Othello - PowerPoint PPT Presentation

1 / 96
About This Presentation
Title:

Othello

Description:

Othello Dramatis Personae Duke of Venice Othello: Moor, married to Desdoma Iago: Solider in Othello s army Cassio: Lieutenant in Othello s army Desdemona: Othello ... – PowerPoint PPT presentation

Number of Views:1024
Avg rating:3.0/5.0
Slides: 97
Provided by: Mike2286
Category:
Tags: noise | othello | tire

less

Transcript and Presenter's Notes

Title: Othello


1
Othello
2
Dramatis Personae
  • Duke of Venice
  • Othello Moor, married to Desdoma
  • Iago Solider in Othellos army
  • Cassio Lieutenant in Othellos army
  • Desdemona Othellos wife
  • Emilia Iagos wife
  • Rodreigo Solider, love Desdemona

3
Act I Scene 1
  • Read I.1.113-114
  • Othello begins in the city of Venice, at night
  • Roderigo is having a discussion with Iago, who is
    bitter at being passed up as Othello's
    lieutenant.
  • Though Iago had greater practice in battle and in
    military matters, Cassio, a man of strategy but
    of little experience, was named lieutenant by
    Othello.
  • Iago says that he only serves Othello to further
    himself, and makes shows of his allegiance only
    for his own gain
  • He admits that his nature is not at all what it
    seems.
  • Iago is aware that the daughter of Brabantio,
    Desdemona , has run off with Othello, the black
    warrior of the Moors.
  • Brabantio knows nothing of this coupling
  • Iago decides to enlist Roderigo, who lusts after
    Desdemona, and awaken Brabantio with screams that
    his daughter is gone.
  • Watch movie scene

4
Act I Scene 1
  • At first, Brabantio dismisses these cries in the
    dark
  • He realizes his daughter is not there, he gives
    the news some credence.
  • Roderigo is the one speaking most to Brabantio,
    but Iago is there too, hidden, yelling unsavory
    things about Othello
  • Brabantio panics, and calls for people to try and
    find his daughter
  • Iago leaves, not wanting anyone to find out that
    he betrayed his own leader
  • Brabantio begins to search for his daughter.

5
Analysis Friendship
  • The relationship between Roderigo and Iago is
    somewhat close
  • Roderigo shows this in his first statement
  • Iago "hast had Roderigo's purse as if the
    strings were thine," he tells Iago (I.i.2-3)
  • The metaphor shows how much trust Roderigo has in
    Iago, and also how he uses Iago as a confidante
  • Does Iago share the same kind of feeling?
  • As far as Roderigo knows, Iago is his friend
  • Appearance is one thing and reality another, as
    Iago soon will tell.

6
Analysis Trusting Appearance
  • Iago tells several truths about himself to
    Roderigo
  • He trusts Roderigo with the knowledge that he
    serves Othello, but only to further himself.
  • How ironic that after Iago's lengthy confession
    of duplicity, Roderigo still does not suspect him
    of doublecrossing or manipulation.
  • Iago seems to do a great deal of character
    analysis and exposition for the audience
  • He divulges his purpose in serving Othello, and
    the kind of man he is.
  • Appearance vs. Reality is a crucial theme in
    Iago's story
  • He enacts a series of roles, from advisor to
    confidante
  • He appears to be helping people though he is only
    acting out of his twisted self-interest.

7
Analysis Metaphors and Paradox
  • "These fellows" that flatter for their own
    purposes "have some soul," Iago says
  • There is a double irony in this statement that
    Iago passes off as a truth
  • People who act one way and are another are
    duplicitous, and scarcely deserve the credit that
    Iago is trying to give them.
  • Iago, though he is one of those fellows, seems to
    have no soul
  • He never repents, never lets up with his schemes,
    and never seems to tire of damaging whatever he
    is able to.
  • "In following Othello I follow but myself,"
    Iago also professes
  • This is a paradox in terms, but is revealing of
    Iago's purposes in serving Othello.
  • His language is revealing of his dark character
  • He uses the cliché "I will wear my heart upon my
    sleeve" to convey how his heart is false, and his
    shows of emotion are also falsified
  • He turns this cliché into something more dark and
    fierce, when he adds the image of the birds
    tearing at this heart
  • He has foreshadowed the great deceptions that he
    will engineer, and the sinister qualities that
    make up his core.

8
Analysis Parallels
  • The key to Iago's character is in the line "I am
    not what I am
  • Roderigo should take this as a warning, but fails
    to.
  • Everything which Iago presents himself as is a
    false show
  • This first scene represents the peak of Iago's
    honesty about himself with another character.
  • Iago is parallel to another character, Richard
    III, in his self-awareness about his villainous
    character
  • He is parallel in lack of remorse and use of
    false representations of himself.

9
Analysis Racism
  • Racial issues and themes which are at the core of
    Othello's story and position are beginning to
    surface.
  • When Roderigo refers to Othello, he calls him
    "the thick lips
  • This singles out one prominent characteristic of
    Othello's foreignness and black heritage
  • It displays a racial distrust of Othello based on
    his color.
  • Roderigo and Iago are not the only characters to
    display racism when referring to Othello
  • Racism is a pervasive theme within the work,
    spreading misconceptions and lies about Othello
    by tying him to incorrect stereotypes.

10
Analysis Juxtaposition
  • Another element that surfaces repeatedly in the
    play is the use of animal imagery "an old black
    ram is tupping your white ewe," Iago yells to
    Brabantio
  • The use of animal imagery is used in many places
    in the play to convey immorality and illicit
    passion, as it does in this instance.
  • Iago also compares Othello to a "Barbary horse"
    coupling with Desdemona, and uses animal imagery
    to reinforce a lustful picture of Othello
  • 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
  • The juxtaposition of black and white, in
    connection with the animal imagery, is meant to
    make this image very repellent, and to inflame
    Brabantio to anger and action.

11
Analysis Devils
  • Iago especially mentions the devil many times in
    the text
  • The first time here in the first scene to make
    Othello sound like a devil with
  • lust
  • indiscretion
  • strangeness
  • The irony is that Iago is so quick to make others
    out to be evil
  • The devil often takes disguises, just as Iago
    does embodying the theme of appearance vs.
    reality
  • He is the one who looks least guilty.

