othello sample essay

Othello - Essay Samples And Topic Ideas For Free

Othello is a tragedy by William Shakespeare, exploring themes of jealousy, betrayal, and racism. Essays on “Othello” could delve into character analyses, thematic explorations, and the play’s historical and social context. They might analyze the play’s treatment of race and the character of Othello as a tragic hero. Discussions could also explore the play’s modern-day relevance, adaptations, and its reflection of, or comment on, the societal norms and racial attitudes of both Shakespeare’s time and today. A substantial compilation of free essay instances related to Othello you can find at PapersOwl Website. You can use our samples for inspiration to write your own essay, research paper, or just to explore a new topic for yourself.

Role and Character of Iago in Othello

In Othello by William Shakespeare, Iago a power hungry ancient drives the plot through his cruel and manipulative ways. In the play Othello and Desdemona are happily married, Othello gives Cassio a promotion to lieutenant, he chooses Cassio over Iago and gives Iago a more trusted and honorable job. Through manipulation Iago is able to bring the downfall of every character he pleases. Iago uses subtle cruelty to manipulate other characters into doing heinous acts which may of otherwise seemed […]

Women’s Role in Othello

Othello presents us with three female leads; Desdemona, Emilia, and Bianca. The way the play is worded implies woman as somewhat slanderous and adulterous and yet in the beginning depicts women mostly as virtuous. All these characters are implied to be whores through the play. During Act 2, Scene 2, Othello’s wife is being referred to as “a maid that paragons description and wild fame” and that “she excels the quirks of blazoning pens”. This states that she is so […]

Iago: the Main Antagonist

In the play Othello by William Shakespeare, the main antagonist Iago guides the audience through his path of deception to justify his revenge towards Othello. As a result of Iago being humiliated and disenfranchised by Othello, he takes from Othello what he values most; the security he feels in Desdemona's untainted love and commitment. Iago justifies his action though: his jealously of Cassio being appointed as lieutenant instead of him, the misconception he has that Othello had sex with his […]

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Misogyny and Violence in Othello

William Shakespeare's play “Othello” makes it clear that women have been vulnerable to male slander and assault for ages. Othello is a story of domestic abuse and male violence. Male violence remains a tragedy for many girls and women. Many victims of intimate partner violence will recognize their experiences in this play. The terrifying transformation of a beloved into an aggressor, the closing off of escape routes, the urgent assertion of fidelity. The #MeToo movement opens up a new way […]

Othello Manipulation Essay

Manipulation is all around us; we frequently do not notice it because it is hidden very well. Humans manipulate others in order to get their requests, they expect them to reveal their flaws to use it against them. In Othello, Iago demonstrates he is the master of manipulation over all characters who had formerly trusted and confined him. Shakespeare’s Iago effectively showcases how humans can use others weaknesses to serve their demands which causes them to expose their faults. Shakespeare […]

Shakespeare: Obedience and Powerless in Women

In Hamlet and Othello, Shakespeare criticizes the feminine issues that were present in his time, bringing awareness to the standard roles and ideal expectations of women by characterizing them in a space of being obedient and powerless. As women are portrayed as having ideal feminine values such as chastity and passiveness, the frailty of women is also brought to the surface. On the other hand, Shakespeare also seems to be suggesting that internal destruction is generated in the sense that […]

Theme of Jealousy in Iago, Roderigo, and Othello’s Characters

Shakespeare explores the theme of jealousy in Othello through Iago,Roderigo, and Othello. Iago starts off the jealousy theme in Othello when he gets jealous of Cassio. Othello puts Cassio as his 2nd in command while he signed Iago to be his ensign which means third in command. Iago then goes crazy and starts plotting to ruin Othello’s marriage and get Cassio fired. He then starts putting words in Othello’s head and starts to make him question everything. “O, beware, my […]

Racism and Racial Prejudice in Othello

In the book, Othello, by William Shakespeare, we see a big impact of racism and racial prejudice. Othello shows a lot of this and how it gets in the way by restraining love in society. He is a black man who is also a great and successful war soldier. He dedicates himself to serve society's goals by fighting for his country. Even though, Othello is a Moor, he is the most hardworking and the most respected. When it comes to […]

Imbalance of Power between Men and Women

Social imbalance can be termed as the presence of inequality opportunities as well as rewards for different gender statuses and social function within the society. The act of imbalance can be attributed to various important dimensions that involve cultures, employment opportunities as well as earnings. Furthermore, an aspect of inequality much revolves around power which is primarily discussed in this paper. The power imbalance between men and women in areas such as religion not only occur in western and British […]

Deaths of Characters in Othello

How many people die on Othello? Knowing Shakespeare, he kills off a majority of his characters. In Othello alone, eighty-five point seven percent of the roles die in the end. Whether killed by a sword or strangled out of jealousy, there were no justified reasonings for the deaths. Emilia, Desdemona, and Othello all fall blind to the truth and die because of it. Desdemona, one of Shakespeare's more naive and innocent character, was killed by her own husband in the […]

Reasons of Othello’s Tragedy

Othello's tragedy is a product of not just Iago, but himself. Though Iago may appear to be the primary cause of Othello's downfall, based on how manipulative, evil, and deceptive Iago was throughout the story. It can also be said, after having read the story, Othello's own insecurities were the product of his own self demise. A combination of putting trust into Iago due to male pride, his lack of confidence of Desdemona and the perception of infidelity and racial […]

Was Iago a Real Villain?

The Considering Iago as a "Villain" in  the play Othello, the character Iago plays a main role in the destruction of Othello and all of those around him. People could say that Iago's actions are simply a scheming liar and that he is a purely evil character. Others say Iago's talent for understanding and manipulating the desires of those around him that makes him both a powerful and a compelling figure that represent some greater force. We find soon in […]

Description of Othello’s Character

Othello is the main character in the play Othello by William Shakespeare. He is a well-respected African general in the Venice army and is happily married to Desdemona, a white woman. Othello being African already makes him an outsider and highlights racism in Venice. Throughout this play, there are slurs that have been used to describe Othello, "Moor, is an example of one. Even though Shakespeare did not make race the main theme in the play it is a huge […]

Iago’s Jealousy in Othello

William Shakespeare is prolific for his plays of love, revenge, deceit and jealousy. Among his most celebrated plays is the tragedy Othello, in which the themes of jealousy and deceit play a central role. In Othello, one of his most recognized tragedies was revolving around the central theme of jealousy and deceit. The themes of jealousy and deceit go with love. Love consumes all those who take part in it and in Othello’s case, his love for Desdemona has blinded […]

Literary Devices Used Othello

In Othello by William Shakespeare, Othello considers and thinks about all his actions before going through with them. By analyzing his soliloquies, we can understand his thoughts, and his reasons behind his actions. In act 5 scene 2 the first soliloquy Othello contemplated him killing his wife. This monologue gives you an inside scoop of Othello's thinking process because he doesn't want to kill his wife but feels as if he needs to. Othello makes choices that he might not […]

Lies, Revenge and Betrayal in Othello

Lies are extremely common in our society today, with millions of people masking their true intentions. In Shakespeare's play titled Othello, one of the characters, Iago, is no different and in fact the same as those deceptive individuals in society. Behind his act as a trustworthy friend, Iago is a manipulative and deceptive character creating disorder and causing many mishaps to occur. Iago uses many acts of manipulation to undermine every single character's weaknesses to get exactly what he wants, […]

Insanity Within the Plays of William Shakespeare

William Shakespeare in his many plays and other pieces of literature created some of the most well thought out characters of all time. The characters often had reasons for what they did or what they thought, shedding new light on what it meant to actually be “insane”. The characters’ motives were often shown during his stories, Because of that, Shakespeare, through his use of literature and understanding of the human mind, shaped western culture’s perception of insanity from negative feelings […]

Othello as an Ideal Representation of the Tragic Hero

William Shakespeare's Othello is a clear representation of the downfall of a tragic hero. Set in Venice and Cyprus during the 16th century, Othello, a moor, deals with the manipulative actions of a general of the Venetian army, Iago. Due to losing his desired position of being Othello's lieutenant to another solider Cassio, he plots is revenge in deviousness. Othello becomes persuaded by Iago 's rumors, framing, and miscommunications, causing him to kill Desdemona, his believed unfaithful wife. In realization […]

Sexism in Shakespeare’s Play Othello

"In the book, Othello written by Shakespeare, there is a main theme of sexism present throughout the book, Although the book was written in the 1600s, and there have been great decreases in sexism around the world, many of these ideas and scenarios are still present to this day. Sexism is defined as prejudice, stereotyping, or discrimination, typically against women, on the basis of sex. Sexism has been present for centuries, in many different forms, such as wage gaps, gender […]

Power and Control in Othello

In modern society, there are instances where one person has power over another. It is found in professions, school, and everyday life. What is meant by control is having some sort of influence in the way you act, make money, or are seen by others. This in no way means that someone completely owns another person. Power and control of others can be found by lying to others for benefits, men taking a higher role than women, and higher-ranked people […]

