries in the dark • He realizes his daughter is not there, he gives the news some credence. • Roderigo is the one speaking most to Brabantio, but Iago is there too, hidden, yelling unsavory things about Othello • Brabantio panics, and calls for people to try and find his daughter • Iago leaves, not wanting anyone to find out that he betrayed his own leader • Brabantio begins to search for his daughter.

5. Analysis: Friendship • The relationship between Roderigo and Iago is somewhat close • Roderigo shows this in his first statement: • Iago "hast had [Roderigo's] purse as if the strings were thine," he tells Iago (I.i.2-3) • The metaphor shows how much trust Roderigo has in Iago, and also how he uses Iago as a confidante • Does Iago share the same kind of feeling? • As far as Roderigo knows, Iago is his friend • Appearance is one thing and reality another, as Iago soon will tell.

6. Analysis: Trusting Appearance • Iago tells several truths about himself to Roderigo • He trusts Roderigo with the knowledge that he serves Othello, but only to further himself. • How ironic that after Iago's lengthy confession of duplicity, Roderigo still does not suspect him of doublecrossing or manipulation. • Iago seems to do a great deal of character analysis and exposition for the audience • He divulges his purpose in serving Othello, and the kind of man he is. • Appearance vs. Reality is a crucial theme in Iago's story • He enacts a series of roles, from advisor to confidante • He appears to be helping people though he is only acting out of his twisted self-interest.

7. Analysis: Metaphors and Paradox • "These fellows" that flatter for their own purposes "have some soul," Iago says • There is a double irony in this statement that Iago passes off as a truth • People who act one way and are another are duplicitous, and scarcely deserve the credit that Iago is trying to give them. • Iago, though he is one of those fellows, seems to have no soul • He never repents, never lets up with his schemes, and never seems to tire of damaging whatever he is able to. • "In following [Othello] I follow but myself," Iago also professes • This is a paradox in terms, but is revealing of Iago's purposes in serving Othello. • His language is revealing of his dark character; • He uses the cliché "I will wear my heart upon my sleeve" to convey how his heart is false, and his shows of emotion are also falsified • He turns this cliché into something more dark and fierce, when he adds the image of the birds tearing at this heart • He has foreshadowed the great deceptions that he will engineer, and the sinister qualities that make up his core.

8. Analysis: Parallels • The key to Iago's character is in the line "I am not what I am“ • Roderigo should take this as a warning, but fails to. • Everything which Iago presents himself as is a false show • This first scene represents the peak of Iago's honesty about himself with another character. • Iago is parallel to another character, Richard III, in his self-awareness about his villainous character • He is parallel in lack of remorse and use of false representations of himself.

9. Analysis: Racism • Racial issues and themes which are at the core of Othello's story and position are beginning to surface. • When Roderigo refers to Othello, he calls him "the thick lips“ • This singles out one prominent characteristic of Othello's foreignness and black heritage • It displays a racial distrust of Othello based on his color. • Roderigo and Iago are not the only characters to display racism when referring to Othello • Racism is a pervasive theme within the work, spreading misconceptions and lies about Othello by tying him to incorrect stereotypes.

10. Analysis: Juxtaposition • Another element that surfaces repeatedly in the play is the use of animal imagery; "an old black ram is tupping your white ewe," Iago yells to Brabantio • The use of animal imagery is used in many places in the play to convey immorality and illicit passion, as it does in this instance. • Iago also compares Othello to a "Barbary horse" coupling with Desdemona, and uses animal imagery to reinforce a lustful picture of Othello • Iago's statement is doubly potent, since it not only condemns Othello for his alleged lust, but also plays on Brabantio's misgivings about Othello's color • The juxtaposition of black and white, in connection with the animal imagery, is meant to make this image very repellent, and to inflame Brabantio to anger and action.

11. Analysis: Devils • Iago especially mentions the devil many times in the text • The first time here in the first scene to make Othello sound like a devil with: • lust • indiscretion • strangeness • The irony is that Iago is so quick to make others out to be evil • The devil often takes disguises, just as Iago does embodying the theme of appearance vs. reality • He is the one who looks least guilty.

12. Analysis: Imagery and Setting • Important to this scene is the fact that it is held in darkness • Like the beginning of Hamlet, things are unsteady and eerie, and disorder rules. • With Brabantio's call for light, there is a corresponding call for some kind of order: • darkness vs. light • order vs. disorder • Both important juxtapositions within the play • they highlight the status of situations • These themes will appear again at the end, as the play returns to darkness, and chaos

13. Act I Scene 2 • Read I.2.1115-1116 • Iago has now joined Othello, and has told Othello about Roderigo's betrayal of the news of his marriage. • He tells Othello that Brabantio is upset, and will probably try to tear Desdemona from him. • Cassio comes at last, as do Roderigo and Brabantio • Iago threatens Roderigo with violence, again making a false show of his loyalty to Othello. • Brabantio swears that Othello must have bewitched his daughter, and that the state will not decide for him in this case. • Othello says that the Duke must hear him, and decide in his favor, or all is far from right in Venice. • Watch movie scene

14. Analysis: Janus • Iago continues his deliberate misrepresentation: • Swearing to Othello that he could have killed Roderigo for what he did. • Iago is a very skilled actor: • He is able to successfully present a contrary appearance • Ironically, Iago alludes to Janus, the two-faced god, in his conversation with Othello. • Since Iago himself is two-faced Janus seems to be a fitting figure for Iago to invoke.

