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LitCharts of Othello, William Shakespeare....

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Othello Background Info Author Bio

Historical and Literary Context

Full Name: William Shakespeare

When Written: c. 1603

Date of Birth: 1564 Place of Birth: Stratford upon Avon, England Date of Death: 1616

Where Written: England When Published: 1622 Literary Period: The Renaissance

Brief Life Story: Shakespeare’s fat her was a glove-maker, and Shakespeare received no more than a grammar school education. He married Anne Hathaway in 1582, but left his family behind around 1590 and moved to London, where

Related Literary Works: Shakespeare’s primary source for Ot hello was Un capitano moro (“A Moorish Captain”), one of one hundred short stories in t he collection Gli Hecatommithi, published by the Italian, Cinthio. Cinthio’s story provides

he became an act or and playwrig ht . He was an immediate success: Shakespeare soon became t he most popular playwright of the day as well as a part-owner of the Globe

the backbone for Shakespeare’s plot, although Shakespeare int roduces some minor new characters (such as Brabantio

Theat er. His theater troupe was adopted by King James as the King ’s Men in 1603. Shakespeare ret ired as a rich and prominent man t o St rat ford-upon-Avon in 1613, and died three years later.

Key Facts Full Title: The Tragedy of Othello, the Moor of Venice Genre: Tragedy Setting: Venice and Cyprus Climax: T he murder of Desdemona, by Othello Protagonist : Othello Antagonist: Iago

Catholic sent iment in England and English fears of invasio by the Spanish. In fact, England maintained independen trade relat ionships with “Moorish” Northern Africa, despite Spanish and Port uguese protest . The English slave trade also brought blacks to Europe, from mid-sixteenth century onward Queen Elizabeth herself founded The Barbary Company formally institut ionalizing this trade; in addit ion, she receive a delegation of Moroccan diplomat s in 1600. However, the English still felt a strong suspicion of Islam: Elizabeth issued a degree expelling Moors from Africa and Spanish “Moriscos” from the boundary of England in 1599 and 1601.

and Roderigo ) and other alterations—for instance, in Cint hio’s version, Iago’s mot ive for revenge against Ot hello is t hat

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he formerly loved and was rejected by Desdemona . T here are also similarities between Othello, “A Moorish Capt ain,”

Moor or less? In Elizabethan England, t he term “Moor” coul be used to refer to a wide range of non-European persons

and a st ory by the name of “T he Three Apples” narrated by Scheherezade in t he Thousand and One Nights. Related Historical Events: From the eleventh to the fift eenth century, Cat holics bat tled to re-conquer Spain from the Islamic Arabs and Berbers, or Moors, who had successfully occupied it since the 900s. The st ruggle inspired intense prejudice and suspicion that lasted well after the Moors were overthrown. Philip III of Spain expelled 300,000 “Moriscos” from the Iberian

including black Africans, North Africans, Arabs, and even Indians. References to Othello’s origins throughout th play are cont radictory and ambiguous Iago calls Othell a “Barbary horse” (1.1.110); Barbary was an area in Africa bet ween Eg ypt and the Atlantic Ocean. Roderigo, howeve calls him “thick-lips” (1.1.65-6), sug gesting that he may come from further sout h on t he African cont inent. Brabantio call him “soot y” (1.2.70 ); Othello, along with numerous ot he

(Spanish) peninsula not long after Shakespeare finished Othello, in 1609. In England during Shakespeare’s time, views regarding “Moors” were slight ly more complex because of strong anti-

characters, refers to himself as “black.” It is impossible to know now exactly what Shakespeare or his audience would have thoug ht a “Moor” is.

Plot Summary In Venice, Roderigo complains to Iago that, despite the money he’s given Iago to help him woo Desdemona , she‘s eloped wit h the Moorish general Othello. Iago responds that he too hates Ot hello, for whom he works as a st andard-bearer: Othello chose Cassio, rat her than Iago, to be his lieutenant. The t wo men go to the home of Desdemona’s father, the senat or Brabantio, and rouse him wit h graphic descriptions of his daught er having

to reinst ate Cassio. Iago t hen uses Desdemona’s request s t hat

if Cassio were to die, Ot hello would have to remain in Cyprus

he be merciful to Cassio to make Othello suspect that Desdemona is cheating on him with Cassio. Othello, takes the bait, repeatedly praising Iago for his honest y. Later, when Desdemona accident ally drops a handkerchief that Othello had given to her as a love-t oken, Emilia gives it to Iago, who had long asked her to st eal it for him. Iago then plants it in Cassio’s room.