Othello Gullible Essay

The start of the Renaissance marked a time of a creative movement that promoted the greatest artists and creators to come forth and produce the best that their minds could think up. One of these artists that today still hold a position of being greatly respected and admired by the public is William Shakespeare. Shakespeare was a poet, writing over 154 sonnets, and a playwright, and in each of the 37 plays, he was able to “capture the complete range […]

With Love, Violence and Vengeance

Through the twisted minds of human nature, love is shown through acts of violence and vengeance committed by mankind. William Shakespeare's, Othello and Homer’s The Odyssey violence and vengeance are portrayed through jealousy, prejudice, justice, and honor. Their roles are woven throughout these books to portray the idea that love is a violent concept. Violence and vengeance can be found in several ways. It can be expressed physically, verbally, and mentally. Othello shows how envy and jealousy can overpower and […]

Importance of Literary Devices in Othello

This passage highlights Iago's character through the use of diction, imagery, irony, and other instances of figurative language. In this exchange, Iago continues to inconspicuously accuse Desdemona of being unfaithful to Othello and accuse Cassio of being disloyal to his superiors. He inserts various remarks at different times to execute this plan. At the end of this echange, Iago has effectively created an unfaithful and untruthful image of Cassio and Desdemona, and planted a seed of jealousy and doubt in […]

A Short Review of the Othello Play

In Act 1 of Othello, we are introduced to Iago and Roderigo. Iago is upset because Othello gave Cassio the position Iago wanted. Iago felt Cassio was not qualified for the position because he had never been in actual situations unlike Iago. The true colors of Iago are shown because this is the first time the audience has been exposed to the deceitful side of Iago. He talks about only following Othello just so he can turn his back on […]

My Attitude to Othello and Iago

Iago the antagonist within Othello written by William Shakespeare. I am so engaged with Iago because I want to secretly be like him. To get away with all the destruction he exerts. I get bored of the good guys always succeeding. He embodies both attraction and repulsion. The character of dramatic irony gropes us into his story and makes me agree that the most effective villain is one that both attracts and repels, which is why a villain is a […]

Characters in the Play Othello

The play Othello written by Shakespeare in the 1600s takes place in Venice, and Cyprus an island in the Mediterranean Sea. Shakespeare’s tale focuses on love, jealousy, and betrayal. Main characters being; Iago, Othello, Desdemona, Cassio, Bianca, and others. While some of these main characters go through some minor and big changes throughout the play. The character Othello undergoes many changes from start to finish, although some of the other characters in this play have a part in the way […]

A True Reason of Othello Demise

The novel Othello is about a General man named Othello and his wife Desdemona, just trying to be a normal couple, but problems occur when Iago starts to stir things up and starts to put lies in Othello's head. Iago starts to stir things up because Iago wanted to get the rank as lieutenant but Othello thought Cassio deserved it more and gave it to him so Iago wants revenge and wants to mess up Othello's relationship with Desdemona. Iago […]

Racism in Othello

Throughout history, men have the tendency to seek power. They may initially intend on pursuing the greater good, but eventually, pride rules out. And according to Cornelius Tacitus, senator of the Roman Empire, “the lust for power, for dominating others, inflames the heart more than any other passion” (Tacitus). This desire that is stained within our human nature gradually instigates tension between individuals and is largely influenced by race. Therefore, while those who triumph usually become centered, those without, get […]

Othello as an Aristotelean Tragedy

Legendary playmakers, such as Aristotle and Sophocles, held an influential position in the history of theatrical performances. In creating works like Oedipus the King, such experts seemingly knew how to intertwine human emotion with the actions of the narrative. This prowess eventually adopted by other artists led to the creation of some of the greatest plays in history. Interestingly, most of these plays entailed a protagonist, covered in splendor and valor throughout the play. The lead character often gained high […]

Prominent Theme in Shakespeare’s Othello

Within the play "Othello, written by William Shakespeare, the main and prominent theme of the play concerns with Othello's primary flaw, his jealousy. Thus, it is evident within the play the term "The Green-Eyed Monster whom Iago refers as jealousy suggests why The role of jealousy within Othello is focused from his delusional jealousy described as "Othello Syndrome, how his jealousy can resonate with readers and the connection with real-life marriages. In Shakespeare's Othello, he introduces the term of the […]

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How To Write an Essay About Othello

Understanding the play 'othello'.

To write an effective essay about Shakespeare's 'Othello,' it's crucial to have a comprehensive understanding of the play. 'Othello' is a tragedy that explores themes such as jealousy, love, betrayal, and racism. Start by familiarizing yourself with the plot, characters, and Shakespeare's language. It's important to understand the historical and cultural context in which Shakespeare wrote the play. Research the Elizabethan era's attitudes towards race and gender, as these are central themes in 'Othello.' Understanding the play's context and themes will provide a solid foundation for your essay.

Formulating a Thesis Statement

Your essay should be driven by a clear, concise thesis statement. This statement should offer a unique perspective on 'Othello.' You might choose to focus on a character analysis of Othello or Iago, explore the theme of jealousy, or examine the play's treatment of race and ethnicity. Whatever focus you choose, your thesis should guide your analysis and provide a central argument for your essay.

Gathering Evidence from the Play

Once you have your thesis, gather evidence from the play to support your argument. This involves closely reading the text to find relevant quotes, dialogues, and scenes. For example, if you're discussing the theme of betrayal, identify instances in the play where betrayal is evident and examine the consequences of these actions. This evidence will form the backbone of your essay and strengthen your arguments.

Analyzing Shakespeare's Techniques

In your essay, analyze how Shakespeare uses various techniques to convey themes and develop characters. This might include his use of language, imagery, symbolism, and dramatic structure. For instance, explore how Shakespeare uses irony or foreshadowing to enhance the tragic elements of the story. Your analysis should provide insight into how Shakespeare's techniques contribute to the overall meaning and impact of 'Othello.'

Concluding the Essay

Conclude your essay by summarizing the main points of your analysis and restating your thesis. Your conclusion should tie together your analysis and reinforce your overall argument. It's also an opportunity to reflect on the broader significance of 'Othello' in terms of its relevance to contemporary audiences or its place in Shakespeare's body of work.

Reviewing and Refining Your Essay

After writing your essay, review and refine it for clarity and coherence. Check for grammatical and spelling errors, and ensure that your essay flows logically from one point to the next. Consider seeking feedback from peers or instructors to further improve your essay. A well-written essay on 'Othello' should not only demonstrate your understanding of the play but also your ability to engage critically with Shakespeare's work.

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Home — Essay Samples — Life — Betrayal — The Theme Of Betrayal In Othello

The Theme of Betrayal in Othello

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Published: Mar 13, 2024

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Othello: Essay Questions

A list of potential essay questions to form revision and speed planning practice:

Jealousy is at the core of all the tragic events that occur in Othello.’ In the light of this statement, explore the dramatic function of jealousy in Shakespeare’s play. In your answer, you must consider relevant contextual factors.

‘Despite his suffering, Othello learns nothing.’ In the light of this statement, explore Shakespeare’s presentation of Othello in the play. In your answer, you must consider relevant contextual factors.

‘Othello depicts a world riddled with corruption and prejudice’. In the light of this statement, explore Shakespeare’s presentation of the values of the world in which the play is set. In your answer, you must consider relevant contextual factors.

‘Irony is a powerful device that Shakespeare uses to heighten the tragedy of Othello.’ In the light of this statement, discuss Shakespeare’s use of irony in the play. In your answer, you must consider relevant contextual factors

‘Othello’s foolishness, as much as Iago’s cleverness, is responsible for the tragedy that unfolds.’ In the light of this statement, explore where responsibility for the tragedy might lie. In your answer, you must consider relevant contextual factors.

‘The settings in Othello are not just times and places in which action happens: they are deeply symbolic and add greatly to the meaning of the play as a whole.’ In the light of this statement, explore Shakespeare’s use of settings in the play. In your answer, you must consider relevant contextual factors.

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Othello Knowledge Organiser

An Othello Knowledge Organiser, based on William Shakespeare’s seminal play, including key vocabulary and crucial literary allusions and comparisons. My knowledge organisers distill important information from the text in clear and manageable pieces of information for both students to revise from, and teachers planning new curriculum content.

The Knowledge Organiser is structured into three key areas: Critical Theory, Intertextuality and Context as well as Biblical Allusions. Whilst also incorporating key quotations for each character in short sharp, high utility phrases which can be used in a range of essays.

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Richard Marriott English

English Lecturing and Tutoring

Othello Sample Essay

This sample essay shows how to meet the assessment objectives at the highest level.

What intimations of tragedy have you found in Othello so far?

The presence of a Machiavellian villain in the false Iago, a hero in the ‘Noble Moor’, and a tragic setting, Christendom under siege, are the first intimations of tragedy in Othello. There are as well signs that the play is not a tragedy:  it flouts the Aristotle’s unity of time and the neo-classical ‘unity of place’ that is frequently attributed to Aristotle. There are even signs of comedy: an old man deceived by a sexually active daughter suggests the pantalon of the commedia dell’arte. The cuckold is an archetypal comic figure in Elizabethan drama and the idea that Othello may think  himself a comic and be none is a further comic development on male sexual anxiety. The play has been read by Michael Bristol as a charivari , not a tragedy at all, but a savage carnival in which the black man who dares transgress the marriage conventions of white society is mocked – and then beaten for his outrage.

