Othello
SUMMARY
Context: The play is set in Venice, during a time of conflict between the Ottoman empire and Venice. The Turks are preparing for war, and are likely to attack either Cyprus or Rhodes. Othello, a Moor from Africa and a successful Venitian general, has eloped with Desdemona, the daughter of the Venitian senator Brabantio. Roderigo, a man who is in love with Desdemona, has hired Othello’s ancient, or standard-bearer (a rank below lieutenant but still relatively close to Othello) named Iago, to help him win Desdemona’s hand and defeat Othello. Iago is happy to do this as long as Roderigo continues to pay him. Iago is also angry at Othello for promoting Cassio to lieutenant over Iago himself, so has a double motivation to try to take revenge on Othello by separating him from his wife.
At the opening of the play, Iago and Roderigo cause a ruckus at Brabantio’s home to reveal Desdemona and Othello’s elopement to Brabantio. Iago leaves before his identity is discovered and returns to Othello. Cassio joins them a little later, with a message that Othello must go fight the Turkish in Cyprus, causing Othello to hurry to the duke, who is holding a meeting to discuss the threat. Brabantio follows Othello to confront him about the elopement in front of the duke, but the duke takes Othello’s side, partially due to Othello’s statements of love for Desdemona and story of how they fell in love. Desdemona arrives and also takes Othello’s side, and Brabantio is forced to accept the marriage.
Othello then prepares to leave for Cyprus, and Desdemona argues to accompany him. Othello sends Iago and his wife Amelia with Desdemona to arrive in Cyprus before him to ensure their safety. When Cassio meets them at the docks and takes Desdemona’s hand for a moment as a sign of grieving for the lateness and danger facing Othello, who has been caught in a storm, Iago gets an idea of how to get revenge on both Cassio and Othello. Many of the Turkish ships were destroyed by the storm, leaving an easy victory for the Venitians, and so a feast is organised for that evening to celebrate.
At the feast, Iago convinces Cassio to get drunk, and then encourages Roderigo to fight Cassio. When Montano tries to break up the fight, Cassio stabs him in the leg. Othello finds out and strips Cassio of his rank, and Iago suggests that Cassio appeals this by going to Desdemona. Iago reveals to the audience that he plans to convince Othello that Desdemona is cheating on him with Cassio.
When Cassio visits Desdemona, Iago plants seeds of doubt in Othello’s mind by remarking on the meeting, raising his point as a concern for Othello, who trusts Iago and believes his words. Later, Emilia picks up Desdemona’s dropped handkerchief and gives it to her husband, as he had previously requested of her offstage. Iago plants the handkerchief in Cassio’s room, and Cassio finds it, before Iago stages a scene with Cassio with Othello hiding just out of earshot, that is meant to imply that Cassio is sleeping with Desdemona. Othello becomes wild with jealousy of Cassio, and feels even more betrayed by him.
Iago then orchestrates another fight between Cassio and Roderigo, then ends up killing Roderigo himself, while Othello plans Desdemona’s death in response to her infidelity. That night, at the play’s climax, he smothers Desdemona in her bed. In the falling action, Emilia realises it has been her husband causing all of the chaos, and Othello realises he has been manipulated, trying to kill Iago, but Iago kills Emilia instead. Ultimately, Othello kills himself in misery, and Iago is arrested for his crimes.
CHARACTERS
Othello: As the tragic hero of the play, Othello begins passively. Even winning Desdemona’s hand is done through stories of adventure, and their love is centred on her pity and attention. He is also reactionary, as he responds to rather than causes the main plot of the play. His reputation is one of a man of action, successful military leader with impressive reputation, but he is not active in the plot of the play. By the end of Act 5, Othello can only retain his reputation as a strong military general and defender of Venice’s people by committing suicide, as this is no longer true and the truth could spread.
Iago: The primary antagonist driven by ambition and jealousy, manipulating those around him to achieve his goals and ultimately leading to Othello's tragic downfall. He is petty and manipulative. He easily assesses each person’s strengths, and how they can be turned into weaknesses. He exploits many of the characters, from using Roderigo’s desire to win Desdemona as a tool to provoke Cassio, to using Desdemona’s desire to please Othello and her kindness to Cassio to keep Othello in the dark about why Desdemona and Cassio are meeting and to simultaneously encourage them to meet more, as well as exploiting Cassio’s desire to maintain a good reputation and please Othello, and Othello’s desire to keep Desdemona as his loving wife to bring about the downfall of both characters, but particularly Othello.