12
Analysis Imagery and Setting
  • Important to this scene is the fact that it is
    held in darkness
  • Like the beginning of Hamlet, things are unsteady
    and eerie, and disorder rules.
  • With Brabantio's call for light, there is a
    corresponding call for some kind of order
  • darkness vs. light
  • order vs. disorder
  • Both important juxtapositions within the play
  • they highlight the status of situations
  • These themes will appear again at the end, as the
    play returns to darkness, and chaos

13
Act I Scene 2
  • Read I.2.1115-1116
  • Iago has now joined Othello, and has told Othello
    about Roderigo's betrayal of the news of his
    marriage.
  • He tells Othello that Brabantio is upset, and
    will probably try to tear Desdemona from him.
  • Cassio comes at last, as do Roderigo and
    Brabantio
  • Iago threatens Roderigo with violence, again
    making a false show of his loyalty to Othello.
  • Brabantio swears that Othello must have bewitched
    his daughter, and that the state will not decide
    for him in this case.
  • Othello says that the Duke must hear him, and
    decide in his favor, or all is far from right in
    Venice.
  • Watch movie scene

14
Analysis Janus
  • Iago continues his deliberate misrepresentation
  • Swearing to Othello that he could have killed
    Roderigo for what he did.
  • Iago is a very skilled actor
  • He is able to successfully present a contrary
    appearance
  • Ironically, Iago alludes to Janus, the two-faced
    god, in his conversation with Othello.
  • Since Iago himself is two-faced Janus seems to be
    a fitting figure for Iago to invoke.

15
Analysis
  • Iago's duplicity is again exhibited in this scene
    as his tone swings
  • friendly to backbiting as soon as Othello steps
    away
  • back to his original friendliness when Othello
    returns.
  • Iago acted supportive of Othello's marriage to
    Desdemona
  • Cassio enters and uses a rather uncomplimentary
    metaphor to tell what Othello has done
  • "He tonight hath boarded a land-carrack"
  • Iago tells Cassio
  • His diction and choice of metaphor make Othello
    into some kind of pirate
  • stealing Desdemona's love
  • Cassio reduces Desdemona into a mere prize to be
    taken.
  • Iago will soon want Cassio to think of Desdemona
    as an object to be taken, and to believe Othello
    to be less honorable than he is.

16
Analysis Pride
  • Othello's pride first becomes visible here
  • He is exceptionally proud of his achievements and
    his public stature
  • Pride is a huge theme of Othello's story.
  • He is proud of Desdemona's affection for him
  • He would not give her up "for the seas' worth,"
    he says (l. 28).
  • Othello is very confident in his worth, and in
    the respect he commands
  • If the leaders of the city decide to deny a
    worthy man like him his marriage to Desdemona,
    then he believes
  • "bondslaves and pagans shall our statesmen be."
  • This statement of paradox betrays Othello's faith
    in the state and in the Duke's regard for him
    hopefully, neither will fail him.

17
Analysis Racism and Magic
  • The issue of race comes to the forefront, as
    Brabantio confronts Othello about his marriage to
    Desdemona.
  • Desdemona never would have "run from her guardage
    to the sooty bosom of a thing such as thou,"
    Brabantio says (l. 71-2).
  • Brabantio assumes that Desdemona must have been
    "enchanted" to marry Othello merely because
    Othello is black
  • Brabantio ignores all of Othello's good
    qualities, and gives into his racist feelings.
  • Magic is another recurrent theme, and here is
    linked to stereotypes of African peoples as
  • knowing the black arts of magic
  • being pagans
  • being lusty
  • The theme of magic does not always play into the
    theme of race within the play

18
Analysis Stereotypes and History
  • At the time Shakespeare was writing, there were
    in fact free blacks in England
  • However, racism was even more pronounced in
    Shakespeare's England than it is in Othello
  • A character like Othello could not have risen to
    such ranks in England at the time
  • Shakespeare's play is much more progressive than
    the time in which it was written.
  • Othello even manages to avoid stereotype more
    effectively than another Shakespearean character
    like Shylock
  • Stereotypes are linked to Othello by other
    characters, but he manages to evade them through
    his nobility and individuality.

19
Act I Scene 3
  • Military conflict is challenging the Venetian
    stronghold of Cyprus
  • There are reports that Turkish ships are heading
    toward the island, which means some defense will
    be necessary.
  • Brabantio and Othello enter the assembled
    Venetian leaders, who are discussing this
    military matter
  • Brabantio announces his grievance against Othello
    for marrying his daughter.
  • Othello addresses the company, admitting that he
    did marry Desdemona, but wooed her with stories,
    and did her no wrongs.
  • Desdemona comes to speak, and she confirms
    Othello's words
  • Brabantio's grievance is denied
  • Desdemona will indeed stay with Othello.
  • Othello is called away to Cyprus, to help with
    the conflict there
  • Othello and Desdemona win their appeal, and
    Desdemona is to stay with Iago, until she can
    come to Cyprus and meet Othello there.

20
Act I Scene 3
  • Read I.3.1120
  • Roderigo is upset that Desdemona and Othello's
    union was allowed to stand
  • He lusts after Desdemona.
  • Iago assures him that the match will not last
    long, and at any time, Desdemona could come
    rushing to him.
  • Iago wants to break up the couple, using Roderigo
    as his pawn, out of malice and his wicked ability
    to do so.
  • Watch movie scene

21
Analysis Brabantio
  • Brabantio again accuses Othello of bewitching his
    daughter, and airs his racism-based views.
  • He is not against the match because of any
    incompatibility of the couple
  • His metaphor of his grief as a flood, that
    "engluts and swallows other sorrows, and is still
    itself," means that he feels very strongly on
    this issue.
  • His strong objection foreshadows a confrontation
    between him and his daughter
  • If Desdemona does choose to stay with Othello, it
    seems likely that she will risk her father's
    love.

22
Analysis Tragedy
  • Othello's appointment to Cyprus marks the true
    beginning of his tragedy
  • He will be much more vulnerable to Iago's vicious
    attacks on his love and jealousy.
  • This battle between order and chaos is a theme
    running throughout the play
  • As Othello sinks deeper into distrust of
    Desdemona and is more consumed by his jealousy,
    chaos increases and threatens to devour him.

