Othello and Desdemona: A Complex Exploration of Love, Race, and Jealousy, Study Guides, Projects, Research of Poetry

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Role of Women in Othello Iago Shakespeare the

Moor of Venice Essay

Discuss the role of women in Othello

Women are represented in a number of ways within the play, all of which give us insight into the workings of Shakespearean relationships and society. The three most prominent female characters are undoubtedly Desdemona, Emilia and Bianca. The social status and class of the women differs as does their conduct and, rather crucially, the way in which men act towards them.

Desdemona, as the heroine of the play provides the predominant focal point for women within the production. Desdemona is clearly a representation of the ideal woman, as is alluded to in almost every description of her within the play. She is initially introduced as a ‘white ewe’, a description juxtaposed against the rather crude ‘black ram’ (a description of Othello). Desdemona’s purity is often juxtaposed against the rather racist attachment of a bestial aspect to Othello’s character; ‘you’ll have your daughter covered with a Barbary horse’ this has the effect of purifying Desdemona to a greater degree, particularly after we are introduced to the virtuous Othello (who is apparently made bestial in her presence). Desdemona’s innocence is more concretely shown in her reaction to Othello’s demise into jealousy and violence; she suspects it is ‘something sure of state’ and never considers a personal reason for his behaviour. Indeed, even after being prompted by Emilia as to possibly jealousy with regard to herself, Desdemona replies; ‘Alas I never gave him cause’. This insinuating that she rules out the idea because she did not ‘give him cause’, a naïve action, which implies her trust in Othello’s judgement is too absolute. A further example of Desdemona’s innocence is in her conversation with Emilia over adultery. Desdemona says ‘Beshrew me if I would do such a wrong for the whole world’ , and does not believe that ‘there is any such woman’. Desdemona’s idealism is in stark contrast to Emilia’s pragmatism, Emilia seems to speak sense, arguing that she would not cuckold her husband for petty things, ‘but for the whole world’ she would arguing that it is a small price to pay for the entire planet.

The contrast between Emilia and Desdemona is key to the mechanics of the play. Emilia is a character rather ahead of her time, something that is really conveyed in what is now commonly referred to as her ‘feminist speech’. In this, speech, Shakespeare, through Emilia comments on the dynamic of relationships and argues against the traditionalist view of women being subservient to their husbands, she goes as far as to suggest that the wrongs of women are as a direct result of the mistreatment by their husbands; ‘The ills we do, their ills instruct us so.’ It is difficult for us to interpret whether this speech is simply used to add depth to the character of Emilia or whether it was a sincere belief of Shakespeare’s portrayed through Emilia. The fact that the speech itself adds little to the actual narrative may be taken to suggest that Emilia is simply used to deliver Shakespeare’s own thoughts. However, such musing is purely speculative and cannot be supposed with any certainty. The critic ‘Evan L. Wendel’ in his essay ‘Images of Womanhood in Shakespeare’s Othello: Emilia as feminist’ suggest that Emilia’s recognition of the male ‘use’ of female; ‘Then let the use us well’, is done in such a way that inverts the Elizabethan double standards and pokes fun at them.

The presentation of Bianca within the play is in great contrast to that of both Emilia and Desdemona. Bianca presents the lowest class of woman, something that is most apparent in the way in which she is treated by men. Indeed, Iago plays on the great contrast between Cassio’s treatment of Bianca and his treatment of Desdemona in order to trick Othello into believing in

Elizabethan society and really helps us to understand the dynamic of male female relationships at the time

Manipulation Theme

Othello 's villain, Iago, may be literature's most impressive master of deception. Iago plots with consummate sophistication, carefully manipulating Othello (without any real proof) into believing that Desdemona has been unfaithful. His understanding of the human psyche is phenomenal, as is his ability to orchestrate a complicated interweaving of pre-planned scenarios. Iago's deception is potent because of his patience, his cleverness, and what seems to be his intrinsic love of elegant manipulation.