15. Analysis • Iago's duplicity is again exhibited in this scene as his tone swings: • friendly to backbiting as soon as Othello steps away • back to his original friendliness when Othello returns. • Iago acted supportive of Othello's marriage to Desdemona • Cassio enters and uses a rather uncomplimentary metaphor to tell what Othello has done: • "He tonight hath boarded a land-carrack" • Iago tells Cassio: • His diction and choice of metaphor make Othello into some kind of pirate • stealing Desdemona's love • Cassio reduces Desdemona into a mere prize to be taken. • Iago will soon want Cassio to think of Desdemona as an object to be taken, and to believe Othello to be less honorable than he is.

16. Analysis: Pride • Othello's pride first becomes visible here • He is exceptionally proud of his achievements and his public stature • Pride is a huge theme of Othello's story. • He is proud of Desdemona's affection for him • He would not give her up "for the seas' worth," he says (l. 28). • Othello is very confident in his worth, and in the respect he commands • If the leaders of the city decide to deny a worthy man like him his marriage to Desdemona, then he believes: • "bondslaves and pagans shall our statesmen be." • This statement of paradox betrays Othello's faith in the state and in the Duke's regard for him; hopefully, neither will fail him.

17. Analysis: Racism and Magic • The issue of race comes to the forefront, as Brabantio confronts Othello about his marriage to Desdemona. • Desdemona never would have "run from her guardage to the sooty bosom of a thing such as thou," Brabantio says (l. 71-2). • Brabantio assumes that Desdemona must have been "enchanted" to marry Othello merely because Othello is black • Brabantio ignores all of Othello's good qualities, and gives into his racist feelings. • Magic is another recurrent theme, and here is linked to stereotypes of African peoples as: • knowing the black arts of magic • being pagans • being lusty • The theme of magic does not always play into the theme of race within the play

18. Analysis: Stereotypes and History • At the time Shakespeare was writing, there were in fact free blacks in England • However, racism was even more pronounced in Shakespeare's England than it is in Othello • A character like Othello could not have risen to such ranks in England at the time • Shakespeare's play is much more progressive than the time in which it was written. • Othello even manages to avoid stereotype more effectively than another Shakespearean character like Shylock • Stereotypes are linked to Othello by other characters, but he manages to evade them through his nobility and individuality.

19. Act I Scene 3 • Military conflict is challenging the Venetian stronghold of Cyprus • There are reports that Turkish ships are heading toward the island, which means some defense will be necessary. • Brabantio and Othello enter the assembled Venetian leaders, who are discussing this military matter • Brabantio announces his grievance against Othello for marrying his daughter. • Othello addresses the company, admitting that he did marry Desdemona, but wooed her with stories, and did her no wrongs. • Desdemona comes to speak, and she confirms Othello's words: • Brabantio's grievance is denied • Desdemona will indeed stay with Othello. • Othello is called away to Cyprus, to help with the conflict there • Othello and Desdemona win their appeal, and Desdemona is to stay with Iago, until she can come to Cyprus and meet Othello there.

20. Act I Scene 3 • Read I.3.1120 • Roderigo is upset that Desdemona and Othello's union was allowed to stand • He lusts after Desdemona. • Iago assures him that the match will not last long, and at any time, Desdemona could come rushing to him. • Iago wants to break up the couple, using Roderigo as his pawn, out of malice and his wicked ability to do so. • Watch movie scene

21. Analysis: Brabantio • Brabantio again accuses Othello of bewitching his daughter, and airs his racism-based views. • He is not against the match because of any incompatibility of the couple • His metaphor of his grief as a flood, that "engluts and swallows other sorrows, and is still itself," means that he feels very strongly on this issue. • His strong objection foreshadows a confrontation between him and his daughter • If Desdemona does choose to stay with Othello, it seems likely that she will risk her father's love.

22. Analysis: Tragedy • Othello's appointment to Cyprus marks the true beginning of his tragedy • He will be much more vulnerable to Iago's vicious attacks on his love and jealousy. • This battle between order and chaos is a theme running throughout the play • As Othello sinks deeper into distrust of Desdemona and is more consumed by his jealousy, chaos increases and threatens to devour him.

