Critical Analysis of othello (Plot, Summary, Themes, Characters, Setting, Tone, Literary devices

Plot Analysis 

Othello is the story of a noble military general who has enjoyed many successes on the battlefield, but because of mistakes of judgment and his outsider status in his society, sabotages his most intimate relationship and himself. The play begins on the grand scale of a military romance unfolding on the Mediterranean Sea. However, the action of the drama shrinks to the claustrophobic ending in the cramped bedroom where Othello kills himself after smothering his innocent wife. The play moves from vast exteriors that provide a backdrop for Othello’s heroism to interior spaces that offer—both literally and figuratively—no room to breathe. The play’s constricting trajectory suggests that negative emotions like jealousy put an emotional chokehold on a person, strangling their ability to think clearly and thus preventing them from acting reasonably. It also contrasts the arenas in which Othello is confident and powerful, such as the exterior world of battle, with the domestic spaces in which he is less secure, and able to be easily manipulated.

The incident that sets the protagonist and antagonist on a collision course occurs before the play begins, when Othello chooses Cassio as lieutenant. In being passed over for promotion, Iago feels cast aside and left to fill the role of “ancient” (i.e., ensign), a military position that ranks at the very bottom of all commissioned officers. Though angry with Othello’s choice, Iago feels equally upset that the coveted job went to Cassio, who Iago considers less qualified than he is. He also later reveals that he believes Cassio might have slept with his wife (in addition to suspecting Othello slept with her): “For I fear Cassio with my night-cap too.” (II.i.) Iago feels doubly degraded: a promotion he believes was rightfully his went to another man, and both men responsible for the slight – Othello and Cassio – may be sleeping with his wife. At this point, the audience’s sympathies are aligned with Iago, as we haven’t yet seen Othello, and Iago does have just cause for his grievances.

The tension of the play rises once the audience meets Othello and realizes how disastrous Iago’s plan will be. Othello and Desdemona’s declarations of love for each other, and Desdemona’s willingness to be disowned by her father in order to be with Othello, raise the stakes for the couple, and shifts the audience to Othello’s side. By contrasting Othello, Desdemona, and Cassio’s virtuous natures with Iago’s lies, the play heightens the tension between the truth and deception. With everyone in the play subject to Iago’s scheming, the audience becomes his silent co-conspirator as he unveils his plans in a series of asides. As Iago easily succeeds in his plot to get Cassio drunk, incite him to fight Roderigo, and convince Othello to fire him – all the while acting as though he loves Cassio – we see what a skilled manipulator he is. Iago’s scheming, cynical nature is starkly contrasted with the rest of the characters in the play, who are all undone by their own trusting, honest natures and their inability to see through Iago’s deceptions.

The conflicting forces of good, as represented by Othello, and evil, as represented by Iago, come into direct contact at the end of Act III, scene iii, when Othello kneels with Iago and pledges his unswerving desire to take revenge on those who have cuckolded him. Unlike many Shakespearean tragedies where the protagonist confronts the antagonist at the play’s climax, Othello expresses his absolute trust in Iago by appointing him his new lieutenant. Othello’s misplacement of trust, and blindness to Iago’s true motivations, increases the tension further, as the audience wonders when, if ever, Othello will see the truth about his supposed friend. As Othello becomes increasingly deranged with jealousy, and refuses to listen to Desdemona’s protestations of her innocence, he becomes less a protagonist, and starts to figure more as a second antagonist, acting in league with Iago. From this point on, no matter what Desdemona does, it only proves her guilt in Othello’s eyes.

In the play’s remaining two acts, Iago’s treacherous plot unfolds with a brutal inevitability. Othello shifts from believing Desdemona could never betray him, to demanding proof of her infidelity so he can feel justified in killing her. When Iago suggests Othello strangle Desdemona in the bed in which she was allegedly unfaithful, Othello says “Good, good, the justice of it pleases!” (IV.i). Othello still loves his wife passionately, but rather than considering her virtues as arguments against Iago’s accusations, instead sees them as reasons to be all the more upset by her alleged infidelity: “O Iago, the pity of it, Iago!” (IV.i) Deranged with jealousy, Othello conspires with Iago to murder Cassio and devises his plan to kill Desdemona. Either his wife has been unfaithful and is lying to him, or his beloved, “honest” friend Iago has been lying to him. Only after he kills Desdemona does Othello discover he believed the wrong person. When he at last realizes his error, he kills himself, rather than live in a world where honor and honesty have no value.  

Summary of Othello

The play opens in the powerful city state of Venice, famous as a center of trade and banking and for its military might. It is in the early hours of the morning, and two men — Roderigo, a young gentleman and former suitor of Senator Brabantio's daughter Desdemona, and Iago, an ensign who claims to have been passed over for promotion by Othello — are outside Senator Brabantio's house to tell him the news of his daughter's elopement with Othello, the Moor.

After sharing the news of the secret marriage in words calculated to alarm him, the treacherous and vindictive Iago quickly departs, leaving Roderigo to confirm the story. Feigning friendship and concern, Iago then meets with Othello and tells him of Brabantio's reaction. Brabantio, Othello, and Desdemona appear before the Duke of Venice. Although Brabantio accuses Othello of seducing his daughter by witchcraft, Othello explains that he won Desdemona by telling her his adventures, and Desdemona, called to testify, convinces the senators that she has freely gone with Othello and married him for love.

