Othello Themes
The main themes in Othello are trust and deception, race and the outsider, the consequences of jealousy, and tensions between women and men.
- Trust and deception: The relationships in Othello often exist on the line between trust and deception, with treacherous Iago commanding trust and honest Desdemona receiving doubt.
- Race and the outsider: Othello's Moorish background places him at a distance from his peers, despite his sterling reputation.
- The consequences of jealousy: The tragedy of the play is driven by the effects of unchecked jealousy.
- Tensions between women and men: The women in the play occupy a precarious position in a world of men marked by misogyny and violence.
Trust and Deception
Perhaps the most prominent theme that runs through Othello is that of trust and deception. Early in the play, Iago sets this theme in motion, suggesting that he is not always as he seems and that he is capable of being whomever he needs to be if it suits his cause. A number of characters praise Iago for his integrity, and both Othello and Cassio refer to him as “honest Iago,” although they are ultimately victims of his deceit. On the other hand, Desdemona plays a faithful wife, not even blaming her husband when he wrongfully murders her, and yet her husband has no trust in her. The play repeatedly illustrates the difficulties of knowing whom to trust in which circumstances—especially when there is deception afoot.
This question of whom or what to trust extends to viewers or readers of the play. Iago often refers to being someone he is not. Iago even self-consciously plays the role of the villain, which he makes evident to the audience when he says, “What’s he then that says I play the villain?” In this particular line, the play seems self-aware. All of the characters in the play are, in fact, playing parts, and by extension, deceiving the audience. In this case, audience members are willingly deceived, suspending their disbelief and allowing the players to spread fiction. In this way, Shakespeare may not necessarily have a specific moral related to trust and deception in Othello. Rather, Othello may simply provide broad exploration of the limits of trust: when is it unwarranted, when is it necessary, and when can deceit be seen as entertainment as opposed to a moral transgression?
Race and the Outsider
Racial politics in Elizabethan England were emergent, because world exploration and interactions between races were still fairly new to England at the time. However, by the time Othello was written, Queen Elizabeth had proclaimed that too many Africans were entering England and began to discourage their entry to the country. In this way, one can certainly see how Africans might be viewed in a negative light during the time that Othello was first performed. They were seen as infidels and non-Christians, which may explain why Shakespeare included a passage in which Othello explains his transition to Christianity. Were Othello not Christian, it would have been harder for the Elizabethan audience to identify with the protagonist of the play.
Regardless of his Christianity, Othello is still seen as an outsider. This underlying racist attitude is reflected in many of Iago’s statements that liken Othello to a lustful animal (e.g., “the beast with two backs”). While there was a racist attitude emerging in England, Africa was also considered to be an exotic, mysterious place that most English people had never witnessed firsthand. This attitude is evident early in the play when Brabantio accuses Othello of seducing his daughter through magical charms or spells. Othello himself has given Desdemona a handkerchief that was enchanted by an Egyptian witch and stained with virgin’s blood. In a play that is otherwise void of any kind of supernatural elements, these allusions to magic are seemingly related to Othello’s African heritage. Despite his recognized merit as a general, Othello is not welcome to become a part of Brabantio’s family, and as a Black man, he is to some degree considered an outsider by Venetian society. It is impossible to know Shakespeare’s artistic intent, but Othello is clearly a sympathetic and admirable character, despite his being an outsider in both the world of the play and Elizabethan England.
The tension between belonging and being an outsider can be seen in other characters as well. Desdemona, for instance, occupies a tenuous position as a woman on the frontlines of Cyprus. While the war never actually occurs, she cannot know that it will not happen when she opts to follow her husband to battle. Emilia, as Desdemona’s attendant, must follow her mistress to Cyprus, and Emilia’s presence there is also questioned. All of these outsiders are eventually killed. The question of who has a right to claim certain spaces is even present in the first few lines of dialogue in the play. Cassio has been promoted to the position of lieutenant, but whether or not he deserves that role is unclear based on his experience and the testimony of others in Venice.
The Consequences of Jealousy
Othello charts the downfall of Othello and Desdemona in the hands of Iago’s schemes. While Iago is the most culpable figure, it is Othello’s unhindered jealousy that allows events to descend into tragedy. In act 3, scene 3, Iago memorably personifies jealousy as a destructive force:
O, beware, my lord, of jealousy;
It is the green-eyed monster which doth mock
The meat it feeds on; that cuckold lives in bliss
Who, certain of his fate, loves not his wronger.
There is a note of dramatic irony in the fact that Iago tells Othello to “beware… the green-eyed monster,” for it is Iago himself who sows the seeds of the very jealousy he speaks of. Iago’s personification is apt in that jealousy deranges one’s senses, blinds one’s reason, turns one into a monster. In act 4, scene 1, Iago tells Othello that Cassio has bragged of bedding Desdemona. Othello is so overcome with jealousy that he loses his powers of reason and speech, muttering “Handkerchief—confessions—handkerchief!” and falling into a trance.
The final repercussions of Othello’s jealousy arrive in act 5, when he becomes the “green-eyed monster” of which Iago has warned him. As he prepares to murder Desdemona, he ignores her truthful testimony of innocence. Indeed, his eyes—symbolic of reason—have been occluded by the senseless force of jealousy, and he cannot hear her pleas. This central tragedy of the play is a chilling testament to the consequences of unchecked jealousy.
Tensions Between Women and Men
Throughout Othello, there is a constant thread of tension between women and men. In its subtlest form, this tension manifests in the somewhat tenuous presence of Desdemona and Emilia in Cyprus, a military encampment that can be viewed as a masculine sphere. In its harsher forms, this tension erupts in expressions of outright misogyny and even violence against women. Throughout the play, discussions occur regarding the differences between man and woman, most notably Iago’s comments in the second act about how all women are prostitutes. This chauvinistic view of women is allowed to exist in the masculine world of the military. It is not surprising that someone as villainous as Iago would maintain this view, and neither Desdemona nor Emilia seem prepared to respond to his claims, whether due to their abhorrence or their baselessness.
It is only in Desdemona’s bedchamber, which can be viewed as a comparatively feminine sphere, that Emilia feels safe to express her own views—namely that women and men are equally sexual, that men wrongfully mistreat their wives, and that sex can be a way for women to reclaim their lives and independence. Unfortunately, there are few such spaces in Cyprus, and Desdemona and Emilia cannot comfortably exist in this masculine world. By the end of the play, both women are killed by the hands of their militant husbands.
Racism
Racism is a significant theme in Othello, influencing characters and driving the plot. Othello, a Moor, faces prejudice and discrimination despite his status as a respected general. This racial tension shapes his relationships and contributes to his tragic downfall. The play explores how racism can manipulate perceptions and fuel destructive actions.
Othello's character is central to the theme of racism. As a Moor, he is an outsider in Venetian society, which subjects him to underlying racial prejudice. Despite his accomplishments and noble nature, Othello's "dark" skin makes him vulnerable to manipulation. Iago exploits this vulnerability, using racial slurs and insinuations to provoke Othello's insecurities. Othello's internal conflict and societal pressure amplify his jealousy and lead to his tragic end.
Iago's manipulation is a key element in highlighting racism in the play. He uses Othello's race to incite fear and distrust. Iago's deceitful nature is evident when he tells Roderigo, "
I follow him to serve my turn upon him. (1.1.42)" This statement reveals Iago's intention to exploit Othello's racial identity for his own gain. Iago's actions demonstrate how racism can be weaponized to destroy lives.
Desdemona's relationship with Othello also underscores the theme of racism. Her love for Othello challenges societal norms, as she sees beyond his race, stating, "
I saw Othello’s visage in his mind, And to his honors and his valiant parts Did I my soul and fortunes consecrate. (1.3.253-55)" Despite her genuine affection, their marriage faces scrutiny and opposition due to racial prejudices. This societal pressure contributes to the tragic unraveling of their relationship.
Tragedy
In Othello, the theme of tragedy is central, defined by the downfall of the noble protagonist, Othello, due to his tragic flaw. The play diverges from the Greek ideal of tragedy, which focuses on a hero's flaw leading to their doom, yet it retains key elements such as the exceptional nature of the tragic hero and the presence of a fatal flaw. Othello's jealousy and misplaced trust in Iago catalyze his tragic end, intertwining themes of fate, catharsis, and the struggle between good and evil.
Othello, a Moorish general in the Venetian army, embodies the tragic hero. His status as an outsider due to his race and his noble standing make him an exceptional figure. His tragic flaw, or hamartia, is his susceptibility to jealousy and insecurity, which Iago exploits. This flaw leads to his mistrust of Desdemona and ultimately her murder. Othello's downfall evokes fear and pity, achieving the cathartic effect typical of tragedy.
The setting of the play contributes significantly to its tragic nature. The transition from Venice, a symbol of order and civilization, to Cyprus, a place of chaos and isolation, mirrors Othello's descent into madness. In Venice, Othello is respected and in control, but in Cyprus, he becomes vulnerable to Iago's manipulations. This geographical symbolism underscores the themes of racial and cultural conflict, heightening the tragedy.
Desdemona's role in the tragedy is complex. Her innocence and loyalty make her an easy target for Iago's schemes. Her loss of the handkerchief, a symbol of Othello's love, and her subsequent lies about it, fuel Othello's jealousy. Despite her strengths, such as her defiance of societal norms, her naivety and inability to perceive deceit contribute to her tragic end.
The tragedy in Othello is further compounded by the role of chance and accident. The entire plot hinges on the accidental loss of the handkerchief, which Iago uses to convince Othello of Desdemona's infidelity. Emilia's failure to reveal the truth about the handkerchief until it is too late highlights the role of miscommunication and misunderstanding in the tragedy. This reliance on accident and luck rather than pure cleverness detracts from the traditional notion of a tragic flaw leading to inevitable doom, yet it underscores the chaotic and unpredictable nature of human life.
Love
The theme of love in Othello is complex, exploring both its beauty and its vulnerability to manipulation. The play illustrates how love can be sincere and profound, yet susceptible to jealousy and insecurity. Othello and Desdemona's love is genuine, transcending societal barriers, but it is ultimately undermined by Iago's deceit and Othello's own doubts. The interplay of love and hate, loyalty and betrayal, shapes the tragic trajectory of the characters.
Othello and Desdemona's relationship is rooted in mutual admiration and respect. Desdemona loves Othello for his courage and honor, seeing "Othello’s visage in his mind," appreciating his inner qualities rather than his outward appearance. Othello, in turn, loves Desdemona for her compassion and intellect, not merely for "the palate of my appetite." This mutual affection is sincere, yet it lacks a deep understanding, leaving room for manipulation.
Despite their love, Othello and Desdemona are vulnerable to external forces. Iago's manipulation exploits Othello's insecurities, turning his love into jealousy. Othello's inability to trust Desdemona leads to tragic consequences. His love, once pure, becomes tainted by suspicion, illustrating how love can be both a source of strength and a point of weakness.
The destructive power of hate is a significant counterpoint to love in the play. Iago's hatred for Othello drives him to destroy the couple's happiness. Othello's internalized insecurities, fueled by a racist society, make him susceptible to Iago's lies. The play highlights how hate and insecurity can overpower love, leading to tragedy.
Ultimately, Othello portrays love as a powerful yet fragile force. The characters' inability to communicate and trust each other, coupled with external manipulation, leads to their downfall. The play serves as a cautionary tale about the vulnerabilities of love and the destructive potential of jealousy and deceit.
Manipulation
In Othello, manipulation is a central theme that drives the plot and leads to the tragic downfall of the characters. Iago, the antagonist, is a master manipulator who exploits the weaknesses of others to achieve his own ends. His deceitful actions and cunning words create a web of lies that ensnare Othello, leading to jealousy, betrayal, and ultimately, tragedy. The play explores how manipulation can distort reality and destroy lives, highlighting the destructive power of deceit and the vulnerability of trust.
Iago's manipulation is rooted in his envy and resentment towards Othello. He feels slighted by Othello's choice of Cassio as lieutenant and is driven by a desire for revenge. Iago's ability to manipulate those around him is evident in his interactions with Othello, whom he describes as a man "not easily jealous, but, being wrought, Perplex'd in the extreme." By planting seeds of doubt and jealousy, Iago exploits Othello's insecurities, leading him to demand "ocular proof" of Desdemona's infidelity. This manipulation of perception is a key factor in Othello's tragic downfall.
The domestic tragedy of Othello is significant because it shows how manipulation can undermine personal relationships and societal structures. Othello's downfall is not only due to Iago's machinations but also his own paranoia and doubt. The play illustrates how personal flaws and external manipulation can lead to the destruction of trust and love, as seen in Othello's transformation from a noble general to a "green-eyed monster" consumed by jealousy and rage.
The theme of manipulation is further emphasized by the contrast between appearance and reality. Iago's declaration, "I am not what I am," sets the tone for the deceit that permeates the play. Characters are deceived by false appearances, leading to tragic consequences. Othello's misplaced trust in Iago and his failure to see through the lies result in the loss of Desdemona, whom he tragically refers to as a "pearl away Richer than all his tribe." This manipulation of reality serves as a cautionary tale about the dangers of deception and the importance of discerning truth from falsehood.
Betrayal
Betrayal is a central theme in Othello, driving the plot and leading to the tragic downfall of several characters. The play explores how betrayal can stem from jealousy, manipulation, and misplaced trust, ultimately resulting in tragedy. Through the actions of characters like Iago and Othello, Shakespeare examines the destructive power of betrayal and its impact on human relationships.
Iago is the embodiment of betrayal in the play. He manipulates those around him, exploiting their trust for his gain. From the beginning, Iago reveals his duplicitous nature, stating, "I follow him to serve my turn upon him" (I.i.42) and "In following him, I follow but myself" (line 59). Despite these admissions, his deceit goes unnoticed by those he deceives, such as Roderigo. Iago's betrayal is not just personal; it is systemic, affecting everyone around him. He feigns friendship with Cassio, only to orchestrate his downfall by getting him drunk, thus beginning the chain of events that convinces Othello of Desdemona's infidelity.
Othello, though a victim of Iago's machinations, becomes a betrayer himself. He is manipulated into believing Desdemona has been unfaithful, leading him to betray her trust and love. Othello demands "ocular proof" (III.iii.364) of her infidelity, yet is swayed by Iago's lies about a dream and the handkerchief. His misplaced trust in Iago leads him to murder Desdemona, convinced that her death is necessary to prevent further betrayal: "Yet she must die, else she'll betray more men" (V.ii). Othello's actions highlight how betrayal can corrupt even the most loving relationships.
Emilia's character arc also reflects the theme of betrayal. Initially, she unwittingly betrays Desdemona by giving Iago the handkerchief, unaware of his intentions. However, her loyalties shift when she discovers Desdemona's murder. Emilia defies Iago and Othello, choosing to reveal the truth about the handkerchief and Iago's treachery. Her courageous stand against betrayal costs her life, but she dies upholding truth and loyalty to Desdemona: "speaking as I think, I die, I die."
The theme of betrayal in Othello is further emphasized through symbols and societal structures. The handkerchief becomes a symbol of fidelity and betrayal, manipulated by Iago to incite jealousy. Iago's complaints about military promotions reflect his belief in systemic betrayal, where "preferment goes by letter and affection" (I.i). These elements illustrate how betrayal permeates personal and societal relationships, leading to the play's tragic conclusion.
Loyalty
Loyalty is a central theme in Shakespeare's Othello, explored through the relationships and actions of its characters. The play examines how loyalty can be both a strength and a vulnerability, often manipulated to tragic ends. Through the characters of Desdemona, Emilia, and Othello, Shakespeare illustrates the complexity of loyalty and its impact on human relationships.
Desdemona embodies unwavering loyalty. Her commitment to Othello is evident from the start, as she declares her allegiance to him over her father:
"I am hitherto your daughter. But here's my husband, And so much duty as my mother show'd To you, preferring you before her father, So much I challenge that I may profess Due to the Moor, my lord."Even in the face of death, Desdemona remains loyal, refusing to blame Othello for her murder:
"Nobody; I myself. Farewell; Commend me to my kind lord. O, farewell!"Her loyalty is both her strength and her downfall, as it blinds her to Othello's growing jealousy and mistrust.
Emilia's loyalty shifts dramatically throughout the play. Initially, she is loyal to her husband, Iago, even stealing Desdemona's handkerchief for him. However, her loyalty ultimately lies with Desdemona and the truth. In Act 5, she bravely exposes Iago's treachery, defying both her husband and Othello:
"I care not for thy sword,"and
"Tis proper I obey him, but not now."Emilia's loyalty to Desdemona and her moral integrity lead to her tragic end, but also to the revelation of Iago's deceit.
Othello's loyalty is corrupted by Iago's manipulations. Initially, Othello's love for Desdemona is strong, but his insecurity and jealousy make him susceptible to Iago's schemes. Iago's deceit convinces Othello of Desdemona's infidelity, leading him to betray her trust. Despite demanding
"ocular proof,"Othello's loyalty to Desdemona is overshadowed by his misplaced trust in Iago, resulting in tragedy.
Iago's betrayal is the antithesis of loyalty. He exploits the trust of those around him for his gain, admitting his deceitful intentions:
"I follow him to serve my turn upon him"and
"In following him, I follow but myself."His manipulation of Othello and Cassio highlights how loyalty can be twisted into a tool for treachery.
Expert Q&A
How does Emilia's remark about jealousy in Act 3 relate to Othello's themes?
3 Educator Answers
Emilia makes the following remark in Act 3, scene 4:
But jealous souls will not be answer'd so;
They are not ever jealous for the cause,
But jealous for they are jealous: 'tis a monster
Begot upon itself, born on itself.
She is saying this in response to Desdemona's statement that she has never given her husband cause to be jealous. Emilia is saying that those who are by nature jealous do not need a reason for their ill feelings of distrust. They are the way they are because that is their character. This means that Othello does not need any reason to be suspicious of Desdemona, because he is a naturally jealous person.
Emilia says that jealousy is a beast that creates itself and feeds on the negative emotions and cynicism it evokes. The implication is that the more one doubts, the more insecure one becomes. In Othello's situation, he becomes more and more suspicious of Desdemona's actions, especially now that she has lost his precious handkerchief and is insisting that he speak to Cassio about his possible reinstatement.
Emilia's remark comments on the major themes of jealousy, envy and revenge. She is, ironically, also referring unknowingly to the sentiments her husband feels towards not only Othello but also Cassio and Desdemona. It is clear that Iago's jealousy feeds on itself. He is envious of Othello who, in spite of being a foreigner, has attained the highest position in the Venetian army. It is clear that Iago despises the fact that Othello, a Moor, has achieved a position that he obviously believes he would be more suited for.
To add insult to injury, Othello is also his superior and has denied him the promotion he has so desperately been seeking. The general has, instead, offered the position of lieutenant to Cassio, who is an inexperienced Florentine—another outsider. Iago's resentment is palpable, and he wants to punish both his leader and the innocent Cassio for what he believes is a humiliating dishonor.
Iago resents Desdemona's innate goodness. Because he is naturally evil, it is beyond his understanding that someone can be as virtuous as she. His despicable nature makes him turn against her. Furthermore, he finds Desdemona desirable, and is jealous of the fact that Othello has actually successfully wooed her.
In addition, Iago suspects that Othello has also had inappropriate relations with his wife, Emilia. He has no proof but, as Emilia states, he does not need any, since he is driven by his own inner malice. Iago's malevolence becomes the source of all the drama in the play. When he discovers that he cannot compromise the general's position, he turns to others to do his dirty work for him.
Iago plays on Roderigo's own feelings of envy against the general and persuades him that he can help him successfully woo the beautiful Desdemona and win her love. Roderigo becomes Iago's gullible puppet and is exploited and used by the master manipulator to do his bidding. He realizes, too late, that he has been used.
In the end, it is Iago's malice that leads our protagonists to their doom. He, in the end, faces the wrath of Lodovico, the slain Desdemona's cousin, who tells Iago in the final lines of the play:
O Spartan dog,
More fell than anguish, hunger, or the sea!
Look on the tragic loading of this bed;
This is thy work: the object poisons sight;
Let it be hid.
He then instructs the governor of Cyprus to punish Iago for the evil he has perpetrated:
To you, lord governor,
Remains the censure of this hellish villain;
The time, the place, the torture: O, enforce it!
Emilia's comment also points out that jealousy does not need a cause. It is a beast that is born of itself and feeds on itself. She is letting Desdemona know that the root of jealousy is not some action of infidelity but insecurity on the part of the one jealous. Throughout the play, Iago accuses Emilia of being unfaithful to him, just as Othello accuses Desdemona. Emilia implies through this statement that she has never been untrue to Iago just as Desdemona has never been untrue to Othello. Jealousy does not need an unfaithful act to inspire it. It is part of a man or woman's nature.