23
Analysis Verse vs. Couple
  • The Duke's words of advice to the couple also
    mark the beginning of their tragic story
  • The Duke foretells trouble between the couple if
    they do not let grievances go, which ends up
    being a reason for Othello's fall.
  • The change of the verse into couplets signals the
    importance of the advice being offered.
  • The words of the Duke, and Brabantio's words that
    follow, are set off from the rest of the text and
    emphasized by this technique
  • The reader is notified, through the couplet
    rhyme, which hasn't appeared before in the text,
    that these are words that must be marked.

24
Analysis Othellos Tragic Flaw
  • The only magic that Othello possesses is in his
    power of language.
  • His language shows his pride in his achievements
  • Othello portrays himself as a tested, honorable
    warrior, and indeed is such.
  • This view of himself will prove troublesome when
    he is hard pressed to recognize his jealousy and
    his lust
  • His inability to reconcile himself with these two
    aspects of his personality means that his
    comeuppance is almost certain.
  • Othello's lack of self-knowledge means that he
    will be unable to stop himself once Iago begins
    to ignite his jealousy

25
Analysis Allusions
  • Othello's speech before the assembly shows what
    he believes Desdemona's love to be
  • He thinks that Desdemona's affection is a form of
    hero-worship
  • She loves him for the stories he tells, and the
    things he has done.
  • He believes it is his allusions to strange
    peoples and places, like the "Anthropophagi,"
    that fascinate her
  • Indeed, his powers of language successfully win
    the Duke over, and soften Brabantio's
    disapproval.

26
Analysis White and Black
  • Light and dark are again juxtaposed in the Duke's
    declaration to Brabantio, that
  • "if virtue no delighted beauty lack/ your
    son-in-law is far more fair than black."
  • Black is associated with sin, evil, and darkness
  • These negative things are also associated to
    black people, merely because of the color of
    their skin.
  • The Duke's statement is ironic, since Othello is
    black, but truthful, because his soul is good and
    light.
  • Light/white/fairness all convey innocence,
    goodness, any symbol that is white has these
    qualities.
  • The juxtaposition of black and white, light and
    dark shows up again and again in the play, as the
    colors become symbolic within the story.

27
Analysis Origin of Chaos
  • "Our bodies are our gardens," Iago tells Roderigo
  • his speech recalls Hamlet's first soliloquy,
    though with a more kind appraisal of human
    nature.
  • Iago is a very good judge of human nature, and
    easily able to manipulate people in ways that
    will benefit him most
  • This cleverness also means that he is a source of
    wisdom in the play
  • Iago's metaphor is particularly applicable to
    many in this play, himself excluded characters
    do have vices that they allow to grow in
    themselves
  • They also have aspects of themselves which
    balance these vices out.
  • Iago's knowledge of this allows him to do away
    with this balance and set chaos into motion

28
Analysis Cross Purposes
  • Iago's purpose becomes plain
  • He sees that Othello and Desdemona's marriage is
    less than solid
  • He seeks to use his powers to break this marriage
    apart.
  • Iago is again "honest" about his intent, but only
    to a person whose involvement will help him
    greatly.
  • The words "honest" and "honesty" appear
    repeatedly in the play, and are usually used by
    Iago, or in reference to him
  • Ironically, Iago is the only person in the play
    whom Othello trusts to judge who is and is not
    honest

29
Act II Scene 1
  • A terrible storm has struck Cyprus, just as the
    Turks were about to approach.
  • This might mean that the Turkish attack will not
    happen but it also bodes badly for Othello's
    ship.
  • A messenger enters, and confirms that the Turkish
    fleet was broken apart by the storm, and that
    Cassio has arrived, though Othello is still at
    sea.
  • They spot a ship coming forth but Iago,
    Desdemona, and Emilia are on it, not Othello.
  • Cassio greets them all, especially praising
    Desdemona somehow, Iago and Desdemona enter into
    an argument about what women are
  • Iago shows how little praise he believes women
    deserve.
  • Othello arrives at last, and is very glad to see
    his wife arrived

30
Act II Scene 1
  • Read II.2.1123-1124
  • He and Desdemona make public signs of their love,
    and then depart.
  • Iago speaks to Roderigo, convincing him that
    Desdemona will stray from Othello, as she has
    already done with Cassio.
  • He convinces Roderigo to attack Cassio that
    night, as he plans to visit mischief on both
    Othello and Cassio.
  • Watch movie scene

31
Analysis Storms
  • Storms are always of greater significance in
    Shakespeare
  • the storm is a symbol of unrest
  • The storm marks the end of the peaceful part of
    the play, and is an act of fate
  • it is a signal that Iago's mischief is about to
    begin.
  • Shakespeare's characters that comment on the
    storm are mariners, alluding to Ursa Minor and
    stars used for navigation
  • This is a testament to Shakespeare's incredible
    ability to form credible language for a great
    diversity and range of characters.

32
Analysis Cassio
  • Just as every character has their own manner of
    speech and expression, Cassio has a very
    polished, courtly way of speaking, especially of
    ladies.
  • He describes Desdemona as one who "excels the
    quirks of blazoning pens" he calls her "divine
    Desdemona"
  • As Iago finds out later, he has no love for her,
    though much respect so it is with much irony
    that Cassio is charged as being Desdemona's lover
  • Othello sees Cassio as a model Venetian, all
    poise and polish, which is something Othello
    wants to be, but thinks he is not.
  • Othello's insecurities mean that Cassio is
    promoted over Iago, but also lead Othello to hold
    Cassio at a distance.

33
Analysis Women
  • Though Iago is married, he does not have as
    favorable an impression of women as Cassio does.
  • Women are "wildcats in your kitchens, saints in
    your injuries, devils being offended
  • He even declares that they "rise to play, and go
    to bed to work
  • Iago's perception of women as deceptive,
    dominating, and lusty colors the way he portrays
    both Emilia and Desdemona both are good women
  • Desdemona exceedingly so, yet he is able to
    convince other men that they are anything but
    what they are.

34
Analysis Misrepresentation
  • Misrepresentation is a theme that surfaces often
    through Iago's villainy
  • He makes Desdemona seem like a fickle, lusty
    woman, which he will soon try to convince Othello
    of as well.
  • Iago's speech plays on Othello's insecurities
    perfectly
  • He speaks of Othello's age, race, and manners as
    reasons why Desdemona will grow tired of him,
    which are also reaons why Othello fears he might
    lose her.
  • Iago is also a master of temptation, another
    theme in the story
  • He is able to figure out exactly what people
    want, and then drive them to it.

