Othello Essay Plans
,Key Themes
Deception
Reputation
Jealousy
Race
Femininity
Settings
Main Characters
Othello
Iago
Desdemona
Emilia
Minor Characters
Cassio
Rodergo
Brabantio
Lodovico
Montano
Duke
Clown
Theme/Character
Paragraph Point
Paragraph Sub-point
Quote
Context
Explanation
Critics/Adaptations
,General Essay Plans
Deception:
Deception is portrayed as weaponising another’s virtues as vices to expose the dangers of the Jacobean
notion that external appearances are indicators of internal morality
- Iago weaponises Cassio’s Florentine culture as flirtatious
- Iago weaponises Desdemona’s liberality as infidelity
- Iago exploits decadent sexual stereotypes surrounding Venetian women like Bianca
Deception is portrayed as a product of naivety thereby encouraging audience to become more perceptive
- Role of naivety in enabling deception shown by Iago’s exploitation of Roderigo
- Deception illustrated through Iago’s early arrival in Cyprus in Act 2 Scene 1
- Iago’s sycophancy established in Act 1 Scene 1
- Iago degrades Othello before Brabantio but respects him in his presence in Act 1 Scene 3
Deception is portrayed as fatal to provide cautionary tale to audience
- Iago’s use of language causes downfall of Othello’s relationship w/ Desdemona
- Othello’s change in language, from Act 4, reveals fatal effects of Iago’s manipulation
- Significantly, the deception is often propagated by Iago (conclusive thoughts on function of Iago)
Jealousy:
Jealousy is portrayed as a consequence of male pride, particularly in professional sphere, to criticise
patriarchal ideals
- Iago’s indignation at Othello and Cassio for the latter’s promotion in Act 1 Scene 1
- Cassio’s public demotion in Act 2 Scene 3 highlights jealousy is a product of male ambition
- Brabantio’s reaction to Desdemona’s elopement reveals importance of public control to Venetian men
Jealousy is portrayed as a product of naivety thereby encouraging audience to become more perceptive
- Role of naivety in enabling jealousy shown by Iago’s exploitation of Roderigo
- Iago’s use of language causes downfall of Othello’s relationship w/ Desdemona
Jealousy is portrayed as a fatal response to perceived infidelity to reveal the inherent fragility of romantic
relationships in the Jacobean era
- Othello’s change in language, from Act 4, reveals fatal effects of Iago’s manipulation
Reputation:
Reputation is portrayed as inextricably linked to gender expectations: male reputation is determined by military
status and control which communicates patriarchal values upheld by Jacobean audience
- Iago’s indignation at Othello and Cassio for the latter’s promotion in Act 1 Scene 1
- Cassio’s public demotion in Act 2 Scene 3 highlights jealousy is a product of male ambition
- Brabantio’s reaction to Desdemona’s elopement reveals importance of public control to Venetian men
- Ideal of military male authority evidenced by Othello desire for honourable death in public
Female reputation is portrayed as determined by submission to patriarchy
- Handkerchief becomes vehicle for exploration of female subjection, most evident in Act 3 Scene 3 and 4
Reputation is shaped by stereotypes revealing how perceived reputation is a tragic driving force behind
actions
- Iago exploits decadent sexual stereotypes surrounding Venetian women like Bianca
- Roderigo’s focus on ideal perception of men as stoic inhibits him from realising Iago’s manipulation
Reputation is portrayed as capable of changing due to naivety to provide cautionary tale to audience
- Othello’s uncustomary behaviour most evident in Act 1 Scenes 2 and 3
- Othello’s change in language, from Act 3, reveals fatal effects of Iago’s manipulation
, Race:
Racism is portrayed as an ingrained preconception from Venetian men which is vocalised following personal
aggrievements thereby criticising racial hypocrisy of Jacobean audience
- Iago’s distorted portrayal of Othello in private ensuing Cassio’s promotion as lieutenant
- Roderigo’s racism towards Othello in private as he is aggrieved by Othello’s relationship w/ Desdemona
- Divergent attitudes of Brabantio/Duke to Othello’s marriage show men hold racist preconceptions in private
Racist and xenephobic stereotypes are portrayed as capable of being defied
- Desdemona defies racial prejudice and hierarchical Venetian society through exchange w/ Iago in Act 2
Scene 1 and loyal relationship w/ Othello
- Othello’s uncustomary behaviour most evident in Act 1 Scenes 2 and 3
Racism is portrayed as capable of causing tragic downfalls when such stereotypes are internalised
- Othello’s change in language, from Act 3, reveals fatal effects of Iago’s manipulation
Femininity:
Ideal femininity is portrayed as female submission to patriarchy
- Desdemona is introduced through lens of Brabantio, aggrieved by her elopement w/ Othello in Act 1 Scene 3,
hence she is portrayed reductively
