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William Shakespeare, William Shakespeare is arguably the most famous writer of the English language, known for both his plays, and sonnets. Though much about his life remains open to debate due to incomplete evidence, the following, biography consolidates the most widely-accepted facts of Shakespeare's life and career., In the mid-sixteenth century, William Shakespeare's father, John Shakespeare, moved to the idyllic town of, Stratford-upon-Avon. There, he became a successful landowner, moneylender, glove-maker, and dealer of, wool and agricultural goods. In 1557, he married Mary Arden., During John Shakespeare's time, the British middle class was expanding in both size and wealth, allowing, its members more freedoms and luxuries, as well as a stronger collective voice in local government. John, took advantage of the changing times and became a member of the Stratford Council in 1557, which, marked the beginning of his illustrious political career. By 1561, he was elected as one of the town's, fourteen burgesses, and subsequently served as Constable, then Chamberlain, and later, Alderman. In all of, these positions, the elder Shakespeare administered borough property and revenues. In 1567, he became, bailiff - the highest elected office in Stratford and the equivalent of a modern-day mayor., Town records indicate that William Shakespeare was John and Mary's third child. His birth is unregistered,, but legend pins the date as April 23, 1564, possibly because it is known that he died on the same date 52, years later. In any event, William's baptism was registered with the town of Stratford on April 26, 1564., Little is known about his childhood, although it is generally assumed that he attended the local grammar, school, the King's New School. The school was staffed by Oxford-educated faculty who taught the, students mathematics, natural sciences, logic, Christian ethics, and classical languages and literature., Shakespeare did not attend university, which was not unusual for the time. University education was, reserved for wealthy sons of the elite, and even then, mostly just those who wanted to become clergymen., The numerous classical and literary references in Shakespeare’s plays are a testament, however, to the, excellent education he received in grammar school, and speaks to his ability as an autodidact. His early, plays in particular draw on the works of Seneca and Plautus. Even more impressive than Shakespeare's, formal education is the wealth of general knowledge he exhibits in his work. His vocabulary exceeds that, of any other English writer of his time by a wide margin., In 1582, at the age of eighteen, William Shakespeare married twenty-six-year-old Anne Hathaway. Their, first daughter, Susanna, was not baptized until six months after her birth - a fact that has given rise to, speculation over the circumstances surrounding the marriage. In 1585, Anne bore twins, baptized Hamnet, and Judith Shakespeare. Hamnet died at the age of eleven, by which time William Shakespeare was, already a successful playwright. Around 1589, Shakespeare wrote Henry VI, Part 1, which is considered to, be his first play. Sometime between his marriage and writing this play, he moved to London, where he, pursued a career as a playwright and actor., Although many records of Shakespeare's life as a citizen of Stratford have survived, including his marriage, and birth certificates, very little information exists about his life as a young playwright. Legend, characterizes Shakespeare as a roguish young man who was once forced to flee London under suspect, circumstances, perhaps related to his love life, but the paltry amount of written information does not, necessarily confirm this facet of his personality., In any case, young Will was not an immediate universal success. The earliest written record of, Shakespeare's life in London comes from a statement by his rival playwright Robert Greene., In Groatsworth of Witte (1592), Greene calls Shakespeare an "upstart crow...[who] supposes he is as well, able to bombast out a blank verse as the best of you." While this is hardly high praise, it does suggest that, Shakespeare rattled London's theatrical hierarchy from the beginning of his career. In retrospect, it is, possible to attribute Greene's complaint to jealousy of Shakespeare's ability, but the scarcity of evidence, renders the comment ambiguous., With Richard III, Henry VI, The Comedy of Errors, and Titus Andronicus under his belt, Shakespeare, became a popular playwright by 1590.* The year 1593, however, marked a major leap forward in his, career when he secured a prominent patron: The Earl of Southampton. In addition, Venus and Adonis was, 1 of 2