The duplicity of Iago, hell-bent upon the destruction of his unwitting master, Othello, intimates tragedy. Shakespeare reveals heroic potential in Othello from the outset in the nobility of character which others comment on and in the words and action he utters himself. His potential for tragedy is evident in his obliviousness to the treachery of Iago, a man he insists on calling honest. He is not alone: Iago’s treachery glides through the play unobserved, revealed only in his private moments with Roderigo and his soliloquies to the audience. More than that, Shakespeare presents Othello as a hero is a man upon whom Shakespeare shows the fate of nations to depend. If Churchill was the only man who could save England from German National Socialism, then Othello seems the only man capable of shoring up Cyprus that far Christian outpost against the terrifying onslaught of Islamic aggression. If Othello falls, then Christian Europe may fall with it. Othello is that Aristotelian great man upon whom the fate of many hangs. His fall, bringing others down with him, will be tragic.

Shakespeare gives us the tragic villain in advance of the hero. He is a villain in Machiavellian style. Although Machiavelli’s treatise, Il Principe , did not appear in English until Edward Dacres’ 1636 translation, the ideas were part of the intellectual milieu of sixteenth century Europe. In essence, Machiavelli offers the princes of catholic Europe licence to waive the inhibiting precepts of their faith and pursue whatever moral course is necessary to keep power; the assumption being that political stability is of higher value than personal morality. The duplicity he recommends formed the subject of much debate and theatrical representation in the sixteenth century. Shakespeare has already offered us Machiavellian villains in Don John in Much Ado About Nothing and more especially Claudius in Hamlet : the fratricidal traitor to the King who disinherits the rightful prince and marries his brother’s queen, might, from a Machiavellian point of view have simply been attempting to secure the safety of Denmark from the threat of Norwegian invasion.

Machiavelli’s advice to Princes in Chapter XVIII offers a guide to the key notes of Iago’s character; “it is necessary to know well how to disguise  . . .  to be a great pretender and dissembler; and men are so simple, and so subject to present necessities, that he who seeks to deceive will always find someone who will allow himself to be deceived.” Necessary ‘to disguise’ says Machiavelli; “trimmed in forms and visages of duty”, I i 50, says Iago. To ‘trim’ is to adorn, to decorate, as a milliner might decorate a hat. So Iago adjusts his appearance to disguise his true nature. Likewise he assumes the ‘visages’ the facial expressions of the dutiful servant. His boasting continues: he is one who throws out “shows of service”: a show is an appearance, a representation, a simulacrum, not the thing itself. He does all this for his “peculiar end”, his private purposes, private even against Roderigo.

Machiavelli goes on to state that “a prince, especially a new one, cannot observe all those things for which men are esteemed, being often forced, in order to maintain the state, to act contrary to fidelity,  friendship, humanity, and religion.” Iago flouts all those precepts: he is disloyal to the man he has fought with, unfriendly to the man who treats him as a friend and inhuman in his revenge. His hatred is boundless, disproportionate to any cause for vengeance and lies beyond the purview of his master. Machiavelli reiterates the instruction: “appear merciful, faithful, humane, religious, upright, and to be so, but with a mind so framed that should you require not to be so, you may be able and know how to change to the opposite.” Iago evinces all those opposite qualities. Shakespeare presents him as the character who might be the hero: he is named Iago. The name recalls the contemporary patron saint of Spain: Iago Matamoros. The name, Kim Hall observes, means Iago the Moor-Slayer. (Hall uses the emotive, fairy-tale word, ‘slayer’ – a more literal, prosaic translation would give us ‘killer’.) He ought, by his name to be the European hero who slays the evil dragon that Othello would represent. Not only that but Shakespeare presents a man who appears honest and trustworthy. He proclaims a ‘conscience’, an internal sense of right and wrong, talking to Othello before the Sagitarry, I ii 2 which prohibits premeditated violence. He swears , or professes, friendship to Roderigo and a bond that is powerful, visible and tangible of ‘cables of perdurable toughness’ – yet all the while cynically takes his money in a courtship cause that is already lost. He is similarly cynical as he bemocks his own honesty in an aside to the audience, swearing by it even as he embarks on a dishonest act , “I’ll set down the pegs that make this music/As honest as I am”, ii I 195. The music metaphor has far-reaching implications: musical harmony is divine in its source. The ultimate harmony is the music of the spheres: the music of the planets in their divine and majestic progress around the earth, as it was believed at the time. If music is an image of divine order, then Iago’s threat is a diabolical threat of disorder.  And this is the man to whom Othello entrusts his wife, taking him at face value as a man ‘of honesty and trust’! (I iii 281)  Most clearly he flouts his religion, allying himself with the forces of Hell:

I have’t. It is engender’d. Hell and night Must bring this monstrous birth to the world’s light.

                                                                    I iii 403-4

His plan is ‘engender’d’ the metaphor is of conception and birth. The forces of Hell and darkness then are the midwives to his diabolical treachery. Typical of Iago, he will have someone, something do this dirty work for him. The word, ‘monstrous’, suggests an unnatural birth that is as contrary to nature as hell is to heaven. In Oliver Parker’s film a horizontal camera shoots Kenneth Branagh’s face, as Iago, staring through the pieces of a chessboard with flames rising behind him. An image that suggests the flames of Hell. The Machiavellian villain, the prince licensed to defy his faith, becomes an agent of Hell. The consequences for the unwitting Othello and the Venetian state depending on him have indeed tragic potential.

Returning to my first reference to Machiavelli, quoted above, “he who seeks to deceive will always find someone who will allow himself to be deceived.” The phrase ‘allow himself’ to be deceived is interesting: even in these early stages, Roderigo is deceived by Iago, so too Cassio and of course Othello. Indeed neither Duke nor Senate question Iago’s character when Othello proclaims him a man of ‘honesty and trust’ – so much honesty and trust that he entrusts to him that which above all things is most precious: his wife, Desdemona.

Iago then is the tragic villain, of a Machiavellian stamp, who will be at least ‘partly responsible for the hero’s demise’. His ‘peculiar end’ is not clear. What revenge does he want: in Suzman’s production, Richard Haines as Iago stands triumphant astride the arms of the Duke’s throne. By implication he seems himself engaged in ‘a contest of power’, more than this he uses his arms to mime a giant penis. He seems to be seeking both constitutional power through his usurpation of the throne and sexual power or at least to recover a sense of his manhood. 

The tragic villain must have a hero to bring down. Othello qualifies for the role. Iago who is at least clear sighted recognises his “constant, loving, noble nature”, II i 287. The words bear examination: constant means ‘faithful’, the quality Machiavelli eschews in princes; loving implies at the least ‘friendship’, again to be eschewed in friendship. ‘Noble’ is an interesting word. Nobility in the sixteenth century is an attribute of birth. Like royalty, one is born noble – or not. Shakespeare is not the first to challenge the idea. And Othello is anyhow royal-born, fetching his “life and being/ From men of royal siege”, I ii 20. It is his nature, though, not his birth that Iago is observing: Shakespeare creates in Othello a noble man – fit for heroism, whose fall we can justly pity.

Aristotle observed in his Poetics that great tragedies have common elements, chief among them the tragic hero: “He must be one who is highly renowned and prosperous- a personage like Oedipus”, Othello is has such high renown and prosperity. When Iago names him to Brabantio as ‘the Moor’, it is clear he knows which Moor he is talking about: there is only one. He is famed by the First Senator as ‘the valiant Moor’. His prosperity is evident in his marriage to Desdemona – he has prospered in love as he appears to have done in love, reaching the rank of General. Aristotle’s examples of heroes of ‘high renown’ princes of royal blood, kings or heirs to the throne: Oedipus, Creon Aegisthus. Their fall has consequences for their royal house and for the people they rule. Othello, as a mere General, would seem to be an exception to this rule, except that Shakespeare presents him as the last bulwark against Ottoman invasion: if Othello falls, Cyprus, Christendom even, may fall to the Turk.

In the first Act, Shakespeare sketches in a life journey that is in itself heroic, fetching ‘his life and being / From men of royal siege’ I ii 22, Othello carries princely blood. He  hails from one of those ‘few families only’ whose members may, ‘furnish the subjects of tragedy’. He has been ‘sold to slavery’, won redemption, travelled to remote lands and been a soldier from the age of seven (I iii 83). The vicissitudes of his life: prince to slave, soldier to lover, global traveller, have a heroic scale. And Shakespeare shows this man who has risen so high, so nearly attained a place in the ruling classes of the most civilized state in Europe, this man of such ability, on whom so many depend, on the brink of a fall, a fall that could only be tragic.