The Duke appoints Othello as general of the defense forces against the Turks, and he must leave for Cyprus immediately. Desdemona requests permission to accompany Othello to Cyprus. With the Duke's permission, Othello arranges for Desdemona to follow him later in another ship with Iago, whom he mistakenly believes is a trusted friend, and Iago's wife, Emilia. Iago convinces Roderigo that Desdemona will soon tire of Othello and that he should follow her to Cyprus. To himself, Iago decides to make use of Cassio, the man he deeply resents and who received the promotion he himself wanted, as the instrument to destroy Othello.

In Cyprus, Iago plots against Othello, planting the seed of doubt about Desdemona's fidelity and implicating Cassio as her lover. Using Roderigo, Iago arranges a fight that ultimately results in Cassio's demotion. Believing that his chances of reinstatement are better if he has Desdemona plead his case to her husband, Cassio, with Iago's help, arranges for a private meeting with Desdemona, who promises to speak on his behalf to Othello until his reconciliation with Othello is achieved.

As Cassio leaves, Iago and Othello appear. Othello notices Cassio's speedy departure, and Iago quickly seizes the opportunity to point out that Cassio seems to be trying to avoid the Moor. Desdemona immediately and enthusiastically begins to beg Othello to pardon Cassio, as she promised, and will not stop her pleading until Othello, preoccupied with other thoughts, agrees. The moment Desdemona and Emilia leave, however, Iago begins to plant seeds of doubt and suspicion in Othello's mind.

Othello, beset by uncertainty and anxiety, later demands of Iago some proof that Desdemona is unfaithful. Using a handkerchief that Desdemona later innocently drops, Iago convinces Othello that she has been unfaithful, and he stages a conversation with the innocent Cassio that further hardens the Moor's heart against his wife and her supposed lover. Convinced of his wife's betrayal and enraged and grieving, Othello rushes into action, making an agreement with Iago that he, Othello, will kill Desdemona, and Iago will dispose of Cassio

Desdemona, true to her word to Cassio, continues to plead on his behalf, unknowingly confirming to Othello her unfaithfulness. He accuses her of falseness, and Desdemona, not knowing what she has done to offend, can only assure him that she loves him.

Meanwhile, the gullible Roderigo has abandoned all hope of Desdemona, but Iago urges him to kill Cassio and rekindle his hopes. Late that night, they attack Cassio in the street, but it is Cassio who wounds Roderigo. Iago rushes out and stabs Cassio in the leg. Othello, hearing Cassio's cries for help, believes that half of the revenge is completed and hastens to fulfil his undertaking.

Desdemona is in bed when Othello enters. He tells her to pray a last prayer as he has no wish to kill her soul. Realizing that he plans to murder her, Desdemona protests her innocence of any wrongdoing. Knowing that he doesn't believe her, she begs him to let her live just a little longer, but he smothers her with a pillow.

Emilia, Desdemona's servant and Iago's wife, upon discovering the ruse, raises the alarm and declares Iago a liar before Montano and Gratiano. She explains how Desdemona's handkerchief came into Cassio's possession, and when she refuses to be quiet, Iago stabs her. Cassio, wounded, confirms Emilia's story. A soldier to the last, Othello stands on his honor. Knowing that this is the end, he asks to be remembered as "one that loved not wisely but too well." Then he stabs himself and falls on the bed beside his wife, where he dies.

Summary of all scene

 Act I, scene i: 

Setting :Venice. A street.

Summary

Othello begins in the city of Venice, at night; Roderigo is having a discussion with Iago, who is bitter about being passed up for a military post. Though Iago is seasoned in battle, Cassio, a man of strategy but little practical experience, was named Othello's lieutenant. Iago says that he only serves Othello to further himself, and makes shows of his allegiance only for his own gain; he is playing false, and admits that his nature is not at all what it seems. Iago is aware that Desdemona, the daughter of Brabantio, a Venetian nobleman of some stature, has run off with Othello, the black warrior of the Moors. Brabantio knows nothing of this coupling; Iago decides to enlist Roderigo, who lusts after Desdemona, to awaken Brabantio with screams that his daughter is gone.

At first, Brabantio dismisses these cries in the dark; but when he realizes his daughter is not at home, he gives the news some credence. Though Roderigo speaks to Brabantio, Iago is there too, hidden, yelling unsavory things about Othello and his intentions toward Desdemona. Brabantio panics, and calls for a search party to find Desdemona. Iago leaves, not wanting anyone to find out that he betrayed his own leader. 

Act I, sceneii: 

 Setting : Another street.

Summary

Iago has now joined Othello, and has told him about Roderigo's betrayal of the news of his marriage to Brabantio. He tells Othello that Brabantio is upset, and will probably try to tear Desdemona from him. Cassio comes at last, as do Roderigo and Brabantio; Iago threatens Roderigo with violence, again making a false show of his loyalty to Othello. Brabantio is very angry, swearing that Othello must have bewitched his daughter, and that the state will not decide for him in this case. Othello says that the Duke must hear him and decide in his favor, or all is far from right in Venice. 