- Handkerchief becomes vehicle for exploration of female subjection, most evident in Act 3 Scene 3 and 4
- Iago exploits decadent sexual stereotypes surrounding Venetian women like Bianca
Ideals of femininity are portrayed as restrictive which result in challenging patriarchy
- Desdemona defies racial prejudice and hierarchical Venetian society through exchange w/ Iago in Act 2
Scene 1 and loyal relationship w/ Othello
- Challenging patriarchy facilitated by female solidarity, which is most evident in Act 4 Scene 3 as Emilia
discusses marriage and relationships in private w/ Desdemona
Female characters provide cautionary tale for challenging patriarchy
- Othello’s change in language, from Act 4, reveals fatal effects of Iago’s manipulation
- Deaths of Desdemona and Emilia show females are confined to and vulnerable in private setting
Settings:
Settings used as vehicle for portrayal of deception: other characters are naive to Iago’s deception thereby
encouraging audience to become more perceptive
- Iago uses different speech styles (like monologues and blank verse) in different settings showing his deception
- Iago degrades Othello before Brabantio but respects him in his presence in Act 1 Scene 3
- Deception illustrated through Iago’s early arrival in Cyprus in Act 2 Scene 1
Settings used as vehicle for portrayal of race: racist preconceptions are held in private but vocalised in public
following personal aggrievements thereby criticising racial hypocrisy of Jacobean audience
- Iago’s distorted portrayal of Othello in private ensuing Cassio’s promotion as lieutenant
- Roderigo’s racism towards Othello in private as he is aggrieved by Othello’s relationship w/ Desdemona
- Othello’s change in language reveals fatal effects of Iago’s private manipulation on his public affairs; in public
he becomes othered
Settings used as vehicle for portrayal of male ego in public sphere: male reputation is determined by military
status and control which communicates patriarchal values upheld by Jacobean audience
- Cassio’s public demotion in Act 2 Scene 3 highlights importance of reputation to men
- Brabantio’s reaction to Desdemona’s elopement reveals importance of public control to Venetian men
- Ideal of military male authority evidenced by Othello desire for honourable death in public
Settings used as vehicle for portrayal of femininity: female reputation is determined by submission to
patriarchy
,Key Themes
Deception
Reputation
Jealousy
Race
Femininity
Settings
Main Characters
Othello
Iago
Desdemona
Emilia
Minor Characters
Cassio
Rodergo
Brabantio
Lodovico
Montano
Duke
Clown
Theme/Character
Paragraph Point
Paragraph Sub-point
Quote
Context
Explanation
Critics/Adaptations
,General Essay Plans
Deception:
Deception is portrayed as weaponising another’s virtues as vices to expose the dangers of the Jacobean
notion that external appearances are indicators of internal morality
- Iago weaponises Cassio’s Florentine culture as flirtatious
- Iago weaponises Desdemona’s liberality as infidelity
- Iago exploits decadent sexual stereotypes surrounding Venetian women like Bianca
Deception is portrayed as a product of naivety thereby encouraging audience to become more perceptive
- Role of naivety in enabling deception shown by Iago’s exploitation of Roderigo
- Deception illustrated through Iago’s early arrival in Cyprus in Act 2 Scene 1
- Iago’s sycophancy established in Act 1 Scene 1
- Iago degrades Othello before Brabantio but respects him in his presence in Act 1 Scene 3
Deception is portrayed as fatal to provide cautionary tale to audience
- Iago’s use of language causes downfall of Othello’s relationship w/ Desdemona
- Othello’s change in language, from Act 4, reveals fatal effects of Iago’s manipulation
- Significantly, the deception is often propagated by Iago (conclusive thoughts on function of Iago)
Jealousy:
Jealousy is portrayed as a consequence of male pride, particularly in professional sphere, to criticise
patriarchal ideals
- Iago’s indignation at Othello and Cassio for the latter’s promotion in Act 1 Scene 1
- Cassio’s public demotion in Act 2 Scene 3 highlights jealousy is a product of male ambition
- Brabantio’s reaction to Desdemona’s elopement reveals importance of public control to Venetian men
Jealousy is portrayed as a product of naivety thereby encouraging audience to become more perceptive
- Role of naivety in enabling jealousy shown by Iago’s exploitation of Roderigo
- Iago’s use of language causes downfall of Othello’s relationship w/ Desdemona
Jealousy is portrayed as a fatal response to perceived infidelity to reveal the inherent fragility of romantic
relationships in the Jacobean era
- Othello’s change in language, from Act 4, reveals fatal effects of Iago’s manipulation
Reputation:
Reputation is portrayed as inextricably linked to gender expectations: male reputation is determined by military