Her comments to Desdemona reflect the themes of jealousy leading to destruction because she addresses how jealousy affects men and how men treat women, etc. Emilia is clearly bitter because of her dysfunctional relationship with Iago and because she has begun to see Othello's temper and his jealous side, as well. Her comments also provide elements of foreshadowing, because Othello lets his jealousy get the best of him. His jealousy drives him into a rage, which causes him to smother Desdemona, someone he loves more than life itself. He realizes, in the end, that he has made a huge mistake and that Desdemona was true to him.
Give three examples of truth versus falsehood in Othello.
2 Educator Answers
Quick answer:
Iago is the only one who claims to be honest, but he's the main deceiver (a deceiver deceiving others about his own deceit).There are examples everywhere in the play - almost too many to list. Here are three, all from the first scene, Act One, Scene One:
First, one from the end of the scene. Here's Iago talking about Othello to Roderigo:
Though I do hate him as I do hell-pains.
Yet, for necessity of present life,
I must show out a flag and sign of love,
Which is indeed but sign.
Pure and simple, Iago is telling Roderigo that to protect his own life ('for necessity of present life') he is going to have to pretend to show love to Othello - wave a 'flag' (a 'sign') of love - but that 'sign' will be only a sign ('but sign'). It'll look like love, but it'll only look like it - it's an appearance not a reality. A falsehood disguised like a truth.
And, secondly, as I jump to the start of the scene, here's the first two lines of the play for some more:
RODERIGO
Tush! never tell me; I take it much unkindly
That thou, Iago, who hast had my purse
As if the strings were thine, shouldst know of this.
IAGO
'Sblood, but you will not hear me:
If ever I did dream of such a matter,
Abhor me.
Roderigo is angry that Iago has known about Othello's marriage; Iago tells him that he never even dreamt of such a thing. Now, Shakespeare doesn't tell us how Iago found out about the marriage, nor do we know if he knew about it beforehand. We don't know whether he's lying or not. Though he lies to Roderigo later, and we know that he has indeed had Roderigo's 'purse / as if the strings were' his own, we don't know whether Iago is genuinely surprised or not.
Point being, the audience don't know whether Iago is telling the truth or not. Nobody knows. What's the truth of the matter here? Did Iago know about the marriage? Who told him? Did he keep it from Roderigo? Shakespeare deliberately leaves it ambiguous.
And this is the problem with truth and falsehood in this play. We never find out for absolute certain whether Desdemona and Cassio have slept together (it would be SO easy for Shakespeare to write a short scene for the two characters together to confirm that it never happened. But he doesn't). We never find out for certain whether Othello and Emilia have had an affair (Iago certainly thinks so). You don't know whether anyone is really what they claim to be or not.
And Iago even admits this:
I am not what I am.
True line or false line? Well, it's both. He's admitting to lying ('I'm not what I seem to be'). But he's being honest about lying. He's being truthful about his blatant falseness. And just like everything else in the play, you're not quite sure what to do with him - not quite sure what to believe. He's the liar who everyone thinks is 'honest' (go through and count the number of times they call him that!).
So truth and falsehood in this play are difficult categories to separate. But it's a great question!
In Othello, what are examples of truth and deception?
There are lots of possibilities here. Let's look at the mysogynist Iago who is true to his word shared with the audience that he will destroy his master Othello and Othello's innocent wife Desdemona-
I'll pour this pestilence into his ear—
That she repeals him for her body's lust;
And by how much she strives to do him good,
She shall undo her credit with the Moor.
So will I turn her virtue into pitch.
Iago has convinced himself that his actions are a just revenge for an indiscretion rumoured between his wife Emilia and Othello -
I do suspect the lusty Moor
Hath leap'd into my seat; the thought whereof
Doth (like a poisonous mineral) gnaw my inwards;
And nothing can or shall content my soul
Till I am evened with him, wife for wife.
Iago is true to his word and destroys everyone in this scenario: Othello, Desdemona and Emilia. In every other respect, Iago is a complete false 'Janus' deceptive to whomever he meets: his social contacts (Roderigo his friend); family ties (Emilia his wife); direct employer (Othello); colleague (Cassio) and the one innocent of his methods and undeserving of his hate--Desdemona.
In Othello, what does Iago's phrase "Tis the curse of service preferment goes by letter and affection and not by old gradation" mean?
1 Educator Answer
Quick answer:
In Othello, Iago's phrase "Tis the curse of service, preferment goes by letter and affection and not by old gradation" reflects his frustration that military promotions are based on favoritism rather than merit or seniority. Iago believes Cassio's upper-class status and connections, rather than actual military experience, earned him the promotion that Iago desired. This favoritism in promotions, according to Iago, overlooks the practical, battle-field experience he possesses in favor of educational and social qualifications, which Cassio represents.
Iago is saying that the curse of military service is that preferment, or promotion, does not go by seniority or experience but by favoritism. In Shakespeare's time it was easy for an aristocratic young man to get commissioned as an officer, but for a commoner without connections it was nearly impossible, regardless of how brave he was or how much actual fighting he had participated in. Iago is jealous of Cassio because he, like Desdemona, is a member of the upper class. Iago takes it for granted that Cassio got the promotion he himself wanted because of Cassio's connections.
“Certes,” says he [Othello],
“I have already chose my officer.”
And what was he?
Forsooth, a great arithmetician,
One Michael Cassio, a Florentine
A fellow almost damn'd in a fair wife
That never set a squadron in the field,
Nor the division of a battle knows
More than a spinster; unless the bookish theoric,
Where in the toga'd consuls can propose
As masterly as he; mere prattle without practice,
Is all his soldiership.
Cassio obviously has a much better education than Iago, although Iago has much more military experience. So Othello was not merely guided in his choice of Cassio as his lieutenant by Cassio's, polished manners, social status and connections. Othello may have felt that he himself possessed all the military experience that was required and that he could use a man who was well educated in military science and tactics. Iago seems to be something like a master-sergeant in the American army who can never rise to the level of a commissioned officer because of his lack of higher education. Cassio, on the other hand, seems like a first or second lieutenant, the lowest of the commissioned officers in the American army, but almost certain to keep getting promoted with advancing age, experience, and proper behavior. When Iago gets him drunk and disorderly, it is a terrible blow to Cassio's pride and reputation as well as a black mark on his record and a grave threat to his future career.
It is understandable that Iaqo should be jealous and envious of Cassio, but Iago loses viewer sympathy because he seems eaten up with jealousy and envy of everybody. There are plenty of people like this to be met with today, and many of them can be quite spiteful.
Othello's failure to investigate Iago's accusations and actions
2 Educator Answers
Summary:
Othello's failure to investigate Iago's accusations and actions stems from his deep trust in Iago and his own insecurities. Instead of seeking evidence or questioning Iago's motives, Othello blindly accepts Iago's fabrications, leading to tragic consequences. His lack of critical inquiry and reliance on Iago's deceit demonstrate his vulnerability to manipulation.
Why doesn't Othello investigate Iago's accusations or seek proof of Desdemona's betrayal in Othello?
One could argue that Othello does not investigate Iago's accusations and seek concrete evidence of his wife's infidelity for several reasons. The first reason Othello does not seek concrete evidence is that he completely trusts Iago. Othello and Iago are both military men who have risked their lives together in battle and were forced to rely on each other during the most perilous circumstances. Their military bond is the foundation of their relationship, and Othello's trust in his fellow soldier goes without saying. Othello even refers to Iago as the "most honest" and gullibly believes everything that comes out of his mouth. Despite overlooking Iago in favor of Michael Cassio, Othello never suspects that Iago would weave such a destructive scheme.
Another reason why Othello unquestionably accepts Iago's lies concerns his low self-esteem. As a dark-skinned foreigner living in Venice, Othello is a social outcast and extremely self-conscience. Othello is aware that he is much older than the beautiful, young Desdemona and knows that he is not as attractive as Michael Cassio. He is also aware that Desdemona's father is disgusted that she has chosen to marry him and logically believes that his wife would be more attracted to Cassio than himself. Othello's low self-esteem is the catalyst for his overwhelming jealousy, which completely blinds his ability to reason. Once Iago suggests that Desdemona is having an affair with Cassio, Othello's self-conscious feelings are confirmed, and he plausibly accepts this information from his trusted "friend."
The third reason Othello does not seek out his own proof of Desdemona's infidelity concerns Iago's masterful plan and capacity for dissembling. Iago presents seemingly logical, rational arguments that are easy for Othello to believe. Iago brings up the fact that Desdemona has already lied to her father, which means that she can very well lie to Othello. Iago also uses the handkerchief, which the audience recognizes as circumstantial evidence, as proof that Desdemona is having a relationship with Cassio. This "physical" evidence is all Othello needs to completely believe Iago. Iago also stages a conversation with Cassio and leads Othello to believe that he was talking about Desdemona. Additional proof that Desdemona is fond of Cassio is the fact that she continually begs her husband to reinstate him. It is Iago's ability to carefully mastermind his scheme and manipulate the main characters that prevents Othello from searching for hard evidence of Desdemona's infidelity.
Why doesn't Othello investigate Iago's actions?
Shakespeare suggests several reasons for Othello's trust in Iago. First, Iago has been trusted by many in the past. If this were not the case, then he would not have the position in the military that he has when the play opens and he would not be afforded such close relationships with influential leaders such as Othello. In fact, Othello places such complete faith in Iago that he entrusts Desdemona's safe passage to Cyprus to Iago.
Secondly, Iago is a master manipulator. For years, he has been able to display a facade that all seem to believe in. His wife, though she spars verbally with Iago frequently, still wants to please him and secures the handkerchief for him. So, the person who should know him best--Emilia--does not even discover until the play's end what her husband has been doing. Likewise, Iago has obviously schemed in detail for years. He knows which characters he needs to fulfill various roles in his plan, and he knows what their weaknesses are ahead of time so that he can ensure his own success.
Finally, Othello does originally question Iago's statements. As Iago talks to Othello in the garden and suggests an adulterous relationship between Desdemona and Cassio, Othello demonstrates disbelief and eventually asks for ocular proof (tangible evidence). Even after Iago is able to identify Cassio's possession of the handkerchief as "proof" of his relationship with Desdemona, Othello is not ready to act, but Iago's consistent "suspicion-planting" wears down the once savvy general.
By the time Othello could have investigated Iago, it is too late.
The significance and irony of the statement "Men should be what they seem" in Othello
3 Educator Answers
Summary:
The statement "Men should be what they seem" in Othello is significant and ironic because it highlights the theme of appearance versus reality. Iago, who is deceitful, uses this phrase to manipulate others while pretending to be honest. The irony lies in the fact that Iago himself is the epitome of someone who is not what he seems.
What is the significance of "Men should be what they seem" in Othello?
The main significance of this quote is its irony: this is Iago saying people should be what they seem to be and that if they are being deceptive, they shouldn't look like they're being honest (in other words, we should be able to see through them).
Iago, of course, is the perfect example of a deceptive person. He is not what he seems. And Othello has no ability to see through him. Othello truly thinks Iago is honest and trustworthy, so this statement from Iago is audacious. Iago is showing his contempt for Othello. Iago says men should be honest right in the middle of dishonestly setting up the innocent Cassio to look like he is having an affair with Desdemona. It's like piously saying nobody should rob a friend while you are lifting their wallet from their back pocket and at the same time setting things up to pin the blame on someone else.
Iago is very devious in this scene. He gets Othello to suspect Cassio by saying he, Iago, thinks Cassio is honest, but he says it in a way that makes Othello think Iago is covering for Cassio.
Explain the irony in Iago's statement to Othello: "men should be what they seem."
This line is from Othello, Act III, Scene 3.
Iago is a liar and a master manipulator. If he is referring to himself, the statement is yet another lie. No man is less what he seems than Iago.
The rest of the line is "Or those that be not, would they might seem none!"
Othello immediately echoes him, "men should be what they seem," but already suspects where the conversation is going. Iago then refers to Cassio as "an honest man," and Othello quickly replies, "Nay, yet there’s more in this," and asks him to elaborate, even with the "worst of thoughts... [and] words."
Iago starts waffling, going on and on about his supposed reluctance to pass on negative information. Does Othello really want to know, even if it's terrible news? What if his thoughts are "vile and false"? What if they are "foul things," "uncleanly apprehensions"?
This tactic, of course, only pushes Othello to ask more. Iago pretends to not want to implicate Cassio, and Othello says the best way to clear him is to be honest. In truth, Iago is excited because he knows he has trapped Othello, and that his plan to destroy them all is advancing exactly as he had hoped.
The irony in pretending to be honest is that Iago continually exposes himself as anything but.
Explain the quotation "Certain, men should be what they seem" from Othello.
This line appears in act 3, scene 3 of Shakespeare's Othello. The scene begins with Cassio talking with Desdemona, asking her to intercede on his behalf with Othello, who has recently demoted Cassio for being drunk and causing a brawl with two other soldiers.
As Othello and Iago approach, Cassio quickly excuses himself and exits the scene. Iago begins to plant the seeds of jealousy in Othello's mind.
IAGO. I like not that...
OTHELLO. Was not that Cassio parted from my wife?
IAGO. Cassio, my lord? No, sure, I cannot think it
That he would steal away so guiltylike,
Seeing your coming. (3.3.37-43)
Desdemona approaches Othello and begins to speak to him on Cassio's behalf. Othello says that he doesn't want to be bothered with hearing about Cassio at the moment. Desdemona persists in arguing Cassio's case for him, and Othello tells her to send Cassio to him to speak for himself. Desdemona exits the scene, leaving Othello with Iago, who plants a few more seeds of jealousy.
Othello tries to get Iago to speak plainly about Iago's intimations and innuendos about Cassio and Desdemona's relationship before and after Desdemona married Othello.
IAGO. For Michael Cassio,
I dare be sworn I think that he is honest.OTHELLO. I think so too.
IAGO. Men should be what they seem;
Or those that be not, would they might seem none!OTHELLO. Certain, men should be what they seem.
IAGO. Why then, I think Cassio’s an honest man. (3.3.144-150)
If a man is honest, Iago says, he should appear so. If he's not honest, then he shouldn't look like he is.
The irony of Iago's lines, of course, is that Iago is not at all as he seems; he is quite the opposite. He's dishonest and deceptive in every aspect of his life, but he presents himself as honest, straightforward, truthful, and loyal.
There's a different kind of irony in Othello's reiteration of the same thought, "Certain, men should be what they seem." Othello knows that he is what he seems to be, and for him, the line is simply truth.
As it applies to Iago, Othello places his full trust in "honest Iago," believes what Iago tells him, and believes that Iago, too, is what he seems.
IAGO My lord, you know I love you.
OTHELLO. I think thou dost;
And for I know thou’rt full of love and honesty
And weigh’st thy words before thou giv’st them
breath,
Therefore these stops of thine fright me the more.
For such things in a false, disloyal knave
Are tricks of custom; but in a man that’s just,
They’re close dilations working from the heart
That passion cannot rule. (3.3.134-143)
Othello is beginning to doubt, however, whether Cassio is truly what he seems, particularly as Cassio's seeming honesty, or dishonesty, relates to his relationship with Desdemona.
In this scene, the seeds of jealousy that Iago planted in Othello's mind are starting to grow into an all-consuming jealousy that will ultimately destroy Othello, Desdemona, and even Iago himself.
Othello's excessive trust in Iago
5 Educator Answers
Summary:
Othello's excessive trust in Iago is a central flaw in Shakespeare's play. Othello believes Iago to be honest and loyal, which allows Iago to manipulate him easily. This misplaced trust leads Othello to doubt Desdemona's fidelity, ultimately resulting in tragedy. Othello's inability to see Iago's deceit underscores the theme of appearance versus reality.
Why does Othello trust Iago?
Othello trusts Iago because he has a noble spirit and assumes that other people are like himself. He is like many other Shakespearean characters who become disillusioned with humanity when they learn the truth about human nature. Iago is an exceptionally cunning man and is capable of fooling almost anybody. Furthermore, Othello would have no reason to distrust a man who was working for him and dependent upon him for his livelihood. Iago is also able to hoodwink Cassio, Roderigo, Desdemona, and his own wife, showing his Machiavellian cunning. Othello is very much like Brutus in Julius Caesar. Brutus trusts Cassius, a cunning, greedy man who is very much his inferior, until they have a falling out. In Shakespeare it is common for people of noble character to trust others because they unconsciously assume that others are like themselves. King Lear is an example; he trusts his two wicked daughters. Prospero in The Tempest is another example. The villains, on the other hand, also assume that others are cunning, selfish and dishonorable like themselves. The fact that Othello is a complete outsider to Venetian society is also significant. He simply doesn't understand the mendacity of the people he works with. He also respects Iago because his ancient has shown great courage in battles, as Iago describes his military services to Roderigo in the opening act of the play.
Why does Othello trust Iago?
One aspect of Othello’s background that potentially made him so quick to believe Iago and not Desdemona is his race. Throughout the play, Iago refers to Othello as “the Moor.” This label has a way of dehumanizing Othello and turning him into “the Other.” It’s as if Iago is reducing Othello to a skin color. He’s pointing out that Othello’s ethnicity is not like that of the other men he is leading. Even though Othello is the general and in charge, his outsider status makes him vulnerable to the opinions of the soldiers that he is commanding.
Conversely, it’s possible to argue that Othello’s background makes him too sure of himself and his ideals. He comes from “men of royal siege.” His outsized belief in honor and integrity might have caused him to underestimate the lengths that some people will go to in pursuit of power and revenge.
It’s also possible that Othello's military background has led him to privilege the opinions of men over women. Think about how Othello’s presentation of Desdemona could be deemed sexist. First, he depicts her as a symbol of virtue. After Iago’s plan takes hold, he portrays her as a fallen woman or a “lewd minx.” The simplistic, binary view of Desdemona might be why he heeds Iago, a fellow soldier, instead of his young wife.
How can we prove that Othello is overly trusting, particularly of Iago?
I think that one way it can be proven that Othello is too trusting lies in his willingness to embrace reductive notions of the good. This aspect of his "tragedy in character" exists in Othello's lack of a calibrated construction of trust. The insecurities that plague and gnaw at him result because his nature is inclined to trust too much, arising from a flawed view of how human beings are supposed to behave.
Othello believes in people far too much. This enables him to be placed in positions where manipulation is easy. He trusts Iago, believes too much in Cassio, and worships the idea of Desdemona. In many regards, Othello is a soldier, one who follows blindly and believes in the structure that governs human action. Othello believes the "chain of command" that guides individual behavior is a good one, and does not think twice about how people might not be as they appear.
Naturally, Othello's fatal flaw is in his trust of Iago. However, the character flaw of being too entrusting can be seen in his idealizing Desdemona. When Othello says, "she had eyes and chose me" (III.iii.189), it is clear that he trusts her so much that he could not consider anything less than a perfect vision of her in his own mind. He is able to develop this vision of Desdemona because of his trusting nature, one that vaults her to an almost inconceivably elevated condition in his own mind. Like a solider, Othello's entrusting nature sees people as either allies or enemies, friend or foe. He is so trusting that he fails to see the complexities that exist within human beings. Othello's trusting nature can be seen in his final words when he claims to be one "that lov'd not wisely but too well." This helps to solidify his trusting nature, one that dooms him to pain.
Why does Othello trust Iago over Desdemona?
In addition to Iago's "proof" of Desdemona's infidelity, there is the pervasive notion that no one in the play perceives Othello entirely as an equal. At the beginning of the play, when Iago and Roderigo are informing Desdemona's father, Brabantio, about the elopement of Desdemona and Othello, they euphemisms they use are completely dehumanizing. It is obvious that Iago and Roderigo believe Othello to be somewhat "sub-human." This is mirrored by Brabatio's horror at the marriage. Brabantio has had Othello at his house as a guest many times. Othello is acceptable to Brabantio as a houseguest but certainly not as a son-in-law. This lack of complete acceptance has shaped Othello's character. It is obvious that he expects to be rejected. He is too ready to believe the worst of Desdemona without her word.
Why does Othello trust Iago over Desdemona?