Questions About Manipulation

1. Why does Iago want to manipulate Othello into believing Desdemona has been unfaithful?
2. How is it that Iago is so successful at manipulating everyone around him?
3. How does Iago's openness with the audience contrast with his treatment of other characters? Are WE ever manipulated by Iago's lies?
4. Is Iago's masterful manipulation of the characters in Othello plausible? Why or why not?

. In Othello , Iago orchestrates Othello's downfall like a skillful playwright.

Iago's ultimate deception is not of Othello, Cassio, or Roderigo: it is of the audience. By refusing to tell Othello his motivations in Act 5, he is also refusing to tell us. We are strung along through Othello

in the belief that all will be revealed, but it seems that the joke is on us.

The Welcoming Party

 Title suggestive of a festive occasion. Contradictory content creates a startling, shocking opening. The poem is the ultimate Trojan horse!  Force and graphic detail of similes  ‘Man’s inhumanity to man makes countless thousands mourn’. Robert Burns  Imagery is typical of the Modernist as Montague succeeds in achieving an incredible realization of Auschwitz. The similes mesh into a surreal evocation of the absolute horror /full extent of Nazi evil.  The ‘shades’ : allusion to souls of dead in underworld  ‘Nest’ is a place of birth, but here children emerge ‘conjugating the verb to die’  Glove should protect but here it is burnt and we see the skeletal face and teeth drawn tightly like the digits of the hand through charred material.  Symbolism inverted in both similes

The Trout

 Assonance and gentle verbs create a sensual atmosphere  Broad vowel sounds create and specific verbs reflect care and attention of Montague’s adventure  Sensual language used throughout

Enjambment in final two stanzas reflect final catch, suspense and tension also

Killing the Pig

 Powerful verbs: ‘Squealing’, ’Piercing’, ’crushed’.  Comparison of ‘High pitched final effort’ to ‘plane, diva, electric saw, scrap being crushed’.  Variety of sentence structure  Monosyllabic words

Same Gesture

 Intimate love poem  Pure celebration of love  Religious imagery  ‘Secret room’ is like the heart itself, a place where everything is possible: ‘love, violence, hatred’  Structure of poem reflects movement of lovers, enjambment of the lines reflects journey to oneness

 Religious and sacred nature of lovemaking evoked powerfully as the ‘shifting of hands’ reflects a graceful dance and becomes a ‘Rite’ with the formality and precision of ‘court music’

 He also states definitively: ‘I hate the Moor’ and begins his destructive plot ‘But

for [his] sport and profit.’

 He has destroyed Othello’s life but won’t give anyone the satisfaction of

knowing why.

 He advises Othello to kill Desdemona even though she is completely

 innocent.

 Responsible for all the misfortunes in the play

1. Cassio losing his role

2. Othello’s loss of trust in Desdemona (is it not Othello’s jealousy?)

3. Desdemona’s death (Othello murders her?)

4. Othello’s suicide ( He kills himself)

5. Roderigo’s murder

 (Be careful with 2, 3, and 4. Othello has choices, remember why he does all of

the above? Jealousy)

 He backstabs Roderigo who then calls him an ‘Inhuman dog’.

 He manoeuvres other characters as one would pieces in a game of chess and

uses them to satisfy his own lust for evil.

 Gets Roderigo to tell Brabantio about his daughter and Othello

 Emilia and the handkerchief

 Roderigo to attack Cassio

 Othello contaminated by Iago’s evil.

 He doesn’t feel any remorse at the end of the play when he is caught and his

psychopathic and evil plans are revealed.

 ‘From this time forth I will never speak a word’

 This and other examples demonstrate the malevolent and evil nature of his

personality.

 ‘He is the slime that doth stick on filthy deeds’

Fearless

 Doesn’t show fear when caught: ‘This is the night that makes me or fordoes

me quite’

 He is willing to deceive Othello a great and powerful warrior

 He murders Emilia in the presence of officials

 Murders Roderigo and attempted murder of Cassio is in the dark so not really

in the open

 Shouts at an enraged Othello who grabs him by the throat: ‘Thou art

overwhelmed with thy grief, a passion most unsuiting such a man’

Ambition

 Ambitious at the stare to become lieutenant to Othello so thereby must ruin

Cassio: ‘If thou cans’t thus cuckold him, thou dost thyself a pleasure, me a

sport’

 What becomes of this? He soon changes his attitude and looks to ruin Othello.

