Omar Abd-ElNasser

Othello - Study Guide

The earliest records suggest Othello was first performed in 1604 under the title The Moor of Venice; it was popular throughout the 1600s and remained so well into the 18th century. Early versions of the play include the sworn oaths S'blood ("God's blood") and Zounds ("God's wounds"), but these were later removed in accordance with an act of Parliament in 1606 that made such uses of God's name in plays illegal. In 1660, actress Margaret Hughes, playing Desdemona, became the first woman to perform on the English stage. Before this time, all roles—male and female—were performed by men.

Overview

Author

William Shakespeare

Years Written

1603–04

Type

Play

Genre

Tragedy

About the Title

The original title of the play, The Tragedy of Othello, the Moor of Venice, creates tension between Othello's ethnicity as a Moor and his residence in the predominantly white Venice. The shortened version of the title, Othello, draws attention only to the play's tragic hero.

Plot Summary

The introduction of the play is set in Venice, during a time of conflict between the Ottoman Empire and Venice. As the play begins, the Ottoman Turks are preparing for war against the Venetians and are likely to attack either Cyprus or Rhodes. Othello, a Moor from North Africa and a successful Venetian general, has eloped with a young Venetian noblewoman named Desdemona.

When the news gets out, Roderigo, a gentleman who is in love with Desdemona, complains to Iago, Othello's ensign, about the secret marriage. Iago has agreed to help Roderigo court and win Desdemona, but only if Roderigo keeps him supplied with money. Iago is angry at Othello for promoting another man, Michael Cassio, to lieutenant. At play's opening, Iago and Roderigo cause a ruckus at Brabantio's home and reveal that Brabantio's daughter Desdemona has eloped with Othello. Iago leaves before his identity is known and goes back to Othello. Cassio joins them, bringing a message from the Duke of Venice that Othello is required to turn back the Turkish attack on Cyprus. Othello hurries to the Duke, Brabantio following along, intent on confronting Othello about Desdemona.

The Duke, however, takes Othello's side in the matter, partially due to Othello's earnest professions of love for Desdemona and his description of how they fell in love. Desdemona arrives and supports Othello's argument, and Brabantio is forced to accept the marriage. Othello makes arrangements to leave right away for Cyprus, and Desdemona plans to accompany him.

The next day, Desdemona, Iago and his wife, Emilia, Roderigo, and Cassio arrive on Cyprus before Othello. Cassio holds Desdemona's hand for a moment in greeting, and this small gesture gives Iago an idea of how to get back at both Cassio and Othello. Then Othello arrives. Miraculously, the Turkish ships on their way to invade Cyprus have been destroyed by a storm, so they celebrate this turn of events at a banquet that evening. At the celebration, Iago convinces Cassio to get drunk and then encourages Roderigo to fight Cassio. Montano tries to break it up, and Cassio stabs him in the leg. When Othello finds out, he strips Cassio of his rank. Iago suggests Cassio appeal to Desdemona, who can go to Othello on his behalf. When Cassio leaves, Iago reveals to the audience he plans to make Othello think Cassio and Desdemona are having an affair. As Cassio approaches Desdemona, and she asks Othello to reconsider Cassio's case, Iago plants the seeds of suspicion in Othello's mind.

When Desdemona accidentally drops her handkerchief, Emilia picks it up and gives it to her husband. Iago plants the handkerchief in Cassio's room, and Cassio finds it. Later, Iago stages a scene with Cassio meant to convince Othello, observing from a hidden place just out of earshot, that Cassio is sleeping with Desdemona. As a result, Othello becomes wild with jealousy.

While Iago orchestrates another fight between Cassio and Roderigo, then ends up killing Roderigo, Othello plans Desdemona's death. That night, in the climax of the play, he smothers Desdemona in her bed. Emilia realizes it has been her husband all along, and Othello realizes he has been manipulated. He tries to kill Iago, but Iago kills Emilia instead. Then Othello kills himself, and Iago is arrested.

Characters

Othello

As a tragic hero, Othello is unusual in that he is relatively passive and reactionary. His acts do not drive the plot. He is known as a man of action—a military leader, and a successful one. His eloquent words and valiant actions in battle have given him reputation and authority. But in the play, he does not take the most active role in his own character arc. Iago, in contrast, is the behind-the-scenes manipulator from the opening of the play. Othello wins Desdemona with his stories of adventure, and his love is centered on her pity and attention. He's more acted upon than actor. In true tragic form, at play's end Othello can only regain his status as "defender of the state" by committing suicide.

Iago

Iago declares early on in the play, "I am not what I am." And indeed, the audience might well leave the play wondering, who Iago is. What is his motivation for causing such utter destruction in the lives of arguably innocent people? Is he angry at being passed up for a promotion? Does he think Emilia has been sleeping with Othello? These petty motivations seem inadequate in light of the absolute thoroughness with which Iago manipulates the people around him. He's masterful at immediately assessing a person's strengths and how these strengths can be turned into weaknesses. He exploits Roderigo's desire for Desdemona and his generous hand with money. He leverages Cassio's desire to please Othello. He turns Desdemona's kindness to Cassio against both herself and Othello. And he keys in on Othello's love for Desdemona as the one weak point in Othello's character.