 

Act I, scene iii:

Setting : A council-chamber.

Summary

It is reported that Turkish ships are heading towards Cyprus to challenge the Venetian stronghold of the island. Defensive actions will be necessary. Brabantio and Othello meet with the senators who are discussing the battle, and Brabantio announces his grievance against Othello for marrying his daughter

Othello addresses the company, admitting that he did marry Desdemona, but wooed her with stories and not witchcraft. Desdemona comes to speak, and she confirms Othello's words; Brabantio's grievance is denied, and Desdemona will indeed stay with Othello. Othello is called away to Cyprus and he begs that Desdemona be able to go with him, since they have been married for so little time. Othello and Desdemona win their appeal, and Desdemona is to stay with Iago, until she can come to Cyprus and meet Othello there.

Jealous Roderigo is upset that Desdemona and Othello's union is allowed to stand. But Iago assures him that the match will not last long, and at any time, Desdemona could come rushing to him. Iago wants to break up the couple, using Roderigo as his pawn.

 Act II, scene i: 

Setting :  A Sea-port in Cyprus. An open place near the quay.

Summary

A terrible storm has struck Cyprus, just as the Turks were about to approach. The Turkish attack may have been quelled, but it also bodes badly for Othello's ship. A messenger enters, and confirms that the Turkish fleet was broken apart by the storm, and that Cassio has arrived, though Othello is still at sea. They spot a ship coming forth; but Iago, Desdemona, and Emilia are on it, not Othello.

Cassio greets them all, especially praising Desdemona; somehow, Iago and Desdemona enter into an argument about what women are, and Iago shows how little praise he believes women deserve. Othello arrives at last, and is very glad to see his wife arrived, much earlier than expected; he and Desdemona make public signs of their love, and then depart. Iago speaks to Roderigo, convincing him that Desdemona will stray from Othello, as she has already done with Cassio. He convinces Roderigo to attack Cassio that night, as he plans to visit mischief on both Othello and Cassio

Act II, scene ii: 

 Setting :  A street.

Summary

Othello's herald enters, to proclaim that the Turks are not going to attack. All should be joyful, and Othello is celebrating the happiness of his recent marriage. 

Act II, scene iii:  

Setting : A hall in the castle.

Summary

Iago and Cassio are on the watch together; Iago gets Cassio to drink, knowing that he cannot hold his liquor. Iago also tries to coax Cassio's feelings about Desdemona, and make her seem tempting to him; but his intentions are innocent and friendly, so this approach fails. Cassio leaves, and Iago says that he intends to get Cassio drunk, which will hopefully cause a quarrel between Cassio and Roderigo, who has been stirred up against Cassio. Iago wants to see Cassio discredited, so that he may take Cassio's place as lieutenant.

Montano and others come, and Iago entertains them with small talk and song; soon, Cassio is drunk, and Roderigo has approached. Cassio fights offstage with Roderigo, and comes forth, chasing him; Montano tries to hinder Cassio, but Cassio just ends up injuring him. All the noise wakes Othello, who comes down to figure out what has happened. Montano tells what he knows, and Iago fills in the rest‹ - making sure to fictionalize his part. Cassio is stripped of his rank, and all leave Cassio and Iago alone.

Cassio laments that he has lost his reputation, which is very dear to him. Iago tries to convince him that a reputation means little; and, if he talks to Desdemona, maybe he can get her to vouch for him with Othello. This will help Iago hint that Desdemona and Cassio are together, which will enrage Othello. Iago then gives a soliloquy about knowing that Desdemona will speak for Cassio, and that he will be able to turn that against them both.

Act III, scene i: 

 Setting :  Before the castle.

Summary

The third act begins with a bit of comic relief; a clown is mincing words with a few musicians, then has a little wordplay with Cassio, who bids the clown to go and see if Desdemona will speak with him. Iago enters, and Cassio tells him that he means to speak to Desdemona, so that she may clear things up with Othello. Emilia comes out, and bids Cassio to come in and speak with Desdemona about his tarnished reputation.

Act III, scene ii: 

Setting : A room in the castle.

Summary

Othello gives Iago some letters that need to be delivered back to Venice, which Iago is in turn supposed to give to a ship's pilot who is sailing back to Venice.

Act III, scene iii:  

Setting :  The garden of the castle.

Summary

Desdemona decides that she wants to advocate for Cassio. She tells Emilia so, and that she believes Cassio is a good person, and has been wronged in this case; she pledges to do everything she can to persuade her husband to reinstate Cassio. Cassio speaks with her briefly, but leaves just as Othello enters because he does not wish for a confrontation. Iago seizes on this opportunity to play on Othello's insecurities, and make Cassio's exit seem guilty and incriminating. Othello then speaks to Desdemona, and Desdemona expresses her concern for Cassio; she is persistent in his suit, which Othello is not too pleased about. Othello says he will humor her, and the subject is dropped for a while.

Iago then plays on Othello's insecurities about Desdemona, and gets Othello to believe, through insinuation, that there is something going on between Desdemona and Cassio. Othello seizes on this, and Iago works at building up his suspicions. Soon, Othello begins to doubt his wife, as Iago lets his insinuations gain the force of an accusation against her. Othello begins to voice his insecurities when it comes to Desdemona, and himself as well. Desdemona enters, and they have a brief conversation; Othello admits that he is troubled, though he will not state the cause.

