Othello Exam Notes PDF

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Summary

Act by Act breakdown, as well as analysis of Themes, Characters and Techniques. ...

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Plot Summaries: Act/Scene

Summary

Act 1 Scene 1

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Act 1 Scene 2

- Cassio and officers from the Venetian court approach Othello. - Othello gets a message that he is wanted by the Duke of Venice about something

Takes place in Venice Starts in the middle of an argument between Roderigo and Iago Iago has been passed over for the job of lieutenant, where Othello chose Cassio. Roderigo pays Iago to help him get Desdemona Iago rudely tells Brabantio that his daughter and Othello are married and having sex by saying that they are “making the beast with two backs” - Brabantio says his daughter has been stolen from him by magic “charms,” so he and his men follow Roderigo to Othello.

concerning Cyprus

- Brabantio tells men to attack Othello Act 1 Scene 3

- Sailor announces the Turks have turned toward Rhodes.Turks joined with more

Key Scene

- Brabantio, Othello, Cassio, Iago, Roderigo, and officers arrive - Brabantio thinks his daughter has been stolen from him by Othello’s black magic,

forces and heading back toward Cyprus.

which Othello denies. Duke is persuaded by Othello’s story, as he is important being Venetian’s general. Desdemona steps it to verify she married Othello off her own free will Brabantio accepts her decision and allows the court to return to state affairs Duke decides Othello has to go to Cyprus to defend the island from the Turks Desdemona asks to go with Othello Roderigo feels his hopes of scoring Desdemona have been ruined, Iago tells him everything will be fine - Iago delivers first soliloquy, declaring bitter grievances such as hatred for Othello and suspicion Othello has slept with Emilia, his wife. - Iago has plan to play Roderigo out of his money and prove Othello that Cassio has slept with Desdemona

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Act/Scene

Summary

Act 2 Scene 1

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Takes place in Cyprus Montano: the island’s governor, loyal to Othello due to the storm, Cassio saw that the Turks lost most of their ships and men Iago describes woman in general as deceptive, hypocritical and lazy. Othello’s ship eventually arrives after a while and orders Iago to unload his ship, who becomes polite again. - Iago convinces Roderigo to fight Cassio - Iago’s soliloquy: He thinks that Othello has slept with his wife, introducing a new theme of revenge

Act 2 Scene 2

- Herald announces a celebration upon the demolishment of the Turkish fleets and the marriage of Othello and Desdemona

Act/Scene

Summary

Act 2 Scene 3

- Othello leaves Cassio on guard - Iago gets everyone drunk, hoping it will make Cassio do something stupid that will offend the island.

- Montano (governor of the island) gets involved in the fight and Cassio stabs him - Othello comes in and demands to know what happened - Iago’s soliloquy at the end tells about Desdemona and how she is eventually going to move on from Othello and Cassio….

- At first Iago feigns reluctance to incriminate Cassio and Othello falls into Iago’s trap, stating that he can tell that Iago softened the story out of honest affection for Cassio. Othello dismisses Cassio from his service. - Theme of deception (Iago’s) continues through this act, as well as revenge (Iago plotting revenge on Othello) and reputation (Cassio, and Iago as Iago tells Cassio he has not lost his reputation…)

Act 3 Scene 1

- To win Othello’s good graces, Cassio sends musicians to play music beneath his window.

- Othello sends his servant, a clown, to tell the musicians to go away. Cassio asks the clown to entreat Emilia to come speak with him, so that he can ask her for access to Desdemona. - When the clown leaves, Iago enters and tells Cassio that he will send for Emilia straightaway and figure out a way to take Othello aside so that Cassio and Desdemona can confer privately. - After Iago exits, Emilia enters and tells Cassio that Othello and Desdemona have been discussing his case. Desdemona has pleaded for Cassio, but Othello worries that Montano’s influence and popularity in Cyprus would make Cassio’s reappointment impractical. - Emilia allows Cassio to come in and tells him to wait for Desdemona. Act 3 Scene 2

- Iago, Othello, and a gentleman walk together at the citadel. Othello gives Iago some letters to deliver and decides to take a look at the town’s fortification.

Act 3 Scene 3

- Desdemona, Cassio, and Emilia enter mid-conversation. Desdemona just vowed to do everything she can on Cassio’s behalf when Othello and Iago enter.