 Coleridge suggests that he displays ‘The motive hunting of a motiveless

malignity’

 ‘But for my sport and profit I hate the Moor’

 Iago is hedonistic rather than ambitious.

Misogynist

 Iago regards women as untrustworthy in their relationships and sexually

promiscuous 2:1 line 117

 Iago uses Emilia as a pawn

 Iago repeatedly urges Emilia to keep quiet , calling her filth, a liar and a

villainous whore and even threatening her with his sword 5:2 line 223-

 Iago tries to shift the blame for Casio’s injuries onto Bianca

 Refers to Bianca as a ‘hussy’ and accuses her as using Cassio to get her ‘bread

and clothes’

 Iago refers to both his wife and Desdemona in disgraceful terms such as

‘villainous whore’ and sparks lustful thoughts in Cassio’s mind about

Desdemona (?) ‘A parley to provocation’

Appearance vs reality

Throughout the history of human beings there has been a general understanding that appearance may not always signify reality, essentially meaning in other words "looks can be deceiving". Shakespeare understands the relationship between appearance and reality and has hence embodied this concept within his play Othello. Shakespeare illustrates how a single manipulative character who embodies the concept of appearance vs reality can essentially be potentially destructive and cause harm to people within their surroundings through the art of deception. Despite the fact that appearance vs reality is practiced by almost every single human being on a daily basis it is truly emphasized by some character who tends to have a motive to achieve. Appearance vs reality is practiced in Othello by Iago whose character is driven by jealousy and has a motive to achieve and hence have turned to deception in order to achieve this motive.

In Shakespeare's play Othello appearance vs reality is practiced by Iago who is driven by his jealousy to achieve his evil motives. Throughout the play he aims to manipulate multiple characters in order to reach his goal. He appears to be helping everyone but in reality he is aiming to sabotage everyone, his deceptive nature ultimately leads to the execution of the tragedy and hence the death of many of his so called friends. Shakespeare displays Iago's manipulative ways to the audience through dramatic irony whereby the audience can see his reality however the characters cannot. this is clearly seen through the constant portrayal of Iago as "honest Iago" which indeed strongly contradicts his true nature. Iago's deceptive plan is to turn Othello on his wife by manipulating him to think that his best friend is having an affair with his wife. Iago utilities many characters to achieve his goal and essentially his plans lead to the tragedy of Othello. Shakespeare's portrayal of appearance vs reality is part of a deeper message which is to never be deceived by anyone and never take anyone at face value.

appearance vs reality is witnessed in Othello through Iago's deceptive nature which is illustrated by the following quotes and example

technique dialogue

quote/ example " I follow him to serve my turn upon him"

explanation This is stating that Iago is going to make it look like he is so loyal to Othello, so that Othello thinks he is a good servant, so when the opportunity arises for Iago, Othello will not suspect him of anything, and surely have a good eye for Iago.

dramatic irony " so please your grace, my ancient: A man he is of honesty and trust. "

This is a quote said by Othello which contains dramatic irony as the audience knows that Iago is disloyal however Othello has been deceived to believe that Iago is a man full of honesty and trust, this ultimately highlights the deceptive nature of humanity. dialogue " I hate the moor. My cause is harted; thine hath no less reason. Let us be conjunctive in our revenge against him. "

In this instance Iago is very clear cut and blunt to Rodrigo where he says that he hates the moor who is Othello and he wishes to destroy him this signifies Iago reality however in front of Othello Iago seems to be loyal and trustworthy.

Shakespeare's theme of appearance vs reality has remained to be a dominant theme within Shakespeare's plays due to the simple fact that it is till practiced today by many people. Appearance vs reality is indeed a universally significant theme as it relates heavily to our human anatomy as it is present within every single human. During Venetian society respect, loyalty and honesty was highly valued and if someone appeared to have these qualities he could potentially manipulate many people. This was the case with Iago who appeared to be loyal and honest however in reality he was deceitful and rotten. Shakespeare is essentially warning humanity of the people who may appear to be good at face value however in reality they are evil.