35
Analysis Motives
  • Though Iago seems grieved by Cassio's promotion
    over him, this does not seem to be his main
    motive.
  • Iago also cites his suspicions that Emilia and
    Othello have had an affair as another reason for
    his enmity.
  • Iago is not a man to be consumed with sexual
    jealousy though rumors about his wife may hurt
    his pride, they seem but an excuse for the misery
    he is about to cause.
  • Shakespeare leaves the root of Iago's malignancy
    unexplained, while showing the fruits of his evil
    in full.

36
Act II Scene 2
  • Othello's herald enters, to proclaim that the
    Turks are not going to attack
  • All should be joyful, and Othello is celebrating
    the happiness of his recent marriage.

37
Act II Scene 3
  • Iago gets Cassio to drink a bit, knowing that he
    cannot hold his liquor at all.
  • Iago also tries to get Cassio's feelings about
    Desdemona, but his intentions are innocent
  • Iago hopes to cause a quarrel between Cassio and
    Roderigo
  • Iago wants to see Cassio discredited through
    this, so that he might take Cassio's place.
  • Cassio fights with Roderigo
  • Montano tries to hinder Cassio, but Cassio ends
    up injuring him.
  • The noise wakes Othello, who comes down to figure
    out what has happened.
  • Montano tells what he knows of it all, and Iago
    fills in the rest making sure to fictionalize his
    part in it all.
  • Cassio is stripped of his rank, and all leave
    Cassio and Iago alone.

38
Act II Scene 3
  • Read II.3.1127-1128
  • Iago tries to convince Cassio that a reputation
    means little
  • Iago suggests talking to Desdemona, maybe he can
    get her to vouch for him with Othello.
  • This will help Iago get the impression across
    that Desdemona and Cassio are together
  • Iago then gives a soliloquy about knowing that
    Desdemona will speak for Cassio, and that he will
    be able to turn that against them both.

39
Analysis Honesty
  • "Honest" emerges as a key word in this scene
  • It is a term laden with irony, and a constant
    reminder of the dramatic irony inherent in Iago's
    dealings.
  • None of the characters in the play have any idea
    of Iago's plans and evil intentions
  • Othello and Cassio are especially innocent of
    this knowledge.
  • The audience knows exactly what Iago is up to,
    and is able to see his deceptions for what they
    are
  • Iago's words interest the audience because of how
    much dramatic irony they are laden with
  • Curiosity to find out whether Cassio and Othello
    will come to know as much as the audience does
    about Iago's deviance.
  • The word "honest" draws attention to how Iago's
    motives are hidden from the characters onstage

40
Analysis Juxtaposition
  • Iago and Cassio are juxtaposed in this scene to
    bring out Cassio's flawed honor and courtliness
    and Iago's manipulativeness and deceptiveness.
  • Cassio stands in especially sharp contrast to
    Iago when Iago speaks lustfully of Desdemona
  • Cassio is full of honor when it comes to women,
    and the ideals of a courtier as well.
  • "He's a soldier fit to stand by Caesar," Iago
    says, the allusion to Caesar stating the fact
    that he knows Cassio's true quality.
  • Iago strikes gold when he figures out Cassio's
    weakness for drink
  • "He'll be as full of quarrel and offense as my
    young mistress' dog,"
  • Iago metaphor shows that he knows how liquor can
    separate even the best man from himself
  • Iago's metaphor reinforces his perceptiveness,
    and the light/dark imagery

41
Analysis Know the Audience
  • Iago's homage to "sweet England" in his song of
    this act
  • though this play does not take place in England
  • features no English characters
  • Shakespeare throws this in to amuse his audience.
  • He does the same in plays like Hamlet, in which a
    little nod to England is thrown in for comic
    effect, and as an audience pleaser.

42
Analysis Reputation
  • Reputation is a theme in the book that obviously
    holds some resonance for Cassio
  • Iago also knows the importance of reputation,
    which is why he makes sure that people see him as
    "honest" before anything.
  • "Reputation is a most idle and false imposition,"
    Iago says
  • this statement is meant as false consolation to
    Cassio, and is filled with great irony.
  • Reputation is always of concern when individuals
    are involved

43
Analysis Devil
  • Cassio is so grieved that his reputation has been
    hurt that he sees fit to find a villain in all
    that has happened
  • Ironically, Cassio misses the identity of the
    real devil in this situation, Iago.
  • "Devil" becomes a key word in this play, as
    people try to seek out what is poisoning everyone
  • Good vs. evil is a major theme in the play
  • There is a great deal of gray area
  • Iago is the villain
  • Everyone else has some blemish of their natures
  • No one entirely deserving of the label "good".

44
Act III Scene 1
  • Comic relief
  • a clown is mincing words with a few musicians,
    then has a little wordplay with Cassio
  • Iago enters, and Cassio tells him that he means
    to speak to Desdemona, so that she may clear
    things up with Othello.
  • Emilia comes out, and bids Cassio to come in and
    speak with Desdemona about his tarnished
    reputation.

45
Analysis Othellos Uniqueness
  • Othello is unlike other Shakespearean dramas for
    two reasons
  • the scarcity of comic relief, which only appears
    briefly at the beginning of this short scene.
  • there are no subplots running through Othello as
    there are in most Shakespearean plays as a whole.
  • Both of these differences make Othello one of
    Shakespeare's most focused, intense tragedies.

46
Act III Scene 2
  • Othello gives Iago some letters that need to be
    delivered back to Venice
  • Iago is in turn supposed to give the letters to a
    ship's pilot who is sailing back to Venice.

47
Act III Scene 3
  • Read III.3.1130-1132
  • Desdemona decides that she wants to advocate for
    Cassio.
  • She tells Emilia so, and that she believes Cassio
    is a good person, and has been wronged in this
    case
  • Iago seizes on this opportunity to play on
    Othello's insecurities, and make Cassio seem
    guilty
  • Othello then speaks to Desdemona, and Desdemona
    expresses her concern for Cassio
  • She is persistent in his suit, which Othello is
    not too pleased about.

