Below you will find all the resources you need to understand Shakespeare's Othello.
I. Othello Study Guide:
othello study guide.pdf
II. Shakespeare Online:
http://www.shakespeare.com/
III. Background to Shakespeare's Culture: Three basic assumptions of the average Elizabethan mind:
1. How you looked on the outside reflected an inner condition. Women (as they were "supposed" to be) were soft, mild, "fair," and physically weaker than men on the outside; therefore they were presumed to be mentally weaker as well. Dark-skinned races were thought to be "dark" on the inside, the color of hell and the devil, the color of the unknown and the black arts, of savagery and tricksterism.
2. The world was created by God in a perfect, rigid, unchangeable ORDER called "The Great Chain of Being". It went something like this: Heaven and God (and things generally light, pure, luminous), the King and religious officials (the spokesmen of God), males, females, the animals, vegetables, minerals, Hell & the Devil (and things generally dark, forbidden, and frightening), and so on down.
3. Public behavior and private behavior each had its own set of rules. Most Elizabethan behavior models were matters of public etiquette--especially among those for whom etiquette (or courtly behavior) counted: royalty and the attendants of the court. Public vs. private, outer vs. inner, and duality itself (black vs. white, mind vs. body, etc.) are major conflicts in Othello.
Punishments were intentionally public and intentionally cruel, meant to curb or alter the outer behavior of society so as to control its thought and motives. Take a look at this web page for a discussion of such punishments as hanging, boiling, beheading, bridling, and cucking: Crime and Punishment
IV. Themes and Motifs
Othello Navigator: Index of Themes and Motifs
(click on terms below for more indepth explanation)
- Self-Esteem. The importance of self-esteem is a modern cliché, but Shakespeare, who would have known self-esteem by the name of "pride," has some insights about the subject, too. This page indexes characters' direct statements about themselves. (The entries for Othello, Desdemona, and Iago are repeated on separate pages, which you can find via the Major Characters page.)
- Romantic Love. To Iago, love is only lust; to others in the play it is much more.
- Brotherly Love. In Shakespeare, characters say they "love" one another in situations where modern people say they they are one another's "good friends." This kind of love is an ideal which is honored by Othello, Cassio, Desdemona, and Emilia. Iago, on the other hand, uses the ideal of brotherly love for his own vile ends.
- Reputation and Honor. Iago is a clear example of the idea that the difference between reputation and honor is the difference between appearance and reality. He has a good reputation, but no true honor. However, Iago is a monster who doesn't care about his honor. For other characters in the play, especially Othello, it's not so easy to distinguish between honor and reputation.
- Waters. Storms, rushing waters, a fountain, a stream, and tears signify passions from love to hatred.
- Black and White. Not only is Othello a black man in a white world, but the contrast between black and white is used as a metaphor, even by Othello himself.
Essay on race in Othello: http://www.colorado.edu/PWR/occasions/othello.html - Proof and Judgment. In courts of law various kinds of proof are offered, including physical evidence, circumstantial evidence, evidence of motivation, testimony of witnesses, and statements by the accused. Othello comes to believe that he has all of these kinds of proofs of Desdemona's unfaithfulness, and passes judgment on her, then discovers that the proofs proved nothing.
- The Handkerchief. The handkerchief is a visual reminder of the blindess caused by passion. It first appears when Othello is already in the throes of jealousy, and then is used as Iago's main "proof" in his case against Desdemona. Finally, at the end of the play, Emilia's knowledge that her husband took the handkerchief leads to Othello's discovery of the truth of the situation.
- The Devil. Characters in the play speak of the devil as a liar and a hypocrite, as one who both tempts people to sin and punishes their sins. Cassio thinks that the devil is in drink, Othello comes to think that the devil is in Desdemona, and Iago thinks that Othello is the devil simply because he's black. At the end, Iago is shown to be the true devil of the story.