Desdemona drops the handkerchief that Othello gave her on their honeymoon; Emilia takes it and gives it to Iago, who decides to use the handkerchief as the key prop in his bitter play. Othello re-enters, and tells Iago that he now doubts his wife; Othello demands "ocular proof" of Desdemona's dishonesty, so Iago makes up stories about Cassio talking in his sleep, and says that Cassio has the handkerchief that Othello gave to Desdemona. Iago knows how important this handkerchief is to Othello; it was his first gift to Desdemona, and was given to him by his mother. Othello is incensed to hear that Desdemona would give away something so valuable, and is persuaded by Iago's insinuations and claims to believe that Desdemona is guilty. Othello then swears to have Cassio dead, and to be revenged upon Desdemona for the non-existent affair.

Act III, scene iv:

 Setting :  Before the castle.

Summary

Desdemona asks the clown where Cassio is, and the clown goes off to fetch him. Desdemona is looking everywhere for the handkerchief, as she knows that her losing it will upset Othello greatly. Othello enters, and asks for Desdemona's handkerchief; she admits that she does not have it, and then Othello tells her of its significance and alleged magical powers. Desdemona does not like Othello's tone; he seems obsessed with this object, and Desdemona is so frightened by him that she wishes she had nothing to do with it. She interrupts Othello's inquiry by bringing up Cassio's attempt to get back into Othello's favor; Othello becomes angry, and storms out. Desdemona and Emilia both note that Othello is much changed; he is unkind and seems jealous, and they are suspicious of the change in him.

Cassio then enters, with Iago; he laments that his suit is not successful, and that Othello does not seem likely to take him back. Desdemona is sorry for this, since she knows that Cassio is a man of worth; she tells Cassio and Iago that Othello has been acting strangely, and is upset, and Iago goes to look for him, feigning concern. Emilia thinks that Othello's change has something to do with Desdemona, or Othello's jealous nature; they still cannot fathom what has happened, and exit, leaving Cassio.

Bianca comes in, and Cassio asks her to copy the handkerchief that he found in his room; it is Desdemona's handkerchief, though Cassio has no idea. He claims he does not love her, and gets angry with her for allegedly suspecting that the handkerchief is a gift of another woman. But, Bianca is not disturbed, and leaves with the handkerchief.

Act IV, scene i: 

Setting :  Cyprus. Before the castle.

Summary

Othello is trying, even after swearing that Desdemona was unfaithful, not to condemn her too harshly. He is talking with Iago about the handkerchief still, and its significance in being found; but, soon, Iago whips Othello into an even greater fury through mere insinuation, and Othello takes the bait. Othello falls into a trance of rage, and Iago decides to hammer home his false ideas about his wife. Iago calls Cassio in, while Othello hides; Iago speaks to Cassio of Bianca, but Othello, in his disturbed state, believes that Cassio is talking of Desdemona, which is the last "proof" he needs before declaring his wife guilty. Bianca comes in, and gives the handkerchief back to Cassio, since she swears she will have nothing to do with it.

Othello is incensed by Cassio, still believing that he was speaking of Desdemona, rather than Bianca. Now, Othello is resolved to kill Desdemona himself, and charges Iago with murdering Cassio. Lodovico, a noble Venetian whom Desdemona knows, has recently landed; Desdemona and Othello welcome him there. But, when Desdemona mentions Cassio, Othello becomes very angry and slaps her in front of everyone; she rushes off, very upset. Lodovico especially is shocked at this change in Othello, and has no idea how such a noble man could act so cruelly

Act IV, scene ii:

Setting :  A room in the castle.

Summary

Othello questions Emilia about Desdemona's guilt, or the chance she has had an affair with Cassio. Emilia admits to having seen nothing, though Othello does not believe her. Emilia swears that she has seen and heard all that has gone on between Cassio and Desdemona, and that Desdemona is pure and true. Othello believes that Emilia is in on the deception; he accuses Desdemona, and her insistence that she is innocent only infuriates him further.

Othello leaves, and Desdemona and Emilia try to figure out what has happened to Othello, and what they can do; Desdemona feels especially helpless, and Emilia is very angry. Emilia thinks that someone has manipulated Othello into accusing Desdemona, and has poisoned his mind; however, Iago is there to dispel this opinion, so that Emilia does not inquire further into her theory. Upon leaving the women, Iago comes across Roderigo; he is not pleased with how Iago has handled things, and knows that although Iago is promising him Desdemona's favor, he has done nothing to indicate that he has worked to achieve this. Iago quiets him by making him believe that if he kills Cassio, then he will win Desdemona; Roderigo decides to go along with it, but Iago is coming dangerously close to being revealed. 

Act IV, scene iii:

Setting :  Another room In the castle.

Summary

Othello tells Desdemona to go to bed, and dismiss Emilia; Emilia regrets Desdemona's marriage, although Desdemona cannot say that she does not love Othello. Desdemona knows that she will die soon; she sings a song of sadness and resignation, and decides to give herself to her fate. Desdemona asks Emilia whether she would commit adultery to win her husband the world. Emilia, the more practical one, thinks that it is not too big a price for a small act; Desdemona is too good, and too devout, to say that she would do so.