Desdemona: Desdemona begins the play with strength and purpose, acting to elope with her love Othello, following him to Cyprus, and also in being kind to Cassio. However, Iago uses her strength and goodness to get revenge on Othello, and on her deathbed Desdemona takes the blame for her own death, passively allowing Othello to kill her. These contradictions suggest that her idea of a life of romantic adventure is a dangerous fantasy.
Cassio: Recently appointed Othello’s second in command, which Iago hates, but his flaws open him up to the exploitation of Iago, who seeks retribution for being passed over. Cassio is also a flirt who characterises women as madonnas, like Desdemona, or prostitutes, like Bianca.
Roderigo: He is wealthy, foolish, and desperately in love with Desdemona - a dangerous combination as he has promised to pay Iago dearly for his assistance in getting Desdemona to love him back. This desperation allows Iago to take advantage of him and convince him to kill Cassio, who, thanks to Iago’s deliberate manipulation, appears to all except Desdemona and Cassio himself to be a rival suitor for Desdemona’s hand. Ultimately, Iago kills Roderigo when he becomes an obstacle.
SYMBOLS
Strawberry Embroidered Handkerchief: Given to Desdemona as a gift from Othello and originally belonging to Othello’s mother, who was able to use it to ensure her husband’s fidelity, the handkerchief serves as a potent sign of love and trust in the play. Between Othello and Desdemona, therefore, it is a sign of fidelity in their own marriage, and because it is so important to Othello in particular, Iago has good reason to use it during his nefarious manipulation. When Desdemona accidentally drops it, Emilia picks it up and gives it to Iago, who had been asking for it, and who subsequently plants it in Cassio’s room, leaving Othello to interpret it as a sign of unfaithfulness and betrayal on Desdemona’s part. Othello is undone by the discovery of the handkerchief in the hands of Cassio, and crumbles into incoherent shouts about the handkerchief as he is overwhelmed by his distrust for Desdemona thanks to Iago’s lies.
Willow Tree: As Desdemona and Emilia prepare for bed towards the end of the play, Desdemona shares a song of willow, which in Shakespeare’s play is often associated with the death of women. The song reflects Desdemona's foreboding sense of her own fate, symbolizing her sadness and the tragic outcomes of her turbulent relationship with Othello. His faith in her having been broken, she feels increasingly abandoned, but sings “Let nobody blame him, his scorn I approve” - although innocent, she tries to accept the blame for her own death, and on the topic of infidelity, she expresses how nothing, not even Othello’s own distrust and abandonment, can make her unfaithful to Othello.
The Colour Green: Iago warns Othello to be careful of jealousy, because it is “the green eyed monster that does mock the meat it feeds on” - in doing so, Iago appears honest, but really he is putting the idea of being jealous in Othello’s mind, which is Othello’s fatal flaw and will ultimately undo his marriage, sanity, and life. Iago also uses plant images to explain his own role in the play - “our bodies are our gardens, to which our own wills are gardeners”.
THEMES
Love: A powerful force in the lives of Desdemona and Othello, it is their secret, loved-filled marriage that ignites the plot. A great deal of time is devoted to Othello’s explanation to the Duke of how he and Desdemona fell in love, and even when Othello is distrustful of her and abandons her, Desdemona still remains faithful to and loving of him, even to the point of wanting to take the blame for her own murder. But Othello’s love is his undoing, as it allows Iago to take full advantage of him, seeing it as a point of weakness in Othello’s military exterior. Iago & Emilia and Desdemona & Othello have very different marriages - Iago and Emilia’s is plagued by mistrust, doubt, and misogyny; while Desdemona and Othello’s is one of love, but may be too idealistic and naive to last.
Betrayal: Trust and betrayal are features of nearly every relationship in Othello. Iago is a trusted advisor and friend, and his position of trust allows him to manipulate others - Othello trusts him with important correspondence and never questions him, Roderigo confides in him his love for Desdemona, and never questions his help, and Cassio takes Iago’s advice willingly. Even Desdemona seeks his advice when Othello seems to be acting strange, and Iago takes advantage of the trust of all of these people to eventually get his way. The love between Othello and Desdemona is also important. At the beginning of the play, Othello unquestioningly accepts Desdemona’s love and fidelity, which gives him confidence and security, and she in turn trusts him utterly. However, due to Iago’s manipulation Othello quickly loses trust in Desdemona, and eventually betrays her trust by murdering her.