48
Act III Scene 3
  • Iago then plays on Othello's insecurities about
    Desdemona, and gets Othello to believe, through
    insinuation, that there is something going on
    between Desdemona and Cassio.
  • Othello seizes on this, and then Iago works at
    building up his suspicions.
  • Othello begins to doubt his wife, as Iago lets
    his insinuations gain the force of an accusation
    against her.
  • Othello begins to voice his insecurities when it
    comes to Desdemona, and himself as well.
  • Desdemona enters and Othello admits that he is
    troubled, though he will not state the cause.
  • Watch movie scene

49
Act III Scene 3
  • Read III.3.1132-1134
  • Desdemona drops the handkerchief that Othello
    gave her on their honeymoon
  • Emilia knew that her husband had wanted it for
    something, so she doesn't feel too guilty about
    taking it.
  • Emilia gives it to Iago, who decides to use the
    handkerchief for his own devices.
  • Othello re-enters, and tells Iago that he now
    doubts his wife
  • Othello demands proof so Iago sets about making
    stories up about Cassio talking in his sleep
  • He says that Cassio has the handkerchief that
    Othello gave to Desdemona.
  • Othello is incensed to hear that Desdemona would
    give away something so valuable, and is persuaded
    by Iago's insinuations and claims to believe that
    Desdemona is guilty.
  • Othello then swears to have Cassio dead, and to
    be revenged upon Desdemona for the non-existent
    affair.
  • Watch movie scene

50
Analysis Desdemona
  • Desdemona's choice of words to describe Cassio is
    unfortunate
  • she calls him a "suitor," not meaning it in a
    romantic sense, although Othello could certainly
    take it that way.
  • Desdemona binds her reputation to Cassio's in an
    unfortunate way
  • She says that if Cassio is wrong, "I have no
    judgment in an honest face".
  • Of course Desdemona means well, but she gambles
    too much on another person's honor.

51
Analysis Jealousy
  • Jealousy is soon addressed specifically by Iago.
  • "It is the green-eyed monster," Iago tells him
  • The "green-eyed monster" becomes a symbol
    representing Othello's dark feelings, a specter
    lurking in his mind and beginning to steer his
    behavior.
  • Iago's speech is also deeply ironic, since it
    points out Othello's flaws, and the root of his
    tragedy
  • Othello has no idea of the significance of these
    statements, and so neglects to take them to
    heart.

52
Analysis Insecure
  • Othello is deeply insecure about his personal
    qualities and his marriage
  • Insecurity becomes a theme that weakens his
    resolve not to doubt Desdemona.
  • Othello uses his black skin as a symbol for how
    poorly spoken and unattractive he thinks he is.
  • All of his claims are very much beside the point
    his words are actually more complex and beautiful
    than those spoken by any other character in the
    play.
  • Because he begins to believe that Desdemona
    cannot love him, he starts to believe her guilty
    of infidelity.
  • The leap is great, but it is all a product of
    Othello's own insecurities and his incorrect
    conception of himself, another theme of the play.
  • How Othello sees himself directly influences how
    he views Desdemona's love

53
Analysis Imagery
  • Othello begins to use the black/ white imagery
    found throughout the play, to express his grief
    and rage at Desdemona's alleged treachery.
  • "My name, that was as fresh as Dian's visage, is
    now begrimed and black as mine own face," Othello
    says.
  • Although the allegations against Desdemona are
    personally hurtful to him, Othello focuses more
    on the public ramifications, rather than the
    private
  • There is great irony in this concern, since this
    rumored betrayal is a private one, and also since
    Othello's name is highly regarded, because
    nothing has really happened.
  • Iago's "proofs" also rely on the animal imagery
    which has run throughout the play
  • he makes Desdemona and Cassio seem like lustful
    lovers, by describing them as "prime as goats, as
    hot as monkeys" (400).
  • This comparison is calculated, since Iago knows
    that thinking of Desdemona as lusting after
    another man disturbs Othello greatly.

54
Analysis Handkerchief
  • The handkerchief, the most crucial symbol and
    object in the play.
  • The handkerchief, to Desdemona, symbolizes
    Othello's love, since it was his first gift to
    her.
  • Othello thinks that the handkerchief, quite
    literally, is Desdemona's love
  • When she has lost it, that must clearly mean that
    she does not love him any longer.
  • The handkerchief also becomes a symbol of
    Desdemona's alleged betrayal

55
Analysis Proof
  • "Proof" is a key word in this scene
  • Othello demands that Iago prove Desdemona
    unfaithful by actually seeing evidence of her
    guilt.
  • Iago manages to work around this completely he
    plays off of Othello's jealousy, telling him
    stories that damn Cassio and mention the
    handkerchief
  • Othello trusts Iago's words to convey proof, and
    is thwarted by Iago's dishonesty
  • Othello only realizes later that he has been
    tricked and has seen no proof, when it is too
    late for him to take his actions back.

56
Analysis Language
  • This act represents the beginning of Othello's
    giving up language
  • From this point forward, notice how Othello's use
    of imagery and story become less and less
    frequent, and how he begins to rely upon Iago for
    speech and explanation.
  • Othello is reduced by Iago and his own jealousy
    to single lines of speech, monosyllabic utterings
    of "O!" and the like.
  • And just as language is the power with which
    Othello was able to woo Desdemona, his loss of it
    is a resignation of this power which attracted
    her to him.
  • Othello suspects his wife's language, and
    Cassio's as well he is distracted from suspicion
    of Iago
  • Othello begins to lose his power over himself,
    and over others, when he loses his beautiful
    language
  • This resignation marks a huge shift in the
    balance of power between Othello and Iago
  • Iago becomes more dominant in the relationship,
    and begins to steer Othello.

57
Analysis Chaos vs. Order
  • In the battle between order and chaos, chaos
    seems to be winning out.
  • Othello abandons his reason in judging Iago's
    "proofs," and his abandonment of language also
    marks a descent into chaos.
  • Although it is a chaos controlled by Iago, order
    and reason are on the losing side
  • Raging emotions and speculations begin to rule
    Othello's fate, as he comes closer and closer to
    his tragic end.