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published; it one of the first of Shakespeare's known works to be printed, and it was a huge success. Next, came The Rape of Lucrece. By this time, Shakespeare had also made his mark as a poet, as most scholars, agree that he wrote the majority of his sonnets in the 1590s., In 1594, Shakespeare returned to the theater and became a charter member of the Lord Chamberlain's Men, - a group of actors who changed their name to the King's Men when James I ascended the throne. By 1598,, Shakespeare had been appointed the "principal comedian" for the troupe; by 1603, he was "principal, tragedian." He remained associated with the organization until his death. Although acting and playwriting, were not considered noble professions at the time, successful and prosperous actors were relatively well, respected. Shakespeare’s success left him with a fair amount of money, which he invested in Stratford real, estate. In 1597, he purchased the second largest house in Stratford - the New Place - for his parents. In, 1596, Shakespeare applied for a coat of arms for his family, in effect making himself a gentleman., Consequently, his daughters made “good matches,” and married wealthy men., The same year that he joined the Lord Chamberlain's Men, Shakespeare wrote Romeo and Juliet, Love's, Labour's Lost, The Taming of the Shrew, and several other plays. In 1600, he wrote two of his greatest, tragedies, Hamlet and Julius Caesar. Historians and scholars consider Hamlet to be the first modern play, because of its multi-faceted main character and unprecedented depiction of the human psyche., The first decade of the seventeenth century witnessed the debut performances of several of Shakespeare’s, most celebrated works, including many of his so-called history plays: Othello in 1604 or 1605; Antony and, Cleopatra in 1606 or 1607; and King Lear in 1608. The last of Shakespeare's plays to be performed during, his lifetime was most likely King Henry VIII in either 1612 or 1613., William Shakespeare died in 1616. His wife Anna died in 1623, at the age of 67. Shakespeare was buried, in the chancel of his church at Stratford., , The lines above his tomb, allegedly written by Shakespeare, himself, read:, Good friend, for Jesus' sake forbear, To dig the dust enclosed here., Blessed be the man that spares these stones, And cursed be he that moves my bones., , 2 of 2

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OTHELLO, The story of an African general in the Venetian army who is tricked into suspecting his wife of, adultery, Othello is a tragedy of sexual jealousy. First performed around 1604, the play is also a pioneering, exploration of racial prejudice., THEMES, The Incompatibility of Military Heroism & Love, Before and above all else, Othello is a soldier. From the earliest moments in the play, his career affects his, married life. Asking “fit disposition” for his wife after being ordered to Cyprus (I.iii.234), Othello notes, that “the tyrant custom . . . / Hath made the flinty and steel couch of war / My thrice-driven bed of down”, (I.iii.227–229). While Desdemona is used to better “accommodation,” she nevertheless accompanies her, husband to Cyprus (I.iii.236). Moreover, she is unperturbed by the tempest or Turks that threatened their, crossing, and genuinely curious rather than irate when she is roused from bed by the drunken brawl in Act, II, scene iii. She is, indeed, Othello’s “fair warrior,” and he is happiest when he has her by his side in the, midst of military conflict or business (II.i.179). The military also provides Othello with a means to gain, acceptance in Venetian society. While the Venetians in the play are generally fearful of the prospect of, Othello’s social entrance into white society through his marriage to Desdemona, all Venetians respect and, honor him as a soldier. Mercenary Moors were, in fact, commonplace at the time., Othello predicates his success in love on his success as a soldier, wooing Desdemona with tales of his, military travels and battles. Once the Turks are drowned—by natural rather than military might—Othello, is left without anything to do: the last