- Cassio quickly departs, and Othello asks whether it was Cassio he saw leaving the -

room. Iago responds that surely Cassio would not behave like a guilty man at Othello’s approach. Desdemona entreats Othello to forgive Cassio and reinstate him as lieutenant. Othello assures her that he will speak to Cassio, but he answers evasively and she criticises his hesitance. He tells her that he wants to be left alone. She drops her handkerchief and Emilia picks it up, giving it to Iago. Alone with Othello, Iago begins his insinuations of an affair between Cassio and Desdemona by reminding Othello that Cassio served as Othello and Desdemona’s go-between during their courtship. Othello asks Iago whether he believes Cassio to be honest, and Iago feigns reluctance to answer. Iago plants in Othello’s mind thoughts of adultery, cuckoldry, and hypocrisy, until Othello screams at the ensign to speak his mind. Iago suggests that Othello observe his wife closely when she is with Cassio. Othello tells Iago to have Emilia watch Desdemona when she is with Cassio. Iago appears to retreat from his accusations and suggests that Othello leave the matter alone. But he has already made his point. By himself, Othello muses that his wife no longer loves him, probably because he is too old for her, because he is black, and because he doesn’t have the manners of a courtier.

Act 3 Scene 4 Key Scene

- Desdemona wonders to Emilia where her handkerchief might be. - Othello enters and accuses her of sexual promiscuity due to her hand’s moistness. - He then asks her to lend him her handkerchief. When Desdemona cannot produce the

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handkerchief he wants to see, Othello explains the handkerchief’s history: • An Egyptian sorceress gave it to his mother and told her that it would make her desirable and keep Othello’s father loyal. He was given the magic handkerchief on her deathbed, instructing him to give it to the woman he desired to marry. Desdemona is unsettled by the story and says that she has the handkerchief, but not with her. Othello does not believe her. He accuses her, demanding “The handkerchief!” with increasing vehemence. She unsuccessfully entreats Cassio to change subject. Othello storms off and Emilia laments the fickleness of men. Cassio and Iago enter, and Cassio immediately continues with his suit to Desdemona for help. Desdemona tells Cassio that Othello is in a bad mood. Emilia speculates that Othello is jealous, but Desdemona maintains her conviction that Othello is upset by some political matter. While Cassio waits for Desdemona to find Othello, Bianca enters. She reprimands Cassio for infrequent visits, and he apologises, saying that he is under stress. He asks her to copy the embroidery of a handkerchief he found in his room and she accuses it to be for woman, but Cassio tells her she is being silly. They make a plan to meet later that evening.

Act 4 Scene 1

- Iago tells Othello confessed to sex with Desdemona to which faints/has an epileptic fit.

Key Scene

- Othello talks of himself as one among many cuckolds - Iago tells him to hide and observe his conversation with the returning Cassio. - Othello withdraws (too emotionally involved to understand Iago’s manipulation) as

When Cassio enters, Iago says they must let the fit take its course and Cassio leaves.

Iago talks to Cassio about Bianca (Othello doesn’t know it’s Bianca).

- Othello seeing the smiles and laughter believe they are joking about how much Desdemona loves Cassio as he has been primed to think so.

- Bianca enters throwing Cassio the handkerchief which Iago planted. - Othello sees this as “ocular proof” which he sought, now convinced of Desdemona’s infidelity and resolves to kill both Cassio and Desdemona that night.

- This charade convinces Othello of Desdemona’s guilt and he vows to kill her. Iago suggests Othello should strangle her in bed and he promises to kill Cassio. When Desdemona arrives with news from Venice, she inadvertently ignites Othello’s fury by referring to her regard for Cassio, for which he strikes her. Act 4 Scene 2

- Othello questions Emilia about Desdemona who assures him nothing is going on. Othello believes Desdemona has simply tricked Emilia as well.

- Othello speaks to Desdemona in private, calling her a whore which she denies. - Othello leaves when Emilia comes in. Desdemona knows she's to be punished but she’s not sure what for. Emilia suspects it is jealousy, while Iago tells her it is only the business of the state. - Rodrigo is sick of the quest and plans to withdraw, and Iago decides on a bold move; he urges Rodrigo to kill Cassio, which will keep Othello and hence Desdemona in Cyprus. Act 4 Scene 3

- After supper, Othello orders Desdemona to go to bed. - Desdemona and Emilia discuss the situation; Emilia sees the marriage as a mistake but Desdemona has no regrets.

- She has a premonition of death which she relays to Emilia. - Desdemona sings the ‘Willow Song’, remembering the maid Barbary whose lover went mad and abandoned her, and then died singing the song.

Act 5 Scene 1

- In the street at night, Iago directs Rodrigo to ambush Cassio. - He is unsuccessful and is wounded by Cassio, however Iago stabs Cassio from

Key Scene

behind and kills Iago before runs away. (Then comes back pretending to be a responder). - Othello hearing Cassio’s cry believes Iago has killed him (per request), and following Iago’s lead he needs to harden his heart against his wife and spill her blood in the bed she betrayed him.