Shakespeare understands the relationship between appearance and reality and have hence embodied this concept within their plays Othello. He illustrates how a single manipulative character who embodies the concept of appearance vs reality can essentially be potentially destructive and cause harm to people within their surroundings through the art of deception. The central message which this theme implies is that it is a human trait which is found within all contexts and hence in becomes universally significant. Shakespeare highlights humanity's inability to judge true from false as well as to highlight humanities deceptive nature and potentially warn humanity of deceptive individuals.

foreshadowing "I am not what I am" In this scene Iago is essentially foreshadowing who he truly is he is basically telling the audience that he is not what he appears to be and in this case he appears to be a loyal to Othello however he plans to sabotage Othello

these qualities prove to be his fatal flaw , a weakness in his personality. Othello is naïve because he takes everything at face value and does not see the corruptness of others. Othello naïvely trusts Iago with private and personal matters he should have discussed with his wife; instead, Othello resorts to violence and kills the love of his life.

Othello changes from a noble and just groom who declares, “But that I love the gentle Desdemona,” (I,ii,27) to a foul-minded, irrational husband who vows, “I’ll tear her to pieces.” (III,iii,483) He changes from treating her gently to striking her in public, calling her a whore, and murdering her in an unfounded jealous rage.

Othello must start to realize that he can’t run his marriage using the same unbending discipline and militaristic thinking he uses to rule his soldiers. He must start to question Iago’s motives for accusing Desdemona of being unfaithful, and look beyond the surface of events for their true meaning and greater implications.

Othello is a man of action: His reputation as an effective warrior and leader earns him a command against the Turks and a position as governor of Cyprus; he seizes his chance at happiness with an expedient, secret marriage to Desdemona; he quickly determines Cassio’s drunken brawling is a disgrace to his rank and strips him of it; once he’s convinced of Desdemona and Cassio’s guilt, he orders Iago to execute Cassio and he kills his wife himself.

Othello moves to solve his problems by using linear thinking. When Brabantio accuses Othello of using witchcraft to seduce Desdemona, Othello suggests that she be summoned to give evidence of their courtship. When he’s disturbed by the commotion during the celebration, Othello demands the witnesses identify those responsible, weighs the evidence, and metes out a punishment. When Iago accuses Desdemona of adultery, Othello asks for proof. Having been presented with “evidence” Othello accepts it on face value, without considering why Iago is defaming Desdemona, or contemplating the larger issues surrounding the accusation.

Othello struggles with the idea that Desdemona is unfaithful: At first he refuses to believe it and he demands proof; he flusters Desdemona when she cannot produce a handkerchief he has given her; he “overhears” Cassio speaking of his affair with Desdemona; he sees the handkerchief in the hands of Cassio’s mistress. Convinced that Desdemona has betrayed his love, Othello’s only option is to kill her. Facing her insanely jealous husband, Desdemona pleads innocence, when that fails, she begs for her life, then for one more day, then just to live until the morning. Othello rejects her requests and smothers her to death.

The characters fail to recognize and stop Iago’s malicious scheme against them. As a result of this failure: Othello and Desdemona’s marriage is destroyed; Othello goes mad from Iago’s insinuations and murders the naive Desdemona; Roderigo, tricked into trying to kill Cassio, is then murdered by Iago; Emilia is murdered by Iago when she reveals his treachery; Othello commits suicide when he learns of Desdemona’s innocence; Iago himself is sentenced to torture and execution contrary to his plans for his future.

Othello’s fall from grace is stunning. At first he’s a happy newlywed; successful as a warrior and well respected in the community. When Brabantio accuses him of witchcraft in front of the Venetian senate, the members disbelieve the charges because of his stellar reputation. He faces them with calm and confidence. But Othello is corrupted and quickly becomes an irrational, despondent madman, an abusive husband, a murderer, and after realizing his colossal mistake, he kills himself (Tragic Hero)

"Downfall of the Moor"

Brabantio thinks of Othello as the Moorish soldier—a well-behaved barbarian—and will never accept him as a son-in-law. Iago’s fixation on revenge rules him absolutely and drives him to ruin. Roderigo thinks he can buy Desdemona’s love. Desdemona loves Othello and will continue to love him no matter how.