act of military administration we see him perform is the viewing of, fortifications in the extremely short second scene of Act III. No longer having a means of proving his, manhood or honor in a public setting such as the court or the battlefield, Othello begins to feel uneasy with, his footing in a private setting, the bedroom. Iago capitalizes on this uneasiness, calling Othello’s epileptic, fit in Act IV, scene i, “[a] passion most unsuiting such a man.” In other words, Iago is calling Othello, unsoldierly. Iago also takes care to mention that Cassio, whom Othello believes to be his competitor, saw, him in his emasculating trance ., Desperate to cling to the security of his former identity as a soldier while his current identity as a lover, crumbles, Othello begins to confuse the one with the other. His expression of his jealousy quickly devolves, from the conventional—“Farewell the tranquil mind”—to the absurd:, Farewell the plum’d troops and the big wars, That make ambition virtue! O, farewell,, Farewell the neighing steed and the shrill trump,, The spirit-stirring drum, th’ear piercing fife,, The royal banner, and all quality,, Pride, pomp, and circumstance of glorious war!”, (III.iii.353–359), One might well say that Othello is saying farewell to the wrong things—he is entirely preoccupied with his, identity as a soldier. But his way of thinking is somewhat justified by its seductiveness to the audience as, well. Critics and audiences alike find comfort and nobility in Othello’s final speech and the anecdote of the, “malignant and . . . turbaned Turk” (V.ii.362), even though in that speech, as in his speech in Act III, scene, iii, Othello depends on his identity as a soldier to glorify himself in the public’s memory, and to try to, make his audience forget his and Desdemona’s disastrous marital experiment., The Danger of Isolation, The action of Othello moves from the metropolis of Venice to the island of Cyprus. Protected by military, fortifications as well as by the forces of nature, Cyprus faces little threat from external forces. Once, Othello, Iago, Desdemona, Emilia, and Roderigo have come to Cyprus, they have nothing to do but prey, upon one another. Isolation enables many of the play’s most important effects: Iago frequently speaks in, soliloquies; Othello stands apart while Iago talks with Cassio in Act IV, scene i, and is left alone onstage, with the bodies of Emilia and Desdemona for a few moments in Act V, scene ii; Roderigo seems attached, 3 of 2

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to no one in the play except Iago. And, most prominently, Othello is visibly isolated from the other, characters by his physical stature and the color of his skin. Iago is an expert at manipulating the distance, between characters, isolating his victims so that they fall prey to their own obsessions. At the same time,, Iago, of necessity always standing apart, falls prey to his own obsession with revenge. The, characters cannot be islands, the play seems to say: self-isolation as an act of self-preservation leads, ultimately to self-destruction. Such self-isolation leads to the deaths of Roderigo, Iago, Othello, and even, Emilia., Jealousy, Jealousy motivates the central conflicts of Othello: Iago’s resentment of Othello, and Othello’s suspicion, of Desdemona. Iago is immediately revealed as a jealous character: in the first scene, he complains that, Cassio has been promoted instead of him even though “I am worth no worse a place” .He also later implies, that his hatred of Othello is rooted in jealousy, since there are rumors of Othello having slept with Emilia., As Iago explains, even the hint of this possibility enrages him: “I know not if’t be true / But I for mere, suspicion in that kind / Will do as if for surety” .It seems that his jealousy is so intense that he does not, need proof of this infidelity before punishing Othello for it. Appropriately, Iago decides to seek revenge by, using jealousy as a weapon against Othello, “practicing upon his peace and quiet / Even to madness” .Iago, knows, perhaps from his own experience, that jealousy is a form of psychological torture which will, constantly torment Othello. By making Othello feel the torments of jealousy towards Desdemona and her, supposed lover, Iago causes Othello to suffer as much as he does., Deception and Treachery, In Othello, Othello simultaneously believes he is being deceived by characters who are honest while