From the first he appears noble and heroic. At his first entrance in I ii, when Iago would have him hide from Brabantio and his vigilante party bent on revenge, “You were best go in.”, Shakespeare gives him the reply: “Not I; I must be found.”. The two utterances comprise a line shared between the actors: Iago’s urgent trochee (the stress seems to be on ‘You’, ‘best’ and ‘in’) is interrupted by the resounding rebuttal, in which every syllable seems to be stressed. The ‘Not I’ is proudly spondaic; the caesura shows a man in no hurry; the power of the words is allowed to sink in. The line concludes with the powerful assertion, “I must be found.” in which every syllable could conceivably be stressed in performance. The repeated ‘I’ offers a proud assertion of ego and ‘found’ provides a resonant, bass echo resonating  at the end of the line. Fechter’s Othello closes the door and pockets the key: making escape impossible. Julie Hankey (Shakespeare in Prodcution, Othello , Cambridge) comments on the entrances of various Othellos to the stage in this scene. Kingsley, she says, is ‘Ghandi-like’ a dazzling figure robed in white enters a dark stage with everyone on it wearing black, a ‘grave’ and ‘grey-bearded ancient’. His difference is palpable, qualitative, not simply a matter of race or colour. Salvini is a ‘bronzed’ and ‘towering figure’. Other Othello’s are not so immediately heroic: Fechter enters leaning on his ensign’s shoulder. By the end of the scene however, his conduct is unequivocal: ‘Keep up your bright swords’, ‘Hold your hands’: Shakespeare’s imperatives, (‘Keep’, ‘Hold’) reveal a figure comfortable and assured in authority. Furthermore Aristotle specifies the relationship between hero and villain: ‘the tragic incident occurs between those who are near or dear to one another- if, for example, a brother kills, or intends to kill, a brother.’ Othello and Iago are near and ostensibly dear to one another. Iago recounts a long campaigning history in Rhodes and Cyprus and ‘other grounds/Christian and heathen’: they are brothers in arms.

Most important of all the tragic hero must have his hamartia , his tragic flaw.  He must be a ‘man like ourselves . . . whose misfortune is brought about not by vice or depravity, but by some error or frailty’. If Shakespeare gives Othello a frailty, a flaw it seems to be his judgement. Was he wrong to overlook Iago for promotion and perhaps provoke revenge. Or was he instinctively right to keep down this unstable, vengeful character. Was he wrong to promote the smooth-tongued Cassio, impressed perhaps by his polished manners despite his lack of military experience? Or does Shakespeare show a brilliant strategist who has complementary qualities in his closest officers: the theoretician and the battle-hardened war veteran. Shakespeare makes his greatest error his marriage to Desdemona. He does not, as Romeo, does have youthful infatuation to excuse his deceit. Perhaps he has instead the innocence of a man unused to city, to Venetian ways, a man who, for all his military experience, is unused to the ways of the world.

By end of II i however his heroic military cause is lost and he is  locked in a battle with himself instigated by Iago over his wife’s fidelity he is filled with comic potential.

It is probably a mark of genius in an artist in any medium to challenge or re-invent the boundaries of form. Shakespeare arguably does this in Othello in two ways: first of all he flouts the Aristotelian unities of time and place and secondly, he perhaps writes in the comic tradition of the charivari . In distinguishing epic and tragic poetry, Aristotle observes, ‘Tragedy endeavours, as far as possible, to confine itself to a single revolution of the sun’. Clearly with the sea voyage to Cyprus and two nights of brawling (in the streets of Venice and then Cyprus) the action occupies more than a single day. And yet Aristotle is concerned that the story be, ‘concisely told’, and not seem ‘weak and watery’. I might argue that the compression of three actions in one night create the same intensity that might be achieved by a play confining itself to a ‘single revolution of the sun’. The street scene culminating at Brabantio’s house, the council scene, the Sagittary scene all serve to reveal a different aspect of Othello’s character. The continuity of time – we follow the clock round  – and the compression of action provide the intensity of that ‘single revolution.’

Venice was to Elizabethans a pinnacle of cultural achievement and commercial prosperity, and a centre of Christianity. Shakespeare presents a city in crisis: the consequences should it fall would be tragic.

The play opens at night. It opens on the Venetian streets. The first Act gives us in quick succession three snapshots of Venetian life: the street scene, the War Council – and the vivid report of the gondolier-borne, father-disobeying Desdemona gliding to her marriage (as Jessica disobeyed Shylock in the earlier Venetian play).  Night-time becomes a metaphor for the dark-side, the savage side of human nature; it is the time of drunken street disturbance, of brawling, of plotting and family breakdown. Venice represents cold political calculation: a night meeting of the war cabinet reveals an intellectual out-manoeuvring of the enemy and an amused condescension to the feelings of the human heart. This is a city where a daughter is not loved but stolen. This is a city comfortable with its institutionalised racism towards outsiders, comfortable in buying the services of a freed slave and a mercenary to fight its wars. When Brabantio exclaims indignantly, ‘This is Venice’, it is as if he has to remind himself (and inform the audience) of where he is. What we have seen does not conform to our impressions of this city of light and culture at all: it is city of darkness and savagery: a tragic transformation.

But Shakespeare profoundly confounds expectations in this play. Iago, named after the Spanish patron saint, Iago Matamoros, ought as the moorslayer to be the hero – not the villain he turns out to be. Othello, whose black skin suggests Muslim incursor and whose secret marriage tramples on convention ought to be the villain.  And Michael Bristol would persuade us that this is indeed the case.

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by William Shakespeare

Othello essay questions.

How is Othello's race a factor in the play?

Othello ascends to the rank of the Venetian military, a city - much like Elizabethan England when the play was written - rife with racism. A general in the army, Othello holds a distinguished place in the Duke's court due to his victories in battle, but not an equal one. He suffers barbs and preconceived notions, yet Othello is esteemed and wins the love of the daughter of a nobleman. However, Brabantio is enraged by Othello's marriage to Desdemona and claims Othello used magic to compel her to run to his "sooty bosom". Race is a factor in the tragedy both in those who seek to destroy Othello, and the victims of the schemes - Othello and Desdemona. Perhaps the most pernicious form of race as an instrument of division is Othello's own view of himself as an outsider, which makes him more susceptible to Iago's plan.

How does Shakespeare's use of language reveal character?

Often Shakespeare uses verse lines written in iambic pentameter to illustrate nobility. It is illustrative of Iago's duplicitous nature that he tends to speak in verse when he is with Othello and in prose for his soliloquies. One way in which Iago is a master in manipulation is his tendency to use Othello's own words to disguise his active role of instigator and make it seem that any dark thought came not from him but Othello's own mind. Othello's speech is very sophisticated at the beginning of the play, and in his soliloquy at the close of Act V, but when he is consumed with jealous rage, his eloquence falters. Shakespeare uses dialogue to convey the innerworkings of his characters.

Othello is often called a tragic hero. Discuss his heroic qualities as well as his flaws which lead to his demise.

At the beginning of the play Othello is presented as an honorable man of noble stature and high position. In the end it is his misguided attempt to maintain that honor which brings about his, and Desdemona's, demise. However, Othello is not simply the victim of a plot. Iago is able to engineer Othello's downfall in part because of Othello's own insecurities. His pride blinds him to his weaknesses, and he puts his faith in Iago over the word of his love, Desdemona. Othello is obsessed with his reputation, and ends up killing his wife to save face. Only to a flawed man would murder seem like a solution to a problem of reputation. Othello is spurred on by lies and misrepresentations, but he brings about his own undoing.

What motives, stated and implied, does Iago have for taking revenge on Othello?

Iago's stated reason for taking revenge on Othello is that he has been passed over for Cassio's post. But is this enough for him to "hate the Moor"? It is clear that he is jealous of Othello's ascension in the court and successful wooing of Desdemona. Othello's race and status as an outsider also seems to fuel this rage, as well as the rumor that Othello has slept with Iago's wife, Emilia. None of these motivations, however, seem to add up to inspire the violence that unfolds. Iago remains one of the most purely evil of Shakespeare's villains.

Discuss how loyalty is presented as a positive and a negative quality throughout the play.

Othello's lack of loyalty is what incites Iago's plan for revenge. Iago's ability to fool Othello that he is loyal while secretly plotting his demise is what makes his revenge effective. It is Othello's belief in Desdemona's lack of loyalty that seals their fates. In these ways loyalty, when misconstrued, can be dangerous. However Desdemona's loyalty to Othello even in her death and Othello's loyalty to her once his mistake is revealed are seen as ennobling aspects of their characters.

Compare and contrast the jealousy of Othello to that of Iago.

One major theme in Othello is revenge - Iago's revenge on Othello and Othello's revenge on Desdemona. They both believe death will bring justice. Iago's revenge is cooler, plotted out over time where Othello's is an act of heartbroken passion. Iago wears his lack of morals as a badge of honor where it is Othello's moral code that leads to his tragic end.

Although Othello is the title character in what way is Iago the main character?

Often in Shakespeare's plays such as Hamlet or King Lear , the title character is the main character and protagonist. In Othello this is not the case. Iago has almost 20% more lines than Othello, and has more asides with the audience. While it is Othello's decisions and actions that provide the dramatic structure for the play, it is Iago who sets in motion those decisions and spurs him to action. Othello is the tragic figure of the play, along with Desdemona, and it his characteristics that lend itself to most of the themes - jealousy, race, trust. However, Iago is the character who drives the plot.