Othello believes Iago over Desdemona because of Iago's "proof," such as Cassio leaving Desdamona very quickly and then right after Desdemona's pleading on his behalf. The hankerchief that Iago plants with Cassio, that once belonged to Desdemona, only cements Othello's trust in Iago. ALl of this "proof" of course is of Iago's creation, none of it is actually true. It is for these reasons that Othello believes Iago rather than Desdemona
Misunderstandings in Shakespeare's Othello and their fatal consequences
2 Educator Answers
Summary:
In Othello, misunderstandings, primarily driven by Iago's deceit, lead to fatal consequences. Othello's belief in Desdemona's infidelity, based on Iago's manipulations and false evidence, results in Othello murdering Desdemona. This tragic misunderstanding ultimately leads to Othello's own suicide when he realizes the truth.
What are some misunderstandings in Shakespeare's Othello?
Misunderstanding is an important theme in William Shakespeare’s Othello, and examples of misunderstandings appear throughout the play. Iago is often the cause that other characters fail to understand things correctly, and Roderigo and Othello are most often the victims of his deceptions. Roderigo, for instance, fails throughout most of the play to understand that Iago has consistently been deceiving him, yet he, ironically, although the obvious fool of the play, in some ways seems more suspicious and distrustful of Iago than is Othello. Thus at one point Roderigo says to Iago, “I do not find that thou dealest justly with me.” A bit later, he again says to Iago,
'Faith, I have heard too much, for your words and
performances are no kin together.
Only just before he dies, however, does Roderigo realize how fully he has misunderstood the true nature of Iago: “O damn'd Iago! O inhuman dog!”
Another character who misunderstands the full evil of Iago is Emilia, his own wife. Their marriage does not seem to be an especially happy one, as is implied on more than one occasion, but it never seems to occur to Emilia that Iago is as capable of such profound malice as he eventually demonstrates. Thus, at first she cannot believe that Iago has so deceived Othello that Othello has killed Desdemona. Othello’s accusations of such deception shock her. When she realizes the truth, however, she also realizes that both she and Othello have completely misunderstood Iago’s nature. She therefore exclaims about Iago,
. . . may his pernicious soul
Rot half a grain a day! he lies to the heart . . .
However, perhaps the most striking moment of misunderstanding in the whole play occurs when Iago manages to convince Othello – while Othello stands nearby, watching and listening – that Cassio has been having sex with Desdemona. Iago thus manages to lead Othello into misunderstanding while Othello is fully conscious. Iago arranges it so that Othello misinterprets all that he sees and hears. When Cassio departs and Othello approaches, Iago continues the deception. Speaking of Cassio, he asks Othello,
Did you perceive how he laughed at his vice?
Othello. O Iago!
Iago. And did you see the handkerchief?
Othello. Was that mine?
Iago. Yours by this hand: and to see how he prizes the foolish woman your wife! she gave it him, and he hath given it his whore.
Perhaps no other scene in Othello is more crucial than this one to the eventual tragedy of the play, and perhaps no other scene contains more examples of misunderstanding in so many ways and on so many levels.
How do misunderstandings lead to all the deaths in Othello?
The wicked Iago manages to convince Othello that his wife, Desdemona, has been cheating on him with Cassio. It's a complete lie, of course, but Iago's such a skilled manipulator that he's able to play on the Moor's insecurities and convince him of Desdemona's alleged infidelity. Othello reaches such a pitch of jealous rage that he murders his wife, strangling her to death. Othello's own death by suicide is also a result of this tragic misunderstanding.
The death of Iago's wife, Emilia, could also be seen as arising out of a misunderstanding (albeit of a rather different kind). She's always been such a faithful wife to her evil husband, loyally carrying out his wishes and instructions without question. One such example is when she steals the handkerchief from Desdemona which is then used by Iago to frame her for adultery. But when Emilia finally discovers the truth of what Iago's been up to, she bravely confronts him, only to be brutally murdered as a result. Emilia had tragically misunderstood Iago's true nature, and by the time she found out just what he was really like, it was too late.
Appearance vs. Reality in Othello
5 Educator Answers
Summary:
The theme of appearance versus reality in Shakespeare's Othello is illustrated through characters and events that reveal deception and misinterpretation. Iago's duplicity is central, as he pretends friendship while plotting against Othello and Cassio. Othello's misdirected trust leads him to believe Iago's lies about Desdemona's infidelity, despite her innocence. Iago manipulates evidence, such as the handkerchief, to create false impressions. Othello's demand for "ocular proof" underscores his tragic misjudgment, ultimately resulting in Desdemona's death and his own downfall.
What illustrates the theme of appearance vs. reality in Othello?
I’d like to talk about Othello’s character in relation to appearance vs. reality.
- A negative first impression: The audience hears about Othello before they even meet him. Iago and Roderigo open the play, and all they can say is how much they hate “the Moor,” as they call him. They tell Desdemona’s father Brabantio that she has run off with Othello and is now in “the gross clasps of a lascivious Moor.” Brabantio is furious.
- A more positive reality: When we actually meet Othello, we discover that he is a well-respected general. He is also incredibly well-spoken, in spite of suggesting otherwise: “Rude am I in my speech, / And little bless'd with the soft phrase of peace.” Brabantio insists that Othello stole his daughter, but both Othello and Desdemona assert that the relationship is mutual. The powerful duke asserts that Othello’s tales of adventure “would win [his] daughter too.” He also tells Brabantio, “If virtue no delighted beauty lack, / Your son-in-law is far more fair than black.” The duke is saying that Othello might be black and unattractive on the outside (according to racist views of beauty at the time), but on the inside he is “fair,” attractive and virtuous.
- A negative hidden reality: Unfortunately, in spite of Othello’s love for Desdemona and his renowned patience, there are negative forces at work within Othello and his society. He appears to be very well-adjusted, and even Iago admits that he has virtues:
The Moor, howbeit that I endure him not,
Is of a constant, loving, noble nature,
And I dare think he'll prove to Desdemona
A most dear husband.
- The most obvious source of evil that turns Othello’s personality on its head is Iago, his wicked ensign. He lies to and manipulates Othello, using society’s misogynistic views of women and racist ideologies to frighten him. Though Othello is not by nature a jealous person, he is proud, and he secretly believes certain societal stereotypes. He begins to think that it is not natural for Desdemona, a young white woman, to love him: “how nature erring from itself--”.
It is up to the audience to decide what Othello’s true nature is. Views of his character, including his own, are tainted by racism. Some (such as Roderigo and Brabantio) view him as undesirable simply because of the color of his skin. Others (like the duke and Desdemona) know the value of his noble personality. Iago manages to bring out the very worst in him, turning Othello’s latent fears into violence against his own wife. He is yet another example of appearance vs. reality in Othello.
What illustrates the theme of appearance vs. reality in Othello?
It appears that Desdemona and Cassio are having an affair. In reality, they are not.
It appears that Desdemona has Cassio in her heart when she pleads for his reinstatement as lieutenant. In reality, she is just doing him a favor.
It appears that Cassio slips away from Desdemona when he sees Othello coming. In reality, Cassio was just giving Desdemona space to talk with Othello about being reinstated as lieutenant.
It appears that Desdemona has given her most cherished handkerchief to Cassio. In reality, Iago planted the handerkerchief on Cassio.
When Iago and Cassio are talking, it appears that Cassio is laughing and talking about his affair with Desdemona. In reality, he is talking about Bianca, his mistress.
It appears that Iago is Othello's friend. In reality, Iago is Othello's worst enemy.
What are three examples of appearance versus reality in Othello?
Much of what drives the plot of William Shakespeare's Othello is Iago's duplicity. We discover at the opening of the play, in a conversation between Iago and Roderigo, that Iago hates Othello and Cassio because Othello gave Cassio the promotion that Iago felt he himself deserved. In conversations with Othello and Cassio, however, Iago pretends to be their friend. Thus the first conflict we have is between Iago's appearance of friendship and reality of hatred.
Next, Iago plots the murder of Cassio, manipulating Roderigo into doing the actual deed. Next, Iago murders Roderigo to ensure his silence. The major conflict between appearance and reality occurs when Iago manages to blame the murder he committed on Bianca, a prostitute who had been having an affair with Cassio.
The major conflicts between appearance and reality in the play are found in the stratagems Iago uses to convince Othello that Desdemona is having an affair with Cassio, especially Iago's hiding the handkerchief in Cassio's room so that it looks as if Desdemona left it there. Although Desdemona appears unfaithful in the eyes of Othello, the reality is that she is loyal, faithful, and in love with him.
What quotes in Othello relate to the theme of appearance vs. reality?
Perhaps one of the most notable quotes to do with this important theme in this great tragedy is Iago's confession of how and why he chooses to follow "the Moor" Othello, whilst loathing him at the same time in Act I scene 1. Note the way that reference is explicitly made to the two contrasting states of appearance and reality:
Were I the Moor I would not be Iago.
In following him I follow but myself;
Heaven is my judge, not I for love and duty,
But seeming so for my peculiar end.
For when my outward action doth demonstrate
The native act and figure of my heart
In compliment extern, ’tis not long after
But I will wear my heart upon my sleeve
For daws to peck at. I am not what I am. (I.i.57–65)
Note the way in which Iago confesses his plan of attack to Roderigo. His "loyalty" to his master does not emerge from any sense of goodness or "duty," but is based on Iago's belief that he is able to trick and manipulate Othello so that he can gain revenge. Those who are in reality what they appear to be are foolish, because to do this makes you incredibly vulnerable, and leaves your heart exposed, "For daws to peck at." His final mysterious comment, "I am not what I am," could summarise the character of Iago, who seems to be engaged in a constant game of deception, both to others who he apparently takes into his confidence, such as Roderigo, but also the audience themselves, as we struggle to work out who the "real" Iago really is. Appearance and reality are thus shown to be in conflict through this early speech of Iago.
What are examples of appearance versus reality in Othello, especially regarding Othello's "ocular proof" of infidelity?
At the opening of Shakespeare's Othello, Iago, Othello's ensign, confesses his hatred of Othello to Roderigo (1.1.7-8). Iago also complains bitterly that he's been overlooked for an appointment to be Othello's lieutenant, and that Othello awarded the position to Cassio (1.1.9-33), towards whom Iago is jealous, envious, and resentful.
When Iago's plot to have Othello denounced to the Duke and his council of senators by Desdemona's father, Brabantio, doesn't succeed (1.2, 3), Iago decides to try a different and less direct approach to effecting his revenge on Cassio and Othello:
IAGO. Cassio's a proper man. Let me see now:
To get his place, and to plume up my will
In double knavery—How, how?—Let's see—
After some time, to abuse Othello's ear
That he is too familiar with his wife.
He hath a person and a smooth dispose [Cassio has the looks and personality]
To be suspected; framed to make women false. (1.3.402-408)
Iago's first relies on innuendo to imply an illicit relationship between Cassio and Othello's wife, Desdemona.
In act 3, scene 3, Cassio and Desdemona are discussing how Desdemona can appeal to Othello on Cassio's behalf to restore Cassio's commission as Othello's lieutenant. As Othello and Iago enter the scene, Cassio seems to exit hastily, which Iago uses to imply that Desdemona is unfaithful to Othello, and to plant the seed of jealousy in Othello's mind.
However, as Othello's jealousy begins to grow, Othello demands visible proof of Desdemona's infidelity. Othello isn't content simply to rely on Iago's innuendo and the circumstantial evidence of Cassio and Desdemona's seemingly furtive meeting.
OTHELLO. (to Iago) Villain, be sure thou prove my love a whore;
Be sure of it. Give me the ocular proof;
Or, by the worth of man's eternal soul,
Thou hadst been better have been born a dog
Than answer my waked wrath! (3.3.399-403)
This gives Iago the opportunity to employ a device based on "Plato's Cave," also known as the "allegory of the cave," which is explored by Plato in Republic.
In book VII of Republic, Plato envisions a dialogue between Socrates and Plato's brother, Glaucon, in which Socrates relates the story of prisoners who are chained to a cave wall all of their lives. The prisoners' only reality is the shadows that they see on the wall that are the result of objects and people passing in front of a fire behind the prisoners. It's only when the prisoners are released from captivity that they can see the reality of the world.
Iago takes advantage of shadow-plays performed by Cassio and Desdemona to shape Othello's view of reality.
The first shadow-play that Othello observes as "ocular proof" of Desdemona's infidelity involves the lost handkerchief that Othello gave to Desdemona, which Iago puts in the hands of Cassio, who gives the handkerchief to Bianca, a courtesan (act 3, scene 4).
The second shadow-play involves Cassio and Iago himself—to lend credibility to the scene—which Cassio and Iago discuss Bianca while Othello eavesdrops on the conversation (4.1). Cassio makes suggestive and derogatory remarks about Bianca, but Othello believes that Cassio is talking about Desdemona.
These shadow-plays become Othello's reality. Othello believes everything that Iago tells him, and he believes the "ocular proof"—the shadow-plays—that Iago shows him.
Othello steps into this shadow world and interacts with it as if it were real. Othello vows revenge against Cassio and Desdemona. He engages Iago to kill Cassio, and he kills Desdemona based solely on the false reality of the shadow-plays that he's observed.
It's not until after Othello kills Desdemona that he comprehends that the shadow-plays and the shadow characters weren't real. The realization drives Othello to kill himself out of remorse and regret for killing Desdemona, and for the humiliation of being Iago's fool.
Which quotes in Othello relate to the theme of being an outsider in a closed society?
2 Educator Answers
Quick answer:
Quotes in Othello that relate to the theme of being an outsider include Iago's derogatory remarks in Act I, Scene 1, where he calls Othello "an old black ram" and "Barbary horse," emphasizing Othello's racial difference. Additionally, in Othello's dying speech in Act V, Scene 2, he reflects on his paradoxical position as both a valued and excluded member of Venetian society.
A major aspect of Iago's hatred for Othello, whom he consistently refers to as "the Moor," is Iago's sense that Othello does not belong and is, therefore, undeserving of his honorable position. Iago exploits this sense of Othello as an outsider when notifying Brabantio about the recent marriage between Othello and Brabantio's daughter, Desdemona:
Even now, now, very now, an old black ram
Is topping your white ewe
Arise, arise!
Awake the snorting citizens with a bell,
Or else the devil will make a grandsire of you (I.i.97-100)
This quote, comparing Othello to "an old black ram," establishes him as an aggressive and nefarious influence, compared to Desdemona—"white ewe"—whom Iago wishes to paint as innocent and vulnerable. Worse, Iago uses Othello's difference to make him a "devil," an evil influence, and frightens Brabantio with the possibility of mixed-race children. Iago takes the latter threat much further when Brabantio initially dismisses him and Roderigo, a former suitor of Desdemona whose foolish infatuation Iago uses to work against Othello:
Because we come to do you service and you think we are ruffians, 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. (I.i.123-127)
Iago introduces the menacing prospect that Othello's introduction into Brabantio's family will diminish the elder man's descendants and cause his family to become less civilized.
Some would argue that this excellent tragedy is a Five Act drama of Othello's struggle to be accepted, and that the true tragedy is his own moment of self-knowledge and awareness, when he realises that he can never be accepted into the society that he has called "home." Of course, there are other major themes that must not be ignored, but it is interesting to consider this theme of outsider in the play and, in particular, to look at the moment where it is perhaps referenced most directly. Consider Othello's dying words, before he plunges a dagger into his own chest, and how the the theme of outsider is developed:
Then must you speak
Of one that loved not wisely but too well,
Of one not easily jealous but, being wrought,
Perplexed in the extreme; of one whose hand,
Like the base Indian, threw a pearl away
Richer than all his tribe; of one whose subdued eyes,
Albeit unused to the melting mood,
Drop tears as fast as the Arabian trees
Their medicinable gum. Set you down this,
And say besides that in Aleppo once,
Where a malignant and a turbaned Turk
Beat a Venetian and traduced the state,
I took by th’ throat the circumcised dog
And smote him thus. (V.ii.341-354)
Note the way that this farewell speech includes Othello's self-identification as a paradoxical figure, one who is excluded from yet a part of Venetian society. The reference to his war-like qualities remind us of his value to Venice, whilst at the same time he describes himself through the description of the killing of the "malignant" Turk, classifying himself as a danger to the state. Thus the way in which he is an "outsider" is something that he dies fully knowing. He seems to recognise in himself that he is something of an excluded outsider, a threat, and thus paradoxically ends his life whilst simultaneously vanquishing the last enemy he has to face, which is, of course, himself. His final words therefore remind us of the strange in-between position that Othello has occupied throughout the entire play, accepted on the one hand, yet not accepted on the other, and we reflect that at least in death he will finally find peace with regard to this tension.
What is the ultimate message in Shakespeare's Othello?
3 Educator Answers
One possible interpretation of this play is that it seems to endorse the racist stereotype that all black men are primitive, animalistic, and unintelligent. This was a stereotype prevalent during the early seventeenth century in England, and which, unfortunately, still persists to some degree in some parts of the world today. At the beginning of the play, Iago talks about Othello as "the Moor" and a "Barbary horse." He tells Desdemona's father, Brabantio, that Othello has been "making the beast with two backs" with his daughter, meaning that Othello and Desdemona have been having sex. Brabantio suspects that Othello must have wooed his daughter with "foul charms" or "drugs or minerals." He cannot conceive that a white woman would otherwise find love in, as he puts it, "the sooty bosom / Of such a thing as [Othello]."
When Othello first appears in the play, he seems to speak and behave in such as way as to expose the aforementioned stereotype as nothing more than ignorant and racist. He speaks eloquently and poetically. In fact, the critic G. Wilson Knight coined the term, "The Othello Music," to describe Othello's speech. Othello also seems to be calm, composed, and rational in the face of Brabantio's threats and accusations. He tells Brabantio's men to "Keep up their bright swords," and he advises Brabantio that he "shall more command with years / Than with . . . weapons."
However, by the end of the play, thanks in large part to Iago's machiavellian scheming, Othello is reduced to the racist stereotype he seemed for a time to defy. He becomes animalistic, aggressive, and irrational. He "foams at mouth and by and by / Breaks out to savage madness." He kills Desdemona for a crime she did not commit and for no better proof than a missing handkerchief. As the writer Fintan O'Toole says in his book Shakespeare is Hard, But so is Life, Othello "is driven demented by a handkerchief. He is not tragic, merely pathetic."
Therefore, the demise of Othello and the tragic death of the innocent Desdemona seems to confirm the racist stereotype that we began with. The message that a contemporary audience might have taken from this play—and that perhaps Shakespeare intended—is that black men are essentially and inescapably animalistic, aggressive, and irrational. They may at times seem otherwise, but ultimately, so the play suggests, they can not escape their true nature. This message would have been met with approval from many in Shakespeare's time, which further lends credence to the idea that Shakespeare did indeed intend this to be the central message of the play.
An important moral of the story is the enormously destructive power of jealousy—the green eyed monster itself. Thanks to Iago's cunning insinuations, Othello gets it into his head that Desdemona has been cheating on him with Cassio. She hasn't, of course, but Iago is such a skilled manipulator that he's effortlessly able to play on the Moor's myriad insecurities to convince him of his wife's alleged infidelity.
Yet Iago himself is a victim of the green-eyed monster. He's insanely jealous of Othello for having achieved the kind of social prominence in Venice to which he believes himself entitled by his long-standing military service. By the same token, he cordially loathes Cassio for being promoted ahead of him despite Cassio's lack of experience as a soldier. There's more than a touch of class envy about Iago; he resents his lowly status in life, and in his vile machinations he is attempting to get back at aristocratic society for not giving him his due. Iago is so jealous of the Venetian elite that he's prepared to turn the natural order of society upside down in order to gain revenge. Jealousy doesn't just destroy individuals; it can destroy the very foundations of society too.
I'm a bit unsure as to exactly what "ultimate message" means. I think it is asking the standard "what is the moral of the story" question, so that is how I'll answer. Different readers might take slightly different lessons from this particular Shakespeare play, but I think one major message is the importance of not believing in and acting upon unconfirmed rumors. This entire play is propelled forward by the rumors and lies that Iago spreads around to various people about marital infidelities. Amazingly, many of the characters take Iago at his word and don't confront the person that supposedly wronged them. Sure, Othello does confront Desdemona about her infidelity, but it's fairly clear to readers that he's not really willing to hear her side of the story. He fully believes the rumors that he has been told.
I cry you mercy, then,I took you for that cunning whore of VeniceThat married with Othello.—You, mistress,That have the office opposite to Saint PeterAnd keep the gate of hell!
If "I saw Othello's visage in his mind" implies Othello's foul face is subsumed in his fair mind, what does this suggest about Othello and Desdemona's union?
"I saw Othello's visage in his mind"
1 Educator Answer
Quick answer:
Desdemona's statement, "I saw Othello's visage in his mind," suggests she perceives Othello's true character beyond his physical appearance. It implies she values his inner qualities over his external blackness, which is significant given the racial prejudices of their society. This could indicate her deep respect and love for Othello, countering societal views, or her strategic attempt to reassure others about their union.