Honour: This is a driving force in the lives of all of the play’s characters. Iago appeals to Brabantio’s sense of being dishonoured by his daughter’s elopement, and sparks outrage in Roderigo at his being unfairly passed over for Othello. Iago’s own motivation for his villainous actions is murky at best, but he does suggest his plot against Othello is motivated by his being ignored in Cassio’s promotion, and the rumour that Othello cheated on him with Emilia. Cassio, after getting into a drunken brawl, bemoans the loss of his reputation even more than the loss of his rank. This provides Iago with the leverage he needs to manipulate Cassio and make him a key part of his plot to destroy Othello, whose honour is wounded by the idea that Desdemona might be unfaithful with Cassio, and so decides to murder Desdemona because he can’t bear to be betrayed by her.
MOTIFS
Darkness and Light: Iago often hides in darkness to prevent people from discovering his identity. When reporting Desdemona’s elopement to Brabantio with Roderigo, he stays out of sight. He also uses the shadows for cover whilst Roderigo and Cassio fight each other the second time, dealing blows to both sides of the fight and ultimately killing Roderigo to make it look like it was Cassio who murdered him. Othello also uses light and darkness - he enters Desdemona’s bedchamber with a candle, using it as a metaphor for her life, which he plots to snuff out as he might a candle. Desdemona and Othello’s contrasting races are also portrayed - Othello is referred to as a black ram, and ‘black Othello’ while Desdemona is referred to as a white ewe and ‘fair Desdemona’. The contrast between Othello’s dark skin and Iago’s light skin also creates a sense of situational irony, because despite conventional and traditional (and concurrent) ideas of the time, Iago, who has light skin, plays the antagonist, and Othello, with dark skin, plays the protagonist. This undercut of racial stereotyping allows for a more complex understanding of the play, and further explains why most of the characters originally see Iago as ‘honest’ and trustworthy, whilst Othello, despite his acts of bravery and good reputation, is still viewed negatively by many of the play’s characters, repeatedly being animalised and referred to as ‘less than’ many of the other characters.
Animals and Demons: As the antagonist, Iago frequently uses beast and demon imagery to extend the negative associations with dark skin that he uses to manipulate the play’s racial tensions. In the play’s opening, he suggests to Brabantio that Othello and Desdemona are making ‘the beast with two backs’ and calls Othello an ‘old black ram’. These beast references are like a virus, and the moments where the ‘contagion’ is passed to others can be tracked. Cassio, after getting drunk at the encouragement of Iago, declares he is by and by a fool, and presently a beast. When Iago plants the seed of suspicion in Othello’s mind, he too begins to use animal and hell references. “Goats and monkeys” he declares to Lodovico after he learns he has been recalled back to Venice. Finally, when Emilia discovers how Iago has used her, she declares that she will “play the swan”.
KEY QUOTES
Act 1, Scene 1: Iago - “I am not what I am”
Kai: This statement encapsulates Iago's duplicitous nature and his manipulation of those around him. A stark contrast to Othello's honorable character, this theme of appearance versus reality permeates the play, ultimately leading to tragic misunderstandings and the downfall of several characters. Additionally, the repeated references to animals throughout the play serve as a reminder of the primal instincts that can override human reason.
In simple terms, he is not the person he appears to be - he is putting on an appearance.
However, this phrase also adds dramatic irony to the play because we as the audience know that he never means what he says.
Additionally, the revelations about Iago’s motivations at the beginning of the play - the fact that he’s been passed over for Cassio, the rumour of Othello’s affair with Iago’s wife Emilia, and the insinuation that Cassio is not a proper soldier - shape the way we percieve events in the “Primacy Effect”, causing us to feel empathy for Iago, even when he’s doing very reprehensible things.
Act 1, Scene 1: Iago - “Even now, now, very now, an old black ram // Is tupping your white ewe!”
