Othello: Character Summaries
Othello
A Moor, and a successful General in the venetian army. Before the play begins he has
eloped with Desdemona. He is posted as governor of Cyprus during war with Turkey.
Throughout the play, he is susceptible to Iago’s lies about Desdemona’s adultery. Leading to
him smothering her, then killing himself. Othello is not present in the early scenes of the
play, meaning the audience is left to experience other characters’ opinions of the Moor. We
are led to believe he is conceited and unpleasant. When we do meet him in Act 1 Scene 2,
we learn that he is calm and level headed, also a loving husband. At this early point in the
play, Othello commands respect from state officials. He speaks and acts confidently,
creating confidence in the strength of his character.
However, by Act 3 Scene 3, Othello is indoctrinated and corrupted by Iago’s lies, destroying
his amicability and leaving violence in its place. Othello’s two conflicting roles of loving
husband and military man bring love and violence close together, this is emphasised by
Desdemona’s attraction to Othello’s violent past.
Othello attaches a lot of weight to his reputation and military past, which a Jacobean
audience would have understood. A man’s honour in this time was important, it was often
determined by his wife’s chastity. Meaning when Othello believes Desdemona has been
promiscuous, it drives him into ‘black vengeance’ because he has lost the thing upon which
his honour depended. Othello and Desdemona’s relationship is not a traditional one,
however the audience sees the sincerity of the relationship. However, their love is engulfed
by jealousy and fury, instigated by Iago.
As a black character in a Jacobean play, Othello faces racism from characters such as Iago
and Brabantio. But, notice how these characters cannot be trusted. Each are antagonists
biased against the moor. In portraying the untrustworthy antagonists as racist, Shakespeare
encourages the audience to view Othello’s race positively, as Othello himself does in the
beginning of the play. However, once Iago pollutes Othello with his lies, Othello displays
self-consciousness about his race, which fuels his jealousy and rage.
Desdemona
A wealthy, young venetian. Daughter of Brabantio. She elopes with Othello and travels with
him to Cyprus, where she is later falsely accused of adultery and murdered by Othello. She is
underestimated by the male dominated environment in which she lives, Brabantio describes
his daughter as fearful and timid in the beginning of the play, which the audience quickly
learns is not the case. She is optimistic but has a strong will and knows what she wants.
However, by the end of the play, she is diminished by Othello’s rage against her.
Her role upon death is as a sacrifice to masculine pride, a great contrast to her portrayal
early in the play as ready for married life, especially the sexual aspect. Iago uses this, as well
as her deception of Brabantio, to convince Othello of her promiscuity. This is a good
example of Iago’s ability to turn innocence into something ugly.
Despite her disobedience towards Brabantio, she is only ever loyal to Othello. She attempts
to get Cassio reinstated as she believes it is in her husband’s best interests. But once again.
Othello
A Moor, and a successful General in the venetian army. Before the play begins he has
eloped with Desdemona. He is posted as governor of Cyprus during war with Turkey.
Throughout the play, he is susceptible to Iago’s lies about Desdemona’s adultery. Leading to
him smothering her, then killing himself. Othello is not present in the early scenes of the
play, meaning the audience is left to experience other characters’ opinions of the Moor. We
are led to believe he is conceited and unpleasant. When we do meet him in Act 1 Scene 2,
we learn that he is calm and level headed, also a loving husband. At this early point in the
play, Othello commands respect from state officials. He speaks and acts confidently,
creating confidence in the strength of his character.
However, by Act 3 Scene 3, Othello is indoctrinated and corrupted by Iago’s lies, destroying
his amicability and leaving violence in its place. Othello’s two conflicting roles of loving
husband and military man bring love and violence close together, this is emphasised by
Desdemona’s attraction to Othello’s violent past.
Othello attaches a lot of weight to his reputation and military past, which a Jacobean
audience would have understood. A man’s honour in this time was important, it was often
determined by his wife’s chastity. Meaning when Othello believes Desdemona has been
promiscuous, it drives him into ‘black vengeance’ because he has lost the thing upon which
his honour depended. Othello and Desdemona’s relationship is not a traditional one,
however the audience sees the sincerity of the relationship. However, their love is engulfed
by jealousy and fury, instigated by Iago.
As a black character in a Jacobean play, Othello faces racism from characters such as Iago
and Brabantio. But, notice how these characters cannot be trusted. Each are antagonists
biased against the moor. In portraying the untrustworthy antagonists as racist, Shakespeare
encourages the audience to view Othello’s race positively, as Othello himself does in the
beginning of the play. However, once Iago pollutes Othello with his lies, Othello displays
self-consciousness about his race, which fuels his jealousy and rage.
Desdemona
A wealthy, young venetian. Daughter of Brabantio. She elopes with Othello and travels with
him to Cyprus, where she is later falsely accused of adultery and murdered by Othello. She is
underestimated by the male dominated environment in which she lives, Brabantio describes
his daughter as fearful and timid in the beginning of the play, which the audience quickly
learns is not the case. She is optimistic but has a strong will and knows what she wants.
However, by the end of the play, she is diminished by Othello’s rage against her.
Her role upon death is as a sacrifice to masculine pride, a great contrast to her portrayal
early in the play as ready for married life, especially the sexual aspect. Iago uses this, as well
as her deception of Brabantio, to convince Othello of her promiscuity. This is a good
example of Iago’s ability to turn innocence into something ugly.
Despite her disobedience towards Brabantio, she is only ever loyal to Othello. She attempts
to get Cassio reinstated as she believes it is in her husband’s best interests. But once again.