23. Analysis: Verse vs. Couple • The Duke's words of advice to the couple also mark the beginning of their tragic story • The Duke foretells trouble between the couple if they do not let grievances go, which ends up being a reason for Othello's fall. • The change of the verse into couplets signals the importance of the advice being offered. • The words of the Duke, and Brabantio's words that follow, are set off from the rest of the text and emphasized by this technique • The reader is notified, through the couplet rhyme, which hasn't appeared before in the text, that these are words that must be marked.

24. Analysis: Othello’s Tragic Flaw • The only magic that Othello possesses is in his power of language. • His language shows his pride in his achievements • Othello portrays himself as a tested, honorable warrior, and indeed is such. • This view of himself will prove troublesome when he is hard pressed to recognize his jealousy and his lust • His inability to reconcile himself with these two aspects of his personality means that his comeuppance is almost certain. • Othello's lack of self-knowledge means that he will be unable to stop himself once Iago begins to ignite his jealousy

25. Analysis: Allusions • Othello's speech before the assembly shows what he believes Desdemona's love to be: • He thinks that Desdemona's affection is a form of hero-worship • She loves him for the stories he tells, and the things he has done. • He believes it is his allusions to strange peoples and places, like the "Anthropophagi," that fascinate her • Indeed, his powers of language successfully win the Duke over, and soften Brabantio's disapproval.

26. Analysis: White and Black • Light and dark are again juxtaposed in the Duke's declaration to Brabantio, that: • "if virtue no delighted beauty lack/ your son-in-law is far more fair than black." • Black is associated with sin, evil, and darkness; • These negative things are also associated to black people, merely because of the color of their skin. • The Duke's statement is ironic, since Othello is black, but truthful, because his soul is good and light. • Light/white/fairness all convey innocence, goodness, any symbol that is white has these qualities. • The juxtaposition of black and white, light and dark shows up again and again in the play, as the colors become symbolic within the story.

27. Analysis: Origin of Chaos • "Our bodies are our gardens," Iago tells Roderigo • his speech recalls Hamlet's first soliloquy, though with a more kind appraisal of human nature. • Iago is a very good judge of human nature, and easily able to manipulate people in ways that will benefit him most • This cleverness also means that he is a source of wisdom in the play • Iago's metaphor is particularly applicable to many in this play, himself excluded; characters do have vices that they allow to grow in themselves • They also have aspects of themselves which balance these vices out. • Iago's knowledge of this allows him to do away with this balance and set chaos into motion

28. Analysis: Cross Purposes • Iago's purpose becomes plain: • He sees that Othello and Desdemona's marriage is less than solid • He seeks to use his powers to break this marriage apart. • Iago is again "honest" about his intent, but only to a person whose involvement will help him greatly. • The words "honest" and "honesty" appear repeatedly in the play, and are usually used by Iago, or in reference to him • Ironically, Iago is the only person in the play whom Othello trusts to judge who is and is not honest

29. Act II Scene 1 • A terrible storm has struck Cyprus, just as the Turks were about to approach. • This might mean that the Turkish attack will not happen; but it also bodes badly for Othello's ship. • A messenger enters, and confirms that the Turkish fleet was broken apart by the storm, and that Cassio has arrived, though Othello is still at sea. • They spot a ship coming forth; but Iago, Desdemona, and Emilia are on it, not Othello. • Cassio greets them all, especially praising Desdemona; somehow, Iago and Desdemona enter into an argument about what women are • Iago shows how little praise he believes women deserve. • Othello arrives at last, and is very glad to see his wife arrived

30. Act II Scene 1 • Read II.2.1123-1124 • He and Desdemona make public signs of their love, and then depart. • Iago speaks to Roderigo, convincing him that Desdemona will stray from Othello, as she has already done with Cassio. • He convinces Roderigo to attack Cassio that night, as he plans to visit mischief on both Othello and Cassio. • Watch movie scene

31. Analysis: Storms • Storms are always of greater significance in Shakespeare: • the storm is a symbol of unrest • The storm marks the end of the peaceful part of the play, and is an act of fate • it is a signal that Iago's mischief is about to begin. • Shakespeare's characters that comment on the storm are mariners, alluding to Ursa Minor and stars used for navigation • This is a testament to Shakespeare's incredible ability to form credible language for a great diversity and range of characters.

32. Analysis: Cassio • Just as every character has their own manner of speech and expression, Cassio has a very polished, courtly way of speaking, especially of ladies. • He describes Desdemona as one who "excels the quirks of blazoning pens"; he calls her "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 Venetian, 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.

33. Analysis: Women • Though Iago is married, he does not have as favorable 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 colors the way he portrays both Emilia and Desdemona; both are good women • Desdemona exceedingly so, yet he is able to convince other men that they are anything but what they are.