Kai: This line is laden with racial and sexual imagery, illustrating Iago's manipulation of Brabantio's fears and prejudices regarding Othello's race and his relationship with Desdemona. The crude metaphor not only seeks to incite anger and revulsion but also highlights Iago's cunning ability to exploit the insecurities of others for his own gain, emphasizing the destructive nature of his villainy throughout the play.
This is partly a racist statement, juxtaposing ‘black’ and ‘white’, one of many other such statements in the play.
However, a black sheep is also a rarity, just like Othello himself, and the term ‘black sheep’ represents an outcast 0 someone who is not valued as much as others or who is the least valuable member of a group of people.
Also, the repetition of “now, now, very now” suggests that Desdemona and Othello are together ‘right now’, using repetition and the present tense to influence how the other characters think - they cannot help but imagine Desdemona and Othello together, and so their true feelings about the marriage of the two are emphasised as well.
Act 1, Scene 3: Othello - “So please your grace, my ancient: // A man he is of honesty and trust.”
Kai: This statement not only highlights Othello's reliance on Iago, who he perceives as a faithful companion, but also serves to contrast the dishonesty that will soon be revealed within their relationship. Othello's trust in Iago amplifies the dramatic irony of the play, as the audience is aware of Iago's malicious intentions, thus deepening the tragedy of Othello's fate. The juxtaposition of Othello’s noble status as a general and the betrayal he faces further complicates themes of loyalty and honor within the narrative.
This quote illustrates the extent to which Othello is already being deceived by Iago, and also highlights the theme of honesty in the play.
The words “honesty” and “honest” are used frequently in this play - 49 times, compared to the average 10 times in Shakespeare’s other plays.
Most of the uses of ‘honesty’ are ironic in this play, since the audience knows that Iago is far from the honest person that the other characters perceive him to be.
Act 1, Scene 3: Brabantio - “Look to her, Moor, if thou hast eyes to see: // She has deceived her father, and may thee.”
Kai: This warning from Brabantio not only foreshadows the betrayal that Othello will face but also serves to underline the theme of appearance versus reality, where the perceived integrity of characters is ultimately called into question. The interconnectedness of trust and deception is a central motif, emphasizing how Iago's manipulation can distort the truth and lead to tragic consequences.
It is Iago who eventually causes Othello to distrust Desdemona, but Desdemona’s father is the first person to plant the idea in Othello’s mind. She has deceived her father in marrying Othello, and so in her father’s mind it is possible that she will also deceive Othello himself later on.
It’s also possible that Iago gets the idea of Desdemona being unfaithful from this moment, since these words will make it a lot easier to convince Othello to believe Iago’s story that Desdemona is unfaithful.
Act 3, Scene 3: Iago - “O beware, my lord, of jealousy! // It is the green-eyed monster, which doth mock // The meat it feeds on”
Kai: This line reinforces the idea that jealousy is a consuming force that ultimately leads to self-destruction. Iago's warning not only demonstrates his cunning manipulation but also foreshadows the inevitable tragedy that arises from Othello's susceptibility to jealousy. The metaphor of jealousy as a 'green-eyed monster' suggests that it is insatiable and grotesque, preying on those who allow it to take root in their hearts. As the play progresses, we see how Iago exploits this weakness in Othello, driving him to irrationality and despair, ultimately culminating in tragic consequences for both Othello and those around him.
By this stage in the play, Iago has suggested to Othello that Desdemona and Cassio are having an affair. One one level in this quote, Iago is warning Othello that jealousy is a green-eyed monster that will consume him.
However, on another level, these lines could be about Iago himself - he himself is jealous of Othello, because of the rumour of Othello and Emilia’s affair, and also jealous of Cassio for having the better position in Othello’s army. Therefore, Iago could be saying to Othello to beware of Iago himself, because of his commitment to making sure that Othello does not succeed, so the green-eyed monster is Iago.
Iago could also just be putting the idea of jealousy into Othello’s mind - giving him the idea of being jealous of Cassio in the first place, as if this would be one possible reaction to the fake situation Iago has concocted.