This is an interesting question. These words are spoken by Desdemona to the Duke of Venice at the beginning of the play, in explanation of the marriage which has just taken place between Othello and Desdemona. The duke is asking Desdemona to clarify the situation. Desdemona has asked for the duke's help; she wants to explain herself and convince the gathered assembly that there has been no coercion between them—that is, that she loves Othello.
So, when she says, "I saw Othello's visage in his mind," I would understand this to refer back to "the very quality of my lord" in the previous line. Effectively, Desdemona is saying "I saw the real Othello—the true quality of him and the heart of the man—through his words and actions, his thoughts and feelings as he expressed them to me." However, the use of "visage" could seem particularly significant because Othello's visage, or face, is markedly not the same as the faces of the other people in the scene. It is thought so shocking that Desdemona should love Othello because, unlike everyone else in Venice, he is black.
What might this imply, then? Arguably, these words could be understood to mean that Desdemona was able to overlook Othello's blackness, his black face and "thick lips," because she was able to see beyond them to the man inside. You could potentially make the argument that she's saying she sees his real face as a white one. But does this reflect on their marriage itself?
1. If Desdemona really means that she doesn't see Othello's black face because she sees beyond it to his true "visage," this would imply that she's as repelled by his blackness as everyone else, to a certain extent—or at least that she doesn't want to think about it and thinks less of him for it. Is this borne out by the play, though? I would argue that it isn't—Desdemona certainly respects Othello as her husband.
2. We could argue, however, that Desdemona knows what everyone else in the room is thinking and loves Othello so much that she wants to manipulate them to get her own way, so she and Othello can be together. What if she's trying to put their minds at rest by using this language? She may be saying: "I know what you're all thinking—he's black. But that doesn't bother me because I don't really see that when I look at him; he is of such good "quality" that he almost appears white to me."
In Othello, is there interplay between self-perception and others' perception?
2 Educator Answers
Quick answer:
In Othello, reputation matters, and there is an interplay between how characters perceive themselves and how they are perceived by others. Othello, for example, perceives his skin as "begrimed" and dirty because he internalizes how people of color are viewed in European society. In another example, Cassio perceives himself as "bestial" after Iago smears his reputation, a reflection of how others now see him.
Othello, the character whose interiority we most experience, has a self-concept that is influenced by how he is perceived by others. Despite being a well respected and very successful military leader, he feels vulnerable because of his race.
His racial vulnerability is a product of his perceiving how Black people are looked down on in racist Venetian society. He has internalized that negative perception, as can be heard is such utterances as the following:
Her name, that was as fresh
As Dian's visage, is now begrimed and black
As mine own face.
This statement, from act 3, is Othello's response to Iago, who has falsely insinuated that Desdemona is having an affair with Cassio. Othello is saying that her infidelity blackens or lowers her reputation. His describing his face as "begrimed and black" is a negative assessment of his race, that comes from the pervasive racism in his social milieu. We know this is a reflection of his society because of utterances such as this by Brabantio, who states that Desdemona feared Othello's looks because of his race:
To fall in love with what she feared to look on!
It is a judgment maimed and most imperfect.
In a second example, Cassio's sense of himself suffers when he realizes his reputation has been harmed. Iago gets him drunk and manipulates him into a fight, then "unwillingly" tells Othello that Iago almost killed Montano. As a result, Othello demotes Cassio, not knowing the whole situation was set up by Iago. Cassio expresses his sense of loss of self-respect that comes with how others perceive him, by comparing himself to a beast:
Reputation, reputation, reputation! O, I have lost
my reputation! I have lost the immortal part of
myself, and what remains is bestial.
In Othello, how do events affect Othello's self-perception?
A very important part of the play to consider in regard to this question is Act V scene 2, when Othello kills himself, but before he does this, he delivers a speech which clearly shows the way that he regards himself and also presents some sort of justification for taking his own life. This is what he says:
Then must you speak
Of one that loved not wisely but too well,
Of one not easily jealous but, being wrought,
Perplexed in the extreme; of one whose hand,
Like the base Indian, threw a pearl away
Richer than all his tribe; of one whose subdued eyes,
Albeit unused to the melting mood,
Drop tears as fast as the Arabian trees
Their medicinable gum. Set you down this,
And say besides that in Aleppo once,
Where a malignant and a turbaned Turk
Beat a Venetian and traduced the state,
I took by th’ throat the circumcised dog
And smote him thus.
Othello initially talks of how he wants to be remembered. What is fascinating about this speech however is the way that Othello recognises his strengths, which he sees as military prowess and bravery, but also he identifies himself as an outsider in Venetian society, as he occupies a position where he is both accepted and rejected by Venice. The fact that he chooses to kill himself the way that he once killed a "turbaned Turk" shows that ultimately, as a result of what has happened in the play, Othello identifies himself as an enemy of Venice and as a result his last act in the play is to rid Venice of another of its foes: himself. The self-perception of Othello is therefore greatly impacted by the events of the play, as Othello comes to regard himself as a threat to civilised order.
The debate on whether "Othello" is a racist play or a play about racism
3 Educator Answers
Summary:
The debate centers on whether Othello is inherently racist or primarily a commentary on racism. Some argue the play perpetuates racist stereotypes through its portrayal of Othello as a Moor. Others contend it critiques racism by highlighting the discrimination and manipulation Othello faces. Ultimately, it can be seen as both reflecting and challenging the racial attitudes of its time.
Is Othello a racist play or a play about racism?
Othello is a play in which racism is explored along with other themes, notably the harmful effects of envy and jealousy. Othello, the protagonist, is a tragic hero whose downfall is partly caused by racism. As a high-achieving black man in a predominantly white society, Othello is a powerful warrior and general who is also, ironically, weak and vulnerable. Iago, a thorough villain, is a manipulative liar; as an arrogant white man, he envies Othello's success and resents having a black superior officer and being passed over for promotion.
Iago encourages racist thinking in others—especially Desdemona's father—to get them on his side. Iago's apparent belief in racist stereotypes about black male sexuality also factors into his desire to ruin the "Moor." As he apparently believes Othello slept with Emilia, he aims to ruin him by destroying his marriage and making him fatally jealous. More generally, Iago seems to oppose interracial relationships.
Is "Othello" considered racist, and if not, why?
Perhaps the biggest point for the question of racism is that fact that the play was written by a white man for another white man to perform in blackface. At the time, blackface was a novelty in performance (for another example, see Ben Jonson' THE MASQUE OF BLACKNESS). Aside from these general considerations, there are moments in the play that speak directly to racism:
1. In the first scene of the play, Iago tells Brabantio (Desdemona's father) " Even now, now, very now, an old black ram is tupping your white ewe." The quote references Othello's race and associates with a kind of predatory sexuality. This is echoed later in the play when Iago admits he is afraid of Amelia being similarly seduced by the Moor. Iago later compares Othello to a "barbary horse," another animal image used as a comparison for Othello.
2. In the same scene, Roderigo refers to Othello as the "thick-lips."
3. When Emilia discovers Othello after he has murdered Desdemona, she calls him a "blacker devil." This points to the larger issue of associating Othello's race with his jealous, irrationality and rage. This connects to Othello's much-debated trance in Act 4, Scene 1 which could be attributed to his being overcome by his jealous emotions.
The other side of the argument is that Othello is clearly beloved by most of the characters in the play and it is only Iago's machinations that undo him.
1. Desdemona defends her decision to marry him in Act 1 by stating "That I did love the Moor to live with him, My donwright violence, and storm of fortunes, may trumpet to the world."
2. When Cassio fears that Othello may have died at the beginning of Act II, he laments, "O, let the heavens Give him [Othello] defense against the elements."
The general picture painted by the men who surround Othello is that he is highly respected. This respect shared by the majority of the characters could be used to mitigate any concerns about race in the play. Also, since he iis subjected to evil manipulation, he is made more accessible to the audience.
Is Othello a racist play?
Othello itself is not a racist play, but Shakespeare depicts both Iago and the world in which Othello lives as racist. This racism has an important impact on the plot of the play, because Othello has internalized it. Therefore, it is a chief factor undermining his confidence that Desdemona could love him.
Early in play, after Desdemona and Othello elope, Iago uses racism to incite Brabantio against Othello, depicting the elopement as the abduction and rape of a White woman by a Black man. For instance, in act 1, scene 1, Iago likens Othello, as a black man, to the devil, as he cries out to Brabantio:
Even now, now, very now, an old black ram
Is tupping your white ewe. Arise, arise!
Awake the snorting citizens with the bell,
Or else the devil will make a grandsire of you.
Arise, I say!
These kinds of racist sentiments impact Othello, who states in act 3, scene 3, that if Desdemona has cheated on him, she is begrimed:
Her name, that was as fresh
As Dian's visage, is now begrimed and black
As mine own face
He likens the stain that would mar her reputation to his own Black face, as if being Black is inherently shameful. This shows the negative feelings he has towards his own racial identity.
Later, as Othello is on the verge of suicide, having realized he killed an innocent woman, he casts his act in racial terms, saying he:
threw a pearl away
Richer than all his tribe
The whiteness of a pearl is like Desdemona's whiteness. Othello states that this whiteness is richer than his entire tribe of Black people, another piece of evidence of how he has internalized his society's racism.
However, against this racist backdrop—and this is important—Shakespeare is at pains to show that the love Desdemona holds for Othello is true and heartfelt. She never once says she despises or looks down on Othello for his race. Part of her excellence of character lies in her ability to look past skin color and see the heart of who Othello is. She loves him for his soul—something that Othello himself, tragically, is unable to do.
Further, Shakespeare goes to lengths to show that, except for his insecurity about being lovable, Othello, although Black, is an exemplary man. He is a great military leader, honest, courageous, forthright, and willing to take responsibility for his deeds. Any racism directed at him is wrong—Shakespeare shows that character and ability have nothing to do with skin color.
In sum, Shakespeare shows that a racist society is wrong, and through Othello's fate, shows the damage racism wreaks.
The significance and implications of the term "Moor" in Othello
6 Educator Answers
Summary:
The term "Moor" in Othello signifies Othello's North African heritage, emphasizing his racial and cultural difference within Venetian society. It highlights themes of racism and otherness, as Othello faces prejudice and discrimination. This term also reflects contemporary attitudes and Elizabethan views on race, contributing to the play's exploration of identity, power, and social dynamics.
In Othello, why is the word "Moor" frequently used in act 1, scene 1?
The term "Moor," which describes a dark skinned man from North Africa (not a Venetian), is used nine times in Act I, scene 1, all but once by Iago and Brabantio. This is not surprising, at it is used as a term of derision by both Iago and Brabantio. Iago is upset because, despite some politicking, Othello has promoted Cassio over Iago. Brabantio is upset because his daughter has eloped with this older black man.
Iago does everything he can to further emotionally upset Brabantio over his daughter marrying a black man. For instance, he tries to put a visual image of the two having sex together into the father's mind, saying to Brabantio that he:
comes to tell you your daughter
and the Moor are now making the beast with two backs.
By calling Othello the "Moor," Iago is emphasizing Othello's blackness.
Brabantio, incited to upset over Iago's words, also uses the term Moor to describe Othello.
What is the definition of a "Moor", and how might this cause conflict in Othello?
The basic reason a Moor would cause conflict is because of racism. Besides not wanting someone else to get your girl, you would be doubly annoyed if he was a Moor because a black man stole your girl. This would be doubly offensive. Racism is not unique to our society.What is the definition of a "Moor", and how might this cause conflict in Othello?
A Moor would have been someone very different from the rest of European society. He (or she) would have had a different culture and possibly even a different religion. There were few Moors in Europe at the time so he would not likely have had someone to talk to or share his experience with. It would have been difficult for Othello to fit in. His appearance would have stood out and his customs would have been very different to that of his peers. In some ways, this made Othello more attractive and interesting. In other ways, it made him stand apart from his fellow men. For instance, Desdemona's father certainly did not want her to marry a Moor.What is the definition of a "Moor", and how might this cause conflict in Othello?
Othello would be so obviously different in his skin color that he would at best arouse interest and curiousity, at worst, the deep prejudices of the more ignorant Venetians. We onlyhave to see the hatred that is shown by Iago to Michael Cassio, condemned for being ' a Florentine'. Florence is a lot less removed than Africa. There was still a suspicion that black people in particular used spells and witchcraft, and indeed Othello is charged with these actions by Brabantio.
What is the definition of a "Moor", and how might this cause conflict in Othello?
Iago specifically expresses his hatred of Othello by referring to him as the "Moor" throughout the play, using it as a racial epithet.
The term itself could also have meant a nonwhite not of Spanish or African origin; in Shakespeare's day it could have implied a non-Christian, or a religious outsider.
Back then, the difference in religion was (or maybe was more so) more important than the difference in skin.
http://www.britaininprint.net/shakespeare/study_tools/race.html
What is the definition of a "Moor", and how might this cause conflict in Othello?
The word "Moor" was often used in Shakespeare's age to describe black Africans. it could also be used to describe Muslims. Othello is black, but he is not a Muslim. His blackness (as the play shows) is the object of a great deal of racial prejudice, especially after he secretly weds a white woman. The racial prejudices of Desdemona's father seem to be especially aroused by the interracial marriage of his daughter and Othello.
Racial Prejudice and Racism in Shakespeare's Othello
4 Educator Answers
Summary:
In Othello, Shakespeare presents racial prejudice through the marginalization and self-doubt experienced by Othello, who is depicted as an outsider due to his race. Racist language and stereotypes, such as "Moor" and "thick-lips," highlight societal attitudes. Iago exploits these prejudices to manipulate Othello, leading to his downfall. Although Shakespeare's portrayal reflects the racial attitudes of his time, it also critiques them, showing Othello as noble and virtuous, challenging contemporary racial stereotypes.
What evidence of racism is there in Othello?
This is a tough one. I think it's difficult because there has to be a distinction made between "racism" and "issues of race" in the drama. I am not sure if one is able to claim that Shakespeare is demonstrating racism. It might be more of a limitation in suggesting that Shakespeare is mirroring the racial attitudes of his time, and not as much "racism." Adding to this is the real issue that Shakespeare might be critiquing his time frame's attitude towards race, and his use of racial language is a reflection of this. With Shakespeare, there is always complexity and this is no exception. The discussion of racism in this light is difficult to assess.
However, I think that a clear case can be made to suggest that Shakespeare is able to construct the character of Othello who is marginalized and a figure who is riddled with self- doubt for a variety of reasons, of which race is one factor. The idea of "insider vs. outsider" is crucial to how Othello sees himself and how others see him, and even more vital in his downfall as the latter begins to infect the former. In this setting, "the other" as racial identity plays a role. As the first moments of doubt and insecurity begin to creep into his psyche, it is not accidental that Othello cries, "Haply for I am black." It is relevant that skin color enters his frame of reference as his world starts to disintegrate. Shakespeare draws the idea that Othello is different from the rest of Venetian society because he is black and represents "the other." This becomes one of the reasons that he is unable to fully embrace his status as an "insider" and one of the reasons why he is unable to fully accept the idea that Desdemona would be in love with him:
It is that he is, from the beginning, placed in a position of isolation from the other characters. In the same way, Hamlet's black clothes isolate him visually from the rest of the Danish court. This isolation is such an integral part of Othello's experience that it is constantly operative, even if not necessarily at a conscious level. Anyone who is black would appreciate its importance in understanding the character of Othello. Before he appears, our attention is forcibly focussed on Othello's race. The speeches of Iago and Roderigo in the first scene are full of racial antipathy. Othello is ‘the thick-lips’, ‘an old black ram’, ‘a lascivious Moor’ and ‘a Barbary horse’, and he ‘is making the beast with two backs’ with Desdemona. The language is purposely offensive and sexually coarse, and the animal images convey, as such images always do, the idea of someone who is less than human.
Racial issues are present in the play. Shakespeare uses them to
enhance his construction of a character that might hope to be an insider, but
is condemned to be an outsider, one who wishes to be at the center but is
forever marginalized by a fatal cocktail of his own devices and social
construction. Yet, the idea of "racism" in the modern sense has to be
reevaluated. I would also examine the many essays that enotes has on the
subject, as only one is linked below.
How is prejudice presented in Othello?
The theme of prejudice is presented in a couple of different ways in the play. Racial prejudice is a large part of Othello's depiction. It is used as a way for Iago to slight Othello both in public to others and as a way that he is able to create a sense of self- doubt in the Moor, himself. The idea of prejudice as being a division constructed on race and racial identity is something that is of vital importance in terms of Iago being successful in creating a sense of doubt and insecurity within Othello. In a larger sense, prejudice is present in different forms. There is a the social prejudice that is present in Othello being a warrior, a soldier, trying to assimilate in a world of landed wealth and prestige in Venetian society. There is prejudice here as an outsider seeks to establish some level of inclusion in a setting where there is exclusion present. Prejudice is also present in the aspersions that Othello casts on Desdemona's fidelity. In this case, prejudice is used to create division between Othello and his wife. Much of this prejudice was advanced by Iago and enhanced by Othello, prejudicial judgments that enabled Othello to become more destabilized and further estranged from any sense of unity and cohesiveness with another. In these examples, prejudice is shown to create alienation and division, resulting in a sense of being isolated from a larger and more collective element.
Are there racist undertones in Shakespeare's Othello?
Not only does Shakespeare's Othello have subtle racist undertones, but there are blatant racist overtones that are felt throughout the play as well.
Significantly, Othello's name isn't spoken until the third scene of the play, when the Duke of Venice addresses Othello directly.
Until then, Othello is referred to in scenes 1 and 2 as "his Moorship," "the Moor" (several times), "the thicklips," "old black ram," "the devil," "Barbary horse," "lascivious Moor," and by Brabantio, Desdemona's father, to Othello's face, "the sooty bosom / Of such a thing as thou."
"Valiant Othello," says the Duke, using Othello's name for the first time in the play, and in a wholly positive way, "we must straight employ you / Against the general enemy Ottoman" (1.2.54-55). Within a few lines, however, Othello is referred to again, disparagingly and to his face by Brabantio, as "this Moor" (1.2.80). These are examples of blatant racism which continue throughout the play.
Othello is not unaware of this racism. He knows that if he were not such an excellent warrior and leader that he would not be in any position to marry Desdemona or to lead the army against the Turks in Cyprus. Later in the play, Othello's jealousy is exacerbated by his fears that Desdemona has been unfaithful to him because he's black, and that he can't live up to her expectations.
Interestingly, however, Othello's wife, Desdemona, also uses the term "the Moor" to describe her husband when she explains to the Duke in act 1, scene 2 how she fell in love with Othello. Desdemona employs the essentially racist term as if it's common and acceptable usage.
This insinuation of racism into the play is also evident in act 1, scene 2 when one of the senators refers to Othello in a positive sense as "the valiant Moor" (1.2.53). The Duke and the senators of his council don't embrace or engage in the blatant racism demonstrated by Brabantio, Iago, and Roderigo, but even in this non-racist environment, the racist term "Moor" and what it represents are subtly interjected into the scene.
Do you agree that Shakespeare's Othello is abundant with racial attitudes?
Yes. There is no doubt that Brabantio is initially opposed to his daughter's marriage to Othello because of Othello's race. And Iago makes crude racial remarks and jokes which, arguably, are a sign that his hatred of Othello and his wish to bring Othello down are based at least in part on race hatred.
Othello reveals an insecurity which is probably based to a degree on his awareness of his outsider status, his position as "the Other" among Europeans. This is one reason he is so easily tricked into believing Iago's lies. Another reason is that Othello is more honest and virtuous than the other characters, apart from Desdemona. Like most decent-hearted people, he reflexively finds it difficult to believe others would tell lies and deliberately cause harm, so he fails to see through Iago. One can view Shakespeare, at least in this play, as quite progressive in thought, in his having shown a man of a different race to be superior to Europeans.
Othello's Race and Cultural Background's Impact on Events and Conclusion
11 Educator Answers
Summary:
In Shakespeare's Othello, race significantly impacts the plot and character dynamics. Othello's identity as a Moor makes him an outsider, subject to societal prejudice. This racial tension fuels Iago's manipulation and Othello's insecurities, contributing to the tragic conclusion. The play reflects contemporary fears of racial and cultural differences, with Othello embodying stereotypes of passion and volatility. Despite his noble character, Othello internalizes these prejudices, leading to his downfall. Thus, race is a central theme, shaping both interpersonal conflicts and Othello's tragic self-doubt.
Discuss the role of race in Othello.