Act V, scene i: 

Setting : Cyprus. A street.

Summary

Iago has Roderigo poised and ready to pounce on Cassio, and kill him; if either of them is killed, it is to Iago's benefit, although he would like to have both of them disposed of, so that his devices might not be discovered. Roderigo and Cassio fight, and both are injured; Othello hears the scuffle, is pleased, and then leaves to finish off Desdemona. Iago enters, pretending that he knows nothing of the scuffle; Gratiano and Lodovico also stumble upon the scene, having no idea what has happened. Roderigo is still alive, so Iago feigns a quarrel, and finishes him off. Bianca comes by, and sees Cassio wounded; Iago makes some remark to implicate her; Cassio is carried away, and Roderigo is already dead. Emilia also comes in, and pins more blame on Bianca; she has done nothing, but Iago has some quick work to do if he is to exonerate himself in this mess. 

Act V, scene ii:

Setting :  A bedchamber in the castle: DESDEMONA in bed asleep; a light burning.

Summary

Othello enters Desdemona's room while she is asleep; and though she is beautiful, and appears innocent, he is determined to kill her. He justifies this with images, metaphors, and ideas of her rebirth after death, and though his rage is softened, he is still much mistaken about her. Desdemona awakens, and he tells her to repent of any sins before she dies; she believes there is nothing she can do to stop him from killing her, but continues to assert her innocence. Othello tells her that he found her handkerchief with Cassio, though Desdemona insists it must not be true; she pleads with Othello not to kill her, but he begins to smother her. Emilia knocks, curious about what is going on; Othello lets her in, but tries to conceal Desdemona, who he thinks is already dead. Emilia brings the news of Roderigo's death, and Cassio's wounding.

Emilia soon finds out that Desdemona is nearly dead, by Othello's hand; Desdemona speaks her last words, and then Emilia pounces on Othello for committing this horrible crime. Othello is not convinced of his folly until Iago confesses his part, and Cassio speaks of the use of the handkerchief; then, Othello is overcome with grief.

Iago stabs Emilia for telling all about his plots, and then Emilia dies; the Venetian nobles reveal that Brabantio, Desdemona's father, is dead, and so cannot be grieved by this tragedy now. Othello stabs Iago when he is brought back in; Othello then tells all present to remember him how he is, and kills himself. Cassio becomes the temporary leader of the troops at Cyprus, and Lodovico and Gratiano are to carry the news of the tragedy back to Venice. Iago is taken into custody, and his crimes will be judged back in Venice. 

Othello Themes

1. Prejudice

Theme Analysis

The most prominent form of prejudice on display in Othello is racial prejudice. In the very first scene, Roderigo and Iago disparage Othello in explicitly racial terms, calling him, among other things, "Barbary horse" and "thick lips." In nearly every case, the prejudiced characters use terms that describe Othello as an animal or beast. In other words, they use racist language to try to define Othello not only as an outsider to white Venetian society, but as being less human and therefore less deserving of respect. Othello himself seems to have internalized this prejudice. On a number of occasions he describes himself in similarly unflattering racial terms. And when he believes that he has lost his honor and manhood through Desdemona's supposed unfaithfulness, he quickly becomes the kind of un-rational animal or monster that the white Venetians accuse him of being.

Yet racial prejudice is not the only prejudice on display in Othello. Many characters in the play also exhibit misogyny, or hatred of women, primarily focused on women's honesty or dishonesty about their sexuality. Several times, Othello's age is also a reason for insulting him. In all of these cases, the characters displaying prejudice seek to control and define another person or group who frighten them. In other words, prejudice works as a kind of strategy to identify outsiders and insiders and to place yourself within the dominant group. And Othello himself seems to understand this—he concludes his suicide speech by boasting that he, a Christian, once killed a Muslim Turk, a "circumcised dog" (5.2.355) who had murdered a Venetian citizen. Othello tries to use religious prejudice against Muslims to cement his place within mainstream Christian Venetian society.

2. Love 

Love is the main theme of the play but unluckily the web of intrigues spoils it very badly. Love is the main driving force of the play surrounded by other themes. We can see different types of love in the play: Desdemona’s love for Othello, Othello’s love for Desdemona, Emilia’s love for her mistress, Desdemona’s love for her maid, Desdemona’s affections for Cassio, Iago’s love for money, Roderigo’s love for Desdemona, are the few examples of the love in the play.

The marriage of Othello and Desdemona was based on true love but Othello fails to recognize love of her wife, Desdemona, shortly. Initially Othello believes that he is devoted to love but he is defeated in love at the end. He has achieved many victories in the battlefield but in his own home, he loses the battle of love. His enemy, Iago, spoiled his love and he became an easy prey for Iago. It was only due to his wrong judgment and believing Iago without any confirmation.

Desdemona’s love in friendship for Cassio is real because she knows that Cassio and Othello are best friends from a long period but the jealous Othello interprets it as adulterous love. We witness Emilia’s true love in friendship for Desdemona. She stood up to witness for the honor of her dead mistress against her own lying husband, Iago, and was killed for her love for her mistress. Iago uses the word “love” in a wider and falser manner than the others. Iago even says he loves Desdemona but his intentions were different from others, he could feel some sexual attraction for her. For Iago, love is nothing but leverage.    