58
Act III Scene 4
  • Desdemona asks the clown where Cassio is the
    clown goes off to fetch him.
  • Desdemona is looking everywhere for the
    handkerchief, very sorry to have lost it she
    knows that her losing it will upset Othello
    greatly
  • Othello enters, and asks for Desdemona's
    handkerchief she admits that she does not have
    it, and then Othello tells her of its
    significance and alleged magical powers.
  • Desdemona does not like Othello's tone he seems
    obsessed with this object, and Desdemona is so
    frightened by him that she wishes she had nothing
    to do with it.
  • She interrupts Othello's inquiry by bringing up
    Cassio's attempt to get back into Othello's
    favor Othello becomes angry, and storms out.

59
Act III Scene 4
  • Cassio then enters, with Iago and laments that
    his suit is not successful, and that Othello does
    not seem likely to take him back.
  • Desdemona is sorry for this, since she knows that
    Cassio is a man of worth
  • She tells Cassio and Iago that Othello has been
    acting strange, and is upset, and Iago goes to
    look for him, feigning concern.
  • Emilia thinks that Othello's change has something
    to do with Desdemona, or Othello's jealous nature

60
Act III Scene 4
  • Read III.4.1136-1137
  • Bianca comes in, and Cassio asks her to copy the
    handkerchief that he found in his room
  • It is Desdemona's handkerchief, though Cassio has
    no idea.
  • He claims he does not love her, and gets angry at
    her for allegedly suspecting that the
    handkerchief is a gift of another woman.
  • Bianca is not disturbed, and leaves with the
    handkerchief.
  • Watch movie scene

61
Analysis Double Meanings
  • Othello's words often have a double meaning
  • When he is describing Desdemona's hand, he says
    it is "moist" and "hot an allusion to a lustful
    nature.
  • He says she is of a "liberal heart" this could
    mean a generous heart, but could also be
    indicating Desdemona's supposed licentiousness.
  • "Here's a young and sweating devil here, who
    constantly rebels," Othello says the metaphor
    speaks badly of Desdemona, and betrays his
    distrust of her.
  • In the next breath, he says, "tis a good hand"
    the juxtaposition of the two statements shows
    Othello trying not to betray his disappointment
  • He is deeply disturbed, and seems to be
    questioning and examining her to prove that she
    really is the harlot

62
Analysis Magic Hanky
  • Here, Othello finally elaborates upon the
    handkerchief's importance for Desdemona.
  • "There's magic in the web of it," Othello says
    he language is full of mystical, dark images
  • Othello reveals that he believes the handkerchief
    to literally symbolize Desdemona's affection
  • The irony is that although the handkerchief is
    lost, Desdemona still loves him.
  • The theme of appearance vs. reality appears

63
Analysis Bianca
  • Cassio's behavior toward Bianca is in sharp
    contrast to the courtly politeness he shows
    Desdemona and Emilia.
  • This is because of Bianca's station as a
    courtesan not regarded the same respect as
    ladies
  • Bianca proves to be as perceptive as Emilia and
    Desdemona, and even more realistic about matters
    of love.
  • The change in Cassio's tone and behavior around
    Bianca betray a cultural bias of the time toward
    women of certain stations
  • His behavior would not have been thought mean at
    the time, because of Bianca's lowly status.

64
Act IV Scene 1
  • Read IV.1.1137-1140
  • Othello is trying, even after swearing that
    Desdemona was unfaithful, not to condemn her too
    harshly.
  • He is talking with Iago about the handkerchief
    still, and its significance in being found
  • Iago whips Othello into an even greater fury
    through mere insinuation, and Othello takes the
    bait.
  • Othello falls into a trance of rage, and Iago
    decides to hammer home his false ideas about his
    wife.
  • Iago calls Cassio in, while Othello hides
  • Iago speaks to Cassio of Bianca, but Othello
    believes that is talking of Desdemona
  • This is the last "proof" he needs before
    declaring his wife guilty.
  • Bianca comes in, and gives the handkerchief back
    to Cassio, since she swears she will have nothing
    to do with it.

65
Act IV Scene 1
  • Othello is incensed by Cassio, still believing
    that he was speaking of Desdemona, rather than
    Bianca.
  • Othello is resolved to kill Desdemona himself,
    and charges Iago with murdering Cassio.
  • Lodovico, a noble Venetian whom Desdemona knows,
    has recently landed Desdemona and Othello
    welcome him there.
  • When Desdemona mentions Cassio, Othello becomes
    very angry and slaps her in front of everyone
  • Lodovico especially is shocked at this change in
    Othello, and has no idea how such a noble man
    could act so cruelly.

66
Analysis Othellos Transformation
  • Othello's trance also marks his descent into the
    savage
  • Ironically, he becomes the passion-stirred,
    wicked pagan that others had accused him of
    being.
  • Iago notes that Othello "breaks out into savage
    madness" in this fit indeed, the primal seems to
    be taking over the more civilized aspects of
    Othello.
  • Othello refers to himself as a "horned man,"
    ashamed of this descent

67
Analysis Othellos Confusion
  • "O, the world hath not a sweeter creature,"
    Othello declares of Desdemona he still decides
    that she shall not live for what she has
    supposedly done.
  • There is great irony in this scene, as Othello
    declares that Desdemona is of a soft and kind
    nature, yet condemns her for being lustful and
    immoral.
  • Note Othello's reticent tone, even when he is
    condemning Desdemona to death
  • Chaos and jealousy have triumphed over reason,
    still there is a part of him that knows Desdemona
    is good

68
Analysis
  • When Othello strikes Desdemona, he shows the
    severity of his change.
  • Just her mention of Cassio sends him into an
    unreasonable rage
  • Although one of his greatest fears regarding
    Desdemona's alleged infidelity was that it would
    blacken his name and reputation
  • The irony is that Othello is doing that himself
  • Savagery is taking over his civility, he
    continues to become the cruel, jealous,
    passion-spurred "savage" that Brabantio accused
    him of being.
  • He is beginning to become a stereotype by his own
    doing, as he falls farther and farther from
    himself.