How does Desdemona's dying assertion that she killed herself effect how you see her character?

From a modern feminist viewpoint Desdemona may be judged harshly for answering Emilia, when she asked who has mortally attacked her, "nobody; I myself. Farewell." Furthermore, she seemed resigned to her fate at the hands of her husband. While contemporary audiences may interpret these actions as unfathomable, they highlight the goodness of her character. Desdemona is described by others in the play with words that symbolize goodness - light, white, fair, delicate, alabaster. By the end of the play, Desdemona begins to symbolize goodness itself, so her reaction to her murder becomes another element in Othello's tragic end. Desdemona still loves Othello, though he is mistaken, and she goes to her death professing her husband's reputation. A modern audience may wish for a response that is less melodramatic, but that is not the world that Shakespeare has created in this play.

In what ways do Othello's suicide strengthen or undermine his heroism?

Though suicide is not usually the chosen end for a heroic figure, it is Othello's only escape from the crimes he has committed. Though the victim of Iago's trickery, Othello is still the author of his own demise. For Desdemona's death to be answered by anything less than his own would have felt false.

Describe how Othello's pride leads to his fall.

At the beginning of the play Othello is proud of himself and his achievements, but when Iago looks to punish Othello for his perceived slight, it is his pride that he preys upon. The belief that Desdemona has tainted his honor ignites Othello's rage, but it is his pride that blinds him to the fact that the evidence of her acts are lies invented not by a loyal friend but an enemy bent on his destruction.

Othello Questions and Answers

The Question and Answer section for Othello is a great resource to ask questions, find answers, and discuss the novel.

what attributers of the green eyed monster jealousy are made painful apparent as the scene progresses

Jealousy is the green-eyed monster in this scene. In Act 3 scene 3 Othello pretty much displays his jealousy,

desdemonas speech here confirms the masterly nature of iagos plot with what words does she assure cassio that she will do her best to get him reinstated

What is your question here?

why does othello ignore the cries for help?

Othello is hurdling towards self-destruction: sadly, by the deaths of people closest to him. Like tragic heroes such as Macbeth, Othello's senses are dull to tragedy and screams of terror. Roderigo and Cassio fight, and both are injured; Othello...

Study Guide for Othello

Othello study guide contains a biography of William Shakespeare, literature essays, a complete e-text, quiz questions, major themes, characters, and a full summary and analysis.

• About Othello
• Othello Summary
• Othello Video
• Character List

Essays for Othello

Othello essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of Othello by William Shakespeare.

• Iago and Edmund: The Silence and Complexity of Evil
• Unity in Shakespeare's Tragedies
• Inevitability and the Nature of Shakespeare's Tragedies
• Witchy Women: Female Magic and Otherness in Western Literature
• Racism in Othello

Lesson Plan for Othello

• About the Author
• Study Objectives
• Common Core Standards
• Introduction to Othello
• Relationship to Other Books
• Bringing in Technology
• Notes to the Teacher
• Related Links
• Othello Bibliography

E-Text of Othello

Othello e-text contains the full text of Othello by William Shakespeare.

• List of Characters

Wikipedia Entries for Othello

• Introduction

• Junior Cert
• Elizabeth Bishop
• Emily Dickinson
• Seamus Heaney
• Thomas Kinsella
• Derek Mahon
• All 2014 guides on CD
• Sylvia Plath
• Eavan Boland (LC 2012)
• Patrick Kavanagh (LC 2012)
• Adrienne Rich (LC 2013)
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Essay Writing (Othello)

Writing an introduction

For this exercise, I first got students to tell me what they found confusing about introductions. We listed their “things we want to know” about introductions on the board first. I can’t remember the exact list but it was something like this:

How should it begin? (Re-phrase the question and respond with your opinion)

How do we avoid just repeating the question word for word? (divide and conquer! Separate out the ideas. Use  synonyms). 

Should we include quotes? / how much detail goes into the intro ? (no quotes, unless you begin with one for dramatic effect. A list of topic sentences outlining what you will discuss but keep the detailed discussion for the essay itself)

Do we list the things we’ll discuss? (Y es, see  above! But don’t be a baby about it! NEVER write “ In this essay I will discuss… blah blah blah “. [This is like a little kid telling their parents exactly what they are going to do before they do it “ Mammy, I’m going to do a wee-wee now! “] We’re not thick. If it’s in your introduction we assume that’s because you intend to discuss it!)

How long should it be? (Anywhere between a third of a page and hall a page. Three-quarters of a page is probably too long. An introduction is supported to be brief and to the point! Long-winded is irritating)

Think of your introduction as a road map. You have been given a destination (the question) and there are lots of perfectly acceptable ways of getting there. In your introduction you lay out clearly what directions you’ll take in your essay. MAKE SURE TO USE THE WORDS FROM THE Q – but don’t begin by simply parroting back the question word for word. There is nothing worse than “I agree 100% that…..”.

• Re-phrase the question in your own words to prove that you have understood it.
• Divide the question into manageable chunks and discuss each part of the Q.
• List the things your essay will discuss to answer the question asked.

Let’s take an example:

“ Iago has a very low opinion of human nature and this colours his interpretation of every person in his life ”

Begin with part of the question:I re-phrase it in my own words. (Give an example)

Iago certainly feels superior to many of the people in his life. In the opening scene he criticises Othello & Cassio and he delights in creating pain and suffering for Brabantio. He does not respect other human beings, nor does he have a high opinion of anyone but himself.

Now I turn my attention to the other part of the question & list the things I’ll discuss in the body of my essay

He takes the most negative possible interpretation of human behaviour in every situation, accusing Othello of being a lustful gold-digger; accusing Cassio of being a naïve ladies-man with little battlefield experience; accusing Dedemona of being fickle and motivated only by lust; and finally, confiding to both Roderigo and to us the audience his general outlook on human beings, which is that they are selfish and self-serving. 

Body Paragraphs

When do you begin a new paragraph? (When you’ve got a new idea to discuss)

What should your first sentence do? (Respond to the Q with one relevant idea)

(NOT TELL THE STORY was actually my first response to this question!)

How long should it be? Do all paragraphs need to be the same length? How long is too long? (Depends how much you have to say about that idea. Paragraphs can vary in length. More than 3/4 of a page is too long.)

How many quotes and examples should you include? (Hard to answer this one. Depends on the point you’re making. At least 3 quotes, no more than 7? Quotes can be two or three words – e.g. “honest Iago” or half a speech! Don’t include really long quotes – it’s irritating and unnecessary). 

When do you quote? Can you begin with a quote or should you always begin with a statement (Quote to prove a point. Always begin with a statement? Yes, yes, yes – remember PQE from First Year English!)

How do you end a paragraph? (Show how what you’ve just said is relevant to the Q. You may want to flow into your next point – this can be done in the final sentence of this paragraph or at the beginning of the topic sentence in the next paragraph. FLOW MATTERS so make sure you use connectives in your writing)

Here’s the advice and example I came up with to answer their questions in a concrete and specific way:

Each paragraph should begin with a topic sentence. This first sentence indicates what your paragraph will be about. For example:

Despite having fought side by side with Othello for many years, Iago has a very negative opinion of his employer.    (this is your topic sentence)

The rest of the paragraph provides specific examples which illustrate that the topic sentence is true (either quotes or paraphrasing or RELEVANT plot details – but don’t fall into the trap of telling the story)

His bitterness at not getting promoted to lieutenant leads him to believe that Othello was “loving his own pride and purposes” when he gave the job to Cassio. Iago sees his decision as a personal slight and an insult, because Iago has a very high opinion of himself “I know my price, I am worth no less a place”. His bitterness leads him on a quest for revenge and he begins to see people as simply pawns in a game of chess; each one will either help or hinder him in his quest. For example, rather than search for a new job, Iago decides to do everything in his power to destroy Othello. He takes a very negative interpretation of Othello’s decision to marry Desdemona, telling Cassio that Othello was motivated purely by her money and is satisfied now because he has “boarded a land-carrick” or treasure ship and is now guaranteed wealth (through his wife’s fortune) for the rest of his life .

If you want to continue discussing the same basic idea (eg Iago’s low opinion of Othello) but your paragraph is getting too long, then break it into two paragraphs. You’ll still need a topic sentence, but this one will just introduce a related idea. For example:

Iago is also very quick to believe the rumour that Othello has slept with his wife . He comments that “it is thought abroad that twixt my sheets he has done my office ” and refuses to even bother checking if this rumour is true or not. This is hardly surprising given how certain he was that Othello was motivated by lust rather than love (“even now, now, very now, an old black ram is tupping your white ewe”) – it’s as if Iago refuses to even consider the idea that human beings might be motivated by a noble emotion like love rather than by their base animalistic desires. Iago allows for the fact that human beings might be essentially ‘good’ when he describes Othello as being “of a free and open nature that thinks men honest that but seem to be so” but he sees this as naïve and stupid.

Finish your paragraph (or if the same basic idea stretches to two paragraphs, finish the second paragraph) by stating clearly how what you’ve just discussed is relevant to the question asked.