3. Expectations versus Outcome

Theme Analysis

We can see that what expectations before marriage of Desdemona and Othello were, and how these expectations turned into demise after their marriage. What were the motives of Iago, and how much he succeeded? How Iago plans to remove Cassio from his post and how he receives a good post at the end? We have also seen that how Emilia was loyal to her mistress, and what she receives in her loyalty. She receives painful death by her own husband in regard of her loyalty to her mistress even after her death. How Othello planned to kill Desdemona and how he kills himself after knowing the reality? How Roderigo attacks Cassio to remove him from his way, and how Iago kills him to make his own way clear? Nothing happened in the play as per expectations but we observed that which was unexpected.  On every scene audience were shocked to know something different from expectation.

4. Manipulation 

Theme Analysis

Throughout the play, we learn that Iago is a master manipulator. He is able to twist information, and create a false sense of reality that convinces Othello to believe that Desdemona is actually cheating on him, though he doesn't have a shred of actual proof. For example, at one point in the play, Iago manipulates a scenario in which Othello watches Desdemona talking to Cassio, the man she is supposedly cheating with. The conversation is totally innocent; however, Iago manipulates Othello into thinking that Cassio is openly flirting with his wife. 

5 Appearance and Reality

Theme Analysis

Appearance and reality are important aspects in Othello. For Othello, seeing is believing, and proof of the truth is visual. To "prove" something is to investigate it to the point where its true nature is revealed. Othello demands of Iago "Villain, be sure thou prove my love a whore, be sure of it, give me the ocular proof" (Act 3, Scene 3).

What Iago gives him instead is imaginary pictures of Cassio and Desdemona to feed his jealousy. As Othello loses control of his mind, these pictures dominate his thoughts. He looks at Desdemona's whiteness and is swept up in the traditional symbolism of white for purity and black for evil. Whenever he is in doubt, that symbolism returns to haunt him and despite his experience, he cannot help but believe it.

6. Duplicity 

Theme Analysis

“Certain, men should be what they seem”

Othello: Act 3, Scene 3

Unfortunately for Othello, the man who he trusts in the play, Iago, is not what he seems he is scheming, duplicitous and has a deep malevolent loathing for his master. Othello is made to believe that Cassio and Desdemona are the duplicitous ones. This mistake of judgment leads to his downfall.

Othello is prepared to believe Iago over his own wife because of his faith in his servant’s honesty; “This fellow’s of exceeding honesty” (Othello, Act 3 Scene 3). He doesn’t see any reason why Iago might double cross him.

Iago’s treatment of Roderigo is also duplicitous, treating him as a friend or at least a comrade with a common goal, only to kill him in order to cover up his own guilt. Fortunately, Roderigo was savvier to Iago’s duplicity than he knew, hence the letters exposing him.

Emilia could be accused of duplicity in exposing her own husband. However, this endears her to the audience and demonstrates her honesty in that she has discovered her husband’s wrongdoings and is so outraged that she exposes him.

7. Manhood and Honor

Theme Analysis

Throughout the play, various male figures seek to assert and protect their manhood and their honor. Based on the Duke's regard for him in 1.3, it is clear that Othello has attained political power through his military might. The subplot in which Iago gets Cassio drunk and causes him to humiliate himself, also indicates the importance of "reputation, reputation, reputation." In fact, Cassio asserts that reputation is all that makes you human ("I have lost the immortal part of myself, and what remains is bestial" [2.3.252-3]). Iago asserts—however genuinely or disingenuously—that reputation is more valuable than anything in the world: "good name in man and woman [...] is the immediate jewel of their souls" (3.3.156).

Though military exploits are one way for men to build their honor, when not in war the primary means by which men define their honor is their ability to command the faithfulness of their women. In 1.1, Iago and Roderigo call Brabantio's honor into question because he hasn't been able to control the romantic or sexual impulses of his daughter, Desdemona. Later, Iago drives Othello to question his own manhood—indeed, his very humanity—by making him doubt whether he has power over his wife. In despair over his suspicions about his wife's faithfulness, Othello laments of himself: "A horned man's a monster and a beast" (4.2.62). That is, in his view, to lose control of the woman in his life is to lose everything that makes him human. In other words, without his honor, he sees himself in the same terms that the prejudiced characters see him: as an animal

8. Warfare 

Since the play's protagonist is a military general, war is always hovering in the background in Othello. But the only actual battle the play promises is avoided, thanks to bad weather. The real battleground of the play, it turns out, is the mind. Many critics read Othello as an extended war allegory: it is possible to see Iago's machinations as the strategic planning of a general, individual victories as minor battles, and the three resulting deaths the casualties of psychological combat. The play also dwells on the relationship between masculine identity, war, and sexuality

9. Identity 

In Othello, Shakespeare explores factors that play an important role in the formations of one's identity – race, gender, social status, family relationships, military service, etc. Othello is also concerned with how an individual's sense of identity (which can break down and be manipulated by others) shapes his or her actions

10. Bad Things Happen to Good People

Desdemona is pure and innocent, the ideal wife. Othello is noble, loving, and accomplished, the ideal husband. But he murders Desdemona, then kills himself. In the real world, bad things happen to good people. Chance, character flaws, and the presence of evil—in this case, Iago—often militate against happy endings. 