69
Act IV Scene 2
  • Othello questions Emilia about Desdemona's guilt
  • Emilia admits to having seen nothing, though
    Othello does not believe her.
  • Emilia swears that Desdemona is pure and true.
  • Othello believes that Emilia is in on all this
    too
  • Othello leaves, and Desdemona and Emilia try to
    figure out what has happened to Othello
  • Emilia thinks that someone has manipulated
    Othello into accusing Desdemona, and has poisoned
    his mind

70
Act IV Scene 2
  • Read IV.2.1142-1143
  • Iago is there to dispel this opinion, so that
    Emilia does not inquire further into her theory.
  • Iago comes across Roderigo he is not pleased
    with how Iago has handled things, and knows that
    although Iago is promising him Desdemona's favor,
    he has done nothing to indicate that he has
    worked to achieve this.
  • Iago quiets him by making him believe that if he
    kills Cassio, then he will win Desdemona
  • Watch movie scene

71
Analysis Emilia
  • Emilia, ever perceptive, knows that someone has
    done this to Othello which is the truth.
  • It is ironic that Emilia thinks of this, and
    condemns the man who must be manipulating
    Othello, since the one who has devised this whole
    thing is her own husband
  • Iago is there to hush this suspicion, but they
    know something is awry

72
Analysis Foreshadowing
  • Roderigo, at last, is the one to accuse Iago of
    treachery
  • He has discovered the truth, that Iago's "words
    and performances are no kin together."
  • Iago does his best to deny this, and convinces
    Roderigo to kill Cassio in order to win Desdemona
  • Roderigo's accusation means
  • Iago will be revealed by Roderigo if Roderigo is
    not satisfied
  • Roderigo will have to die so that Iago's plans
    will go through.
  • Othello is a tragedy and this confrontation
    foreshadows Roderigo's death.

73
Act IV Scene 3
  • Othello tells Desdemona to go to bed, and dismiss
    Emilia
  • Emilia regrets Desdemona's marriage, although
    Desdemona cannot say that she does not love
    Othello.
  • Desdemona knows that she will die soon she sings
    a song of sadness and resignation, and decides to
    give herself to her fate.
  • Desdemona asks Emilia whether she would commit
    adultery to win her husband the world.
  • Emilia, the more practical one, thinks that it is
    not too big a price for a small act
  • Desdemona is too good, and too devout, to say
    that she would do so.

74
Analysis Desdemona
  • Desdemona knows of her impending death she is
    almost too good to live
  • The "Willow Song" and her tale of her mother's
    maid also foreshadow Desdemona's death.
  • She is not trying to fight it she seems like a
    totally different woman than the one who stood up
    to her father and the Venetian nobles.
  • Desdemona is suddenly depicted as being meek
    this sudden shift in her character is strange,
    and the source is unknown.
  • Her character is parallel to that of Ophelia
    both are good, virtuous, obedient, but both are
    subjected to tragic fates because of their own
    innocence.
  • Desdemona's fate is unfair and unearned, yet she
    is the martyr of the play,

75
Analysis Individualize Women
  • Emilia pronounces what seems like a theme of the
    play, up until this point
  • "let husbands know, their wives have sense like
    them they see, and smell, and have their palates
    both for sweet and sour, just as their husbands
    have" (96-99).
  • Indeed, this is one of the reasons why Othello is
    so angry at Desdemona the thought that she could
    have desire in her, just as he does, bewilders
    him and angers him
  • That she could have opinions and ideas
    independent of his own, especially about Cassio
    and his rightful place, also upset him.
  • Othello is good at heart but does not
    individualize women

76
Act V Scene 1
  • Read V.1.1144-1146
  • Iago has Roderigo poised and ready to pounce on
    Cassio, and kill him if either of them is
    killed, it is to Iago's benefit
  • Roderigo and Cassio fight, and both are injured
  • Othello hears the scuffle, is pleased, and then
    leaves to finish off Desdemona.
  • Iago enters, pretending that he knows nothing of
    the scuffle
  • Roderigo is still alive, so Iago feigns a
    quarrel, and finishes him off.
  • Cassio is carried away, and Roderigo is already
    dead.
  • Emilia also comes in, and pins more blame on
    Bianca she has done nothing, but Iago has some
    quick work to do if he is to exonerate himself in
    this mess.
  • Watch movie scene

77
Analysis
  • Iago addresses the audience directly about his
    intentions, and his actions
  • Iago is only truly honest with the audience like
    Richard III
  • This creates an undercurrent of dramatic irony
    throughout the play, since the audience knows all
    of his plans, and individual characters know
    little or nothing
  • Although Othello is the title character of the
    play, Iago has more lines and more interaction
    with the audience as well.
  • It is Othello's tragedy that is the focus of the
    play, but Iago succeeds in stealing the show he
    is more interesting than any of the protagonists
    in the play.
  • Iago proves himself a consummate actor
  • appearance vs. reality
  • Iago claims to know nothing of this battle
  • Iago is many selves in this act
  • he is friend and advisor to Roderigo
  • betrayer and murderer of Roderigo
  • consoler of Cassio
  • the lead officer in this

78
Act V Scene 2
  • Read V.2.1146-1150
  • Othello enters Desdemona's room while she is
    asleep and still is determined to kill her.
  • He justifies this with images, metaphors, and
    ideas of her rebirth after death
  • Desdemona awakens, and he tells her to repent of
    any sins before she dies
  • Othello tells her that he found her handkerchief
    with Cassio, though Desdemona insists it must not
    be true
  • She pleads with Othello not to kill her right
    then, but he begins to smother her.
  • Emilia knocks, curious about what is going on
  • Othello lets her in, but tries to conceal
    Desdemona, who he thinks is already dead.
  • Emilia brings the news of Roderigo's death, and
    Cassio's wounding.

79
Act V Scene 2
  • Emilia soon finds out that Desdemona is nearly
    dead, by Othello's hand
  • Desdemona speaks her last words, and then Emilia
    pounces on Othello for committing this horrible
    crime.
  • Othello is not convinced of his folly until Iago
    confesses his part, and Cassio speaks of the use
    of the handkerchief
  • Othello is overcome with grief.
  • Iago stabs Emilia for telling all about his
    plots, and then Emilia dies
  • Venetian nobles reveal that Brabantio,
    Desdemona's father, is dead, and so cannot be
    grieved by this tragedy now.
  • Othello stabs Iago when he is brought back in
  • Othello then tells all present to remember him
    how he is, and kills himself.
  • Cassio becomes temporary leader of the troops at
    Cyprus
  • Iago is taken into custody, and his crimes will
    be judged back in Venice.
  • Watch movie scene

80
Analysis Literary Terms
  • Othello's farewell to Desdemona is a return to
    his former eloquence
  • Though he believes Desdemona's soul to be black,
    he can only focus on her whiteness he pledges
    not to mar "that whiter skin of hers than snow"
  • The metaphor highlights Desdemona's innocence, as
    does comparing her to a "light" to be put out.
  • There is irony in Othello's references to
    Desdemona here
  • he describes her with words that suggest her
    brightness and innocence
  • he is determined to condemn and kill her.
  • She is also "the rose" to Othello, another
    beautiful image
  • Othello's allusion to Prometheus explains his
    wish to put out Desdemona's light in order to
    restore her former innocence.
  • Before Othello felt only hatred and anger, now he
    is forced to feel his love, along with his
    mistaken determination to see Desdemona die.

