William Shakespeare – 1603
Othello
Othello is a Moor and a successful mercenary general who works for the state of Venice. He
is eventually posted to Cyprus as a governor during the Turkish Conflict
Remember that one of Shakespeare’s earlier plays ‘Titus Andronicus’ features a Moorish
villain.
Before he appears on stage, we are led to believe by Iago that Othello is bombastic and
conceited, but Othello’s appearance in Act 1 Scene 2 contradicts Iago’s assessment, instead
we see openness, sincerity and a natural authority.
Unlike Shakespeare’s other tragic protagonists, Othello is not a monarch (King Lear) or an
aspiring monarch (Macbeth), however he is a worthy figure and Shakespeare stresses his
nobility. The moor is a descendent of a royal line of kings and has been an impressive
military commander.
Othello’s positive attributes indicate that we should see him as a hero, as does his customary
mode of speech, Othello speaks in blank verse early in the play and is a fine rhetorician. The
Duke of Venice recognises Othello’s suitability as a wooer in ‘I think this tale would win my
daughter too’.
Othello’s race is a significant part of his characterisation. Othello is not the stereotypical
immoral, lustful Moor of typical Renaissance drama (as he is portrayed by other characters).
Shakespeare encourages the audience to view the Moor’s race positively and race is not an
issue for Desdemona. As Othello reminds Iago, ‘She had eyes and chose me’.
Othello’s race seems to trouble him later in the play. Once his mind has been poisoned by
Iago, he comes to doubt his attractions. For example, in Act 3 Scene 3, ‘Haply for I am black,
and have not those soft parts of conversation that chamberers have’.
When Othello and Desdemona meet in Cyprus, we get the impression the hero is
overwhelmed by his love for his wife saying, ‘Chaos is come again’. It seems Othello cannot
master his romantic feelings, so may be in the grip of emotions he cannot control before
Iago sets to work on him.
The critic Thomas Rymer claims that we know just how powerful Iago’s influence is because
Othello begins to speak and think like the ensign when his imagination is polluted.
As an audience, we are forced to come to terms with the idea that Othello is not wholly
noble, he is also capable of savagery. He sinks to bestiality in ‘I’ll tear her all to pieces’.
The transformation of Othello is troubling as he begins to trust Iago more than his wife. This
is only possible as Iago reminds him that he is an outsider and addresses him as ordinary and
foolish. This is intolerable for Othello.
The critic Tom McAlindon says the fall of Othello is essentially a temptation scene, rooted in
the Judeo-Christian myth of Adam and Eve.
The critic F.R Leavis has suggested that Othello’s readiness to believe Iago is a sign the hero
is ‘simple minded’, but Othello is not a fool, by the time of the murder he recognises he has
been ‘ensnared’.
, Othello’s degradation is evident through his changing speech style. He uses more oaths in
the second half of the play, perhaps indicating moral corruption
T.S Eliot claimed that Othello’s last speech was a ‘terrible exposure of human weakness’.
Unlike Shakespeare’s source, who calls him ‘the moor’, Shakespeare invents for him a
unique, musical name that empathises his status as an exotic stranger and correspond with
the rich sonority of his idiosyncratic speech style.
Desdemona
Early in the play, Brabantio defines Desdemona as his ‘jewel’, who is modest and afraid to
look at Othello. This version of Desdemona proves inaccurate when she speaks in Act 1,
however be the end of the play Othello’s abusive treatment has turned her into the fearful
girl that Brabantio described. This is horribly ironic. Desdemona has been silenced and it
seems her final role is to be a sacrifice to masculine pride.
Critic Tom Mc Alindon says that in her own way, Desdemona exemplifies the misleading
nature of her appearance. The ‘still and quiet’, ‘never bold’ maiden turns out to be one of
exceptional composure, prepared to candidly display her physical desire to Othello to both
elope and go to Cyprus.
Although Desdemona has disobeyed her father she expects to submit to Othello’s authority.
But Desdemona is not faultless, she lies to Othello about her handkerchief and when Othello
strikes her, she reproaches briefly, ‘I have not deserved this’.
Ultimately, Desdemona refuses to blame Othello for her unhappiness, declaring that it is her
‘wretched fortune’.
Desdemona dies valiantly, fighting to be allowed to live and asserting her honesty, however,
her final words are contradictory, when Emilia asks ‘who hath done this deed?’, she replies
with ‘Nobody: I myself, farewell’. The passivity in her final words contradict her earlier
assertiveness.
Othello is reluctant to directly address his fears about her, instead he speaks of a ‘pain upon
my forehead here’, an equivocal expression of such fears which Desdemona interprets in
the innocent sense.
‘What ignorant sin have I committed?’
‘My downright violence and storm of fortunes’ – Shakespeare remembers the people in
Cinthio’s tale who blamed Desdemona’s father for giving her a name of ill-omen. One based
on the Greek word ‘dusdaimon’, meaning ill-fated.
Iago
Iago is Othello’s ensign. Eaten up by jealously and hatred, Iago seeks to destroy Othello by
poisoning his mind against Desdemona.
Iago is a compelling and sophisticated villain. Like many villains in Renaissance drama, he
seems to be inherently evil.
Shakespeare presents Iago as cynical, quick-witted and opportunistic, all qualities of stage
villains in revenge tragedies.
In more recent times, Iago’s role has been reassessed. He is no longer considered the
epitome of evil, instead he is an example of an emotionally limited man, driven by
professional jealously and class consciousness.