- Slaves. The play contains quite a few occurrences of the word "slave," but we need to avoid unwarranted assumptions about their significance. American students may assume that all slaves were black, but that wasn't true in Shakespeare's time. Slaves came in all colors. When Christians fought Moors, the Christians considered it their right to make slaves of all prisoners of war; the Moors had the same idea about the Christians. The Moors also conducted raids in which they enslaved non-Islamic Africans; Venetians made their slave raids in the Greek islands and bought blonde slaves on the coast of the Black Sea. Also, the word "slave" was a general term of contempt, used without any reference to actual slaves, as "clown" may now be used without any reference to circus performers.
- Music. Desdemona's "Willow Song" is famous, but the play also contains two other songs, and some references to music.
- Men and Women. There's an interesting contrast between Iago's diatribe about women and Emilia's long speech claiming that if there's anything wrong with women, it's the fault of their husbands.
Jealousy: The Central Theme
At the end of his tale to Roderigo about how he was passed over for promotion to lieutenant, Iago displays his jealousy of Cassio. He says that Cassio, a "counter-caster"(1.1.31) (our phrase is "bean counter"), has the job Iago wanted, while Iago has to keep on being "his Moorship's ancient [ensign] " (1.1.33). A little later, Roderigo, who is desperately in love with Desdemona, expresses his jealousy of Othello's marriage to Desdemona by exclaiming, "What a full fortune does the thick-lips owe [own] / If he can carry't thus!" (1.1.66-67). Where Roderigo says "carry't thus" we would say "carry it off." [Scene Summary]
After Desdemona makes it clear that she loves and honors her husband, Brabantio remains vindictive, and bitterly warns Othello that Desdemona may turn out to be a slut: "Look to her, Moor, if thou hast eyes to see: / She has deceived her father, and may thee" (1.3.292-293). No father has ever expressed a more hateful jealousy of his son-in-law. [Scene Summary]
In a soliloquy at the end of the first scene in Cyprus, Iago speaks of his own motivations. He says of Desdemona, "Now, I do love her too; / Not out of absolute lust, though peradventure / I stand accountant for as great a sin, / But partly led to diet [feed] my revenge" (2.1.291-294). He wants revenge for his own suspicion that Othello has gone to bed with Emilia. It's eating at his gut and he won't be satisfied "Till I am even'd with him, wife for wife, / Or failing so, yet that I put the Moor / At least into a jealousy so strong / That judgment [reason] cannot cure" (2.1.299-302). The phrase "even'd with him, wife for wife," seems to mean that he has some notion that he might have sex with Desdemona, but it's not the sex that's important. Othello must feel that same poisonous jealousy that Iago feels. [Scene Summary]
Donn’s Note: Iago’s jealousy is symbolized through the motif of POISON poured into Othello’s ear. Of the many themes used to tie together this play, PERCEPTION (often connected with “blindness” of passion) and DECEPTION (often connected with the Devil or grotesque sexual images such as the “beast with two backs” or the “green eyed monster”) are central (the handkerchief with the strawberries on it that serves as a pivotal plot device symbolize this the strongest):
“The Handkerchief. The handkerchief is a visual reminder of the metaphorical blindess caused by passion. It first appears when Othello is already in the throes of jealousy, and then is used as Iago's main "proof" in his case against Desdemona. Finally, at the end of the play, Emilia's knowledge that her husband took the handkerchief leads to Othello's discovery of the truth of the situation.
Related to Jealousy: Evil, the Devil
In the dark street before Brabantio's house, Iago shouts, "Arise, arise; / Awake the snorting [snoring] citizens with the bell, / Or else the devil will make a grandsire of you" (1.1.89-91). Iago means that if Brabantio doesn't do something, Othello -- the black devil -- will have children with Desdemona, so that Brabantio will be grandfather to a little devil.