Act 5 Scene 2

- Resolute Othello approaches a sleeping Desdemona and kisses her. - She wakes, and he tells her he is going to kill her. Desdemona professes her

Key Scene

innocence, insisting she doesn’t love Cassio and never gave him the handkerchief.

- Her tears at the news that Cassio is dead provoke him to smother her. - Othello lets Emilia into the chamber. - Desdemona revives temporarily and Emilia hears her cry, and her dying words affirm her innocence and she insists that Othello is not to blame.

- Emilia argues with Desdemona and she reveals he has been deceived by Iago. She calls for help and Montano, Gratiano and Iago arrive.

- Emilia confirms she gave the handkerchief to Iago, and Othello tries to kill Iago who kills Emilia before escaping.

- Othello mourns his innocent Desdemona, and when Iago is brough back he refuses to say anything.

- Othello’s command is given to Cassio, and losing his reputation he stabs himself, kisses the lifeless Desdemona and dies.

Context: Shakespeare and the Londoners would have been accustomed to seeing soldiers in their capital. England had been at war with Spain in the Spanish Armada 1588 when Spain attempted an invasion of England. Spanish soldiers were obvious enemies to be identified and distrusted. - These ideas are incorporated in the characterisation of Iago, the play's antagonist. - General is thought to be logical, loyal, brave, trustworthy and courageous, and to be promoted to this position shows that Othello would have lived up to these qualities. - Ensign is crucial on the battlefield and had to be extremely courageous and loyal, thus for Othello to have assigned Iago with this position, he would’ve trusted Iago immensely This literature contained stereotypical descriptions of Moors as exotic, open, gullible, lustful and very sexually jealous men with volatile tempers. This stereotype is used by Shakespeare in his characterisation of Othello. It is an expectation that has been internalised by Othello himself and a set of assumptions he struggles against in his aspiration to become assimilated into Venetian culture

Theme: Outsider/Identity Brabantio: "corrupted by spells and medicines" and "with some mixtures pow'rful o'er the blood… he wrought upon her". Act 1 Scene 2 Brabantio ignores all of Othello's good qualities, allowing only for his prejudice to influence his judgment. Believes he used witchcraft to get Desdemona to marry him. ! Iago/Roderigo: "the thicklips" —Act 1 Scene 1 using a synecdoche of that highlights only Othello's foreignness (outsider) of African heritage and belies Roderigo's distrust of Othello based solely on his color. - call Othello a ‘lascivious Moor’ identifies Roderigo’s jealousy of Othello from his love for Desdemona. - “it is not my virtue to amend it”, highlights Iago’s manipulation as he convinces Roderigo to take action although it is initially against his virtue. !

Iago: "Your old black ram is tupping your white ewe" and "a Barbary horse" —Act 1 Scene 1 Provocative!Animal imagery is used to convey immorality, or, here, a bestial desire or illicit passion.!Iago's statement is doubly potent, since it not only condemns Othello for his alleged lust, but also plays on Brabantio's misgivings about Othello's color, and outsider status. - Iago as an outsider in Venetian society is jealous of Othello as he represents the success of an outsider moving up the ranks of Venetian society, resorting to colloquial racial slurs to degrade Othello in Brabantio’s eyes (a representation of Venetian society). - “I hate the Moor” Repetition in Act 1 Scene 3 reinforces his hate and jealousy towards Othello. ! Othello: “Why did I marry?” —Act 3 Scene 3 Shows his self pity and insecurity. - Later on, Othello’s eloquence is deteriorated into melodrama. in which Iago allows him to vent, waiting for Othello to direct his anger away from Iago. Othello: “the fixed figure for the time of scorn to point his slow and unmoving anger at!” — Act 4 Scene 2 Shows his self consciousness of his position in society as a Moor and an outsider, fearing he has become a lasting stock. While he previously tried to retain his own image and rejecting the stereotype of a Moor, he becomes self conscious and angry thus striking Desdemona.