failing, to see the deceit and treachery of characters who are tricking him. Othello refers to Iago as “honest”, multiple times, showing that he is totally blind to the way Iago is tricking and manipulating him. Othello is, so deceived by Iago, he believes Iago is actually incapable of not telling the truth: “I know thou’rt full of, love and honesty / And weigh’st thy words before thou giv’st them breath” (3.3.). While Othello is naively, unable to see that Iago is deceiving him every step of the way, he is also stubbornly convinced that, Desdemona is deceiving him even when she is being totally honest. Once Othello makes up his mind that, Desdemona is guilty, all her claims of innocence only enrage him further because he is convinced that “this, is a subtle whore / A closet lock and key of villainous secrets” (4.2.). Everything Desdemona does to prove, her innocence comes across to Othello as further proof of her guilt. Othello’s inability to correctly identify, who is and is not deceiving him makes him act rashly and ultimately lead to violence and tragedy., Justice, In Othello, characters justify their actions on the basis of deserving justice. The first character we see, seeking justice is Brabantio, who is outraged that his daughter has married a man of a different race, and, decides that Othello must have bewitched her. Brabantio asserts “I therefore apprehend and do attach thee”, (1.2.77), seeking legal restitution for the perceived violation to himself and his honor. However,, Brabantio’s apparent demand for justice is rooted in his racial prejudice against Othello, and his sense that, he is owed obedience from his daughter. He only feels entitled to justice because social structures have, placed him in a position of racial superiority to Othello and gender superiority to Desdemona. What, Brabantio envisions as justice is the reassertion of his racial and gendered dominance and power over, others., As Othello becomes increasingly convinced that Desdemona has been unfaithful to him, he also feels, entitled to seek a form of bloody, self-administered justice. As he tells Iago, “my bloody thoughts with, violent pace / Shall ne’er look back, ne’er ebb to humble love / Till that a capable and wide revenge /, Swallow them up” (3.3.). While there would have been legal procedures in place at this time for bringing, charges of adultery against a spouse, Othello is not interested in seeking official forms of justice. He wants, to punish his wife himself, and feels entitled to do so. When Iago suggests that Othello strangle, Desdemona rather than poisoning her, Othello notes “Good, good—the justice of it pleases!”(4.1.)., Othello’s violent plan to achieve justice is rooted in his sense that he has complete ownership and control, over his wife, and that he can literally decide whether she lives or dies. Othello’s notion of justice depends, on a system that is fundamentally unjust toward women, leaving them vulnerable to false accusation and, violent actions., 4 of 2

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Protogonist, As the play’s title indicates, Othello is the protagonist. At the beginning of the play, Othello occupies a, complex position within Venetian society. He is well-respected for his military valor, and when the Duke, learns about the impending threat posed by the Ottoman fleet, he immediately turns to Othello for help,, imploring “Valiant Othello, we must straight employ you” . However, Othello’s race makes him a target of, prejudice and distrust: when Roderigo complains that Othello has successfully wooed Desdemona, he, refers to his rival as “thick-lips” , mocking a facial feature stereotypically associated with people of color., Brabantio is so appalled to learn that his daughter has married Othello that he assumes she must have been, bewitched, accusing Othello “damned as thou art, thou hast enchanted her” . Othello’s behavior throughout, the play is influenced by the knowledge that many of the characters around him do not truly trust or accept, him due to his racial difference; they tolerate his presence because he serves a purpose, but do not truly, think of him as an equal., Othello at first wants to simply live a contented life with his new bride; as he movingly tells Desdemona,, “If it were now to die / ’Twere now to be most happy” . However, due to Iago’s poisonous influence,, Othello’s desires shift significantly over the play. He comes to desperately want certainty about