Thus, it is clear that Iago thinks very little of Othello, seeing him as motivated by lust and greed and interpreting his trusting nature as a weakness rather than a virtue.   ( this is the final sentence of this paragraph/section on Iago’s interpretation of Othello’s behaviour).

Without the meat the sandwich wouldn’t be a sandwich but without one of the two slices of bread it would also not be a sandwich! You need both slices of bread and lots of filling. If you have lots to say for one idea and it stretches into two paragraphs, this is basically a double-decker sandwich. It’s fine but too many double-deckers in one essay might mean you run out of space (or time!) so don’t fill up that essay too much with double-deckers!!!

Alternative ways of structuring this essay:

You could go through the play chronologically –

par 1 could discuss his failure to get promoted;

par 2 could discuss breaking the news to Brabantio;

par 3 could discuss his interpretation of Othello & Desdemona’s marriage;

par 4 could discuss the speech he makes to Roderigo about reason being superior to emotion;

par 5 could discuss his plan for revenge.

There is not ONE PERFECT WAY to structure any essay – the important thing is that each paragraph has a clear focus and that each paragraph clearly responds to the question. If you just tell the story, you will NOT do well.

NOTE: This example only deals with Act 1 because this is an essay we did when we finished that act. Obviously in the exam you’d be expected to draw from the events of the entire play, not just Act 1.

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A Comprehensive Guide to Analysing ‘Othello’ for English: Summary, Context, Themes & Characters

Are you studying Shakespeare’s ‘Othello’ and are struggling to understand his writing, the themes and crafting an essay for your upcoming assessment? We’re here to help you with a simple summary of Othello, its key characters and context so you can formulate your own analysis!

PLUS, you’ll be getting a step-by-step analysis table (called a TEE Table ) as well as a sample paragraph so you can see what an extensive response looks like. 

So, let’s get into it and ace your essay on Othello! 

Summary of Othello Key Characters in Othello Context Themes Explored in Othello Essay Analysis of Othello

Summary of Othello

Othello is one of Shakespeare’s greatest tragedies, performed in five acts depicting the dramatic downfall of a hero as a result of racial prejudice, jealousy and pride.

The play is set in motion when an African General in the Venetian Army, Othello, passes over Iago , a senior officer in the Venetian Army who is under Othello’s command, to promote Michael Cassio as his chief lieutenant instead.

Driven by extreme hate and jealousy of Othello’s celebrated successes and his need for control, Iago is determined to destroy Othello and begins to plot Othello’s undoing through his wife, Desdemona, the daughter of an important Venetian senator, Brabantio. 

Laurence Fishburne and Kenneth Brannagh as Othello and Iago in Oliver Parker’s 1995 ‘ Othello’

Iago firstly enlists Roderigo, Desdemona’s rejected lover, to inform Brabantio about Desdemona’s elopement to Othello, urging an enraged Brabantio to appeal to the Duke of Venice to have Othello punished for seducing Desdemona by witchcraft. However, Othello defends himself in front of Brabantio and his senators, Desdemona confirms that she is deeply in love with Othello , and that their marriage was not coerced.

Brabantio warns Othello that Desdemona will betray him , and says, “ Look to her, Moor, if thou hast eyes to see. She has deceived her father, and may thee,” to which Iago takes note as they leave Venice for Cyprus. 

After arriving in Cyprus and learning that the storm has destroyed the Turkish fleet, Othello commences a celebration with his army, while he leaves to consummate his marriage to Desdemona. Iago gets Cassio drunk, and persuades Roderigo to duel Cassio.

Montano tries to calm them down, but an inebriated Cassio proceeds to fight, injuring Montano in the process. Othello reappears, questions the men and blames Cassio for the feud, thus stripping him off his rank.

Cassio is distraught, however, Iago convinces him to plead to Desdemona to have Othello reinstate him. She succeeds. 

Iago begins to convince Othello of a false affair between Cassio and Desdemona. When Desdemona drops her handkerchief, Othello’s first gift to her, Emilia (Iago’s wife) gives it to Iago, unaware of his plans.

Persuaded by Iago’s false claims and planting seeds of doubt, Othello swears Desdemona and Cassio’s death, and promotes Iago as his lieutenant. 

Iago then plants Desdemona’s handkerchief in Cassio’s belongings, while ordering Othello to watch Cassio’s responses as Iago questions him from afar. While Iago questions Cassio about his affair with Bianca, a local courtesan, Othello is made to believe that the two men are talking about Desdemona.

Meanwhile, Bianca appears and accuses Cassio of gifting her with a second-hand item. Othello, still watching from afar, is enraged, and believes Iago’s claims that Desdemona had given this handkerchief to Cassio.

A hurt Othello resolves to kill Desdemona and Cassio with Iago’s help , and strikes Desdemona in front of visiting Venetian nobles. Roderigo, still upset, is urged by Iago to kill Cassio. 

Access Othello Downloadable Sample Paragraph and Examples of Essay Analysis here!

Roderigo pursues Cassio in the streets, and Cassio injures Roderigo. Meanwhile, Iago appears from the shadows and stabs Cassio from behind, wounding his leg.

In the night, Iago manages to hide his identity, and joins Lodovico and Gratiano when Cassio cries for help, thus appearing as unknowing of the scuffle. When Cassio identifies Roderigo as the attacker, Iago stabs him to prevent him from revealing the plan. 

Othello confronts Desdemona, and smothers her with a pillow. Emilia arrives, calling for help, to which the former governor Montano arrive with Gratiano and Iago. After Othello shows proof of the handkerchief, Emilia realises Iago’s plot and exposes him, whereupon he kills her.

Meanwhile, Othello realises Desdemona’s innocence and stabs Iago in revenge. Iago refuses to explain his motives and Lodovico apprehends Iago and Othello for the murders of both the women, but Othello commits suicide. Cassio arrives and is promoted as Othello’s successor, and punishes Iago justly. 

Key Characters in Othello

Othello As a competent and highly regarded serviceman of the Venetian Republic, Othello is the ‘Moorish’ General of the Venetian Army and the protagonist of our story. He elopes with Desdemona, and ultimately succumbs to Iago’s deceit, leading to his tragic death.  The audience follows Othello’s eventual downfall through the collapse of his own self-perception, as instigated and dominantly narrated by Iago. It is through Iago that the audience sees Othello’s eroding sense of self, calculating his moves to remind Othello that he is the ‘Moor’ and signifying his difference. Here, Othello’s own fears of himself of his age, his status and his race come to light, especially the fear of Desdemona’s infidelity which immediately leads him to farewell his soldierly career. He is referred to as “an old black ram” in comparison to Desdemona’s nature as a “white ewe” (I.i.88), ostracising him from the rest of society and thus making him an easy prey for Iago. Until the very late stages of the play, Othello’s agency is not singular, but instead is driven by Iago.  A Moor by James Northcote (1826) – Ira Alridge as the first Black actor in Britain to play Othello Sourced from Manchester Art Gallery However, Othello also positions himself as an outsider, which adds to his victimisation. Though Othello’s skill as a soldier and leader positions him as a great influence, it is still his exotic qualities that entice others such as Desdemona and Brabantio to him. As an eloquent speaker, the Duke mentions that ‘I think this tale would win my daughter too’ (I.iii.70). These qualities present him as an outsider, both in race and in eloquence, thus creating a cathartic ending for a hero falling prey to tragedy. 

Iago It is clear that Iago’s extreme jealousy and need to avenge Othello’s ‘wrongdoing’ engineers the plot for revenge. Here, Iago’s malicious intentions cultivate the entire scenario of revenge in the play, and thus, he is widely regarded as a ‘Machiavellian’ character (fro​​m Machiavelli’s 1532 political treatise The Prince ). He is cunning, cold, and concerned with personal gain over morality.  Charles Kemble as Iago in Othello, by Richard James Lane (1840) Sourced from National Portrait Gallery, London Iago cleverly distorts Othello’s reality of himself and the reality for the rest of the characters, creating an ambiguous and distrustful narrative that culminates in destruction . Firstly, Iago’s jealousy stems from his hatred for Othello’s success as an outsider in Venice . Othello occupies a difficult position and becomes the most fated soldier, despite his appearance in a European city. This charges Iago’s animalistic language towards Othello, regarding him as a ‘Barbary horse’ (1.i.113). Secondly, he resents Cassio’s rise to power (1.iii). Possessing an extraordinary power to manipulate, Iago’s jealousy acts as a catalyst to create a cycle of revenge and envy that loops in Othello and Roderigo to destruction. 

Context of Othello

The earliest recorded performance of Othello was in 1604, under the title The Moor of Venice , during the cusps of the reigns of Elizabeth I and James I. Othello’s Mediterranean setting is significant as it presents an age of increasing European maritime power, and authority over the ocean was crucial for the politics in Mediterranean states.

This involved both Western powers (Spain, Portugal and Italy) as well as the Eastern Mediterranean empire of the Ottomans (modern day Turkey), who were in constant conflict over control of the Adriatic and eastern Mediterranean seas.