Act 3, Scene 3: Iago - “Not poppy nor mandragora // Nor all the drowsy syrups of the world // Shall ever medicine thee to that sweet sleep // Which thou owedest yesterday”
Kai: In this quote, Iago's manipulation is further evident, as he implies that Othello will never find peace or the ability to sleep peacefully again, due to the seeds of doubt and jealousy he has planted. This moment underscores the tragic reality that Iago's deceit will plague Othello's mind, leading him down a path of paranoia and despair that ultimately contributes to his downfall. Iago's reference to sleep serves as a metaphor for the loss of innocence and the destructive power of jealousy, emphasizing how deeply Iago's treachery affects Othello's mental state.
This quote shows how much Iago is enjoying the effect he is having on Iago. The emphasis on “all” due to iambic pentameter stresses how there is nothing in the whole world that could send Othello back to his blissful innocence of yesterday. Iago also uses ‘medicine’ as a verb, which makes it more powerful. Additionally, a lack of sleep is often used in Shakespeare as a sign of discontent, worry, or guilt, all of which Othello is likely feeling at this time. Moreover, the imagery of medicine, with “drowsy syrups”, “medicine”, and “sweet sleep” emphasises how Iago is almost infecting Othello with a disease of doubt and distrust of Desdemona, foreshadowing Othello’s downfall and even his eventual death as there is no medicine that can save him - Iago may not be aware of Othello’s future fate, but Shakespeare’s choice of words here foreshadows the death to come.
Act 3, Scene 3: Othello - “I think my wife be honest, and think she is not, // I think that thou art just, and think thou art not.”
Kai: This internal conflict underscores Othello's descent into jealousy and despair, highlighting the fragility of his trust in Desdemona and the manipulation by Iago. The repetition of 'I think' illustrates Othello's turmoil, as he oscillates between belief and doubt, reflecting the disintegration of his once steadfast character. Furthermore, this struggle represents a broader theme of uncertainty and the destructive power of jealousy in the play, making it evident that Iago's insidious influence is not only affecting Othello's perception of his wife but also paving the way for tragedy that will ensue.
These two lines are virtually identical, and set up a key decision that Othello has to make - does he believe his wife, Desdemona, or his ancient and ‘honest’ friend, Iago? This is the moment in the play where there is an exact balance betweent the truth and lines, where the ending could go either way, before Iago adds to his argument and Othello chooses to listen to him, believing the lies and leading to his eventual downfall. The decision he makes here is crucial, as it is this moment, with Othello’s decision to believe the ‘honest’ Iago, that sets up the tragic ending of the play.
Act 5, Scene 2: Othello - “Yet she must die, else she’ll betray more men. // Put out the light, and then put out the light!”
Kai: This chilling declaration not only underscores Othello’s overwhelming jealousy and mistrust but also illustrates his tragic fall from a noble hero to a man consumed by rage and insecurity. The repetition of ‘put out the light’ serves a dual purpose; it signifies both the literal extinguishing of Desdemona’s life and the metaphorical darkness that descends upon Othello’s soul, marking the point of no return in his tragic arc. In this moment, Othello's internal conflict culminates in a devastating choice that ultimately reflects the irreversible consequences of misplaced trust and the devastating effects of manipulation.
These two lines show Othello snuffing out a candle flame (the light) but also then intending to ‘put out the light’ of Desdemona’s life, her inner spiritual light. These lines are horrifying in their brutality and simplicity - he plans to simply end her life the same way someone might put out a candle. The method of death, suffocation, links to this too, since neither fire nor humans can exist without oxygen.
Additionally, the implication that this is because otherwise ‘she’ll betray more men’ is a very weak reasoning for killing her, almost as if he’s hiding the true reason of simply not wanting to be betrayed. All of this gives the reader the idea that Othello is starting to go mad, referring to human life as no more important than a candle flame, and lying even to himself, rationalising why it is okay to kill Desdemona, simply because he can’t face the idea that he’s been betrayed by her, and can’t face others finding out about the betrayal.
Act 5, Scene 2: Iago - “Demand me nothing. What you know, you know. // From this time forth I never will speak word.”
Kai: This moment highlights Iago's duplicitous nature and reinforces his role as the puppet master throughout the play. With this statement, Iago chooses silence over explanation, leaving Othello and the audience in the dark about his true motivations. It emphasizes the irony of Iago’s manipulation—while he has been the architect of chaos, he now withdraws from accountability, embodying the very essence of betrayal that drives Othello to his tragic conclusion.
These lines use Iago’s customary repetition to refuse to utter another word.