whether or, not Desdemona is faithful. Once he is convinced of Desdemona’s guilt, Othello’s desires shift to wanting, revenge: “To furnish me with some swift means of death / For the fair devil”.At the start of the play,, Othello is a confident, self-assured man who is calm in a crisis and gracious to everyone around him; for, example, he remains calm when Brabantio is rudely insulting him, and immediately accepts the Duke’s, command that he go to Cypress to fight the Ottomans. By the end of the play, Othello is dangerously, impulsive; once he has become convinced Desdemona is unfaithful, he vows that “thy bed, lust-stained,, shall with lust’s blood be spotted” .Iago’s psychological torment has broken Othello to the point where he, no longer knows what to believe, and cannot distinguish truth and lies., , Antagonist, Iago is the antagonist of the play; in fact, his character is often cited as one of the clearest examples of an, antagonist in all of literature. Iago actively works to thwart Othello by convincing Othello that Desdemona, is being unfaithful to him, knowing that this belief will torment Othello. Part of what makes Iago such a, chilling antagonist is his lack of clear motivation for tormenting Othello. Iago mentions that he believes, Othello may have had an affair with Emilia, explaining “I do suspect the lusty Moor / Hath leaped into my, seat” .However, he doesn’t dwell on this possibility, and only mentions it infrequently, which suggests, there are other reasons why he decides to destroy Othello. Iago also seems to be tormented by jealousy that, others are rising to more prominent positions than he is; in the play’s first scene, we see him fuming that, Cassio, who “never set a squadron in the field” has been promoted. Iago’s frustrated ambition might be an, additional motivation for his behavior as antagonist, but his primary motivation seems to be a sadistic and, megalomaniac desire to exert power over those around him., Iago primarily acts independently, functioning as a master manipulator of those around him. For example,, when Iago suggests the idea of Cassio and Desdemona’s relationship, Othello has to coax Iago into voicing, his suspicions, but only because Iago has manipulated the situation so effectively. Because Iago is able to, retain control of how other characters behave and how events unfold, he is seldom influenced by other, characters. Iago is only significantly influenced by the behavior of another person at the end of the play,, when his own wife turns against him and reveals him to be a villain responsible for all of the violence and, suffering. Emilia’s betrayal makes Iago behave impulsively for the first time in the play: he stabs Emilia in, front of witnesses. In the play’s ending, Iago shifts from a calculating figure always one step ahead of, everyone else to a panicked killer trying desperately to save himself. In his final moments, however, Iago, does regain some of his chilling composure: when Othello implores him to explain himself, Iago responds, “What you know, you know / From this time forth, I never will speak a word” .The rationale for his, villainous antagonism is never fully revealed., , 5 of 2

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Othello, The play’s protagonist and hero. A Christian Moor and general of the armies of Venice, Othello is an, eloquent and physically powerful figure, respected by all those around him. In spite of his elevated status,, he is nevertheless easy prey to insecurities because of his age, his life as a soldier, and his race. He, possesses a “free and open nature,” which his ensign Iago uses to twist his love for his wife, Desdemona,, into a powerful and destructive jealousy, Desdemona, The daughter of the Venetian senator Brabanzio. Desdemona and Othello are secretly married before the, play begins. While in many ways stereotypically pure and meek, Desdemona is also determined and selfpossessed. She is equally capable of defending her marriage, jesting bawdily with Iago, and responding, with dignity to Othello’s incomprehensible jealousy., Iago, Othello’s ensign (a job also known as an ancient or standard-bearer), and the villain of the play. Iago is, twenty-eight years old. While his ostensible reason for desiring Othello’s demise is that he has been passed, over for promotion to lieutenant, Iago’s motivations are never very clearly expressed and seem to originate, in an obsessive, almost aesthetic delight in