Theme: Trust/Honesty Iago: "I follow him to serve my turn upon him… In following him, I follow but myself"!—Act 1 Scene 1 Emphasises Iago's deceit and disloyalty, acting completely out of his own self-interest - “But I will wear my heart upon my sleeve/For daws to peck at. I am not what I am.” Visual metaphor and paradox reveals his deceptive and manipulative personality, willing and skilful at weaving a facade of trust to veil treachery. Shakespeare explores the idea of appearance vs reality through Iago’s character, and Iago reveals his pride to the audience increasing dramatic tension. - “Put money in thy purse.” Iago repeats this idea to Roderigo manipulating him to place trust in him, however after in soliloquy he discourses to the audience “thus do I ever make my fool my purse.” Dramatic irony heightens the audience’s suspense over Iago’s Machiavellian deceit. Duke: "if virtue no delighted beauty lack, your son-in-law is far more fair than black" —Act 1 Scene 3 Symbolism of light and dark are again juxtaposed in the Duke's declaration to Brabantio: Here, black is associated with ugliness, sin, and darkness, and, by extension, blacks are assumed to embody these traits. Iago: “The Moor… thinks men honest that but seem to be so; And will as tenderly be led by th’nose/ As asses are.” — Act 1 Scene 3 Soliloquy: Iago compares Othello to an animal highlighting his inclination to trust people absolutely and being easy to manipulate. - “Knavery’s plain face is never seen till used” shows how the misinterpretation of scenarios have led him to the choice about the requirement of vengeance. - This soliloquy exposes Iago’s intentions and frustrating desire to take revenge. Iago: “Yet, I persuade myself, to speak the truth” and “I had rather have this tongue cut from my mouth…” and “I am an honest man.”—Act 2 Scene 3 Dramatic irony as Iago is lying to Iago, feigning reluctance though he is intentionally ruining Cassio’s reputation. This is also represents Iago’s manipulative and shrewd side. Othello: “If she be false, O then heaven mocks itself; I’ll not believe it.” — Act 3 First soliloquy Othello’s trust in Desdemona is evident. Hyperbole is used.

- Act 3 Scene 3 “I think my wife be honest, and think she is not; I think that thou are just, and think thou are not” Repetition and contradiction is used here to convey the inner conflict within Othello’s mind. Othello: “All my fond love thus do I blow to heaven; ’tis gone” — Act 3 Scene 3 His “ocular proof” very easily allows him to lose his trust towards Desdemona after seeing the handkerchief. - Iago: “[Desdemona] and sighed, and kissed, and then cried” polysyndeton captures him playing on Othello’s jealousy leading Othello to lose rational thinking. Iago: “Faith that he did — I know not what he did” — Act 4 Scene 1 Iago’s use of lengthy syntax heightens the dramatic tension and suspense, placing suspicion in Othello’s mind and feeding his discomfort and darker thoughts. - Iago mentions the significance of the handkerchief and implies the symbolic value of love and devotion, thereby hinting his wife was unfaithful. - “Work on, my medicine, work!” Ironically Iago uses the metonym “medicine” to exemplify the power/significance of poison of the mind, and influences the fit. He consciously weaves suggestion and partial truths to string a believable tale, which poisons Othello’s mind rather than providing a cure as medicine should. - “Thus credulous fools are caught” show Iago’s influence in Othello’s downfall. - Repetition of the word “lie” and “handkerchief” emphasise why Othello has broken down. The rhetorical questions show Othello questioning what has possible happened, and these techniques used together show how these thoughts plague his mind and becomes unable to see reason. - Othello loses his verse and his eloquence, speaking in truncated sentences before descending into his fit. - Paragraph is in prose, demonstrating how Othello has been affected by these accusation and can no longer speak in verse. - World choice and tone of “How shall I murder him, Iago?” demonstrates Othello’s trust in Iago, emphasising dramatic irony and heightening tension in the scene and builds suspense for the following acts. Also shows his increasing brutality. Roderigo: “O damned Iago! O inhuman dog!” — Act 5 Scene 1 Roderigo realises Iago’s deception and back-stabbing personality, cursing him under his dying breath. His derogatory language and negative connotations explicitly outline and depict Iago’s evil, manipulative power and regret in having trusted him. - Before, Roderigo was extremely trusting of Iago, evident as Iago influences Roderigo to give him monoey. This shows both character’s nature as Roderigo is naive and gullible and Iago easily plays on his characteristic. ! Theme: Women Iago: "He tonight hath boarded a land carack," — Act 1 Scene 2 Iago tells Cassio pretending to be supportive; his diction and choice of metaphor make Othello into some kind of pirate, stealing Desdemona's love, while reducing Desdemona into a mere prize. Uses a rather uncomplimentary metaphor to describe the coupling. Desdemona: “ That I did love the Moor… storm of fortunes may trumpet to the world.” — Act 1 Scene 3 An oxymoronic metaphor displaying the tempestuous nature of their relationship as Desdemona loves Othello openly. - “moth of peace, and he go to war” utilises juxtaposition using animalistic metaphor, where Desdemona is small and de...