11. Gullibility 

Othello is an honest and noble leader and apparently an outstanding military tactician. Unfortunately, however, he is gullible—at least in his dealings with Iago. Pretending to be a loyal officer, Iago undermines Othello's relationship with his wife. He correctly recognizes Othello as an easy mark, observing,

The Moor is of a free and open natre,

That thinks men honest that but seem to be so,

And will as tenderly be led by the nose

As asses are. (Othello, 3.1.360-363)

So Iago drops hints and suggestions that Michael Cassio has been seeing Desdemona romantically and even plants evidence to support his story. Othello, too willing to believe his nefarious underling, falls victim to his lies and ends up killing his innocent wife.

Literary Devices

Among other figures of speech in the play are the following. 

Alliteration: 

Repetition of a consonant sound, as the following examples demonstrate.

If after every tempest come such calms,

May the winds blow till they have waken’d death! (2.1.185-186)

So shall you have a shorter journey to your desires by the means I shall then have to prefer them. (2.1.225)

I have drunk but one cup to-night, and that was craftily qualified too. (2.3.28)

(Note that the first letter of qualified has the same consonant sound as cup and craftily.)

He drinks you with facility your Dane dead drunk. (2.3.57)

 

Anaphora: 

 Repetition of a word, phrase, or clause in successive groups of words. Here are examples.

You’ll have your daughter covered with a Barbary horse; you’ll have your nephews neigh to you; you’ll have coursers for cousins and gennets for germans. (1.1.119)

I will a round unvarnish’d tale deliver

Of my whole course of love; what drugs, what charms,

What conjuration, and what mighty magic. (1.3.104-106)

       I spake of most disastrous chances,

Of moving accidents by flood and field,

Of hair-breadth ’scapes i’ the imminent deadly breach,

Of being taken by the insolent foe. (1.3.152-155)

                           My story being done,

She gave me for my pains a world of sighs:

She swore, in faith, ’twas strange, ’twas passing strange;

’twas pitiful, ’twas wondrous pitiful. (1.3.176-179)

Hyperbole: 

 Hyperbole is a gross exaggeration, as in the following example.

I know a lady in Venice would have walked barefoot to Palestine for a touch of his nether lip. (4.3.42)

Metaphor: 

 A metaphor is a comparison that does not use like, as, or than to make the comparison. For example, John is a bull is a metaphor. However, John is as strong as a bull, John acts like a bull, and John is angrier than a charging bull are not metaphors. They are similes. Following are examples of metaphors.

Even now, now, very now, an old black ram

Is tupping your white ewe. Arise, arise! (1.1.94-95)

(Comparison of Othello to a black ram and Desdemona to a white ewe)

My services which I have done the signiory

Shall out-tongue his complaints. (1.2.22-23)

(Othello compares the services he has performed for the state to a voice speaking up for him.)

Methinks the wind hath spoke aloud at land;

A fuller blast ne’er shook our battlements;

If it hath ruffian’d so upon the sea,

What ribs of oak, when mountains melt on them,

Can hold the mortise?  (2.1.7-11)

(Comparison of the wind to a human speaking aloud and to a ruffian; comparison of gigantic waves to mountains)

Pun : 

Put out the light, and then put out the light. (5.2.9)

(Othello is saying he will extinguish the room light, then murder Desdemona, who has been the light of his life.)

Oxymoron: 

 An oxymoron is the use of a word that contradicts the word immediately following it. Cowardly lion, little giant, and deafening silence are examples of oxymorons. Here are three examples from Othello.

                             I will withdraw

To furnish me with some swift means of death

For the fair devil. Now art thou my lieutenant. (3.3.536-538)

There’s many a beast then, in a populous city,

And many a civil monster.  (4.1.70-71)

An honourable murderer (5.2.345)

Simile: 

A simile is a comparison that uses like, as, or than to make the comparison, as the following examples indicate.

Still as the grave. (5.2.115)

(Othello, having smothered Desdemona, compares her stillness to that of a grave.)

OTHELLO:  She was false as water.

EMILIA:  Thou art rash as fire to say

That she was false: O! she was heavenly true. (5.2.163-165)

(Othello, believing that Desdemona was unfaithful to him, compares her seeming falseness to water. Emilia compares Othello's rashness to fire.)

Othello Characters

 Othello

Character Analysis

A Christian Moor who has earned a high reputation as a general in the Venetian army and has recently married Desdemona, daughter of the Venetian senator Brabantio. Othello is characterized by his plainspoken, honest (perhaps even naïve) nature, which, together with his status as an outsider, leaves him vulnerable to the plots of his standard-bearer, Iago, to make him suspect his loyal wife, Desdemona, of infidelity. 

Desdemona: 

Character Analysis

 Desdemona is loyal, faithful, and passionately loves Othello. She is shrewd and wise, but is very subtle about it. She dies because she keeps blindingly faithful to Othello, and cannot understand why he believes her to be an adulterous. She asks Cassio to help her cheer up Othello, but Iago manipulates facts to make Othello even more jealous. She is blameless, and she dies tragically, so selfless as to deny that Othello has killed her in her dying breath. 