When Othello promotes Cassio over Iago, the ensign vows to get revenge; after Othello secretly marries Desdemona, Brabantio determines Othello is using witchcraft on his daughter; Desdemona defends her husband and her father decides to disown her; when the Turks send an armada against Venetian held Cyprus, the senate decides to send Othello to lead its defense; Cassio gets into a drunken brawl while he’s in charge of the guard and Othello decides to demote him; Iago lies to Othello about Desdemona’s unfaithfulness and the general decides to murder her. Although closure is illustrated in the story, it’s the use of denial that dominates and leads the characters to their sad end. Once Iago sets upon a course of revenge he’s relentless, and completely unwilling to let go of his grudge over losing the lieutenancy. He destroys everyone around him, including himself. Once Othello’s suspicions are aroused, he can’t let the notion of Desdemona’s unfaithfulness go. Desdemona’s so much in love with Othello that when she sees his shocking change toward her, she can’t accept that he doesn’t love her anymore. She keeps trying to appease him and makes mistakes that worsen the situation.

Temptation

The characters bring enormous problems upon themselves by indulging in immediate gratification without thinking about the possible consequences. Othello is tempted by Desdemona’s compassion and affection when she pursues him. He disregards any ramifications their engaging in a relationship may have; Desdemona is tempted by Othello’s romantic life story, status, and courage, and eagerly elopes with him knowing her father will disapprove; Iago is tempted by the prestige of the rank of lieutenant and lies to get it; Roderigo is tempted by Iago’s offer to help him win Desdemona and pays the man, making himself a pawn to Iago; Cassio is tempted by drink when he knows he’s in charge of the guard, gets drunk and loses his rank; Emilia, although married, is tempted by other men.

Conscience

If the characters listened to their conscience, the tragic ending could have been avoided. Desdemona might have gone to Brabantio, declared her love for Othello, and faced her father’s opposition instead of first sneaking off with the Moor. Roderigo should have gracefully acknowledged Desdemona’s marriage and gone on with his life, but he plots with Iago to destroy her union with Othello. Cassio should have listened to his conscience and refused that first drink since he was on guard duty, but he lets Iago persuade him to “celebrate” with everyone else. His lapse of conscience allows him to be used to hurt the people he loves.

The characters deal with the effects of the story’s problems which occur when “help” is used. Cassio helps Othello court Desdemona by acting as go‐between before their marriage, and his kindness is used against him later; Brabantio hopes to save his daughter’s reputation by rescuing her from

recalls how she found it on the ground and gave it to him. Her recollections cause Iago to kill her for revealing the truth.

Additional Overall Story Information →

Main Character Throughline

Othello — Venetian General

Othello endeavors to prove or disprove his wife’s infidelity. He listens to Iago’s “evidence”; questions Desdemona about her missing handkerchief; eavesdrops on Cassio; interrogates Emilia about Desdemona’s fidelity; judges and executes Desdemona.

Othello wants Desdemona, and by winning her he hopes to gain the acceptance of Venetian society at large. Terrified of losing her to a younger man, he seeks solid proof of her betrayal from Iago. In possessing that proof, the handkerchief in Cassio’s mistress’s hands, Othello is convinced that he has lost Desdemona’s love, and he himself becomes lost.

At the beginning of the story, Othello is depicted as a selfless, moral man. He refuses to run and hide when he learns that Brabantio knows of his marriage to Desdemona and has armed men after him. He leaves his bride safe and undisturbed at the inn where they’re staying, goes to the Senate, and faces Brabantio’s charges bravely. When Brabantio accuses him of using witchcraft to seduce his daughter, Othello has his wife sent for. If she says she was bewitched, he’ll accept any sentence, even execution. Although Desdemona’s willing to sail with him to Cyprus, Othello leaves her under Iago’s protection to bring her only when it’s safe. Othello is willing to postpone his honeymoon to ensure her safety, even though she’ll accompany him into a war zone.