Just to add to the above points, I think it is of interest that race is so strongly linked to the concept of identity. akannan rightly points out above that "color and ethnicities can be used as social constructs that can be made to play havoc with one's own sense of self." I would add that it is worthy of examination how other characters in the play use the concept of race and fixed notions of what they take this to mean to play havoc with the sense of self of Othello - that is to say that race is a contested term that is used against Othello by others as well as by himself.
Discuss the role of race in Othello.
Race is an important element in "Othello." It is one of the factors that Othello feels makes him an outsider, someone who is on the periphery of social and political power. The doubt that he experiences is, in part, due to the fact that he is Black. Iago works on this in suggesting that him being of color will impact his interactions with others, including Desdemona. The fact that Othello is Black is significant because he feels this is part of the reason why he could be undermined, and contributes to his own lack of confidence. I think that the issue of race is a powerful one as Shakespeare understood that color and ethnicities can be used as social constructs that can be made to play havoc with one's own sense of self. This is not to say that race is the reason why Othello's narrative is shaped the way it is, but rather to assert that race and the implications of being an individual in the position of power who is of color helps to feed Othello's own self- destructive nature rooted in fear, doubt, and insecurity.
Discuss the role of race in Othello.
The play Othello was written in 1600, around the same time as the beginning of the African slave trade in Europe. In England, there were great fears of the Moors' Muslim threat to Christendom and the black man's quest for the symbol of white purity, the white man's woman.
Othello represents both of these fears within the play and upon the audience watching. As a black man who marries a white woman, the white public must suspect, like Brabantio, that she was seduced by sexual or magical powers.
The play produces two great taboos never seen on stage before: a black man married to a white woman and a bedroom murder scene. Both the marriage and the murder were scandalous to audiences then, and emotions must have raged when Othello strangled Desdemona in the last act.
White audiences in England were fascinated with tales from Africa, as evidenced in Leo Africanus' voyages and tales. He writes:
The Negroes likewise leade a beastly kinde of life, being vtterly destitute of the vse of reason, of desteritie of wit, and of all artes. yea they so behaue themselues, as if they had continually liued in a forrest among wilde beasts. They haue great swarmes of harlots among them; whereupon a man may easily coniecture their manner of liuing; except their conuersation perhaps be somewhat more tolerable, who dwell in the principall townes and cities: for it is like that they are somewhat more addicted to ciuilitie.
Like Iago and Brabantio, Leo paints them as jealous savages who treat women cruelly. Othello, during the play, seems to internalize these fears himself. In Act I, he nobly defends himself against racist fears in court. He uses language to defeat fear.
Later, however, Othello's jealousy rages when Iago exposes his racial sense of inferiority. In the end, it is a tragic self-fulfilling prophecy: Othello becomes the savage that the public has been trained to fear.
Discuss the role of race in Othello.
One of the first instances where race becomes important, and where it actually sets the theme for the rest of the novel, is when Rodrigo and Iago call out to Brabantio to inform him that his "white ewe" is being tupped by a "black ram." The idea is that Othello is a moor, and even though he is beloved by the people and the rulers of Venice, he is an outsider because of his skin color, and this is a division that Othello feels as well.
Othello worries that Desdemona's love for him might be inconstant since he is black and she might go for Cassio because he is white. It is one of the things that Iago manipulates to get Othello to go nuts.
What is the significance of Othello's race in Othello?
Race is central to the plot of Othello in several ways, both some that make the play distinctly of its period and some that make the play appear modern. It is important for readers to keep both in mind simultaneously, rather trying to read the play as a modern civil rights or post-colonial narrative.
Othello is a Moor. What that means is somewhat ambiguous. One common use of the term would have been to refer to Arabs in North Africa and Spain. It might also apply to people from sub-Saharan Africa, but that usage is somewhat less common. Moorish people in the sense of Arabs were well known in Europe, with a Moorish community actually present in London in Shakespeare's lifetime, and thus the likely referent.
Most literature in Shakespeare's period accepted the notion that different ethnic groups had different types of character, with Northern (white) Europeans being rational, self-controlled, and highly civilized but people (with darker skins) from warmer climates being more passionate by nature. Thus race is significant in that the original audience would have been (by twenty-first century standards) racist and assumed that under Othello's civilized and admirable character lurked his racial character of intense pride, jealousy, passion, and a tendency to be emotionally volatile rather than rational.
The next aspect of race in the play is the racism that compounds Iago's jealousy and makes Brabantio prejudiced against Othello as a possible husband for Desdemona, despite Othello's career success and the couple's love for each other. Othello encounters racial prejudice in several contexts in the play, overcoming prejudice through his military skill and noble character.
Does Othello's racial background affect events in the play? Explain.
Othello's racial background affects events in the play in two ways: the way people think of Othello and the way that other people's reaction to Othello makes him think of himself.
Other characters in the play have reactions to Othello that range from exotic fascination to disgust. Iago hates him for reasons that are not entirely clear, but since he says "I hate the Moor," rather than "I hate Othello," race may likely be part of the reason for his hatred. Othello's race is certainly why Brabantio is unhappy that his daughter marries Othello; Othello is a reputed general in Venice, so his career or exterior social status is no reason to scorn him. Also, Brabantio is specifically unhappy that Desdemona would "fall in love what she feared to look on," that is, a black man. Brabantio's doubts about Othello make Othello judge himself as lacking later on, when he refers to his own "weak merits" to deserve Desdemona. In combination with Iago's possibly racially motivated hatred of him, Othello's doubt of himself leads to his believing that Desdemona must have cheated on him. So his own and other people's perceptions of Othello's race contribute to the play's tragic ending.
How is Othello's race relevant to the events of Othello?
In Othello, race is predominant from the very beginning. Even without meeting Othello, the audience becomes aware that Othello, the "old black ram is tupping your white ewe," (I.i.90) allowing Iago to begin weaving his trap, convincing Venetians that Othello is not to be trusted on the grounds of his race and, in fact, possesses animalistic or base characteristics. Iago uses Roderigo for his own purposes and wastes no time in setting up Othello so he can "serve my turn upon him"(42), and even Brabantio, Desdemona's father, who has invited Othello into his home many times, begins to wonder if Othello has used his "chains of magic" (I.ii.65) on Desdemona. Othello would have been considered quite exotic and, by his own admittance, Desdemona is fascinated by his stories from Africa, adding to the suggestion that his skin color is relevant to his behavior.
On discussing Desdemona's marriage, Brabantio even suggests that for her to have fallen for Othello is "against all rules of nature."(I.iii.101) Once the matter is resolved, the Duke suggests to Brabantio that Othello is "far more fair than black," (290) supporting the Venetians' beliefs and mistrust of Othello's skin color, even if the Duke's intention was simply to refer to Othello's virtuousness. It is his actions and valor that seem to raise him above what is otherwise a potential flaw.
Othello's own insecurities, despite his assertions that he is deserving, are also ultimately linked to his skin color and he is almost convinced that it is not only his jealousy but his status as a "malignant and a turban'd Turk" (V.ii.356) that renders him inferior and has contributed to his unfortunate situation. Appearance versus reality is an important theme in Othello and the fact that Othello, "the Moor" is the one to be mistrusted is ironic due to Iago's abilities to sew doubt, especially into Othello's own mind. This drives the play, reinforces the race issue as Othello tries to be good enough, and ensures that the focus is on various aspects of Othello's character, not the least of which is his misplaced trust in "honest, honest" Iago. Hence, stereotypes and society's own interpretation of Othello's worthiness make race relevant to the play.
How is racism a major theme in the play Othello?
Racism appears throughout Othello. Early in the play, Iago attempts to arouse Brabantio's fears about his daughter's elopement with the Moor by associating race with animal sexuality, telling him that "even now...a black ram is tupping your white ewe." Just before, Roderigo has referred disparagingly to Othello as "the thicklips." There are references throughout the play to Othello as a "devil" and a "lascivious Moor." But the issue of race may also be at play on a deeper level. Othello begins as an upright, heroic, strong figure, but by the end of the play he is, because of Iago's scheming, reduced to being little more than a murderous, vicious animal, consumed by passion and grief. Othello's blackness in skin and temper is juxtaposed with Desdemona's whiteness at the end of the play, most explicitly by Emilia, who responds to Othello's admission that he murdered Desdemona by saying, "O, the more angel she/And you the blacker devil!" Othello thus degenerates into at least some of the stereotypes many Elizabethan audiences may have held of black men. Race is not the central theme of Othello, but it is always present as an issue.
Why is the issue of race relevant in the story of Othello?
This is a very interesting question. Reading between the lines, I find you are asking us about life today, ... not life back in Shakespeare's time. Why do "we" find the issue of race relevant? We find the issue of race relevant because racism exists today just as absolutely as it did back then. I'm going to echo litteacher8 and go a bit further. Yes, we have different issues. Yes, slavery was part of the horrors of the United States back a couple of centuries ago. We are still healing. Let's even go deeper than the idea of an interracial marriage. So, seeing characters plant the seeds of suspicion about a black man, young and in love, ... with other characters that may already doubt him because of his race is very damning. This very thing is one of the many reasons why the plays of Shakespeare (and Othello is no exception) are always considered to be universal.
Why is the issue of race relevant in the story of Othello?
Racism existed then, just as it does now. The idea of a mixed race couple was also unpopular then. White men felt that they had first dibs on white ladies. They did not approve of black men dating their ladies. Plenty of racial slurs and jokes are used to describe Othello in the play.
Why is the issue of race relevant in the story of Othello?
I think that racism is used in Othello in order to accentuate the idea that Othello is an outsider. The use of race in the characterization of Othello is one where it only adds to his self perception that he is fundamentally different than all others. Othello recognizes that his is different. He is a warrior, as opposed to a politician. He is one who is only recently wealthy and powerful, and not someone that has had it in his lineage. Race is just another element to add to his difference. It is also another level towards which insecurity is felt. The fundamental challenge in Othello's characterization is one where he feels different than the rest of society because of his race. This helps to enhance his insecurity about why someone like Desdemona would be with him. The issue of race is brought out between both of them, with her being the epitome of whiteness and he of blackness. This visual difference has settled, to an extent, inside Othello and is something that Iago manipulates within him. The declaration of Othello as a "black ewe" is quite deliberate, something that Othello recognizes as fundamentally true in that he is unable to reconcile how his race would not be used against him by Desdemona. In this light, Shakespeare introduces the issue of race to heighten the difference that Othello experiences, and the insecurity and doubt that come along as a result.
How is the fear of being a "cuckold" relevant to Shakespeare's Othello?
1 Educator Answer
Quick answer:
The fear of being a "cuckold" stands at the center of Shakespeare's Othello, for although Othello is in love with Desdemona, he is insecure in his marriage. This insecurity leads him to a fear of Desdemona being unfaithful, a fear that Iago plays upon, setting up Cassio to appear as Desdemona's lover. Othello's jealousy takes over, and he kills his innocent wife.
In William Shakespeare’s play Othello, one of the title character’s main fears is that he will be made a “cuckold.” In other words, he fears that his wife will have sex with him behind his back and perhaps even bear the children of another man.
Fear of cuckoldry is a very widespread theme in medieval and Renaissance English literature. In fact, fear of cuckoldry was also a widespread fear in English society during those eras. Men often regarded their wives as possessions. Once men and women were married, divorce was almost impossible, especially since it was often difficult if not impossible to prove that one had been cuckolded. If one were cuckolded and one’s wife bore another man’s child, one might spend decades rearing that child and passing on one’s money and property to that child without ever knowing that one had been sexually deceived.
The word “cuckold,” in fact, alludes to the habits of the cuckoo bird, which often laid its eggs in another bird’s nest, so that that bird would unwittingly go to the trouble of hatching the cuckoo’s eggs and raising the cuckoo’s chicks.
In Othello, Iago constantly plays on Othello’s fear that Desdemona is cuckolding Othello by having sex with the young and handsome Michael Cassio. Ironically, Iago himself expresses the worry that he may have been cuckolded by Othello – that Othello has secretly had sex with Iago’s wife, Emilia. Although nothing in the play strongly supports Iago’s worries in this regard, Iago masterfully succeeds in convincing Othello that the latter is being cuckolded by Desdemona, when in fact nothing could be further from the truth.
Early in the play, Iago tells Roderigo, who yearns for Desdemona, that
if thou canst cuckold him [that is, Othello] , thou dost
thyself a pleasure, me a sport.
It is typical of Iago’s base materialism that he focuses on the “pleasure” of an illicit sexual act. Later, once he has implanted in Othello the idea that Desdemona may be having sex behind Othello’s back, Iago says, in his brazenly dishonest way,
O, beware, my lord, of jealousy;
It is the green-eyed monster which doth mock
The meat it feeds on; that cuckold lives in bliss
Who, certain of his fate, loves not his wronger;
But, O, what damned minutes tells he o'er
Who dotes, yet doubts, suspects, yet strongly loves!
In other words, Iago warns Othello not to give in to jealousy (although this is precisely what Iago hopes will happen). He also tells Othello that if a cuckold knows for sure that he is being cuckolded by someone, he can hate the person(s) who are cuckolding him. The worst, most tormenting fate is to suspect that one is being cuckolded but to have no certain proof.
Later, in the third of four explicit references to cuckoldry in the play, Othello exclaims about Desdemona,
I will chop her into messes: cuckold me!
Finally, in the fourth overt reference to being cuckolded, it is ironically Iago’s own wife who suggests that cuckolding one’s husband might not be such a bad thing after all:
. . . who would
not make her husband a cuckold to make him a
monarch [if cuckolding him meant giving him command of the whole world] ?
Throughout the play, then, cuckoldry is a persistent, prominent theme.
Something extra: For obvious reasons, the theme of cuckoldry in Othelloinvites attention from "Darwinian" theories of literary criticism, which have become increasingly prominent in literary studies.
Jealousy and Conflict in Othello
19 Educator Answers
Summary:
In Shakespeare's Othello, jealousy is a central theme leading to conflict and tragedy. Iago warns Othello of jealousy, describing it as a "green-eyed monster," which foreshadows Othello's downfall as Iago manipulates him into believing Desdemona's infidelity with Cassio. This manipulation causes Othello's jealousy to spiral, resulting in the murder of Desdemona and his own demise. Key quotes highlight this destructive jealousy, as Othello's insecurities and Iago's envy drive the tragic events of the play.
What is a thematic statement for jealousy in Othello?
Ironically, Iago himself provides an excellent thematic statement on the subject of jealousy. He cautions Othello, in some of the play's most celebrated lines,
O, beware, my lord, of jealousy;
It is the green-eyed monster which doth mock
The meat it feeds on...
The "green-eyed monster" is such a compelling image that it has become proverbial, but the statement has precision as well as power. Jealousy is an emotion of which Othello certainly ought to beware. It devours him like a monster, making him feel absurd and powerless as it does so.
In his short story "The Worst Crime in the World," G.K. Chesterton observes,
Sometimes it is a joy in the very heart of hell to tell the truth.
There is no doubt that Iago derives a malicious joy from piously counselling Othello against jealousy here while feeding his jealousy with every other word he utters. Although these two and a half lines make a good thesis statement and a valuable caution on their own, Iago immediately proceeds to misdirect Othello, as he observes,
that cuckold lives in bliss
Who, certain of his fate, loves not his wronger;
But, O, what damned minutes tells he o'er
Who dotes, yet doubts, suspects, yet strongly loves!
Othello is not a cuckold, and it is only by paying attention to Iago that he comes to believe himself one; yet Iago has already cautioned Othello against the very suspicion he proceeds to encourage.
It is worth noting that there is a great deal of envy in the play which is often erroneously described as jealousy. Envy is another important theme, best demonstrated by Iago's intense envy of Cassio and, for that matter, of Othello. Jealousy is the fear of losing what one has. Envy is the longing to possess what someone else has. Iago is not jealous, because he does not, by his own estimation, possess anything worth having.
In Shakespeare's Othello, is Iago a foil to Othello in the context of morbid jealousy?
Foil: Literally a "leaf" of bright metal placed under a jewel to increase its brilliance (Holman & Harmon 198).
Traditionally, a foil is a minor character who, through comparison and contrast, serves to highlight the brilliance of the protagonist or hero. Iago is no minor character: he has more lines than the Moor. Iago is Janus, a foil unto himself, one who opens and closes scenes and the play itself.
If he is a foil of Othello, he's not a classical one anyway, and not my first pick. Iago is mainly a villain, and to call him otherwise, I think, subverts his purpose.
Othello is the gullible hero deceived by the melodramatic villain Iago. One critic's thesis of the domestic tragedy is "the wanton destruction of marriage by a villain." So in the morality play that is Othello, Iago is more like Satan to Adam and Eve (Othello and Desdemona): he's an entirely different creature with a singular, destructive purpose. It is this polar opposition that drives the play.
Roderigo and Cassio, white Christian Venetian males, are better foils for Iago. Publicly, Iago looks like them, talks like them, acts like them. Othello is on an island in this play, alienated by race, age, religion, rank, and status. The closest foil for Othello, I think, is the Turk, who ironically never appears, but lurks on the fringes. The Turk is Othello's "otherness," his Id, his jealous rage--hovering at the beginning and make flesh by the end.
The death of the Turkish forces at sea signals the beginning of the tragedy. This is when Othello's darker side, his morbid jealous as you say, begins to rear its head. Once on Cyprus, once the Turks have been defeated, once Othello lets his guard down, once Othello moves from a military man to a domestic civilian, Iago gains advantage and becomes the Vice figure who torments Othello, eliciting his self-loathing, fear, vaunted male pride, and morbid jealousy.
What are some quotations about hatred in Shakespeare's play Othello?
The word “hate” appears a number of times in William Shakespeare’s play Othello, and each one of its appearances is significant. The play has barely begun, for instance, when Roderigo says to Iago that “Thou told'st me thou didst hold him [that is, Othello] in thy hate.” This statement, especially so early in the play, is important because it introduces a key theme of the work (Iago’s hatred of Othello) as well as a key characteristic of Iago’s personality (hatred). Iago quickly reassures Roderigo that he does indeed hate Othello.
The next appearance of the word “hate” occurs when Iago proclaims, concerning Othello, that “I do hate him as I do hell-pains.” This phrasing suggests the sheer depths of Iago’s hatred and also is one of many points in the play in which his hatred begins to seem almost Satanic.
The third appearance of “hate” occurs when Iago once again tells Roderigo – in extremely unambiguous language followed by clever word-play – “I hate the Moor: my cause is hearted.” The very same sentiment is repeated not long afterwards, this time much more simply: “I hate the Moor.” This line, by the way, is delivered with unforgettable and icy slowness by Kenneth Branagh in the Oliver Parker film of Othello. (See YouTube link below.)
Ironically, the next use of the word “hate” is spoken by Othello, who has now fallen under Iago’s sick influence:
Yield up, O love, thy crown and hearted throne
To tyrannous hate!
Othello now uses a word almost exclusively used, until now, by the very man who hates Othello.
Even more ironic is the next use of “hate,” again spoken by Othello but this time to defend the good character Iago, the very person who hates Othello so profoundly:
An honest man he is, and hates the slime
That sticks on filthy deeds.
Finally, the very last use of the word “hate” is also by Othello, but now he is denying that his behavior has been prompted by hatred:
For nought I did in hate, but all in honour.
In short, the word “hate” is first sounded again and again by Iago, and then again and again by the very man whom he hates so much but whom he brings so completely under his control. By perverting Othello's mind, Iago has also perverted his language and his emotions. Paradoxically, by the end of the play, Othello has come to resemble the very man who hates him so intensely. Equally ironic is the fact that Othello turns his hatred on the very two people -- Cassio and Desdemona -- who least deserve it. Iago twice says "I hate the Moor," but Othello, by the end of the play, comes almost to love Iago, as his defense of Iago's character shows.
This union of the hater and the hated, who in turn becomes a hater, is just one of the many ironies Shakespeare manages to achieve in this exceptionally ironic play.
What is a thesis statement about the theme of jealousy in Othello?
As it was in the ancient biblical story of Cain, the "worm of jealousy" moves into Othello's heart and causes him to commit his heinous act of killing Desdemona. Iago is the one who places this worm into Othello.
With the idea of the worm of jealousy, then, the student can write a persuasive essay designed to convince readers that Othello's jealousy is like a worm that burrows its way until it has destroyed the organ(s) it has attacked.
Thus, there will be a need to write a thesis containing a blueprint of the three main points. This thesis will develop how this "worm" of jealousy makes its way through the heart of Othello and torments him to the point of suspicion and, later, madness. This thesis can state that the "worm" of jealousy is planted into Othello's mind by ideas suggested by others, and by two other situations or conditions such as false appearances (i.e. the handkerchief).