34. Analysis: Misrepresentation • Misrepresentation is a theme that surfaces often through Iago's villainy • He makes Desdemona seem like a fickle, lusty woman, which he will soon try to convince Othello of as well. • Iago's speech plays on Othello's insecurities perfectly • He speaks of Othello's age, race, and manners as reasons why Desdemona will grow tired of him, which are also reaons why Othello fears he might lose her. • Iago is also a master of temptation, another theme in the story • He is able to figure out exactly what people want, and then drive them to it.

35. Analysis: Motives • Though Iago seems grieved by Cassio's promotion over him, this does not seem to be his main motive. • Iago also cites his suspicions that Emilia and Othello have had an affair as another reason for his enmity. • Iago is not a man to be consumed with sexual jealousy; though rumors about his wife may hurt his pride, they seem but an excuse for the misery he is about to cause. • Shakespeare leaves the root of Iago's malignancy unexplained, while showing the fruits of his evil in full.

36. Act II Scene 2 • Othello's herald enters, to proclaim that the Turks are not going to attack • All should be joyful, and Othello is celebrating the happiness of his recent marriage.

37. Act II 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 Cassio's 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.

38. Act II Scene 3 • Read II.3.1127-1128 • 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 be able to turn that against them both.

39. 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

40. Analysis: Juxtaposition • Iago and Cassio are juxtaposed in this scene to bring out Cassio's flawed honor 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 honor 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 • "He'll be as full of quarrel and offense as my young mistress' dog," • Iago’ 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

41. Analysis: Know the Audience • Iago's homage to "sweet England" in his song of this act: • though this play does not take place in England • features no English characters • Shakespeare throws this in to amuse his audience. • He does the same in plays like Hamlet, in which a little nod to England is thrown in for comic effect, and as an audience pleaser.

42. 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

43. 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 gray area: • Iago is the villain • Everyone else has some blemish of their natures • No one entirely deserving of the label "good".

44. Act III Scene 1 • Comic relief: • a clown is mincing words with a few musicians, then has a little wordplay with Cassio • Iago enters, and Cassio tells him that he means to speak to Desdemona, so that she may clear things up with Othello. • Emilia comes out, and bids Cassio to come in and speak with Desdemona about his tarnished reputation.

45. Analysis: Othello’s Uniqueness • Othello is unlike other Shakespearean dramas for two reasons: • the scarcity of comic relief, which only appears briefly at the beginning of this short scene. • there are no subplots running through Othello as there are in most Shakespearean plays as a whole. • Both of these differences make Othello one of Shakespeare's most focused, intense tragedies.

46. Act III Scene 2 • Othello gives Iago some letters that need to be delivered back to Venice • Iago is in turn supposed to give the letters to a ship's pilot who is sailing back to Venice.

47. Act III Scene 3 • Read III.3.1130-1132 • Desdemona decides that she wants to advocate for Cassio. • She tells Emilia so, and that she believes Cassio is a good person, and has been wronged in this case • Iago seizes on this opportunity to play on Othello's insecurities, and make Cassio seem guilty • Othello then speaks to Desdemona, and Desdemona expresses her concern for Cassio • She is persistent in his suit, which Othello is not too pleased about.

48. Act III Scene 3 • Iago then plays on Othello's insecurities about Desdemona, and gets Othello to believe, through insinuation, that there is something going on between Desdemona and Cassio. • Othello seizes on this, and then Iago works at building up his suspicions. • Othello begins to doubt his wife, as Iago lets his insinuations gain the force of an accusation against her. • Othello begins to voice his insecurities when it comes to Desdemona, and himself as well. • Desdemona enters and Othello admits that he is troubled, though he will not state the cause. • Watch movie scene

49. Act III Scene 3 • Read III.3.1132-1134 • Desdemona drops the handkerchief that Othello gave her on their honeymoon • Emilia knew that her husband had wanted it for something, so she doesn't feel too guilty about taking it. • Emilia gives it to Iago, who decides to use the handkerchief for his own devices. • Othello re-enters, and tells Iago that he now doubts his wife • Othello demands proof so Iago sets about making stories up about Cassio talking in his sleep • He says that Cassio has the handkerchief that Othello gave to Desdemona. • Othello is incensed to hear that Desdemona would give away something so valuable, and is persuaded by Iago's insinuations and claims to believe that Desdemona is guilty. • Othello then swears to have Cassio dead, and to be revenged upon Desdemona for the non-existent affair. • Watch movie scene

50. Analysis: Desdemona • Desdemona's choice of words to describe Cassio is unfortunate: • she calls him a "suitor," not meaning it in a romantic sense, although Othello could certainly take it that way. • Desdemona binds her reputation to Cassio's in an unfortunate way • She says that if Cassio is wrong, "I have no judgment in an honest face". • Of course Desdemona means well, but she gambles too much on another person's honor.