Moments later, when Brabantio starts making threats, Iago says to him, "'Zounds, sir, you are one of those that will not serve God, if the devil bid you" (1.1.109-110). Sarcastically, Iago is making the point that even if Brantio thinks he's talking to ruffians, he should listen to what they have to say, because they're trying to do him good. A little irony is that Iago, who is a devilish person, is not trying to do anyone any good. [Scene Summary]
Joking around, Iago tells Desdemona that she and women in general are "Saints in your injuries, devils being offended" (2.1.112). He means that when women injure another person they are oh-so-nice, as though they were saints, but when they feel themselves injured they get revenge like devils.
Later in the scene Iago, trying to convince Roderigo that Desdemona will soon get tired of Othello, says, "Her eye must be fed; and what delight shall she have to look on the devil?" (2.1.225-227). Continuing the same argument Iago tells Roderigo that Cassio is the man who will attract Desdemona's attention next, because Cassio is too nice, too slick, "a devilish knave" (2.1.244). Therefore Cassio must be gotten out of the way. [Scene Summary]
After Cassio has gotten drunk, gotten into a fight, and lost his job, he sobers up and is angry at himself. While drunk he has swaggered, sworn, and babbled nonesense; now he exclaims, "O thou invisible spirit of wine, if thou hast no name to be known by, let us call thee devil!" (2.3.281-283). When Iago asks him why he's sober now, Cassio answers "It hath pleased the devil drunkenness to give place to the devil wrath; one unperfectness shows me another, to make me frankly despise myself" (2.3.296-298). His point is that his anger at devil drink is also devilish; he despises himself both for the drunkenss and the anger. Thus Cassio seems to think of the devil as a psychological state that makes us act out destructive impulses. Iago tries to get Cassio to calm down, but he once again exclaims against drunkeness and drink: "Every inordinate cup is unblessed and the ingredient is a devil" (2.3.307-308)
Iago convinces Cassio that the best way to get his job back is to appeal to Desdemona, then sends him off. Alone on stage, Iago asks us why we think he's a villain, since his advice to Cassio is free and "honest." Answering his own question, he comments, "When devils will the blackest sins put on, / They do suggest [tempt] at first with heavenly shows, / As I do now" (2.3.351-353). Iago knows that he is a devilish hypocrite, but he seems to be getting a kick out of it.
Beast imagery in select passages:
OTHELLO, Act 1 Scene 1
I am one, sir, that comes to tell you your daughter
and the Moor are now making the beast with two backs. (1.1.117)
OTHELLO, Act 2, Scene 3
CASSIO
I remember a mass of things, but nothing distinctly;
a quarrel, but nothing wherefore. O God, that men
should put an enemy in their mouths to steal away
their brains! that we should, with joy, pleasance
revel and applause, transform ourselves into beasts!
I will ask him for my place again; he shall tell me
I am a drunkard! Had I as many mouths as Hydra,
such an answer would stop them all. To be now a
sensible man, by and by a fool, and presently a
beast! O strange! Every inordinate cup is
unblessed and the ingredient is a devil. (2.3.308)
OTHELLO, Act 4, Scene 1
A horned man's a monster and a beast. (4.1.62)
IAGO
There's many a beast then in a populous city,
And many a civil monster
Othello’s blackness is directly connected, especially to Shakespeare’s audience in around 1600, with the Devil. The Devil was often characterized as a black male, a black horned creature or a goat, a shadowed figure, pure darkness (as were popular descriptions of hell itself). Beastial behavior and irrationality were connected to dark-skinned peoples (compare the illustration of a devil’s mass below with the cartoon racism of the cannibals in Bugs Bunny Cartoons just 50 years ago!).
It is no mistake that a popular belief about infidelity in Shakespeare’s time is illustrated in how the “horned” figure of the devil was overlayed with the “cuckold”, the idea that a man whose wife was cheating on him grew horns on his head that all but he himself could see. These horns were related to beast-like stupidity and ignorance, a loss of control over his household.