Here are some points to consider in formulating the thesis statement:
- The seeds of jealousy are planted early in Act I even before Iago's worm has started to grow. When Brabantio accuses Othello of seducing Desdemona by witchcraft, he is defeated by Othello's testimony before the senate. Afterwards, Brabantio tells Othello:
Look to her, Moor, if thou hast eyes to see:
She has deceived her father, and may thee (Act I, Scene 3, lines 288-289).
- In Act II, Iago schemes to have Cassio drawn into a fight. Because of the disturbance, Iago strips Cassio of his rank, blaming him for the mayhem. Then, Iago moves in and convinces Cassio to beseech Desdemona to convince her husband to reinstate him as an officer.
- Iago then goes to Othello and insinuates that Cassio and Desdemona are possibly lovers, making Othello suspicious. At the end of Act II, Iago tells Roderigo his plan:
Myself the while to draw the Moor apart
And bring him jump when he may Cassio find
Soliciting his wife, Aye, that's the way.
Dull not device by coldness and delay (Act II, Scene 3, lines 348-351).
- In Act III, Iago sees Cassio speaking with Desdemona as he pleads with her to ask Othello to reinstate him. Later, however, Iago tells Othello that he has seen Cassio "steal away so guilty-like" (Act III, Scene 3, line 40). Iago's insinuations heighten Othello's jealousy.
- Othello demands “ocular proof” (Act III, Scene 3, line 365) of his wife's unfaithfulness, so Iago tells Othello he has seen Cassio “wipe his beard with” (Act III, Scene 3, line 439) the handkerchief Othello gave his wife. Hearing this, Othello vows to take vengeance on his wife and Cassio.
- Iago's next act of treachery is to get his wife Emilia to give him the handkerchief Desdemona dropped. He later plants this handkerchief in Cassio's lodgings; then, he suggests that Othello listen as Iago questions Cassio. While he talks to Cassio, Iago tricks the former officer into speaking of his affair with a courtesan named Bianca. Iago whispers Bianca's name so softly that Othello cannot hear, causing Othello to assume the conversation is about Desdemona. Later, Bianca finds a duplicate handkerchief and accuses Cassio of giving her a second-hand gift; consequently, Othello believes Cassio originally received the handkerchief from Desdemona.
- Finally, Othello makes Iago his lieutenant and asks Iago to accompany him and furnish him "with some swift means of death/ For the fair devil" (Act III, Scene 4, lines 479-480).
- Enraged, Othello confronts Desdemona and strangles her to death.
What are some conflict-related quotes in Shakespeare's Othello?
In Shakespeare's Othello, when Othello chooses Cassio for a promotion over Iago, this creates the central conflict of the play. It is for this reason that Iago decides to destroy Othello.
In this quote, Iago seethes with anger over Othello's choice, and later says he will serve "the Moor" to "turn on him." (This conflict is external: specifically, man vs. man.)
Nonsuits my mediators; for, “Certes,” says he,
“I have already chose my officer.” … (I.i.16-17)
O, sir, content you.
I follow him to serve my turn upon him… (42-43)
Roderigo has a conflict with Othello, for he wanted Desdemona for himself. Iago enlists Roderigo's help in waking Desdemona's father, to stir trouble in the house with news that Othello has taken Desdemona and married her. (This is man vs. man.)
ROD:
Here is her father's house; I'll call aloud. (78)
Another conflict arises when Desdemona's father (Brabantio) arrives in a fury over his daughter's marriage to Othello. He insists that Othello must have put a spell on her, for why else would she marry such a man as he—unless she was "in chains of magic...bound?" (This is man vs. man.)
BRAB:
O thou foul thief, where hast thou stow'd my
daughter?
Damn'd as thou art, thou hast enchanted her,
For I'll refer me to all things of sense,
If she in chains of magic were not bound (I.ii.76-80)
In order to get Cassio in trouble so he will lose his job serving Othello, Iago first gets Cassio drunk—even though Cassio tries to resist at first. Then Iago enlists the help of Roderigo to draw Cassio into a fight. (Both instances of conflict are man vs. man.)
CASSIO:
I have drunk but one cup tonight, and that was craftily
qualified too, and behold what innovation it makes here.
I am unfortunate in the infirmity, and dare not task my
weakness with any more. (II.iii.34-37)
Iago notes that everyone wants to party:
IAGO:
What, man! 'Tis a night of revels, the gallants desire it. (38)
And then Cassio is tricked into fighting:
CASSIO:
A knave teach me my duty! But I'll beat the knave
into a twiggen bottle. (II.iii.139-140)
Cassio is punished by Othello, removed from his position. (Again, this is man vs. man.):
OTHELLO:
Cassio, I love thee;
But never more be officer of mine. (241-242)
After Iago poisons Othello against Desdemona, Othello's mental state deteriorates, and he kills the innocent Desdemona. His proof is that Cassio had Desdemona's handkerchief in his possession; however, it was planted in his room by Iago. (This conflict is man vs. man.)
OTHELLO:
That handkerchief which I so loved and gave thee
Thou gavest to Cassio. (V.ii.54-55)
When Emilia, Desdemona's maid (and Iago's wife) realizes that Othello has murdered his wife, she tells everyone. Those gathered are appalled. (This conflict is man vs. society.)
EMILIA:
I will not charm my tongue; I am bound to speak.
My mistress here lies murdered in her bed.
ALL:
O heavens forfend!
Emilia decides to find why Othello did such a thing—it all goes back to Iago; she accuses him. (This conflict is man vs. man.)
EMILIA:
O thou dull Moor! That handkerchief thou speak'st of
I found by fortune and did give my husband;
For often with a solemn earnestness,
More than indeed belong'd to such a trifle,
He begg'd of me to steal it. (V.ii.262-266)
Othello accepts the blame and kills himself. (This is internal conflict: man vs. self.)
OTHELLO:
Then must you speak
Of one that loved not wisely but too well… (392-393)
What key quotes from Othello show Othello's jealousy of Desdemona?
Although Othello initially tells Iago he will not be jealous of Desdemona because she chose him freely, Iago is able to trick him into believing that Desdemona is having an affair with Cassio. This sends Othello into a frenzied, murderous rage against Cassio, but also against Desdemona. In act 4, scene 1, Othello says of his wife,
Ay, let her rot and perish, and be damned tonight, for she shall not live. No, my heart is turned to stone
Jealousy has overtaken him at this point: Othello cannot bear the thought of Desdemona sleeping with another man. His emotions have erased his rational thought processes.
In act 5, scene 2, as he prepares to strangle Desdemona, he says three times that jealousy is the reason:
It is the cause, it is the cause, my soul.Let me not name it to you, you chaste stars,It is the cause.
She turned to folly, and she was a whore.
Speak of me as I am. Nothing extenuate,
Nor set down aught in malice. Then must you speak
Of one that loved not wisely, but too well;
Of one not easily jealous, but being wrought,
Perplexed in the extreme
Othello should not have murdered his wife, but he is right that Iago so manipulated and confused him that he was "perplexed." Iago played on Othello's insecurities about being so much older than Desdemona and Black to sow seeds of doubt in his mind about his wife. Iago then planted Desdemona's handkerchief as "proof" of her infidelity, knowing Othello would need that evidence. All of this drives Othello's jealousy.
What quotations emphasize the theme of jealousy in Shakespeare's play Othello?
References to the idea of “jealousy” are very common in William Shakespeare’s play Othello and can be found easily by searching an online version of the text for the syllable “jeal.” A search for those letters at OpenSourceShakespeare.org, for instance, turned up twenty-one different examples.
Yet the idea of jealousy is important in the play even when it is not explicitly mentioned. Jealousy is perhaps the major theme of this work. Take, for example, the very first scene of the play – indeed, take the very first words. As the play opens, Roderigo’s jealousy of Othello for having won Desdemona is the immediate subject of discussion. Thus the theme of jealousy is announced at once.
Ironically, however, Iago pays almost no attention at first to Roderigo’s jealousy of Othello because Iago himself is jealous of Michael Cassio, whom Othello has appointed his lieutenant even though Iago wanted the position. Iago launches into a very long speech expressing his own jealousy of Cassio. He ends by complaining that Cassio
in good time, must his [that is, Othello’s] lieutenant be,
And I—God bless the mark!—his Moorship's ancient [that is, lower-ranking assistant].
Shakespeare could hardly have done more to emphasize that jealousy will be a central concern of this play. No sooner do Iago and Roderigo express their own jealousy, however, than they try to arouse jealous thoughts in Brabantio by telling him that Othello has stolen the affections of Brabanttio’s daughter, Desdemona. They thus try to ignite, in Brabantio, jealousy of Othello, who, by this point has become closely connected with the jealousy of all three men.
Significantly, when Iago in the next scene tries to arouse in Othello jealousy of Brabantio’s social power, Othello refuses to take the bait. Instead he seems confident of his own social position and background, and so we have or first indication that (at this point in the play at least) Othello is above jealousy. The fact that he is not jealous here will make his later descent into full-blown jealousy all the more shocking and tragic.
When Desdemona appears to explain her marriage to Othello, she does everything possible to express her love for the Moor without provoking jealousy in her father. Indeed, when it is proposed that she should stay at Brabantio’s house while Othello is away at war, she refuses:
. . . I would not there reside,
To put my father in impatient thoughts
By being in his eye. . . .
She does not, in other words, want to make her father jealous by being constantly before him. Brabantio, however, is more than willing to try to stoke jealousy in Othello, as when Brabantio says,
Look to her, Moor, if thou hast eyes to see:
She has deceived her father, and may thee.
Act I ends as it began, with both Roderigo and Iago giving vent to their jealousy. This time, however, Iago implies his own jealousy of Othello, not merely of Cassio:
. . . I hate the Moor:
And it is thought abroad, that 'twixt my sheets
He has done my office . . .
In other words, Iago is jealous of Othello partly because he suspects that Othello has had sex with Iago’s wife. The opening act of Othello, then, is shot through with the theme of jealousy, even though the actual word “jealousy” does not appear until twelve lines from the end of the act.
How is the theme of jealousy presented in Othello?
Jealousy is Othello's tragic flaw, which leads to his downfall and Desdemona's death. Iago, who is depicted as a master manipulator, uses Othello's jealousy against him by convincing the general that Desdemona is unfaithful. Iago realizes that Othello is an outcast in Venetian society because he is a Moor and is much older than the beautiful Desdemona. He is also aware that Michael Cassio is a handsome, eloquent man, who would be able to make Othello jealous. Iago manipulates Othello's low-esteem and lack of confidence by suggesting that Desdemona is romantically interested in Michael Cassio. Almost immediately after Iago suggests that Desdemona is unfaithful in act 3, scene 3, Othello becomes aggressively jealous and begins to perceive his wife in a new light. Iago even warns Othello about the power of jealousy by telling him,
"Oh, beware, my lord, of jealousy! It is the green-eyed monster which doth mock The meat it feeds on" (Shakespeare, 3.3.170-172).
Othello's jealousy blinds him to the reality of the entire situation, and he accepts circumstantial evidence as proof that Desdemona is having an affair with Michael Cassio. Iago once again comments on the power of jealousy by saying,
"Trifles light as air Are to the jealous confirmations strong As proofs of holy writ" (Shakespeare, 3.3.332-333).
Othello's jealousy not only ruins his marriage to Desdemona but also motivates him to kill the woman he truly loves. Thematically, Shakespeare depicts the negative effects of jealousy by illustrating Othello's tragic demise.
Do three characters in Othello demonstrate the theme of jealousy?
I think that a case can be made that the theme of jealousy runs rampant in Shakespeare's drama. Jealousy emerges when individuals have difficulty accepting the limitations and conditions of the world around them. Rather than embrace the reality of what is, characters infected with jealousy conspire and believe that they have been wronged. Oftentimes, the irrational and intense conditions of anger present are results of jealous behavior.
I think that one interesting instance of jealous behavior can be seen in
Brabantio. Believing that he is isolated and protected from the
difficulties of the world, Brabantio is stunned to learn that his daughter has
gone off with Othello: "What tell'st thou me of robbing? This is Venice; / My
house is not a grange." There is a shock that Brabantio expresses about
the "wrong" that has been done to him. This manifests itself into a type of
jealous behavior directed at Othello. Brabantio is jealous over how Othello
understands his daughter better than he does: "Fathers, from hence trust
not your daughters' minds
By what you see them act." It is inconceivable that his daughter would go
against his own will. Yet, it is in this reality that he recognizes
Othello better understands his daughter than he does. It is for this reason
that he never sanctions the marriage and pleads to the Senate to strip Othello
of his title. In his shock and dismay at failing to understand his own
daughter, Brabantio displays jealous tendencies towards Othello.
Certainly, Othello displays jealous behavior, as well. Othello is so enamored with Desdemona and simultaneously so insecure about her love for him that he becomes an easy target for jealousy. This can be seen in the text through his own eyes. Othello speaks to his own jealous condition. At one point in Act III, Othello speaks to how he could not be jealous of Desdemona without "proof:"
Why, why is this?
Think'st thou I'ld make a life of jealousy,
To follow still the changes of the moon
With fresh suspicions?
Othello's display of jealousy is something that he believes he can repel. Yet, it is there, lurking underneath the surface. Othello demands that he will not acquiesce to jealousy without proof. In acknowledging its presence, Othello ends up displaying its tenets. Iago understands this and focuses his energies on the force of jealousy throughout his manipulation of Othello. At the end of the drama, Othello speaks as a man who has sadly embodied the theme of jealousy:
Speak of me as I am; nothing extenuate,
Nor set down aught in malice: then must you speak
Of one that loved not wisely but too well;
Of one not easily jealous, but being wrought
Perplex'd in the extreme
Othello represents the theme of jealousy and how it can undermine everything within a human being when left unchecked. Othello succumbs to jealousy because he is unable to accept the conditions of the world around him, internalizing the negativity of the world in his love for Desdemona.
When discussing how negativity is absorbed and replicated within the individual, one cannot go far without discussing Iago. Certainly, Iago embodies jealous behavior. He is jealousy incarnate. His inability to accept the conditions of the world around him cause him to be jealous. He is jealous because of Cassio's promotion. He cannot reconcile the fact that someone like Cassio would receive a promotion when he perceives himself to be so much more worthy:
Preferment goes by letter and affection,
And not by old gradation, where each second
Stood heir to th' first. Now, sir, be judge yourself
Whether I in any just term am affin'd
To love the Moor.
Iago is jealous for what Cassio has gained. Calling him "mere pratter without practice," a limited soldier, and a "counter- caster" are ways in which Iago expresses his jealousy because of the inability to accept the conditions of the world around him. In this case, it is Cassio's promotion.
At the same time, Iago is jealous of Othello. The insecurity that is within Iago has been externalized with Cassio's promotion. Directing this insecurity at Othello is another representation of Iago's jealousy: "I hate the Moor:/ And it is thought abroad, that 'twixt my sheets/ He has done my office: I know not if't be true;/ But I, for mere suspicion in that kind,/ Will do as if for surety." Iago is jealous at the mere hint that Othello has been involved with Emilia. Iago concedes that he does not know if the rumor is true, but it becomes clear that jealousy has already taken a hold of Iago without evidence. Whereas Othello needed evidence, jealousy was emerging within him. In Iago, the behavior is extrapolated and evidence is secondary. Iago represents the theme of jealousy throughout the drama.
Can you provide an example of Othello's jealousy?
Othello's jealousy over his wife's supposed adulterous affair with his newly appointed lieutenant, Michael Cassio, is evident in many excerpts from the play. They often appear in his scenes with the manipulative Iago, who is consistently trying to convince Othello of his wife's infidelity. One of the most poignant examples of Othello's jealousy is his soliloquy following a conversation with Iago, in which Iago claims to have knowledge of Desdemona's unfaithfulness, and uses her unfaithfulness to her father when marrying Othello as an example. Othello laments, in act 3, scene 3, lines 265-283:
If I do prove her haggard,Though that her jesses were my dear heartstrings,I’d whistle her off and let her down the windTo prey at fortune. Haply, for I am blackAnd have not those soft parts of conversationThat chamberers have, or for I am declinedInto the vale of years—yet that’s not much—She’s gone, I am abused, and my reliefMust be to loathe her. Oh, curse of marriageThat we can call these delicate creatures oursAnd not their appetites! I had rather be a toadAnd live upon the vapor of a dungeonThan keep a corner in the thing I loveFor others' uses. Yet ’tis the plague to great ones,Prerogatived are they less than the base.'Tis destiny unshunnable, like death.Even then this forkèd plague is fated to usWhen we do quicken.
What is the significance of jealousy in Othello?
In addition to the answers above, jealousy is tied to sexism, misogyny and the male and female reputations in the play Othello. The double standards of this patriarchal honor culture are such: males had the right to be jealous of women, but women had no right to be jealous of men. More, men were jealous of each other's rank, status and reputation.
I believe Othello is more jealous of Cassio than he is of Desdemona. Cassio is the ideal male, and he represents everything that Othello is not. He is young, white, Christian, well-spoken, and handsome.
Not only are males jealous of other males, but females are jealous of each other. Emilia and Bianca are jealous of Desdemona. Why do you think Emilia steals the handkerchief from Desdemona? Why do you think Bianca gives it back to Cassio? They hate what it represents: Desdemona's status as the highest ranking woman.
What is the significance of jealousy in Othello?
It is jealously that motivates Iago into his plan of setting everyone up for emotional pain and bringing about destruction to all who are happier than him. This becomes a plan borne out of jealously. It makes sense that Iago understands how jealously can motivate Othello, who is filled with doubt and insecurity regarding his relationship with Desdemona and his position of leadership. Jealously or desire for what someone else has motivates Iago and drives Othello to believe him. I am not sure the plan finds any success and gains traction without the presence of jealously in both of Iago's and Othello's hearts.
Explain the theme of jealousy in Othello.
Jealousy is the driving force behind this play. Without it, there would be no play. Iago's entire plan for revenge against Othello revolves around Othello's jealousy.
The way Iago does this is through planting little seeds of doubt about Othello's wife Desdemona in Othello's mind as the play progresses. He does it gradually, though, instead of bombarding him with accusations against Desdemona. Iago involves quite a few characters in his evil plot, including Emilia, Roderigo, Cassio, Desdemona, Brabantio, along with others.
Othello's jealousy, once he is convinced Desdemona has been unfaithful to him, drives him to madness and murder. He kills Desdemona and destroys other lives along the way. Others, like Emilia and Roderigo, also lose their lives in this evil plan of Iago's.
For more information, see this eNotes link: http://www.enotes.com/othello/themes
Identify instances of jealousy in Othello.
Jealousy is a very prominent theme in Othello, driving the actions of some of its main characters. One instance of jealousy occurs very early in the play. Iago, who deems himself a very able officer, has been passed over for a promotion by Othello, who has chosen Michael Cassio to serve as his lieutenant. The whole affair, Iago says, has been unfair from the start, as Iago says:
'Tis the curse of service,
Preferment goes by letter and affection,
And not by old gradation, where each second
Stood heir to the first. Now, sir, be judge yourself
Whether I in any just term am affined
To love the Moor.
This incident, it seems, is what motivates Iago to launch his deadly scheme against the Moor. Fittingly, Iago's plan plays on Othello's jealousy, which he sparks by contriving to make Othello believe that his wife Desdemona has been unfaithful to him. So the other obvious example of jealousy comes at the end of the play, when Iago's plan is consummated with Othello's murder of his innocent wife, who dies (rightly) asserting her innocence. Othello, believing that his wife has betrayed him, is unmoved:
By heaven, I saw my handkerchief in ‘s hand.
O perjured woman! Thou dost stone my heart,
And makest me call what I intend to do
A murder, which I thought a sacrifice:
I saw the handkerchief.
Iago's jealousy sets the plot in motion, and the genius of the scheme is the skill with which he plays on the jealousies of Othello.
Explain the theme of jealousy in Shakespeare's Othello.
As one of Othello’s central themes, jealousy is important because it provides the motivation for the behavior of Iago, Othello, and Roderigo and ultimately causes the tragic end.
Iago’s envious attitude is key because it is his elaborate plot that leads to the downfall or death of numerous characters. Iago cleverly uses other characters’ jealousy to set them against each other and create doubt over fidelity. Iago himself is motivated by his envy of Cassio, whom Othello has promoted instead of him. His resentment of Othello also includes his suspicion that Othello had sexual relations with Emilia, Iago’s wife.