leaving Desdemona in Venice for Roderigo. Iago instruct s Roderigo to wait out side Bianca’s house that night and kill Cas sio when he leaves.

sex wit h the Moor. Brabantio, enraged, interrupts Ot hello as he receives an urgent message from the Duke of Venice, and accompanies Othello see the Duke. In front of the Duke, Brabantio

Ot hello, upset, demands that Iago show him proof of Desdemona’s infidelit y. Iago responds that he has heard Cassio fantasize lewdly about Desdemona in his sleep and that he

believes that Cassio is dead and is impressed by Iago’s loyalt y Meanwhile, Iago goes to Bianca’s; finding Cassio wounded, he

accuses Othello of having used magic to seduce Desdemona. Ot hello responds that it was stories of his exciting life history and milit ary bravery that won Desdemona. When summoned,

has seen Cassio wipe his mout h with Desdemona’s handkerchief. Othello promotes Iago to the st at us of lieutenant and

st abs Roderigo, killing him (and thus assuring t hat his secre will not be revealed). Iago t hen calls the ot hers, including Bianca, whom he arrest s, accusing her of having conspired

Desdemona support s Othello’s story. Brabantio grudg ing ly blesses the newlyweds. The Duke then sends Othello to lead a

orders him to kill Cassio within t hree days. Othello then goes to Desdemona’s room, and asks her for the handkerchief. Desdemona, who had been searching for the handkerchief,

wit h Roderigo. While this is g oing on, Ot hello arrives at Des demona’s chamber. Enchanted by her beaut y, he nonet heless resist s her pleas to spare her life, and he smot hers her wit h a

fleet of Venetians to defend Cyprus from a Turkish at t ack. Desdemona accompanies him. Iago reassures Roderigo that he will st ill win Desdemona in the end, t hen privately admit s that he’s

admit s she can’t find it. Othello st orms off. Meanwhile, Cassio’s mistress, the prostitute Bianca , comes to his quarters. Cassio asks her to make a copy of a handkerchief he’s recent ly found

pillow. Emilia arrives to t ell Othello t hat Roderigo is dead and Cassio alive, when she hears Desdemona‘s dying cries. When Emilia demands why Othello has killed Desdemona,

just using Roderigo for money while he plot s his own revenge. When the Venetians arrive in Cyprus, the governor Montano reports that a storm at sea has drowned the Turkish fleet, elimi-

in his room, because he admires it. Iago continues to spur Othello’s jealousy. When he reports that Cassio has admitted to sleeping with Desdemona, Othello

Ot hello explains how Iago proved t o him that Desdemona slep wit h Cassio. As Montana, Iago, and Gratiano , a relative o Brabantio’s all arrive, Emilia accuses Iago of lying and explains

nat ing the military t hreat. Iago quickly hatches a plan to make Othello believe that Desdemona has been unfaithful to him with eit her Cassio or Roderigo. That night , while Othello and Desde-

falls into an epileptic fit. Iago urges Othello to hide while he quest ions Cassio about Desdemona. In fact, he asks Cassio

that she st ole this from Desdemona at her husband’s behest Ot hello at tacks Iago. In t he uproar, Iago st abs and kills Emilia

about Bianca, causing Cassio to laugh. Watching from afar, Othello grows increasingly furious. Then, Bianca shows up, and throws Desdemona’s handkerchief at Cassio, accusing him of

then flees. Montano and Gratiano disarm Othello, then chase down Iago. When he is drag ged back in t heir cust ody, Othello wounds him before being disarmed again. Let t ers found on

having it from another whore. After Cassio and Bianca leave, Iago easily persuades Othello to kill Desdemona. Iago promises to t ake care of Cassio himself. He then convinces Roderigo that

Roderigo’s corpse reveal the full extent of Iago’s plot s; he him self refuses to explain himself. Ot hello draws a hidden dag ger and, aft er a speech, kills himself.