This loss of control is central to all the themes in Othello.
V. Othello: Summary of Scenes
Act I (Exposition)
Scene 1: Iago enters in mysterious dialogue with Roderigo. They noisily wake Brabantio (Desdemona's father), Iago making Roderigo tell of Desdemona's elopement. Brabantio expresses grief/anger.
Scene 2: Othello learns from Cassio of a problem in Cyprus, while Brabantio wants to attack Othello, or arrest him. The Duke is in Council, they all go there.
Scene 3: The Council hear that the Turks seem to be attacking Cyprus, decide to give the command to Othello, who enters with Brabantio who complains his daughter has been bewitched. Othello's defence. The story of their meeting. Desdemona comes, explains her position between father and husband. Duke tries to make peace. Desdemona demands to go to Cyprus with her husband. Final dialogue between Iago and Roderigo, followed by Iago's soliloquy: "I hate the Moor."
Act II (Rising Action)
Scene 1: The boats arrive in Cyprus, after a great storm, one by one, Othello last, after conversations between Desdemona and Iago etc.. Iago and Roderigo talk, Iago persuades Roderigo that Cassio should be removed. Soliloquy of Iago tells his plan to make Othello jealous of Cassio.
Scene 2: A proclamation of celebrations.
Scene 3: During the celebrations, Iago makes Cassio drink (he cannot take wine), Roderigo provokes a quarrel, Cassio wounds Montano who tries to restrain him. Othello restores order, asks Iago who started it, Othello takes Cassio's rank from him. Iago comforts Cassio, encourages him to ask Desdemona to intercede for him. Iago's "Divinities of Hell" soliloquy.
Act III (Turning Action/Crisis)
Scene 1: Interlude with musicians. Iago and Cassio talk, Emilia helps Cassio.
Scene 2: Othello, in charge of the city, goes walking.
Scene 3: Desdemona tells Cassio she will help him; Othello and Iago see Cassio leave her, Iago says, "I like not that." Desdemona asks Othello to take Cassio back, insists. Iago and Othello talk, bringing the destruction of Othello's trust (line 246 "Why did I marry?"). Desdemona comes to fetch Othello for the banquet, tries to bind his head (headache cure), drops handkerchief, Emilia picks it up, gives it to Iago. Othello returns to Iago, already believes everything, demands proof. Iago relates Cassio's dream, says he saw the handkerchief in Cassio's hands. Othello swears revenge, Iago swears to help. Othello asks him to arrange Cassio's death: "now art thou my lieutenant."
Scene 4: Desdemona and clown interlude. Desdemona says Cassio will come to see Othello, Othello asks for the handkerchief, describing it with magic details. Desdemona does not take him seriously: "The handkerchief!" Cassio, Iago, Emilia comfort her. Cassio with Bianca, Cassio asks her to copy the handkerchief he found in his room.
Act IV (Falling Action)
Scene 1: Iago twisting Othello in all directions, Othello collapses. Cassio comes. Iago talks to him of women while Othello watches, and thinks that they are talking of Desdemona (only we hear both sides). Bianca brings in the handkerchief. Othello "I will chop her into messes." Messenger comes from Venice. Othello strikes Desdemona in public.
Scene 2: Othello questions Emilia, does not believe her. Othello confronts Desdemona. Iago and Emilia with Desdemona, various reactions. Roderigo challenges Iago about his promises; Iago suggests that Roderigo should kill Cassio.
Scene 3: Desdemona prepares for bed: the Willow Song.
Act V (Climax)
Scene 1: The ambush of Cassio fails, Iago wounds him, he wounds Roderigo, Iago kills Roderigo, accuses Bianca.