Iago understands Othello’s insecurity in his relationship with his bride, Desdemona. Although Othello is a great warrior, he is socially awkward. As he cannot quite believe that Desdemona has chosen him, he constantly reads between the lines in interpreting her kind words and deeds toward other men. Goaded by Iago’s insinuations and outright lies, Othello becomes increasingly convinced that Desdemona is cheating on him with Cassio. This belief ultimately leads him to kill her and then himself.
Roderigo, who was Desdemona’s suitor before she married Othello, is very jealous that Othello has won her hand. Iago manipulates Rodrigo’s feelings to encourage him to bring down Othello and then regain Desdemona’s affection.
How does Shakespeare's Othello illustrate the theme of jealousy?
It has often been said that jealousy is the central theme of William
Shakespeare`s play, Othello. The first level on which jealousy operates is
sexual, with Othello being persuaded by Iago to suspect Desdemona of
infidelity. Also, Roderigo, a rejected suitor to Desdemona, is jealous of
Othello obtaining Desdemona`s love.
Iago, too, is motivated by jealousy, but of a different type, jealousy
concerning position and regard. It is Iago`s jealousy of Othello`s success and
of Cassio`s promotion. He also is jealous in another way, suspecting Othello of
having an affair with his wife Emilia.
What are three possible arguments on the theme of jealousy in Othello?
In Othello, there are many instances of jealousy. Three that come to mind which would easily divide into paragraphs include these:
1. Iago's jealousy of Cassio - This jealousy occured in the first act, yet is carried out throughout the play. Cassio earned a promotion that Iago had hoped to receive. This motivates a great majority of Iago's actions and it results in many deaths.
2. Othello's jealousy of Cassio - Othello allows Iago to convince him that Desdemona is having some kind of relationship with Cassio. After many staged instances, Othello acts on this jealousy and eventually murders as a result of believing Iago's lies.
3. Roderigo's jealousy of Cassio - Roderigo maintains a position as a secondary character throughout the text, but he allows his motivation to become a suitor to Desdemona to get the better of him. Iago convinces him that there is something between Cassio and Desdemona and this helps Roderigo attempt to kill Cassio by the end.
All of these jealousies spring from the effort of Iago. All of these jealousies take their ultimate fall on the character of Cassio. Each instance of jealousy actually loses each character what they really had wanted.
What quotes best convey jealousy in Shakespeare's Othello?
Ironically, it is Iago who speaks most eloquently of jealousy—when he is goading Othello to suspect Desdemona. One of his best-known warnings comes in the following quotation:
O, beware, my lord, of jealousy;
It is the green-eyed monster which doth mock
The meat it feeds on; that cuckold lives in bliss
Who, certain of his fate, loves not his wronger;
But, O, what damned minutes tells he o'er
Who dotes, yet doubts, suspects, yet strongly loves!
Iago's description of the pain and uncertainty caused by jealousy is coupled here with one of the strongest visual images in the play.
It is Emilia who points out that jealousy is profoundly irrational. When Desdemona says that she has never given Othello any cause to be jealous, Emilia replies,
But jealous souls will not be answer'd so;
They are not ever jealous for the cause,
But jealous for they are jealous: 'tis a monster
Begot upon itself, born on itself.
Emilia, like Iago, calls jealousy a monster, and her image, though less visually striking than his, adds another element to the idea, showing how this monster can arise out of nothing.
Desdemona is depicted as too innocent either to feel jealousy herself or to recognize it in another. She instinctively dismisses jealousy as something altogether beneath her husband, saying that Othello
Is true of mind and made of no such baseness
As jealous creatures are ...
In failing to recognize that an essentially noble nature may nonetheless be prey to jealousy, Desdemona also fails to understand the danger that threatens her. For all its monstrousness, jealousy is an all too common and natural emotion.
Describe an argument about jealousy among characters in Othello.
William Shakespeare’s play explores jealousy as a dangerous but all-too-common human emotion, which in this case has devastating consequences. The main character who suffers throughout the play from severe jealousy is Othello. However, jealousy is also what motivates Iago; because he understands the emotion so well, he also understands how to fan the flames and turn a spark of jealousy into a raging fire.
Iago is the prime mover of the play, a kind of master puppeteer who obsessively manipulates all the other characters. His jealousy is both professional and personal, as well as fueled by racism. He is jealous of Cassio for getting the promotion he thinks was owed to him and because he thinks Cassio slept with his wife, Emilia. Because Othello, in his newly elevated position, was the one who chose Cassio, Iago determines to destroy him. Using his personal insights into jealousy, he twists and turns every word and gesture into something else until Othello cannot tell truth from lies. Iago builds on Othello’s insecurity about Desdemona’s love to make him doubt her fidelity. Once Othello believes that she could be unfaithful, it is a short step to being certain that she has already done so. Once he crosses that line, he cannot recover his trust in her, leading to the tragic ending with their deaths.
What was the ideal relationship between men and women in Othello?
1 Educator Answer
This is almost a trick question. I say this because at the start of the play, marital fidelity is considered above reproach. Specifically, he trusts his Desdemona, and loves her so much that doubt never occurs. However, Iago's actions cause this to unravel quickly, so that by mid-play no such relationship is beyond reproach, and by the end, all are tainted.
Greg
What is the significance of Bianca's character in Othello?
3 Educator Answers
Quick answer:
Bianca's significance in Othello lies in her role as Cassio's mistress, which is exploited by the conspirators to undermine Cassio's character and credibility. Despite Cassio's secret affair with her, he does not respect Bianca. Iago manipulates the situation to make Othello believe Cassio is involved with Desdemona, ultimately using Bianca to further his deceit and attempt to assassinate Cassio.
Bianca is Cassio's mistress in Shakespeare's Othello. Although Cassio is married (the only reference to this occurs at the beginning of the play, when Iago describes Cassio as "a fellow almost damned in a fair wife" (1.1.21)), audiences come to understand that he is having an affair with Bianca on the island of Cyprus.
With regard to the play's plot, Bianca functions to call Michael Cassio's credibility into question. Though Cassio is relatively respectful to Bianca, we see evidence that he doesn't take her seriously. As Othello watches from his hiding spot, he watches Iago question Cassio about Bianca (although Othello thinks they're talking about Desdemona), and Cassio laughs when Iago asks if he plans to marry Bianca. When she shows up, she throws Desdemona's handkerchief, which Iago had planed in Cassio's room, at Cassio, and Othello sees it.
Logistically, Cassio's plans with Bianca in Act 5 allow Iago and Roderigo to attack him, as they know he is having dinner with her late at night. After the plot to kill Cassio goes sour, Iago, in the presence of the Cyprus officials, accuses Bianca of being a whore and tries to implicate her in the attack. Obviously, though, the truth comes out at the end of the play.
What is Bianca's role and importance in Shakespeare's Othello?
Bianca is a fairly minor character in the play, but does serve a few important roles. First, in almost all of Shakespeare's plays, we encounter "rustics" or members of the lower classes. Their first purpose is comic relief. Their second purpose is often to hold up a counterexample to approved behavior in some way.
A central theme of the play is chastity. Desdemona is actually chaste but suspected of having an affair with Cassio. Bianca is actually a prostitute having an affair with Cassio, who ends up falling in love with him. She is a contrast to both Desdemona's naivety and Emilia's cynical conformity to social norms.
The handkerchief belonging to Desdemona that Iago plants and Cassio gives to Bianca becomes key evidence convincing Othello that Desdemona is having an affair with Cassio.
How is Bianca portrayed in Othello?
Bianca shows up in the play when everyone arrives on the isle of Cyprus. She is a courtesan attached to Cassio. In order to describe how she is "portrayed" in the play, we must look both at what she says and does and what others (mainly Cassio) say about her, the fact that she is described as a Courtesan or prostititue, being an influence on how she is percieved and treated by others.
Her first entrance into the play is in Act III, scene iv, and begins with tender conversation with Cassio. He calls her "most fair," "sweet love," and "sweet Bianca;" and she wonders why he has been absent from her house for "seven days and nights." They seem to have real affection for each other. And then Cassio produces the handkerchielf, given him by Iago. Bianca recognizes that it might mean that Cassio also has another woman. And at this, Cassio turns on her. Gone are his loving words, replaced by dismissive reprimand. They are both soon pacified, however, and in this scene they seem to be very affectionate with each other, and Bianca is portrayed as a loving, yet jealous, woman.
In Act IV, scene i, the situation is a bit different. Iago has decided to question Cassio about his feelings towards Bianca within the earshot of Othello, but by only referring to her as "she," Iago intends to have Othello mistakenly believe that they discuss Desdemona. In this scene, Cassio seems to do a 180 degree turn in his opinion of Bianca. He makes fun of her for loving him, and says:
I marry her? What? A customer?
I prithee, bear some charity to my wit,
Do not think it so unwholesome. Ha, ha ha.
Cassio basically portrays her as a common whore and his feelings about her only those of one of her "customers." Yet, he seemed to have real affection for her in the scene previous. Suddenly Bianca enters the scene, on the warpath. She has determined that he has given her some "minx's token," and she throws in in his face, saying, "[T]here, give it the hobby-horse, wheresoever you had it." And Cassio, all bluster and disdain only moments before is suddenly calling her "sweet Bianca" again, seemingly begging her to forgive him. She persists, however, telling him, in effect, that it makes no difference to her if he comes to see her again or not. And, like a chided boy, Cassio runs off after her.
The final scene with Bianca, Act V, scene i, shows her to be even more completely in love, and even more proud and unwilling to be put down. Cassio is wounded in the streets, and she, hearing the noise, comes out to find him, crying, "O dear Cassio, O my sweet Cassio." And, when Emilia and Iago cast aspersions on her at the end of the scene, she defends herself with pride:
I am no strumpet, but of life as honest
As you, that thus abuse me.
So, though we see Bianca for a total of three scenes in the play, she reveals her strength, her love for Cassio, and her honest, forthright pride of self. Cassio's opinion of her, however, is a bit more wishy-washy, as he seems to change his feelings as the breeze blows.
For more on Bianca and the scenes in which she appears, please follow the links below.
How do Emilia and Desdemona display courage in Othello?
1 Educator Answer
Emilia's courage comes out in the last scene. She calls Othello, who is of great social standing compared to her, a liar and a devil. To utter such words as a woman and one of a lower class would have been incredibly courageous in her day. She also turned on her husband in that scene in defense of Desdemona. She says that what Iago said of Desdemona cheating was false and she calls Iago a liar. She calls Othello an idiot for believing Iago. Unfortunately, Emilia's courage comes out a little too late. This is probably part of Shakespeare's purpose: waiting to tell the truth can cost lives.
Desdemona's courage is displayed throughout the play. She leaves her home and seeks relationship with Othello even though her father disapproves of their union. She confronts Othello with Cassio's requests, even though Othello doesn't want her to be a negotiator for others. Finally, when she knows he is about to kill her, she asks for a little more time and confesses her innocence. Some people would just cave and tell a murderous man what he wanted to hear, but Desdemona told him the truth. This was most certainly courageous because the result was death anyway.
How does Cassio's view and treatment of women compare to Iago's in Othello?
1 Educator Answer
Quick answer:
Cassio's view and treatment of women, while misogynistic, are typical of his era. He respects Desdemona but dismisses Bianca as a mere prostitute, not considering her a serious partner. In contrast, Iago harbors a deep-seated hatred towards all women, viewing them as deceitful and unfaithful. Iago's cruelty extends to manipulating Desdemona and mistreating his wife, Emilia, reflecting his overall misanthropy.
Consistent with the attitude towards women prevalent in Elizabethan England at the time Othello was written, Cassio and Iago's treatment of women is purely sexist.
Cassio views women either as goddesses like Desdemona or as playthings like his mistress, Bianca.
At a party celebrating Othello's triumph over the Turkish fleet, Cassio sings Desdemona's praises.
She's a most exquisite lady.[2.3.18]
Indeed she's a most fresh and delicate creature.[2.3.20]
She is indeed perfection. [2.3.25]
Later, while Othello eavesdrops on Iago and Cassio's conversation, thinking that they're talking about Desdemona, Cassio callously jokes about his relationship with Bianca.
IAGO: I never knew a woman love man so.
CASSIO: Alas, poor rogue! I think, i'faith, she loves me.
. . .
IAGO: She gives it out that you shall marry her;
Do you intend it?
CASSIO: Ha, ha, ha!
. . .
CASSIO: I marry her! What? A customer! I prithee, bear some
charity to my wit; do not think it so unwholesome. Ha,
ha, ha! [3.2.125-137]
Iago's attitude towards women goes beyond sexism, however. Iago is a misogynist. He holds woman in contempt. He makes offensive comments about women throughout the play, even directly to Emilia and Desdemona.
Iago summarizes his attitude towards women to his wife, Emilia, in Act 2, Scene 1.
You are pictures out of doors,
Bells in your parlors, wildcats in your kitchens,
Saints in your injuries, devils being offended,
Players in your housewifery, and housewives in your
beds. [2.1.120-124]
Just a few lines later, Iago says to Desdemona, "You rise to play and go to bed to work," [2.1. 127], an insult to Desdemona and to all women.
Towards the end of the scene, Iago demeans Desdemona's love of Othello.
Mark me with what violence she first loved the Moor . . .
When the blood is made dull with the act
of sport . . . her delicate tenderness will find itself abused, begin to heave
the gorge, disrelish and abhor the Moor; very nature will
instruct her in it and compel her to some second choice. [2.1.239-247]
Emilia tries to be a good wife to Iago, despite his treatment of her, but ultimately he kills her for what he considers her betrayal of him for telling the truth about Iago's villainy towards Othello, Cassio, and Desdemona.
Why is Bianca's survival in Othello, despite being a prostitute, considered ironic?
1 Educator Answer
Brutal in many ways, Shakespeare's Othello is especially ruthless in its treatment of women. By the end of the play, Desdemona and Emilia are dead, both murdered in swift succession by their respective husbands. Ironically, it is Bianca, the courtesan (another term for prostitute) and Cassio's mistress, who survives the bloodbath. This detail is ironic because, during the time at which Othello is set, Bianca is regarded as "unclean" and is relatively shunned from polite society. Emilia and Desdemona, however, are "respectable" women, and so one would assume, given their high status in society, that they would live long and prosperous lives. It is a cruel twist of fate — and an interesting social commentary — that Bianca, the shunned prostitute, is the only major female character to survive the play. It seems that, in Shakespeare's opinion, a high social status does not automatically translate to true happiness and prosperity.
What are examples of Desdemona and Emilia's abuse in Othello?
1 Educator Answer
Quick answer:
An example of Desdemona being abused is Othello killing her because he wrongly believes she has cheated on him. An example of Emilia being abused is Iago bullying her into giving him Desdemona's handkerchief. Iago does not care that it will greatly hurt Emilia to unknowingly be part of a deceptive plot to harm her friend and mistress.
Desdemona and Emilia are both abused by Iago in Othello. Iago abuses Desdemona by using manipulations and lies to convince Othello that she is cheating on him with Cassio. Iago knows Desdemona is innocent but is willing to use her ruthlessly to achieve his goal of destroying Othello's life.
Iago also knows how loyal Emilia is towards Desdemona. Nevertheless, he bullies her into giving him the handkerchief that Othello gave to Desdemona as a special remembrance of his mother's life. Iago abuses his wife's trust because he does not tell her he plans to use the handkerchief to hurt Desdemona by framing her as an adulterer. Iago is indifferent to the deep pain it will cause Emilia when she finds out she played an unwitting part in harming her friend and mistress.
Desdemona is also abused by Othello, who takes out on her his fears that she is being unfaithful to him. He abuses her not only with harsh words and violence, but by not sitting down and discussing with her exactly what is going on. When he is wrongly convinced she has cheated on him, he kills her, the ultimate form of abuse.
Shakespeare shows a patriarchal society where men are too quick to suspect women of sexual infidelity and also to use them for their own purposes.
The role of gender in the tragedy of Othello
2 Educator Answers
Summary:
Gender plays a crucial role in the tragedy of Othello. The societal expectations and stereotypes of women contribute to the downfall of key characters. Desdemona's perceived submissiveness and purity contrast with the aggressive masculinity of Othello and Iago, leading to misunderstandings and tragic outcomes. The play critiques the destructive effects of rigid gender roles.
What is the significance of gender in Othello?
Gender is extremely significant in Othello. Iago uses gender norms common in Venice at that time to manipulate Othello into killing the woman he loves.
The stage for this is set early in the play, when Iago hears Brabantio, Desdemona's father say to Othello in act I, scene 3:
Look to her, Moor, if thou hast eyes to see: / She has deceived her father, and may thee.
At this time, gender norms strictly dictated that a woman must be completely sexually faithful to her husband. But, at the same time, many men believed a prejudiced gender stereotype that said women were inherently unfaithful, always ready to have affairs with other men. This is implied in Brabantio's words, the words of a sober patriarch: women are untrustworthy. Iago himself seems to believe this as part of his generally dark view of human nature. He plays on it ruthlessly to plant doubts in Othello's mind about Desdemona.
Because of the honor code that said one's manhood was undermined if one's wife was unfaithful, and because it was considered acceptable to kill an unfaithful wife, Othello kills his innocent spouse. If gender rules had not been so strict, the play could have had a more reasonable outcome.
What is the significance of gender in Othello?
Women in Othello are not at all insignificant––after all, the downfall of the titular character in the play is due to his devotion to a woman, Desdemona, even though it is orchestrated by Iago; and Iago himself is motivated in part by his wife, Emilia.
Both Desdemona and Emilia are strong characters in their own ways. While Desdemona is ultimately smothered by her husband ("put out the light, and then put out the light") her behavior when alive is that of an engaged and active young woman, interested in her community and devoted to her husband. Meanwhile Emilia, wife to a man of a lower position, attends to Desdemona while being an obedient wife to the potentially treacherous Iago. Emilia provides a foil to Desdemona in that she is a woman from an opposing side of the social spectrum: where Desdemona is a wife to a man who remains true to the end, Emilia attaches herself to Iago, who reveals himself to be a disingenuous person at an early stage.
Iago's opinion and portrayal of women in Othello and its impact on his character development
6 Educator Answers
Summary:
Iago's negative opinion and portrayal of women in Othello reveal his deep-seated misogyny and manipulation skills. He frequently degrades women, viewing them as deceitful and subordinate, which underscores his duplicitous nature. This perspective allows him to exploit female characters, advancing his schemes and highlighting his moral corruption, ultimately shaping his role as the play's primary antagonist.
What characteristics does Iago attribute to women early in Othello?
Iago is a misogynist - if not a complete misanthrope. He has no regard for humankind in general and has no respect for women at all.
Iago comments each of the females in the play crudely and negatively. He utilises Desdemona as the tool to bring down both Othello and Cassio, he says-
So will I turn her virtue into pitch,
And out of her own goodness make the net
That shall enmesh them all.
Iago is aware of, but maliciously uses, her innocence to bring about the downfall of the two soldiers and the fair Desdemona.
Bianca is not highly regarded at court and Cassio is also guilty of abusing her. However, Iago using Cassio's words about the hopelessly besotted Bianca to further anger Othello shows how he sees that women are mere toys.
He is crude and distainful of his own wife, Emilia, publicly and privately questioning her virtue and loyalty and labelling her as a scold-
Sir, would she give you so much of her lips
As of her tongue she oft bestows on me,
You would have enough.
It is Emilia who reveals her husband's evil machinations at the end of the play, and he slays her cruelly for it.
How does Iago's opinion of women develop our understanding of his character in Othello?
In Othello, Iago is a misogynist from the beginning of the play to the end. Quite simply, he sees women as inferior beings to men, and he has a hand in two of the three female characters' deaths in the play.
In Act I, Iago uses Desdemona to attack Othello. He demeans Desdemona to her father, saying she is "making the beast with two backs" with Othello. He uses sexual and animal imagery in describing her, suggesting that Iago believes women to be mere objects.
Once on Cyprus, Iago openly condescends to his wife and Desdemona, saying:
Come on, come on; you are pictures out of doors,
Bells in your parlors, wild-cats in your kitchens,
Saints m your injuries, devils being offended,
Players in your housewifery, and housewives' in your beds.
Again, he uses crude sexual imagery to describe women, even though they may be faithfully married. His finishes off the exchange with a punch line:
This quote indicts Iago as one who believes women to be evil temptresses whose cruel nature is only to lure men into their lairs. Critic A. C. Bradley agrees:
[Iago] succeeds very often with a mere hint—as, for example, the suggestion that Desdemona can not possibly escape the corruption for which the Venetian women (he implies) are notorious:
In Venice they do let heaven see the pranks
They dare not show their husbands.