manipulation and destruction., Michael Cassio, Othello’s lieutenant. Cassio is a young and inexperienced soldier, whose high position is much resented by, Iago. Truly devoted to Othello, Cassio is extremely ashamed after being implicated in a drunken brawl on, Cyprus and losing his place as lieutenant. Iago uses Cassio’s youth, good looks, and friendship with, Desdemona to play on Othello’s insecurities about Desdemona’s fidelity., Emilia, Iago’s wife and Desdemona’s attendant. A cynical, worldly woman, she is deeply attached to her mistress, and distrustful of her husband., Roderigo, A jealous suitor of Desdemona. Young, rich, and foolish, Roderigo is convinced that if he gives Iago all of, his money, Iago will help him win Desdemona’s hand. Repeatedly frustrated as Othello marries, Desdemona and then takes her to Cyprus, Roderigo is ultimately desperate enough to agree to help Iago, kill Cassio after Iago points out that Cassio is another potential rival for Desdemona., Bianca, A courtesan, or prostitute, in Cyprus. Bianca’s favorite customer is Cassio, who teases her with promises, of marriage., Brabanzio, Desdemona’s father, a somewhat blustering and self-important Venetian senator. As a friend of Othello,, Brabanzio feels betrayed when the general marries his daughter in secret., Duke of Venice, The official authority in Venice, the duke has great respect for Othello as a public and military servant. His, primary role within the play is to reconcile Othello and Brabanzio in Act I, scene iii, and then to send, Othello to Cyprus., Montano, The governor of Cyprus before Othello. We see him first in Act II, as he recounts the status of the war and, awaits the Venetian ships., 7 of 2

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Lodovico, One of Brabanzio’s kinsmen, Lodovico acts as a messenger from Venice to Cyprus. He arrives in Cyprus, in Act IV with letters announcing that Othello has been replaced by Cassio as governor., Graziano, Brabanzio’s kinsman who accompanies Lodovico to Cyprus. Amidst the chaos of the final scene, Graziano, mentions that Desdemona’s father has died., Clown, Othello’s servant. Although the clown appears only in two short scenes, his appearances reflect and distort, the action and words of the main plots: his puns on the word “lie” in Act III, scene iv, for example,, anticipate Othello’s confusion of two meanings of that word in Act IV, scene i., , SUMMARY, Othello begins on a street in Venice, in the midst of an argument between Roderigo, a rich man, and Iago., Roderigo has been paying Iago to help him in his suit to Desdemona. But Roderigo has just learned that, Desdemona has married Othello, a general whom Iago begrudgingly serves as ensign. Iago says he hates, Othello, who recently passed him over for the position of lieutenant in favor of the inexperienced soldier, Michael Cassio., Unseen, Iago and Roderigo cry out to Brabanzio that his daughter Desdemona has been stolen by and, married to Othello, the Moor. Brabanzio finds that his daughter is indeed missing, and he gathers some, officers to find Othello. Not wanting his hatred of Othello to be known, Iago leaves Roderigo and hurries, back to Othello before Brabanzio sees him. At Othello’s lodgings, Cassio arrives with an urgent message, from the duke: Othello’s help is needed in the matter of the imminent Turkish invasion of Cyprus. Not, long afterward, Brabanzio arrives with Roderigo and others, and accuses Othello of stealing his daughter, by witchcraft. When he finds out that Othello is on his way to speak with the duke, -Brabanzio decides to, go along and accuse Othello before the assembled senate., , Brabanzio’s plan backfires. The duke and senate are very sympathetic toward Othello. Given a chance to, speak for himself, Othello explains that he wooed and won Desdemona not by witchcraft but with the, stories of his adventures in travel and war. The duke finds Othello’s explanation convincing, and, Desdemona herself enters at this point to defend her choice in marriage and to announce to her father that, her allegiance is now to her husband. Brabanzio is frustrated, but acquiesces and allows the senate meeting, to resume. The duke says that Othello must go to Cyprus to aid in the defense against the Turks, who are, headed for the island. Desdemona insists that she accompany her husband on his trip, and preparations are, made for them to depart that night., In Cyprus the following day, two gentlemen stand