Scene 2: The bedroom, Othello's soliloquy "Put out the light." Othello suffocates Desdemona. Emilia comes and announces Roderigo's death. Desdemona revives to speak, dies. Emilia confronts Othello: "My husband?" Iago and others arrive, Othello asks Iago to confirm the unfaithfulness of Desdemona, Emilia tells the truth about the handkerchief, Iago kills her. Othello made prisoner, his soliloquy "This look of thine will hurl my soul from heaven." Cassio and Iago brought in. Othello tries to kill Iago. Iago refuses to speak any more. Othello's makes last speech, kills himself "to die upon a kiss."
Here Shakespeare is again adapting an Italian novella, the story of an unnamed Moor and his wife Disdemona told by Giraldi Cinthio as the seventh in the third decade in his collection Hecatommithi (1566). A French translation was published in 1584; it is not certain which Shakespeare used. The novella gives the story of the Moor's love, the journey to Cyprus, and the destruction of the Moor's love by the cunning of his Ensign. The time scheme is much more relaxed, with the whole action covering a long period of time; the end of the story, the murder of Disdemona and its discovery, is unlike the play in almost every way.
In dramatizing a story that is centered on the romantic problem of "falling out of love," Shakespeare turns away from the socio- political chronicle sources underlying the other three great tragedies. In many ways he returns to techniques he used in Romeo and Juliet. In both plays the time-scheme is greatly condensed (from weeks to a few days or hours), although in both there are a few lines that suggest a double time scheme, a rhythm of events closer to the source that is useful dramatically. In both plays the audience is forced to watch the main characters making tragic decisions for lack of information that the audience has; the result is an element of suspense and horror unlike anything felt while watching Hamlet or King Lear.
The anonymous Moor of the source is given the name Othello, but it is striking to see that he is called the Moor, usually by Iago with much scorn, until the third scene when he is addressed as "Valiant Othello" by the Duke. Shakespeare leaves many things untold in this play, including how a Moor (from North Africa, black-skinned, normally a follower of Islam) comes to be a high general in the service of Christian Venice, fighting the Moslem Turks. In particular, the relationship between the blackness of Othello's skin and the tragedy that happens to him has been much discussed.
The play is an exploration of the way Othello's love for and trust of Desdemona is destroyed by the manipulations of Iago. The result is a frenzy of jealousy that can only be calmed by Desdemona's death. Critics often concentrate on the character of Iago, with his obvious links to the old morality plays' Vice. Once again, the question is Why? Why does Iago drive Othello to kill Desdemona? Coleridge made a famous remark about the "motive-hunting of a motiveless malignity" and certainly there are links with the destructive attitudes shown by Edmund in King Lear. The play is intensely concentrated; after the first act, the action proceeds without any obvious pause, and with no distraction. There is no subplot, no clowning, no fool. The whole play is summed up in the irony represented by the name given to Iago by almost every character: "Honest Iago."
One of the most terrible moments in the theater is that in which Othello prepares to murder Desdemona, assuring himself that he is doing the right thing:
It is the cause, it is the cause, my soul,
Let me not name it to you, you chaste stars:
It is the cause, yet 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.
Put out the light, and then put out the light:
If I quench thee, thou flaming minister,
I can again thy former light restore,
Should I repent me; but once put out thine,
Thou cunning pattern of excelling nature,
I know not where is that Promethean heat
That can thy light relume: when I have pluck'd the rose,
I cannot give it vital growth again,
It must needs wither; I'll smell it on the tree, (kisses her)
A balmy breath, that doth almost persuade
Justice herself to break her sword: once more:
Be thus, when thou art dead, and I will kill thee,
And love thee after: once more, and this the last,
So sweet was ne'er so fatal: I must weep,
But they are cruel tears; this sorrow's heavenly,
It strikes when it does love... (Act V.ii)
The entire action is complete, Desdemona is dead and "honest" Iago has fallen silent, before the characters in the play recognize their error in using this word; by that time Othello has believed Iago and turned his light into darkness.
Further themes in Othello (University Course): http://courses.temple.edu/ihfaculty/ih51/FacultyforFaculty/othellothemes.htm#themes