While the first part of the play is set in Europe, Act II of the play is set in the small island of Cyprus , the site of Venetian and Ottoman rivalries. After the death of James II, Venice had full control of Cyprus, which proved strategic for Venetian Army to launch attacks against the Ottomans. Othello’s military successes are set within this conflict. 

Othello’s Castle, North Cyprus

Sourced from Visit North Cyprus

Othello’s life story also reflects the mobility (including enforced) of lives across the Mediterranean. Othello is referred to as a ‘Moor’, signifying his racial difference from the rest of the — mostly white — European characters.

However, there is no clear concept of ‘Moor’, as the term can refer to an Arabian person from North Africa or a Southern Spanish person. This term is used today in quotations.

Though Othello’s race bridges the gap between his military service and war against the Muslim empire, Othello nevertheless succumbs to Iago’s words, increasingly becoming vulnerable about his status and heightening his insecurities. Iago plays on the cultural divide between black-and-white, ultimately fuelling Othello’s anxiety and the downfall of his status and his marriage.

Themes Explored in Othello

Below are some key ideas from Othello. These are great starting points for you to consider your arguments, thesis and topic sentences:

Racial Prejudice

• Jealousy and revenge
• Deception — appearance VS reality

The role of racial prejudice is imperative in Iago’s emotional and mental poisoning of Othello, driving him to the point of distrust and extreme isolation. Other characters already hold Desdemona and Othello’s marriage in disdain, such as Brabantio who warns that “Bond-slaves and pagans shall our statesman be” (1.i.98-99), putting them against the status quo and the present view of their world.

Iago only exacerbates Othello’s ingrained fears of ‘Moorish’ differences towards his position in the Army, his wife and his status in Venice, becoming a lethal weapon in Othello’s self-destruction.

This drives him to the point of isolation and self-hatred, where he trusts no one but Iago. Eventually, Othello begins to blame his complexion for allegedly depriving his wife of her good nature: ‘Her name, that was as fresh / As Dian’s visage, is now begrim’d and black / As mine own face’ (3.ii.386-8).

His inherent fears of his Moorish complexity and exotic characteristics tainting his wife consequently prompts his vulnerability towards his marriage, and his lack of self-reassurance unconsciously places him in a white perspective of his own blackness. Therefore, these ingrained perspectives of himself in society seal both the fates of himself and of Desdemona. 

Jealousy and Revenge

Iago’s jealousy drives him to deadly extremes to emotionally violate his alleged ‘oppressors’, and provokes the rest of his characters such as Roderigo, Bianca and Othello into ‘the green-eyed monster’ (3.iii.166).

Roderigo’s unrequited love for Desdemona makes him extremely jealous of Othello, and Bianca is jealous when she finds Desdemona’s handkerchief in Cassio’s lodgings. Iago provokes this jealousy on Othello with the handkerchief as ‘ocular proof’ (3.iii.360) of the infidelity, which has been passed from Desdemona, to Emilia and then to Bianca, drawing an implicit parallel between the innocent women and the men’s perception of women in marriage.

This consumes Othello the most, in which Iago’s extreme need for revenge fuels the strategically distorted narrative, confirms his suspicions and fulfils his expectations.

Deception — Appearance VS Reality

Iago’s power to manipulate allows him to plant seeds of doubt in Othello and other characters throughout the play. His success to quickly and cleverly manipulate Othello stems from the tales of perceived misogyny and view of female sexuality that is already shared among men.

Iago reminds Othello that Desdemona is a creature of deception, as she ‘did deceive her father, marrying you’ (3.iii.206), and that she will do so to him: ‘Look to her, Moor, if thou hast eyes to see; / She has deceived her father, and may thee’ (1.iii.292-3). 

Dramatic irony (the gap of knowledge between what the audience and the character knows) serves as a catharsis for the audience and provokes an emotional response in the tragedy. Here, Iago continues to finely calibrate a sense of torment in Othello’s imagination through his deceptive language as he tells Othello that Cassio lies ‘with [Desdemona], on her, as you will’ (4.i).

In doing so, he constantly plants mental images of uncertainty and instability in Othello, leaving Othello to connect and unknowingly create a flawed narrative that he believes to be true . Iago masks this deception as he merely justifies his actions by reflecting his victim’s own beliefs: ‘I told him what I thought and no more / Than what he found himself was apt and true’ (5.ii.176-77). 

In this way, he deflects blame from himself, and while he engineers the chaos, he does not become the fundamental source of Othello’s, Desdemona’s and Emilia’s deaths. 

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Essay Analysis: How to Analyse Othello in 3 Steps

Most students will begin to write their essay and their thesis without any supporting evidence, themes or analysis . You will need to equip yourself with the knowledge of your text before answering anything about it. 

Analysing a text, providing it with evidence and techniques may be easier than you think… it’s like a formula! We can say ‘a + b = c’. But what are these?

A = Evidence B = Technique C = Analysis

After knowing your text, you can build ideas from it, and start writing your thesis! So, let’s walk through on how to analyse Othello:

Step 1: Choosing your evidence (‘A’)

Choosing your evidence can be tough, because there are just so many good ones you can choose from! 

But you need to remember that you must choose evidence that supports your argument and answers the question . But how do we do that?

Let’s gather important pieces that we have seen throughout this article. Here is one we have chosen for you:

‘Even now, now, very now, an old black ram / Is tupping your white ewe’ (1.i.88-89)

Step 2: Identifying your technique(s) (‘B’)

This isn’t just about finding any old technique or using a technique that is fancy and hoping for the best! It’s about what best suits your evidence, your analysis, and subsequently, your answer to the question.

Techniques are what help composers convey the message to their audience and their readers. So, we need to identify a technique that will enable you to say something about your idea that’s interesting, and will contribute to your analysis of Othello. 

Try to focus on finding examples with techniques which unveil a deeper meaning like metaphors, similes, figurative language, connotations, symbolism and recurring motifs. Other techniques like alliteration and repetition are a bit harder to find a deeper meaning in!

We have identified 3 techniques in the quote above: zoomorphism, contrast and metaphor . 

It’s always great to try and find multiple techniques in your quotes as it allows you to take your analysis up a notch!

Step 3: Writing your analysis (‘C’)

When you write the analysis for your essay on Othello, it is important to always focus on what the effect of the technique is . One of the worst things you can do when writing analysis is technique labelling. Technique labelling would look like this:

The zoomorphism between “black ram… tupping [your] white ewe” shows how Iago wants Brabantio to see Othello’s elopement to Desdemona, contrasting his physical appearance and nature to hers. 

Instead, we need to flesh out how those techniques get us to our point . Firstly, Iago’s language is important as he uses zoomorphism to reduce Othello and Desdemona into animals.

Secondly, the contrast between the “black ram” and “white ewe” is important to signify the binary oppositions between Othello and Desdemona.

Lastly, the use of the metaphor of animals is important as it depicts that Othello and Desdemona’s behaviour is greatly looked down upon, especially in a Venetian society. 

So, if we include that in our essay analysis of Othello, this would look like…

Iago’s cries to Brabantio that “Even now, now, very now, an old black ram / Is tupping your white ewe” (1.i.88-89), using zoomorphism to reduce Othello and Desdemona’s wildly radical behaviour into animals. The contrast between the “black ram” and the “white ewe” signifies the binary oppositions between Othello and Desdemona, and is a metaphor for their disapproved marriage against social norms and the racial prejudice pervading their Venetian society.

Need some help with your essay analysis of other texts aside from Othello?

Check out other texts we’ve created guides for below:

• Romeo and Juliet
• Run Lola Run
• The Great Gatsby
• To Kill a Mockingbird
• The Book Thief
• The Tempest
• Blade Runner
• Things Fall Apart
• Mrs Dalloway

We’ve also got articles specifically on plays by Shakespeare which you can have a read through below:

• King Richard III
• A Midsummer Night’s Dream
• The Merchant of Venice
• Much Ado About Nothing

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The Tragedy of Othello: Critical Analysis — Othello Critical Essay

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Introduction

Critical analysis, works cited.

The Tragedy of Othello is a powerful piece of art written by William Shakespeare. The tragedy is well-known around the world. If you are assigned to write critical analysis of Othello, check this essay example to learn more about the drama, and its characters.

The stage directions in the Tragedy of Othello are realistic. The drama is based on the three characters namely Othello, Lago, and Desdemona. However, the directions are based on the modest approach to a drama that is located in two diverse worlds known as the Venice and Cyprus.

Given that the play had no subplot, the play directions tend to budge in terms of place, time, and action once the theme is shifted to Cyprus. The stage directions are the realistic forms of domestic tragedy. However, it does not require supernatural instructions to hook the audience.

The language used to give directions to the audience is natural and restrained. The dialogue reflects the reality of a society that is under pressure from the usual hassles of life. The dialogue simply involves a husband, wife, and a scoundrel. This is a short critical analysis examining the play from multiple perspectives. That is, how I experience it as a silent reader and as a text for public performance.

The drama is ahead of its time. The play presents the audience with a tragic hero of color. The dialogue sounds natural and does not involve the provocation of laughter in the audience. The imagination of the audience is captured by the fact that the drama involves interracial marriage that was unfathomable in those days.