on the shore with Montano, the governor of Cyprus. A, third gentleman arrives and reports that the Turkish fleet has been wrecked in a storm at sea. Cassio, whose, ship did not suffer the same fate, arrives soon after, followed by a second ship carrying Iago, Roderigo,, Desdemona, and Emilia, Iago’s wife. Once they have landed, Othello’s ship is sighted, and the group goes, to the harbor. As they wait for Othello, Cassio greets Desdemona by clasping her hand. Watching them,, Iago tells the audience that he will use “as little a web as this” hand-holding to ensnare Cassio (II.i.169)., Othello arrives, greets his wife, and announces that there will be reveling that evening to celebrate, Cyprus’s safety from the Turks. Once everyone has left, Roderigo complains to Iago that he has no chance, of breaking up Othello’s marriage. Iago assures Roderigo that as soon as Desdemona’s “blood is made dull, with the act of sport,” she will lose interest in Othello and seek sexual satisfaction elsewhere (II.i.222)., However, Iago warns that “elsewhere” will likely be with Cassio. Iago counsels Roderigo that he should, cast Cassio into disgrace by starting a fight with Cassio at the evening’s revels. In a soliloquy, Iago, explains to the audience that eliminating Cassio is the first crucial step in his plan to ruin Othello. That, 8 of 2

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night, Iago gets Cassio drunk and then sends Roderigo to start a fight with him. Apparently provoked by, Roderigo, Cassio chases Roderigo across the stage. Governor Montano attempts to hold Cassio down, and, Cassio stabs him. Iago sends Roderigo to raise alarm in the town., The alarm is rung, and Othello, who had left earlier with plans to consummate his marriage, soon arrives to, still the commotion. When Othello demands to know who began the fight, Iago feigns reluctance to, implicate his “friend” Cassio, but he ultimately tells the whole story. Othello then strips Cassio of his rank, of lieutenant. Cassio is extremely upset, and he laments to Iago, once everyone else has gone, that his, reputation has been ruined forever. Iago assures Cassio that he can get back into Othello’s good graces by, using Desdemona as an intermediary. In a soliloquy, Iago tells us that he will frame Cassio and, Desdemona as lovers to make -Othello jealous., In an attempt at reconciliation, Cassio sends some musicians to play beneath Othello’s window. Othello,, however, sends his clown to tell the musicians to go away. Hoping to arrange a meeting with Desdemona,, Cassio asks the clown, a peasant who serves Othello, to send Emilia to him. After the clown departs, Iago, passes by and tells Cassio that he will get Othello out of the way so that Cassio can speak privately with, Desdemona. Othello, Iago, and a gentleman go to examine some of the town’s fortifications., Desdemona is quite sympathetic to Cassio’s request and promises that she will do everything she can to, make Othello forgive his former lieutenant. As Cassio is about to leave, Othello and Iago return. Feeling, uneasy, Cassio leaves without talking to Othello. Othello inquires whether it was Cassio who just parted, from his wife, and Iago, beginning to kindle Othello’s fire of jealousy, replies, “No, sure, I cannot think it,, / That he would steal away so guilty-like, / Seeing your coming” (III.iii.37–39)., Othello becomes upset and moody, and Iago furthers his goal of removing both Cassio and Othello by, suggesting that Cassio and Desdemona are involved in an affair. Desdemona’s entreaties to Othello to, reinstate Cassio as lieutenant add to Othello’s almost immediate conviction that his wife is unfaithful., After Othello’s conversation with Iago, Desdemona comes to call Othello to supper and finds him feeling, unwell. She offers him her handkerchief to wrap around his head, but he finds it to be “[t]oo little” and lets, it drop to the floor (III.iii.291). Desdemona and Othello go to dinner, and Emilia picks up the handkerchief,, mentioning to the audience that Iago has always wanted her to steal it for him., Iago is ecstatic when Emilia gives him the handkerchief, which he plants in Cassio’s room as “evidence”, of his affair with Desdemona. When Othello demands “ocular proof” (III.iii.365) that his wife is unfaithful,, Iago says that he has seen Cassio “wipe his beard” (III.iii.444) with Desdemona’s handkerchief—the first, gift Othello ever gave her. Othello vows to take vengeance on his