Desdemona

Desdemona begins the play with strength and purpose. She falls in love with Othello and acts on her own to elope with him, eschewing social conventions. She argues convincingly to go with him on the military mission to Cyprus. And she is unwavering in her kindness to Cassio. Through no fault of her own, her independent spirit and goodness are used against her by Iago in his plot to ruin Othello. Yet her actions on her deathbed are curious. She's ready to take the blame for her own death, and meets her death passively. These contradictions suggest that Desdemona's idea of a life of romantic adventure is a dangerous fantasy.

Cassio

Michael Cassio has recently been appointed as Othello's second in command, much to the chagrin of Iago: "that never set a squadron in the field, Nor the division of a battle knows." Cassio's flaws open him up to exploitation by Iago, who seeks revenge for this appointment. Cassio is more brawn than brains, and he doesn't hold his alcohol well. He's also a flirt, who tends to characterize women as Madonnas (Desdemona) or whores ( Bianca).

Roderigo

In love with Desdemona, Roderigo is wealthy and foolish. He provides a steady flow of income to Iago, who has promised to help Roderigo woo Desdemona. His desperation makes him susceptible to Iago's manipulations, and Iago convinces Roderigo to help kill Cassio, who has been positioned by Iago as a rival suitor for Desdemona. In the end, Iago kills Roderigo.

Symbols

Handkerchief

Desdemona's handkerchief, given to her as a gift from Othello, is a potent symbol of love and trust. Originally it had been Othello's mother's, and his gift of it to Desdemona shows his love for and trust in her. Othello even explains to Desdemona that the handkerchief allowed his mother to make her husband faithful in their marriage. The handkerchief, then, represents fidelity. Because Othello sees great symbolic importance in the handkerchief, Iago has good reason to use it for his own nefarious purposes. When Desdemona accidentally loses it, and Emilia gives it to Iago, Iago controls the symbolism of the handkerchief. He makes this symbol of love and trust into one of unfaithfulness and betrayal. And so Othello is completely undone by the loss of the handkerchief, because it represents the loss of Desdemona; he crumbles into incoherent shouts of "the handkerchief!" as he is overwhelmed by Iago's lies.

Willow Tree

As Desdemona and Emilia prepare for bed, Desdemona shares a "song of 'willow.'" In Shakespeare's plays, willow trees are often associated with the death of women. In Hamlet, Ophelia slips into the stream in which she drowns near a willow tree after being abandoned by Hamlet. The willow tree is here a symbol of Desdemona's sadness and emotion over her lost love, foreshadowing the impending death of this love as well as Desdemona's own physical death. Here, increasingly abandoned by Othello, his faith in her broken, Desdemona sings, "Let nobody blame him, his scorn I approve." Desdemona, though innocent, tries to accept the blame for her own death. In addition, the topic of infidelity provides Desdemona a chance to express her belief that nothing, even Othello's betrayal, could make her unfaithful to Othello.

The Color Green

Iago tells Othello to beware of jealousy because it is "the green-eyed monster which doth mock/The meat it feeds on." Green symbolizes the jealousy that will ultimately undo Othello's marriage, sanity, and life. Iago also uses plant images to explain his own role in the action of the play. He sees the will of a person as the gardener of the body: "Our bodies are our gardens, to which our wills are gardeners."

Themes

Love

Love is a powerful force in the lives of Desdemona and Othello, whose secret marriage is the spark that ignites the plot. A great deal of time is spent as Othello explains to the Duke of Venice and to Brabantio how Desdemona came to love him by his stories. Desdemona is utterly devoted to Othello, even to the point of wanting to take the blame when he murders her, rather than have him suffer. Yet Othello's love for Desdemona proves to be his undoing, as it causes him to be easily manipulated by Iago, who sees it as a point of weakness in Othello's otherwise strict military demeanor.

The two couples—Othello and Desdemona, Iago and Emilia—have very different relationships. Othello and Desdemona have a romantic relationship that is, perhaps, too good to last. In contrast, Iago and Emilia's relationship is plagued by mistrust and misogyny.

Betrayal

Trust and betrayal are features of nearly every relationship in Othello. Iago is a trusted officer, adviser, and friend, and his position of trust allows him the opportunity to manipulate others. Othello entrusts Iago with important correspondence, and never questions his intent. Roderigo confides to Iago his love for Desdemona and accepts his help. Cassio takes Iago's advice willingly, and even Desdemona seeks out his advice when Othello seems to be acting strangely. Iago betrays all this trust in spectacular fashion.

Trust between Othello and Desdemona is also an important feature of the play. As the play begins, Othello unquestioningly accepts Desdemona's love and fidelity. He is convinced of it, and it gives him confidence and security. She, in turn, trusts him utterly. Yet due to Iago's manipulations, Othello loses trust in Desdemona. And ultimately, Othello betrays Desdemona's trust by murdering her.

Honor

Honor is a driving force in the lives of the men of Othello. Iago appeals to Brabantio's sense of being dishonored by his daughter's elopement and sparks outrage in Roderigo by suggesting that it is unfair for Desdemona to have married Othello. Although Iago's own motivation for his villainous actions is murky at best, he does suggest his plot against Othello is motivated in part by Cassio's promotion as well as the rumor Emilia cheated on him with Othello. Cassio, after getting into a drunken brawl, bemoans the loss of his reputation more so than the loss of his rank. This provides Iago with the leverage he needs to manipulate Cassio and make him a key part of the plot to destroy Othello. Othello's honor is wounded by the idea that Desdemona might be unfaithful, leading him to murder.

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