81
Analysis Lines
  • Desdemona's last words are especially cryptic
  • When asked who killed her, she remarks
  • "nobody, I myself commend me to my kind lord."
  • This could be seen as a kind of condemnation of
    Othello for killing her
  • She might be trying to absolve her husband of
    blame with her last breath
  • If this is so, it certainly does not sit well
    with her line
  • "falsely, falsely murdered," which seems to refer
    both to Desdemona's death, as to Emilia's mention
    of the death of Roderigo and wounding of Cassio.

82
Analysis Parallelism
  • Emilia's fate is parallel to Desdemona's
  • She was more realistic than Desdemona
  • She too was betrayed by her husband
  • She died through other's wrongs.
  • Desdemona might be a more central figure in the
    play, but Emilia is the conscience
  • Emilia knows how human nature works
  • She knows of husbands' jealousies, of how men
    believe women are less human, of how people are
    naturally prone to folly.
  • She is the sole voice of reason in the play, the
    only besides Desdemona who is uncorrupted by
    Iago's manipulations.

83
Analysis Oxymoron
  • Othello insists that he is an "honorable
    murderer
  • Iago was surely killed out of anger
  • Desdemona out of jealousy and offended pride.
  • Othello still denies the flaws in himself that
    have led him to this end.
  • Iago was definitely the catalyst for Desdemona's
    death and Othello's jealous rages but the seeds
    of jealousy and suspicion were already inherent
    in Othello
  • It certainly makes the resolution of the play
    more neat to believe that Othello is returned to
    his nobility
  • Since he still denies the deep wrong he has
    committed, he cannot be fully redeemed or
    forgiven.

84
Analysis Conclusion
  • Of course, all threads are wrapped up in this
    last scene of the play
  • Letters are produced that expose Iago's part in
    these unfortunate events
  • These letters have not been mentioned or shown
    earlier in the play.
  • Cassio seems to have been kept alive merely to
    testify about his part in this whole debacle

85
Tragedies Excite
  • Shakespeare was as good a philosopher as he was a
    poet
  • He understood the love of power and mischief and
    that these loves were natural to man
  • Why are tragedies so interesting to people?
  • Why do they read the newspaper and watch the news
    to hear about the latest Iago?

86
Characterization of Iago
  • Great analyst Harold Goddard noted
  • Iago is always at war
  • He is a moral pyromaniac setting fire to all
    reality
  • He was passed up by Cassio because he cannot stop
    fighting
  • Since Othello is thought of as the God of War, he
    is Iagos only god
  • Othello is everything to Iago because war is
    everything

87
Characterization of Iago
  • Iago rejects a Christian God in a way when he
    says
  • I am not what I am
  • This is contradictory to St. Pauls I am what I
    am
  • Iago sets about to destroy his god
  • Uses mastery of timing to plot using openings
  • Employs a grand program of uncreation

88
Characterization of Iago
  • Iago went unchanged during revisions of
    Desdemona, Emilia, and Othello between the Quarto
    and First Folio
  • He speaks eight soliloquies and Othello only
    three

89
Theme of Marriage
  • Marriage is a problem of grand proportions
  • Emila is a martyr
  • Iago says A fellow almost damend in a fair
    wife
  • Othello and Desdemona never consummate their
    marriage
  • This makes it easier for Iago
  • Marriage is damnation

90
Tragedy Characteristics
  • There is no conscience in Othello
  • Shakespeare had a tragic obcession with the idea
    of a good name living on after the protagonists
    death
  • Horatio to discuss Hamlet
  • Cassio to tell of Othello
  • Tragedies, literary or human, depend on imperfect
    knowledge
  • Shakespeare came naturally to histories, comedies
    and romances, but tragedies took work
  • The tragedies especially are not religious in any
    reguard
  • No killer kills in the name of any god, ever
  • War is the religion in Othello, Macbeth, Lear,
    and Romeo and Juliet (Tybalt)

91
Tragedy Characteristics
  • Many critics rate Othello below Macbeth and
    Hamlet because
  • There is no extrinsic force operating Iago
  • The evil is too pure
  • There is no remorse shown
  • Humans are too evil
  • What do you think?

92
Characterization of Othello
  • Even in his final suicide speech he does not
    achieve atonement
  • Audience is more like Iago than Othello so he
    cannot be forgiven
  • Othello does not have the power of expression of
    Hamlet or Macbeth
  • He is distinct, divided and flawed
  • Has a Julius Caesar complex
  • Ambiguous
  • Hard to tell when they are being arrogant or just
    stating facts
  • Both refer to themselves in the third person

93
Characterization of Othello
  • He is Iagos antitheses until he starts to come
    undone
  • He should be a character in a romance, like
    Claudio or Benedick
  • He is the wrong character in the right play
  • Othello, analyst Brower believes, would have come
    apart from Desdemona without Iago
  • Nothing in Othello is marriage material

94
Analyzing the Clowns
  • The clowns scarcely come onto the stage and the
    play excludes all laughter
  • Unlike the drunken porter in Macbeth
  • The asp-bringer in Antony and Cleopatra

95
Sources of Othello
  • Shakespeares source is Cinthio but he changed a
    few things
  • Iago is Shakespeares own invention
  • Cinthios Ensign is Iagos basis but
  • Ensign falls in love with Desdemona
  • She shuns him in favor of Othello
  • Ensign blames it all on Cassio
  • Ensign beats Desdemona to death
  • The characters were flat, not round, and the
    shock and inwardness of a rejected solider is
    absent

96
(No Transcript)
Write a Comment
User Comments (0)
About PowerShow.com