status and control which communicates patriarchal values upheld by Jacobean audience
- Iago’s indignation at Othello and Cassio for the latter’s promotion in Act 1 Scene 1
- Cassio’s public demotion in Act 2 Scene 3 highlights jealousy is a product of male ambition
- Brabantio’s reaction to Desdemona’s elopement reveals importance of public control to Venetian men
- Ideal of military male authority evidenced by Othello desire for honourable death in public
Female reputation is portrayed as determined by submission to patriarchy
- Handkerchief becomes vehicle for exploration of female subjection, most evident in Act 3 Scene 3 and 4
Reputation is shaped by stereotypes revealing how perceived reputation is a tragic driving force behind
actions
- Iago exploits decadent sexual stereotypes surrounding Venetian women like Bianca
- Roderigo’s focus on ideal perception of men as stoic inhibits him from realising Iago’s manipulation
Reputation is portrayed as capable of changing due to naivety to provide cautionary tale to audience
- Othello’s uncustomary behaviour most evident in Act 1 Scenes 2 and 3
- Othello’s change in language, from Act 3, reveals fatal effects of Iago’s manipulation
, Race:
Racism is portrayed as an ingrained preconception from Venetian men which is vocalised following personal
aggrievements thereby criticising racial hypocrisy of Jacobean audience
- Iago’s distorted portrayal of Othello in private ensuing Cassio’s promotion as lieutenant
- Roderigo’s racism towards Othello in private as he is aggrieved by Othello’s relationship w/ Desdemona
- Divergent attitudes of Brabantio/Duke to Othello’s marriage show men hold racist preconceptions in private
Racist and xenephobic stereotypes are portrayed as capable of being defied
- Desdemona defies racial prejudice and hierarchical Venetian society through exchange w/ Iago in Act 2
Scene 1 and loyal relationship w/ Othello
- Othello’s uncustomary behaviour most evident in Act 1 Scenes 2 and 3
Racism is portrayed as capable of causing tragic downfalls when such stereotypes are internalised
- Othello’s change in language, from Act 3, reveals fatal effects of Iago’s manipulation
Femininity:
Ideal femininity is portrayed as female submission to patriarchy
- Desdemona is introduced through lens of Brabantio, aggrieved by her elopement w/ Othello in Act 1 Scene 3,
hence she is portrayed reductively
- Handkerchief becomes vehicle for exploration of female subjection, most evident in Act 3 Scene 3 and 4
- Iago exploits decadent sexual stereotypes surrounding Venetian women like Bianca
Ideals of femininity are portrayed as restrictive which result in challenging patriarchy
- Desdemona defies racial prejudice and hierarchical Venetian society through exchange w/ Iago in Act 2
Scene 1 and loyal relationship w/ Othello
- Challenging patriarchy facilitated by female solidarity, which is most evident in Act 4 Scene 3 as Emilia
discusses marriage and relationships in private w/ Desdemona
Female characters provide cautionary tale for challenging patriarchy
- Othello’s change in language, from Act 4, reveals fatal effects of Iago’s manipulation
- Deaths of Desdemona and Emilia show females are confined to and vulnerable in private setting
Settings:
Settings used as vehicle for portrayal of deception: other characters are naive to Iago’s deception thereby
encouraging audience to become more perceptive
- Iago uses different speech styles (like monologues and blank verse) in different settings showing his deception
- Iago degrades Othello before Brabantio but respects him in his presence in Act 1 Scene 3
- Deception illustrated through Iago’s early arrival in Cyprus in Act 2 Scene 1
Settings used as vehicle for portrayal of race: racist preconceptions are held in private but vocalised in public
following personal aggrievements thereby criticising racial hypocrisy of Jacobean audience
- Iago’s distorted portrayal of Othello in private ensuing Cassio’s promotion as lieutenant
- Roderigo’s racism towards Othello in private as he is aggrieved by Othello’s relationship w/ Desdemona
- Othello’s change in language reveals fatal effects of Iago’s private manipulation on his public affairs; in public
he becomes othered
Settings used as vehicle for portrayal of male ego in public sphere: male reputation is determined by military
status and control which communicates patriarchal values upheld by Jacobean audience
- Cassio’s public demotion in Act 2 Scene 3 highlights importance of reputation to men
- Brabantio’s reaction to Desdemona’s elopement reveals importance of public control to Venetian men
- Ideal of military male authority evidenced by Othello desire for honourable death in public
Settings used as vehicle for portrayal of femininity: female reputation is determined by submission to
patriarchy