Othello is so wounded by the thought of Desdemona’s betrayal that he’s blinded to everything except his own pain. Once he decides to end his torment by killing her, nothing Desdemona says can make him look beyond himself for the truth.

Main Character Thematic Conflict Morality vs. Ability

In the conflict between “morality” and “self‐interest,” self‐interest takes hold of the once moral man and destroys him. Othello is driven to torment Desdemona. He treats her like a whore because he believes she’s cuckolded him with his own officer. He could stand anything but the loss of her love, and so having convinced himself that he has lost it, he can’t listen to Desdemona’s plea of innocence. Nor will he listen to Emilia when she tells him that Desdemona loves him and is faithful, until it’s too late.

Othello is tempted by the beauty, position, and compassion that Desdemona can give him in marriage. He’s an experienced man who should know that their differences may bring problems, but he ignores the possibility of trouble in his desire to possess Desdemona. Their differences, namely Othello’s age and race, however, appear to linger in his mind, causing him some uneasiness. He’s easily tempted to believe that Desdemona is unfaithful when Iago begins his torment. That Othello is so easily led by Iago’s innuendoes and lies, not only causes problems, but leads to the death of four people.

If Othello had used his conscience he could have prevented the tragedy.

Othello focuses his attention on where he thinks the problem is, Desdemona’s unfaithfulness. Brabantio warns Othello that “She has deceived her father, and may thee.” (I,iii,318) Othello immediately answers, “My life upon her faith!” (I,iii,319) Indeed, her faith in him, demonstrated by their marriage, is extremely valuable to Othello. He has built his self‐worth and future upon Desdemona’s faith in him as a man, so when she’s accused of breaking that faith, Othello is shattered.

Othello thinks that using disbelief will solve his problems regarding Desdemona. He refuses to believe anything she says in her defense. He won’t believe Emilia when she swears Desdemona is faithful; disbelieves Desdemona’s words of innocence when he first accuses her. He overlooks her devotion and innocence: she gave up her home and family for him and has had no opportunity to have “a thousand times committed” adultery with Cassio. In spite of all the evidence of Desdemona’s devotion to him, Othello doubts her love, saying, “She is false as water.” (V,ii,161)

If Othello had used the approach that made him a fair and noble man, he could have been successful in discovering Iago’s deceit and keeping his marriage intact. Whereas Othello rationally solicits evidence from several people the night of the brawl, he’s totally irrational when he considers Desdemona’s alleged betrayal. He relies on only one “witness” without considering Iago’s motives; ignores Emilia’s assurances that Desdemona is a faithful wife; refuses to listen to Desdemona’s pleas of innocence.

Main Character Critical Flaw

Othello’s misuse of obligation makes the story a failure. Once he’s convinced that Desdemona is unfaithful, Othello feels compelled to murder her. Othello’s misplaced obligation to Iago, “A man... of honesty and trust.” (I,iii,307) leads him to his destruction. When Iago tells Othello of Desdemona’s “affair” with Cassio, he pledges his loyalty to Iago. “I am bound to thee for ever.” (III,iii,243) In offering this contract to Iago instead of honoring the marital pledge to his wife, Othello makes a tragic mistake that costs him his honor, his wife, and his own life.

The more Othello thinks he understands the level of Desdemona’s unfaithfulness the greater his jealously and thirst for vengeance.

Main Character Description

Tall, dark‐skinned man, part Berber, part Arab, in his early forties. Born of royal blood, but forced to endure slavery because of his race, he’s risen to the rank of general and is greatly respected. But his standard of perfection for those around him, and his trusting nature leads him astray. He’s destroyed by his own man.

Main Character Backstory

Born of royal blood, Othello is a Moor who was sold into slavery and has lived in army camps since he was seven. He became a professional soldier rising to the rank of general. He has fought many battles, skillfully leading his men and earning a reputation as a great, honorable, and level‐headed warrior. Othello’s traveled the world where he’s encountered cannibals and a race of men whose