Iago’s dealings with Othello reveal his real skill. It is possible to argue Iago seeks to replace
Desdemona in Othello’s affections, although this is debatable, Iago certainly sets out to
Othello
Othello is a Moor and a successful mercenary general who works for the state of Venice. He
is eventually posted to Cyprus as a governor during the Turkish Conflict
Remember that one of Shakespeare’s earlier plays ‘Titus Andronicus’ features a Moorish
villain.
Before he appears on stage, we are led to believe by Iago that Othello is bombastic and
conceited, but Othello’s appearance in Act 1 Scene 2 contradicts Iago’s assessment, instead
we see openness, sincerity and a natural authority.
Unlike Shakespeare’s other tragic protagonists, Othello is not a monarch (King Lear) or an
aspiring monarch (Macbeth), however he is a worthy figure and Shakespeare stresses his
nobility. The moor is a descendent of a royal line of kings and has been an impressive
military commander.
Othello’s positive attributes indicate that we should see him as a hero, as does his customary
mode of speech, Othello speaks in blank verse early in the play and is a fine rhetorician. The
Duke of Venice recognises Othello’s suitability as a wooer in ‘I think this tale would win my
daughter too’.
Othello’s race is a significant part of his characterisation. Othello is not the stereotypical
immoral, lustful Moor of typical Renaissance drama (as he is portrayed by other characters).
Shakespeare encourages the audience to view the Moor’s race positively and race is not an
issue for Desdemona. As Othello reminds Iago, ‘She had eyes and chose me’.
Othello’s race seems to trouble him later in the play. Once his mind has been poisoned by
Iago, he comes to doubt his attractions. For example, in Act 3 Scene 3, ‘Haply for I am black,
and have not those soft parts of conversation that chamberers have’.
When Othello and Desdemona meet in Cyprus, we get the impression the hero is
overwhelmed by his love for his wife saying, ‘Chaos is come again’. It seems Othello cannot
master his romantic feelings, so may be in the grip of emotions he cannot control before
Iago sets to work on him.
The critic Thomas Rymer claims that we know just how powerful Iago’s influence is because
Othello begins to speak and think like the ensign when his imagination is polluted.
As an audience, we are forced to come to terms with the idea that Othello is not wholly
noble, he is also capable of savagery. He sinks to bestiality in ‘I’ll tear her all to pieces’.
The transformation of Othello is troubling as he begins to trust Iago more than his wife. This
is only possible as Iago reminds him that he is an outsider and addresses him as ordinary and
foolish. This is intolerable for Othello.
The critic Tom McAlindon says the fall of Othello is essentially a temptation scene, rooted in
the Judeo-Christian myth of Adam and Eve.
The critic F.R Leavis has suggested that Othello’s readiness to believe Iago is a sign the hero
is ‘simple minded’, but Othello is not a fool, by the time of the murder he recognises he has
been ‘ensnared’.
, Othello’s degradation is evident through his changing speech style. He uses more oaths in
the second half of the play, perhaps indicating moral corruption
T.S Eliot claimed that Othello’s last speech was a ‘terrible exposure of human weakness’.
Unlike Shakespeare’s source, who calls him ‘the moor’, Shakespeare invents for him a
unique, musical name that empathises his status as an exotic stranger and correspond with
the rich sonority of his idiosyncratic speech style.
Desdemona
Early in the play, Brabantio defines Desdemona as his ‘jewel’, who is modest and afraid to
look at Othello. This version of Desdemona proves inaccurate when she speaks in Act 1,
however be the end of the play Othello’s abusive treatment has turned her into the fearful
girl that Brabantio described. This is horribly ironic. Desdemona has been silenced and it
seems her final role is to be a sacrifice to masculine pride.
Critic Tom Mc Alindon says that in her own way, Desdemona exemplifies the misleading
nature of her appearance. The ‘still and quiet’, ‘never bold’ maiden turns out to be one of
exceptional composure, prepared to candidly display her physical desire to Othello to both
elope and go to Cyprus.
Although Desdemona has disobeyed her father she expects to submit to Othello’s authority.
But Desdemona is not faultless, she lies to Othello about her handkerchief and when Othello
strikes her, she reproaches briefly, ‘I have not deserved this’.
Ultimately, Desdemona refuses to blame Othello for her unhappiness, declaring that it is her
‘wretched fortune’.
Desdemona dies valiantly, fighting to be allowed to live and asserting her honesty, however,
her final words are contradictory, when Emilia asks ‘who hath done this deed?’, she replies
with ‘Nobody: I myself, farewell’. The passivity in her final words contradict her earlier
assertiveness.
Othello is reluctant to directly address his fears about her, instead he speaks of a ‘pain upon
my forehead here’, an equivocal expression of such fears which Desdemona interprets in
the innocent sense.
‘What ignorant sin have I committed?’
‘My downright violence and storm of fortunes’ – Shakespeare remembers the people in
Cinthio’s tale who blamed Desdemona’s father for giving her a name of ill-omen. One based
on the Greek word ‘dusdaimon’, meaning ill-fated.
Iago
Iago is Othello’s ensign. Eaten up by jealously and hatred, Iago seeks to destroy Othello by
poisoning his mind against Desdemona.
Iago is a compelling and sophisticated villain. Like many villains in Renaissance drama, he
seems to be inherently evil.
Shakespeare presents Iago as cynical, quick-witted and opportunistic, all qualities of stage
villains in revenge tragedies.
In more recent times, Iago’s role has been reassessed. He is no longer considered the
epitome of evil, instead he is an example of an emotionally limited man, driven by
professional jealously and class consciousness.
Iago’s dealings with Othello reveal his real skill. It is possible to argue Iago seeks to replace
Desdemona in Othello’s affections, although this is debatable, Iago certainly sets out to