Iago – Othello’s disloyal standard-bearer and the villain of the

lands and military exploits, Desdemona elopes with him before the play beg ins (althoug h t hey do not consummate their mar riage until they have received sanction from the Duke and

mona go to bed to consummate t heir marriage, Iago succeeds in get ting Cassio drunk. He then goads Roderigo int o provoking Cassio, starting a brawl. Disgusted, Othello demot es Cassio. Meanwhile, Iago convinces Desdemona t o try to get Othello

That nig ht , Iago sets Roderigo up to kill Cassio as planned When Cassio exit s Bianca’s house, Roderigo att acks him; bot h are wounded. Overhearing Roderigo’s cries for help, Ot hello

Characters Othello – A Christian Moor who has earned a high reputation as a general in t he Venet ian army and has recently married Desdemona, daughter of the Venet ian senat or Brabantio. Ot hello is charact erized by his plainspoken, honest (perhaps even naïve) nat ure, which, t ogether wit h his status as an outsider, leaves him vulnerable to the plots of his standard-bearer,

play. Angry at having been passed over by Othello for promotion to the rank of lieutenant, and also because he seems to enjoy creating mayhem for its own sake, Iago develops an intricate conspiracy to ruin Othello. He is married to Emilia.

reluctantly, her father). Desdemona is a model wife, if perhaps too trust ing of Iago . She follows Othello to Cyprus and show const ant loyalt y to him, even to t he moment of deat h, when h

Iago, to make him suspect his loyal wife, Desdemona , of

Desdemona – T he Daughter of the Venetian senator Bra-

kills her on false suspicions t hat she has been unfaithful.

infidelit y

bantio Having been charmed by Othello’s t ales of exotic

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Michael Cassio – A young, charming, and handsome soldier, whom Othello promotes to the rank of lieutenant , over the more experienced Iago. Cassio is loyal t o Ot hello and friendly wit h Desdemona , though he’s unkind to the prostit ut e Bianca , who seems to love him. While int elligent , he is not cunning, and Iago easily ensnares t he unwit ting Cassio in a plot to convince Ot hello t hat Desdemona has cheat ed on him wit h Cassio.

Roderigo – A long-reject ed suitor of Desdemona, who seeks to woo her with jewels throug h t he Iago as. Like Othello, Roderigo trusts Iago and is duped by him. Otherwise, Roderigo shares none of Ot hello’s noble characteristics.

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shortly aft er their departure for Cyprus (and before any of t he tragedies of the play occur).

against Othello and, in fact, is unsurprised that Desdemona fe in love with him. It is the Duke who sends Othello to lead the Venetian mission to defend Cyprus against the Turks.

Emilia – Iago ’s wife and Desdemona’s friend and serving woman. Alt hough Emilia is far less idealistic about marriage and the world in g eneral t han Desdemona is, she is loyal to her mistress. T hough she steals Desdemona’s handkerchief for Iago, she doesn’t know else anything about Iag o’s plot. In fact , when she learns of his plot , she reveals Iago’s duplicit y, and he kills her for it.

Lodovico – A relative of Brabantio ’s, Lodovico act s as an emissary, bringing let ters from Venice to Cyprus. He is present on the island for the full unfolding of the tragedy.

Montana – The governor or Cyprus before Ot hello’s arrival. Gratiano – A kinsman of Brabantio who accompanies

Bianca – A prostitute in Cyprus, who expresses real affec-

Lodovico from Venice to Cyprus.

tion for Cassio . He, however, only mocks her.

Brabantio – A senator in Venice and Desdemona’s father. At first enrag ed by Desdemona’s elopement wit h Ot hello, he does eventually grant a grudging blessing to their marriage. But his blessing never seems heart felt , and he dies of grief

Duke of Venice – T he official aut horit y in Venice, the Duke

Clown – Othello’s fool/servant . Althoug h he appears in only t wo short scenes, his riddling language reflect s Othello’s own

has great respect for Ot hello as a milit ary man and, unlike the other residents of Venice, does not betray any racial prejudice

language as the Moor descends into jealous madness.

In Othello, Shakespeare plays wit h the idea of unreliable realit y in a number of ways. T he language of t he play, which time and again refers to dreams, trances, and vision, constantly

remains is best ial” [2.3.252-3]). Iago asserts—however g enuinely or dising enuously—t hat reput ation is more valuable tha anyt hing in the world: “good name in man and woman […] is

throughout the Summary and Analysis sections.

highlight s t he way in which what seems t o be real may actually be fake. In addition, Shakespeare extends the t heme of appearance vs. realit y to include the art of playwriting and act ing. As

the immediate jewel of their souls” (3.3.156). Though military exploits are one way for men to build t hei honor, when not in war the primary means by which men define

where t he themes appear throug hout t he ent ire work.

he develops his plot against Ot hello, Iago creates scenes within scenes. He set s up encounters between two characters and

their honor is their abilit y to command t he faithfulness of the women. In 1.1, Iago and Roderigo call Brabantio’s honor int o