Iago:  

Character Analysis

Iago is Othello's sword-bearer. He has been passed over for the position of Lieutenant, and this draws out his evil nature. He feels that he has been wronged and cannot accept the position that Othello gives him. Iago orchestrates Othello's downfall out of malice and revenge, and it is worse because Iago coats his poisonous words in the appearance of truth. Othello has no reason to doubt Iago, and Iago is able to completely manipulate Othello and to control his actions. Othello kills Desdemona, but Iago is responsible. Iago is only concerned about himself and his position, and will sacrifice anyone to save himself and his interests. This is shown when he kills his own wife when it is discovered that he has been treacherous. 

Emilia:  

Character Analysis

Emilia is Desdemona's female servant. She is Iago's husband, and has a practical and shrewd sense about her that is more apparent than Desdemona's. Emilia urges Desdemona to confront Othello, and when she learns of Iago's treachery, she reveals him, even though it costs her life. She is a good friend and companion to Desdemona, but unfortunately she puts into motion the events that lead Othello to believe that he has seen proof of Desdemona's unfaithfulness. 

Cassio: 

Cassio is Othello's choice for his new Lieutenant. Cassio travels from a different city, and hisreputation is known in far lands. He is an up and coming soldier, and a good friend to Othello. Cassio and Desdemona try to help Othello's jealousy together in friendship, but due to Iago's clouding of Othello's perception, this leads him to think that they are having an affair.

Brabantio

Character Analysis 

A senator in Venice and Desdemona's father. At first enraged by Desdemona's elopement with Othello, he does eventually grant a grudging blessing to their marriage. But his blessing never seems heartfelt, and he dies of grief shortly after their departure for Cyprus (and before any of the tragedies of the play occur).

Duke of Venice

Character Analysis

The official authority in Venice, the Duke has great respect for Othello as a military man and, unlike the other residents of Venice, does not betray any racial prejudice against Othello and, in fact, is unsurprised that Desdemona fell in love with him. It is the Duke who sends Othello to lead the Venetian mission to defend Cyprus against the Turks

 

Symbols

Symbols are objects, characters, figures, or colors used to represent abstract ideas or concepts 

The Handkerchief: 

The handkerchief symbolizes different things to different characters. Since the handkerchief was the first gift Desdemona received from Othello, she keeps it about her constantly as a symbol of Othello’s love. Iago manipulates the handkerchief so that Othello comes to see it as a symbol of Desdemona herself—her faith and chastity. By taking possession of it, he is able to convert it into evidence of her infidelity. The symbol of the handkerchief is at the heart of the play's terrible irony. Given is a gift of true, honest, faithful love by Othello to Desdemona, it ultimately becomes a sign of Othello's jealousy, mistrust, and insecurity. One cannot trace this change in the symbol's significance without appreciating Iago's continual manipulation of Othello. Both the handkerchief and Desdemona remain pure and unchanged, however Iago is able to change Othello's perception of them. One of Shakespeare's recurring themes is the power of perception--Othello is willing to commit the most horrible of crimes based not upon facts, but upon his faulty interpretation of reality. 

The Song “Willow”:

  Willow Song is another good symbol in Othello. Though it's just a song, itsymbolizes Desdemona's similar doom to the Barbary maid who sang Willow, Willow, and was killed  shortly after. Othello, at this point in the story, is plotting Desdemona's murder in her bed by strangulation. Since the Willow song was a song about infidelity and betrayal, it was a parallel directly to the case between Desdemona and Othello. The song’s lyrics suggest that both men and women are unfaithful to one another. To Desdemona, the song seems to represent a melancholy and resigned acceptance of her alienation from Othello’s affections, and singing it leads her to question Emilia about the nature and practice of infidelity. 

Animals: Iago calls Othello a “Barbary horse,” an “old black ram,” and also tells Brabantio that his daughter and Othello are “making the beast with two backs” (I.i.117–118). In Act I, scene iii, Iago tells Roderigo, “Ere I would say I would drown myself for the love of a guinea-hen, I would change my humanity with a baboon” (I.iii.312–313). He then remarks that drowning is for “cats and blind puppies” (I.iii.330–331). Cassio laments that, when drunk, he is “by and by a fool, and presently a beast!” (II.iii.284–285). Othello tells Iago, “Exchange me for a goat / When I shall turn the business of my soul / To such exsufflicate and blowed surmises” (III.iii.184–186). He later says that “[a] horned man’s a monster and a beast” (IV.i.59). Even Emilia, in the final scene, says that she will “play the swan, / And die 

 

SETTINGS

The setting is Venice Italy. The Jealousy, passion, wickedness and sexual tension illustrated in the work is, according to Elizabethan Era belief, typical of Italians. It is on this stereotypical belief that, Shakespeare set the work in Italy.

Tone

The tone of the play is vengeful and bitter. Iago, the antagonist, sets the tone when he plots revenge against Othello, the protagonist, after the latter promotes another man to the position that Iago wanted. Othello's negative attitude maintains the tone after he accepts as true the false story spread by Iago that his wife has been unfaithful to him. Bitter, vengeful, and madly jealous, he vows to kill his wife