[III. iii. 202-03]
Iago will use his wife to get to Othello as well. He urges her to steal the handkerchief. His plan almost works, but he understimates Emilia's outspokenness. She calls him a villain after Desdemona is strangled, to which Iago responds, "Get you home!" Again, he believes a woman's proper place is as a domestic. When she persists in calling him a villain, Iago calls her a "villainous whore!" These are the last words he says to her before he stabs her.
So, Iago is responsible for two women's deaths, Desdemona and his own wife's, which show his complete disregard for their kind.
Discuss Shakespeare's portrayal of women in Othello.
In Othello, there are 3 women and 3 men, and here's how they match up: Othello - Desdemona (upper-class); Iago - Emilia (middle-class); Cassio - Bianca (low-class).
The two main women, Desdemona and Emilia, change substantially during the play. They are foils of each other: Desdemona is idealistic and traditional, whereas Emilia is realistic and jaded. Both of them are deceived and murdered by their husbands. Shakespeare seems to be saying that his society was more sexist than racist. They are the victims of male revenge and jealousy.
Desdemona goes from being very vocal in court and defiant of her father in Act I. She secretly elopes with a black man, which would have been scandalous. Not only that, but she talks the Duke into letting her accompany her husband to war. After Act II, she is as submissive and quiet as a mouse. She knows she's going to die, and she does not fight or call for help. In all, she seems like two different characters: a vixen in Act I, and a passive victim in Acts II-V.
Emilia changes the other way. She goes from being chatty in Act II to openly defiant of her husband in Act V. Iago is a misogynist who openly slanders women in Act II ("You rise to play and go to bed to work”), yet she says nothing. Only after Desdmona is murdered does she cry foul. But, she is the hero of the play, the only one with enough courage to call men what they really are ("[men] are all but stomachs, and we all but food; They eat us hungrily, and when they are full, they belch us.")
Overall, Othello goes from treating his new bride as a goddess to a whore, all because of an accusation. This suggests that women are set up to fail, that they are victims of impossible standards (even double-standards), that they are play-things, status symbols, toys, and food for men.
As such, women are afforded no voices. They cannot defend themselves, and no male stands up for them. An outspoken woman was the same as an unfaithful one, such was the misogyny inherent in the macho culture. Desdemona's fallen status as a whore even below Bianca suggests that men may not have loved women at all, only used them for work and play.
Discuss Shakespeare's portrayal of women in Othello.
From a scholarly point of view (as the asker is an educator), this is a fairly complex question, because purpose depends on the agency. That is, a purpose is not something existing "out there" but implies a purposive agent.
In terms of Shakespeare's purpose for writing the female characters into the play, we don't have any letters, diaries, or essays by Shakespeare himself explaining his reasons for writing in Desdemona and Emilia, although without the former, there would be no play, as the plot revolves around Othello's relationship with her. Also, most repertory companies of the period had male actors who specialized in female roles, and audiences appreciated their virtuosity, and so there are good reasons, in terms of the dynamics of a repertory company and audience appeal, for Shakespeare to have included these characters in the play. However, there are, as Wimsatt and Beardsley argued, limits to intentionalist criticism.
In terms of roles, this is a story of sexual desire and jealousy inflaming passions and causing the downfall of Othello, an otherwise brilliant general and honorable man. He makes a great contrast to Iago, whose fall into infamy is motivated by careerism and envy rather than a grand passion. Emilia, as well as her role in furthering the plot, acts as a foil to Desdemona. Although they are both loyal to their husbands, Desdemona acts in a morally good fashion and is a model wife, while Emilia, although not an evil character, is far weaker, and in certain ways, like Othello, led by love into moral faults. If one looks at the two couples in the play, one finds an interesting balance of love in the correct degree (Desdemona) which is purified by strong individual will and moral judgment, excessive love leading to moral lapses (Othello, Emilia) and deficiency of both love and morals (Iago). This makes for a certain structural symmetry in the play.
Discuss Shakespeare's portrayal of women in Othello.
Yes, each of the women speak out, but aside from Othello listening to Emilia's proclamation of Iago's guilt at the end of the play (when all the damage has been done), none of them are heeded.
Desdemona does spend the majority of the play pleading with Othello for Cassio's reinstatement. However, she does this using her feminine wiles, not through directed confrontation and reason, and Othello playfully dismisses her at first, and then adds her pleas to his list of reasons for being unfaithful. She also stands up to Othello when he accuses her of being the "whore of Venice," but her even her straightforward and dignified refusal gets her nowhere.
When Iago manages to get Desdemona's handkerchief from Emilia, she does wonder what he'll do with it, but quickly puts it from her mind. This dismissal is a key moment in the play, as much of the "evidence" of Desdemona's unfaithfulness hinges on this prop. So, Emilia may speak the truth at the end of the play when it is too late to save Desdemona, but she does not speak out when it is more crucial to do so.
Bianca does not really have any possibility of speaking out and being taken seriously. She is a whore, and as such, not at all taken seriously by anyone. When Cassio is attacked in her earshot, she does run out and fall all over him with "O, Cassio," etc., but she is in no position to have any effect on the events of the play. She completely lacks the knowledge that could assist Cassio, and, because of her position in society, no one would listen to her if she did speak out.
So, each of the women speak out, but it doesn't seem that they really have a voice, since none of them are able to turn the tide of the tragic events that transpire.
How does Shakespeare use Iago to portray women negatively in Othello?
Iago has a fundamental disrespect for women and is convinced that they are, or will be, disloyal. When discussing the marriage of Othello to Desdemona with the lovelorn Roderigo in Act I scene iii, Iago says that she will soon tire of her new husband-
Shee must change for youth; when she is sated with his
body, she will find the error of her choice. She must have
change, she must.
One of the reasons he gives for his hatred of Othello is that there has been rumor that he has slept with Iago’s wife, Emilia-
I hate the Moor;
And it is thought abroad that 'twixt my sheets
He has done my office.
Iago admits that there is little evidence for this, but the suspicion alone is enough to anger him to seek retribution-
I know not if't be true;
But I for mere suspicion in that kind
Will do as if for surety.
In Act II scene I, Iago engages in saucy banter with Emilia and Desdemona, using his prejudices against women to mock them-
Come on, come on. You are pictures out of doors,
Bells in your parlors, wildcats in your kitchens,
Saints in your injuries, devils being offended,
Players in your housewifery, and housewives in your
beds.
His most offensive line is delivered in rhyme
Nay, it is true, or else I am a Turk:
You rise to play, and go to bed to work.
Here Iago condemns both women as prostitutes. He returns to this slander at the end of the play when he tries to silence Emilia from revealing his evil plot.The jovial banter is chillingly echoed with real venom by Iago as Emilia reveals Iago’s wicked deception –
Villainous whore!
Violence Against Women in Othello and Its Modern-Day Parallels
9 Educator Answers
Summary:
In Shakespeare's Othello, violence against women is depicted through Othello's public striking and eventual murder of Desdemona, and Iago's killing of his wife, Emilia. These acts reflect the low status and objectification of women in Jacobean society, as highlighted by characters' derogatory language and misogynistic attitudes. This violence parallels modern-day issues, where women still face abuse globally, albeit with increased legal protection and awareness. The play's exploration of jealousy and honor killings resonates with contemporary "honor" crimes, emphasizing persistent gender-based violence.
What quotes in Othello depict violence against women?
There are three key points where we see violence against women in “Othello”. Firstly, when Othello strikes his wife in public, then when he kills her, and when Iago stabs his wife, Emilia.
It is in Act IV scene i when Othello, much charged by Iago’s evil suggestions about Desdemona and Cassio, strikes his wife. It is regarded as a grievous action from a civilized man, and Othello is called upon by Lodovico to account and apologise for his actions –
My lord, this would not be believed in Venice,
Though I should swear I saw't. 'Tis very much:
Make her amends; she weeps.
Sadly Othello’s jealousy and monstrous behaviour grow in equal measure, until he kills his wife rather than endure the shame of cuckoldry in Act V scene ii –
Therefore confess thee freely of thy sin;
For to deny each article with oath
Cannot remove nor choke the strong conception
That I do groan withal. Thou art to die.
He is emotional at her death, as if her killing has more to do with maintaining honour than avenging jealousy. Iago’s slaying of his wife, Emilia in Act V scene ii, has none of this emotion or empathy. His actions are purely selfish, if not psychopathic. Emilia manages to reveal the truth of her husband’s cruel plot, and asks to be laid at the side of her honourable mistress-
Moor, she was chaste; she loved thee, cruel Moor;
So come my soul to bliss, as I speak true;
So speaking as I think, I die, I die.
What quotes in Othello depict violence against women?
Perhaps the best quote you can use for this would be from Act V scene 1 when Othello finally has the showdown with his wife that has been promised for so long when he confronts her with the supposed knowledge that she has been unfaithful to him. Note in particular the way in which Othello tries to justify the murder that he is about to commit in the words that he utters:
Minion, your dear lies dead,
And your unblest fate hies: strumpet, I come.
Forth of my heart those charms, thine eyes, are blotted;
Thy bed, lust-stain'd, shall with lust's blood be spotted.
Othello's logic, although perverse, does have some kind of twisted reasoning behind it. Through the language that he uses to address his wife, he makes it very clear that her act of infidelity makes his murder of her completely justified and deserved. He dehumanises her by refering to her as a "strumpet" and the last line shows the poetic justice of her death. As lust has been responsible for her sin, it will be her lustful blood that will be spilt on the bed, which is after all the site of her infidelity.
What quotes in Shakespeare's Othello reflect the status of women?
In act 4, scene 3, Emilia delivers an impassioned monologue about the expectations and perceptions of women prevalent in Jacobean England. She lambasts men for being hypocritical, and she tacitly criticizes women like Desdemona for being naive. In this monologue, Emilia exposes the double standards as regards Jacobean expectations of men and women. She questions why husbands cheat on their wives, or, as she puts it, "change us for others," and she concludes it is because men have desires and frailties that they cannot control.
Emilia then points out that women also have "affections, / Desires for sport, and frailty," just as men have. The implicit conclusion is that men should not expect women to be faithful when they, the men, are not. Husbands, Emilia implies, should not expect their wives to be any less susceptible to "affections, / Desires ... and frailty" than they are themselves. The underlying implication of Emilia's monologue is that the status of women in Jacobean England is so low that they are condemned for the same failures which are excused in men.
Earlier in the play, in act 2, scene 1, Iago proposes that all women are "pictures out of doors, / (but) Bells in (their) parlors." Iago also states that there "never yet" has been a woman who "was foolish that was fair," and, being "fair," or beautiful, has not used that beauty to "help ... her to an heir." The first quotation implies that women are deceptive, putting on a virtuous appearance "out of doors" while being anything but virtuous behind closed doors, or "in (their) parlors." The second quotation implies that beautiful, or "fair" women use their beauty cynically to their own advantage, to win "an heir." Iago generalizes that all women, without exception, are deceptive. His opinions about women, as evidenced throughout the play, are deeply misogynistic, and they are to an extent a reflection of the lowly status that women were afforded at this time.
What quotes in Shakespeare's Othello reflect the status of women?
Othello plays on the low status of women in Venetian society. Women are depicted as the possessions of men, as sex objects, and as untrustworthy.
For example, in Act I, Iago says the following to Brabantio:
"Sir, you're robbed . . .
Even now, now, very now, an old black ram
Is tupping your white ewe."
This quote refers to Desdemona's marriage to Othello. Iago likens Desdemona to one of Brabantio's possessions when he says he is "robbed." He also characterizes the marriage through the sex act, inciting Brabantio to visualize Othello having intercourse with his daughter "now, now, very now." Iago does not see marriage as the union of two equals or a meeting of true minds but in terms of copulation.
In Act I, Brabantio articulates a theme and a stereotype of women's innate untrustworthiness. It is not only Iago in this play who harps on women as deceitful. Brabantio says the following:
"Look to her Moor, if thou has eyes to see.
She has deceived her father, and may thee."
Brabantio is willing to see his own daughter as possibly inherently untrustworthy: if she eloped with Othello, she might sexually betray Othello.
In Act III, Iago says the following to Cassio:
"In Venice they do let God see the pranks
They dare not show their husbands.
Their best conscience is not to leave't undone but to keep't unknown."
Here, Iago asserts that Venetian women hide their rampant sexual unfaithfulness, or what he calls their "pranks." They feel no guilt about what they do; the best their lax consciences can do is to try to hide their sexual misdeeds from their husbands.
Living in such a culture of misogyny and distrust of women, it is no wonder Othello falls for Iago's deceptions about Desdemona.
What quotes in Shakespeare's Othello reflect the status of women?
You might start your search for quotations in Iago's description of the perfect woman, which occurs in the first part of Act 2, when he is jesting with Desdemona and Emilia. After listing these characteristics, which include a soft voice, thrift, a calm temper and a reserved nature, Iago ends with the purpose of such a creature:
To suckle fools and chronicle small beer.
In other words, the perfect woman's purpose is to nurture babies and to keep house. Whether she be rich or poor, beautiful or ugly, smart or stupid, this is her purpose. Of course, Iago is a villain, and his words are not supposed be taken as truth--or are they?
Even though they are more noble in character, the other male characters seem to view the status of women in the same way as Iago does. When Brabantio finds out that Desdemona has eloped, he equates her to property, calls Othello a "foul thief" (1.2), and eventually disowns her because of her decision. Cassio seems to worship women, but he scoffs at the idea of marrying Bianca who, as his courtesan, is socially inferior to him
I marry her! What, a customer! I prithee bear some charity to my wit.
It seems, according to Cassio, that some women are not worthy of marriage. Even Othello has issues in his view of women. As much as he loves Desdemona, he also objectifies her. He talks of winning her as a prize when he tells the senators in Act 1 how he and Desdemona fell in love. In Act 2, he describes his marriage as a "purchase," and their lovemaking "a profit."
It seems that the status of women is to be objects used by men. As Emilia says in Act 3,
They are all but stomachs and we all but food.
They eat us hungrily, and when they are full
They belch us.
The status of any particular woman seems to depend on a male's perceptions of her. She is either an object to be esteemed and treasured, a sullied woman to be scorned and rejected, or a servant (like Emilia) to be ordered about.
How does violence against women in Othello compare to modern day violence against women?
There can be no question that violence visited against women in Shakespeare's time was a common occurrence. Today, women are still brutalized in societies all over the world. The biggest difference lies in the fact that in Shakespeare's time, a man had the right to treat his wife as he saw fit. A woman was something that belonged to her father and then her husband.
In Othello, our tragic hero is goaded by Iago into believing that Desdemona has been unfaithful. He takes Desdemona's handkerchief and leaves it in Cassio's house and then tell Othello that his wife and Cassio have committed adultery many times. Othello believes every lie Iago has told him.
In Act Five, scene two, he tells his wife to make sure she has repented her sins, for she is going to die. She swears she has been faithful.
DESD:
And have you mercy too! I never did
Offend you in my life; never loved Cassio
But with such general warranty of heaven
As I might love. I never gave him token. (V.ii.68-71)
Desdemona pleads for her life, but Othello does not believe her. Rather than believe in his wife's devotion and love to her husband, he believes the ugliness that Iago has passed on which is completely false.
OTHELLO:
By heaven, I saw my handkerchief in ‘s hand.
O perjured woman! Thou dost stone my heart,
And makest me call what I intend to do
A murder, which I thought a sacrifice:
I saw the handkerchief. (72-76)
Desdemona cannot make him believe her and he kills her. When Emilia discovers this, she ferrets out the truth: that her husband lied and led Othello to believe his wife unfaithful.
EMILIA:
Villainy, villainy, villainy!
I think upon't, I think, I smell't, O villainy!
I thought so then. I'll kill myself for grief:(225)
O villainy, villainy!
Othello bemoans what he has done when he learns the truth. He realizes that he was tricked. With an allusion, Othello compares himself to Judas ("the base Indian") who killed Christ (the "pearl"): he destroyed the worthiest of all men—and Othello has killed his worthy wife.
OTHELLO:
...When you shall these unlucky deeds relate,
Speak of me as I am...
...Then must you speak
Of one that loved not wisely but too well;
Of one not easily jealous, but, being wrought,
Perplex'd in the extreme; of one whose hand,
Like the base Indian, threw a pearl away
Richer than all his tribe...(390-397)
We also find Iago brutalizes his wife, killing her when she exposes his murderous plot.
Today, violence against women is still practice in some countries. As recently as August, 2010, it was reported that an Afghan widow was beaten and shot to death—while pregnant—for committing adultery. One difference in this case is that her lover escaped, indicating that he, too, would have been punished, though it is impossible to know if he would have been killed.
Another (unmarried) Afghan couple was stoned to death around the same time. In addition, a 13-year old girl was stoned to death because she was gang-raped, and a 20-year old woman was killed because she gave birth to a still-born baby. (The father, unhappy over the dead child, turned her in. She was punished, he was not.)
In the US, there is also violence against women, though there is greater awareness today, and it is illegal. A survey published in 2011 reported that more than half of women surveyed (ages 18-35) have "experienced" abuse.
While we would expect the treatment of women to be more positive in a more modern word, it still takes place.
How does violence against women in Othello compare to modern day violence against women?
In William Shakespeare's "Othello," the main character, Othello is a Moor, a
term used in the period to refer to Arabs. The major act of violence against a
woman is when Othello, misled by Iago to believe that Desdemona has committed
adultery, and driven insane by jealousy, kills Desdemona in part to do what he
considers preserving his own honour.
The obvious parallel to this is the tradition of "honour killing" in the
contemporary world, particularly in the Middle East and South Asia, in which
women and girls are killed for acts that men think may have injured the
families honour, such as dressing immodestly, dating the wrong person, or
sometimes just being a relative of a man who has offended the attackers'
prejudices.
What are examples of violence against women in Othello?
Obviously, the entire narrative of Othello builds toward a horrific act of misogynistic violence: Othello's murder of Desdemona in the play's final scene. This crime is presaged by the painful moment in Act IV, Scene 1 when Othello strikes Desdemona ("I have not deserved this," she responds), and echoed near the play's conclusion in Iago's own murder of Emilia.
But beyond these three instances of physical violence against women, I think your question is best served by considering the pervasive varieties of verbal, social, and emotional harm inflicted against women in the deeply patriarchal world of the play. Emilia (who, being married to the profoundly misogynistic Iago, is something of an expert on the ways in which men subdue and marginalize women in both public and private life), advises the newlywed Desdemona with this pungent analogy: "'Tis not a year or two shows us a man. / They are all but stomachs, and we all but food. / They eat us hungerly, and when they are full / They belch us." In Emilia's painful experience, the salient quality of men is their rapacious swiftness to possess, use, and drain women—sexually, socially, economically, emotionally—before discarding them. And although this extremely dark view of male-female relations is derived from her relationship with a man who embodies the worst and most self-serving aspects of patriarchal ideology, non-physical forms of violence against women are rampant in Othello. We see this first in Brabantio's possessiveness toward his daughter Desdemona, and then, more catastrophically, in Othello and Iago's escalating cruelties toward their wives.
It's important to remember that Othello and Iago are both military men, and that the military culture in which the play is set is both emphatically masculine and founded on violence. Othello, Iago, and even Cassio with his callous and belittling attitude toward Bianca, are men infected to their bones by the norms of a culture in which the the marginalization and domination of women are deeply ingrained patterns. Dehumanizing language toward women courses through the play—and through the minds of these characters—like poison. And Shakespeare shows us how such a proliferation of ideological violence leads inexorably to physical violence.
The insight of Iago is the psychological fragility of any man whose sense of himself is contingent on the empty, socially-constructed ideal of his wife's chastity, and the ease with which such sexual possessiveness can be converted into physical violence. The insight of Othello, the play—an insight which so far transcends the social and political context in which the play was written that our own society continuously fails, 400 years later, to catch up to it—is that any ideological system which regulates, commodifies, and/or demonizes the sexuality of women to preserve the cultural dominance of men is itself violence.
How does Shakespeare's play Othello depict violence against women?
The most obvious manner in which William Shakespeare’s play Othello shows violence against women is in its ending, in which Othello, the protagonist of the play, kills his wife, Desdemona, because he suspects that she has committed adultery. Even before the climactic scene, as Othello’s suspicions are fuelled by Iago’s innuendo, and he slowly loses his sanity, he becomes verbally violent. Although it is less overt, Iago’s relationship with Emilia shows signs of being abusive as well. Othello also kills Emilia at the end of the play. Bianca also appears as a victim in the play, although not as dramatically as the other women.
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