Prejudice

putt ing a third in t he position of a spect at or. For inst ance, he has Ot hello watch Cassio and Desdemona speak, and he has

The most prominent form of prejudice on display in Othello is racial prejudice. In the very first scene, Roderigo and Iago disparage Othello in explicit ly racial t erms, calling him, among other things, “Barbary horse” and “thick lips.” In nearly every

Ot hello watch him speak with Cassio about Bianca . In each case, Iago manipulates Ot hello so that Othello sees the appearance that Iago wants him t o see, rather than the realit y of what is act ually happening. In this way, Iago becomes a kind of

quest ion because he hasn’t been able t o cont rol t he romanti or sexual impulses of his daughter, Desdemona. Lat er, Iago drives Othello to question his own manhood—indeed, his very

case, the prejudiced characters use terms t hat describe Othello as an animal or beast. In ot her words, they use racist language to try to define Othello not only as an outsider to white Venet ian

“director”—he even direct ly addresses the audience through his many soliloquies—and Shakespeare draws attention to the way that a playwright and act ors create an appearance onst age that

beast” (4.2.62). T hat is, in his view, to lose control of the woman in his life is to lose everything that makes him human. In othe words, wit hout his honor, he sees himself in t he same terms tha

societ y, but as being less human and t herefore less deserving of respect. Othello himself seems to have internalized this preju-

tricks the audience int o seeing something other than realit y.

the prejudiced characters see him: as an animal.

Themes In Lit Chart s, each t heme gets its own corresponding color, which you can use to track where the themes occur in the work. There are t wo ways to track t hemes:

dice. On a number of occasions he describes himself in similarly unflat tering racial terms. And when he believes that he has lost his honor and manhood through Desdemona’s supposed unfaithfulness, he quickly becomes t he kind of un-rational animal or monst er t hat the whit e Venet ians accuse him of being. Yet racial prejudice is not the only prejudice on display in Othello. Many characters in t he play also exhibit misogyny, or hatred of women, primarily focused on women’s honest y or dishonest y about their sexualit y. Several times, Ot hello’s age is also a reason for insulting him. In all of t hese cases, the charact ers displaying prejudice seek to control and define another person or group who frighten t hem. In other words, prejudice works as a kind of strategy to identify outsiders and insiders and to place yourself within t he dominant group. And Othello himself seems to understand t his—he concludes his suicide speech by boasting that he, a Christian, once killed a Muslim Turk, a “circumcised dog” (5.2.355) who had murdered a Venetian citizen. Othello tries t o use religious prejudice against Muslims t o cement his place wit hin mainst ream Christian Venetian societ y.

Jealousy Iago refers to jealousy as the “green-eyed monster.” As this metaphor suggest s, jealousy is closely associated with t he theme of appearance and realit y. For instance, at one point Othello demands t hat Iago provide “ocular proof” of Desdemona’s infidelit y—he demands to see realit y. But Iago instead provides t he circumst antial evidence of the handkerchief, which Ot hello, consumed by his jealousy, accepts as a substit ut e for “ocular proof.” Ot hello’s jealousy impedes his abilit y to distin-

humanit y—by making him doubt whether he has power over his wife. In despair over his suspicions about his wife’s faithfulness Ot hello laments of himself: “A horned man’s a monst er and a

Womanhood and Sexuality Two cont rasting images of womanhood dominate Othello: t he virt uous and loyal woman, or Madonna, embodied by Des demona; and the whore, embodied, to a cert ain ext ent b Bianca. Yet over the course of t he play, it becomes clear tha these t wo different ways of describing women don’t act ually

guish bet ween realit y and appearance. While the prejudiced characters in t he play denigrat e Othello as an animal or a beast based on his race, Othello’s obvious honor and intelligence

apply to real women. Inst ead, t hey are male fant asies imposed on women—ideals t hat men want woman to fulfill, and role that women therefore purposefully play for men. For instance Desdemona often describes her devotion to Othello in fron of other people, underscoring that , even though she does lov him very deeply, she is t o a cert ain extent playing the role o

makes these att acks obviously ridiculous. Yet when Othello is overcome by jealousy, he does become beast-like, falling into

the virtuous wife. Iago t hen stokes Ot hello’s jealousy in part b forcing Othello t o realize that t here is no way for a man to t e

epilept ic fits that rob him of the abilit y to speak intelligibly. Ot hello is also not the only character in Othello to feel jealousy. Both Iag o and Roderigo act to destroy Othello out of jeal...