Further, the drama involves a bed in which murder is eventually committed. The murder is committed on stage. The dialogue is made very realistic by the presence of the villain who appears to possess more lines than the disastrous hero. All the meetings were bold, contentious, and very modern.

The characters in Othello are acting like normal people pursuing everyday undertakings. Othello becomes the victim of a domestic calamity. He is the victim to an envious monster of jealousy (Langis 61). He finds it hard to adjust to the marital existence having been in the armed forces for long. In fact, he turns out to be a chauvinist and protective. Although he is good in the military, he is bad at home. Othello appears to be an awful husband. The play shows that Othello is always imploring for a brawl. Just like Simpson, he murders the wife after being informed that she has been cheating on him.

Typically, this would be the reaction of a husband convinced that the wife has been cheating on him. Such incidents have been happening in the society. Thus, this appears as the main theme of incompatibility in the armed forces of heroism and love in the drama. That s, it involves the risk of isolation. The killing of Desdemona is an evidence of the frustration that Othello is going through after being cheated and convinced by Lago to trust that his wife was cheating on him.

Lago cannot convince the audience in whatever he says given that the audiences have insight into his character though it is not evident to the actors. He pretends to be morally upright so that his intention of ensuring the downfall of Othello is well covered. By planting the handkerchief in Casio’s house, it is an indication of conspiracy between him and the wife (Lankey 6).

The stage businesses are illustrations of what take place in real life. The visual plainness displayed on the stage according to the stage directions focuses directly on the actors and a fascinating account of retaliation, gullibility, and jealousy. The catastrophic downfall of the noble warrior is a common phenomenon in many societies plagued by jealousy and vengeance. Lago at times hilariously expresses his intentions for the murderous abhorrence of Othello.

By acting as a director and producer in charge of staging the tragedy of the Othello, I would ensure the actors bring out the rhetoric of the drama. However, before the action of the drama, Brabantion had been kind to the Moor (Horman 112). He allowed Othello and his daughter to discuss more about him since he was mesmerized by his slave stories. Upon the revelation that the Desdemona had eloped with Othello, his feeling altered abruptly.

He started wondering where he would find and arrest him. However, the rhetoric does not come out clearly even when he is called a thief in the street. Instead, Othello is accused of abusing Desdemona. In deep rhetoric, Brabantio states that his house is not a grange. This meant that he does not keep horses. In fact, this is founded on the fact that the daughter had eloped with a man of color. I would insist that the actors should bring out the rhetoric clearly to sensitize the audience about racism.

Numerous elements would probably catch my attention as a critic of the play. The geographical symbolism represented by the two locations of the play would be important. For instance, Venice is represented by Lago while Cyprus represented by Desdemona. Othello represents the third location called Turks.

This emerged upon considering that the location was only mentioned as a war zone with the other two characters. Venice was at the time of writing the play one of the most influential and cosmopolitan European cities. Indeed, it is symbolic of the white Christian European morals.

The Senate and the Duke ran the city. These were symbols of power and order. On the contrary, Cyprus is very unpredictable and natural. It was isolated from the colonial government. Besides, it is an armed forces premeditated target for both Turks and Venetians. The island is very symbolic of Desdemona. There is struggle to dominate her between Othello and Lago.

Othello involves a variety of actors. In fact, actors such as Othello, Lago and Desdemona dominate the play. In the play, the setting incorporates jealousy and gullibility while such traits rule the society. The short critical analysis examines the play from multiple perspectives. That is, how I experience it as a silent reader, and how I experience it as a text for public performance.

Horman, Sidney . When the Theater Turns to Itself: The Aesthetic Metaphor in Shakespeare, Lewisburg, PA: Bucknell University Press, 1981. Print.

Langis, Park. Passion, Prudence, and Virtue in Shakespeare Drama, West Newton: Continuum, 2007. Print.

Lankey, Julie. Othello , Cambridge City, UK: Cambridge University Press, 2007.Print.

• Play’s Plot Explored
• Act 1 Scene 1
• Act 1 Scene 2
• Act 1 Scene 3
• Act 2 Scenes 1-2
• Act 2 Scene 3
• Act‌ ‌3‌ ‌Scenes‌ ‌1-2
• Act‌ ‌3‌ ‌Scene‌ ‌3
• Act 3 Scene 4
• Act‌ ‌4‌ ‌Scene‌ ‌1
• Act 4 Scene 2
• Act‌ ‌4‌ ‌Scene‌ ‌3
• Act‌ ‌5‌ ‌Scene‌ ‌1
• Act 5 Scene 2
• Characters Analysis
• Important Quotes
• William Shakespeare
• Why Was the Globe Theatre Important to Shakespeare?
• Edward Albee, His Life and Works
• The Downfall of Othello
• Othello and Desdemona in "Othello" by Shakespeare
• Othello's Ruinous Credulity in Shakespeare's Tragedy
• Analysis of the Play ‘Romeo and Juliet’
• Analysis of Legally Blonde play
• Critical Analysis of the Plays: The Three Sisters and Happy Days
• Portrayal of the American Dream in the 20th Century Theatre
• The Art of Children Theater
• Chicago (A-D)
• Chicago (N-B)

IvyPanda. (2018, December 19). The Tragedy of Othello: Critical Analysis — Othello Critical Essay. https://ivypanda.com/essays/critical-analysis-of-the-tragedy-of-othello/

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IvyPanda . 2018. "The Tragedy of Othello: Critical Analysis — Othello Critical Essay." December 19, 2018. https://ivypanda.com/essays/critical-analysis-of-the-tragedy-of-othello/.

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Bibliography

IvyPanda . "The Tragedy of Othello: Critical Analysis — Othello Critical Essay." December 19, 2018. https://ivypanda.com/essays/critical-analysis-of-the-tragedy-of-othello/.

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Othello (hle).

The following HL Essay aims to answer the line of inquiry: 

Read the essay carefully. Apply the HLE assessment criteria and discuss the marks you would award the script before reading the examiner's marks and comments. How different were your marks and comments from the examiner's marks and comments? What improvements would you make to this essay to achieve better results?

What's the role of secondary sources on the HL Essay ? Both the poor and the good essay have secondary sources. Compare the bibliographies of these essays. Clearly, the better essay cites more relevant sources. In other words, make sure that your sources are actually about the primary source and not just about cultural phenomena. 

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Home / Essay Samples / Literature / Plays / Othello

Othello Essay Examples

Analysis of othello as an outcast character in shakespeare’s play.

“Our ideology is intolerant...and peremptorily demands...the complete transformation of public life to its ideas.” This quote was said by Adolph Hitler; it describes how the ruling class in society can conform to the perspective of its people. In the play Othello, Shakespeare identifies the racial...

Role of Racism in Othello

Racism is a theory. According to this theory, there are human races that present biological differences justifying relations of domination between them and rejection or aggressive behaviors. Racism is the belief in the superiority of a human group. Defined as a race, this group would...

The Impact of Racism in Othello

In the present and the past, racism has existed in our society and civilizations throughout history. Discrimination occurs for a variety of reasons such as fear, scapegoat, a want to disassociate others and diminish their social status or jealousy (Speaks). This mindset continues to survive...

Othello’s Inevitable Destruction

The tragedy of Othello, written by William Shakespeare, introduces the central character, Othello, as a very honorable, and the dignified person who has enthralled adventures and has very good military accomplishments. Although, his insecurities make him Othello easy to be taken advantage of and manipulated...

Othello Character Analysis: Hero Or not

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Othello's Love for Desdemona: Tragic Passion in Shakespeare's Play

Does Othello love Desdemona? William Shakespeare's tragedy "Othello" delves into the complexities of human emotions, including love and jealousy. The central relationship between Othello, a Moorish general, and Desdemona, his Venetian wife, is a poignant exploration of love's power and its tragic consequences. This essay...

Jealousy and Discrimination in Othello

Humankind has discriminated against other people for being in a different religion, being gender, and or being another race. Discrimination has been a part of many cultures all through out our history, including in today's world. The significance in the Venetian society was crucial in...

Betrayal Theme Within Othello

Betrayal, an everlasting contemporary theme within Othello, establishes itself as the failure and exploitation of trust, the effects of which are tragic as those culpable are frequently, family, friends, and lovers. Beyond this, the theme of betrayal's palpability within society is exaggerated as it is...

The Power of Jealousy in Shakespeare’s Othello

 It’s a known fact that jealousy can cause a person to go to extreme measures in order to get what they want. With a little bit of jealousy and a spark of ambition, the evil possibilities are endless but how far exactly will an envious...

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About Othello

William Shakespeare

Othello, Desdemona, Iago, Michael Cassio, Emilia, Roderigo, Bianca, Brabanzio, Duke of Venice, Montano, Lodovico, Graziano, Clown

Symbols are central to understanding Othello as a play and identifying Shakespeare's social and political commentary. Very important - red color and its significance is love. Sight and blindness, plants, animals, hell, demons, and monsters, the handkerchief, the song “Willow”

Heroism, love, the danger of isolation, race, religious and philosophical

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