wife and on Cassio, and Iago vows that, he will help him. When Othello sees Desdemona later that evening, he demands the handkerchief of her,, but she tells him that she does not have it with her and attempts to change the subject by continuing her, suit on Cassio’s behalf. This drives Othello into a further rage, and he storms out. Later, Cassio comes, onstage, wondering about the handkerchief he has just found in his chamber. He is greeted by Bianca, a, prostitute, whom he asks to take the handkerchief and copy its embroidery for him., Through Iago’s machinations, Othello becomes so consumed by jealousy that he falls into a trance and has, a fit of epilepsy. As he writhes on the ground, Cassio comes by, and Iago tells him to come back in a few, minutes to talk. Once Othello recovers, Iago tells him of the meeting he has planned with Cassio. He, instructs Othello to hide nearby and watch as Iago extracts from Cassio the story of his affair with, Desdemona. While Othello stands out of earshot, Iago pumps Cassio for information about Bianca, causing, Cassio to laugh and confirm Othello’s suspicions. Bianca herself then enters with Desdemona’s, handkerchief, reprimanding Cassio for making her copy out the embroidery of a love token given to him, by another woman. When Desdemona enters with Lodovico and Lodovico subsequently gives Othello a, letter from Venice calling him home and instating Cassio as his replacement, Othello goes over the edge,, striking Desdemona and then storming out., That night, Othello accuses Desdemona of being a whore. He ignores her protestations, seconded by, Emilia, that she is innocent. Iago assures Desdemona that Othello is simply upset about matters of state., Later that night, however, Othello ominously tells Desdemona to wait for him in bed and to send Emilia, away. Meanwhile, Iago assures the still-complaining Roderigo that everything is going as planned: in order, to prevent Desdemona and Othello from leaving, Roderigo must kill Cassio. Then he will have a clear, avenue to his love., 9 of 2

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Iago instructs Roderigo to ambush Cassio, but Roderigo misses his mark and Cassio wounds him instead., Iago wounds Cassio and runs away. When Othello hears Cassio’s cry, he assumes that Iago has killed, Cassio as he said he would. Lodovico and Graziano enter to see what the commotion is about. Iago enters, shortly thereafter and flies into a pretend rage as he “discovers” Cassio’s assailant Roderigo, whom he, murders. Cassio is taken to have his wound dressed., Meanwhile, Othello stands over his sleeping wife in their bedchamber, preparing to kill her. Desdemona, wakes and attempts to plead with Othello. She asserts her innocence, but Othello smothers her. Emilia, enters with the news that Roderigo is dead. Othello asks if Cassio is dead too and is mortified when Emilia, says he is not. After crying out that she has been murdered, Desdemona changes her story before she dies,, claiming that she has committed suicide. Emilia asks Othello what happened, and Othello tells her that he, has killed Desdemona for her infidelity, which Iago brought to his attention., Montano, Graziano, and Iago come into the room. Iago attempts to silence Emilia, who realizes what Iago, has done. At first, Othello insists that Iago has told the truth, citing the handkerchief as evidence. Once, Emilia tells him how she found the handkerchief and gave it to Iago, Othello is crushed and begins to, weep. He tries to kill Iago but is disarmed. Iago kills Emilia and flees, but he is caught by Lodovico and, Montano, who return holding Iago captive. They also bring Cassio, who is now in a chair because of his, wound. Othello wounds Iago and is disarmed. Lodovico tells Othello that he must come with them back to, Venice to be tried. Othello makes a speech about how he would like to be remembered, then kills himself, with a sword he had hidden on his person. The play closes with a speech by Lodovico. He gives Othello’s, house and goods to Graziano and orders that Iago be executed, POSSIBLE QUESTIONS WITH ANSWERS, 1) Why does Iago hate Othello?, The main reason Iago gives for plotting to destroy Othello is a suspicion that Othello may have had an, affair with Emilia. However, Iago himself admits that he doesn’t know whether these rumors are true or, not, explaining that “I know not if’t be true / But I, for mere suspicion in that kind / Will do as if for, surety” (1.3.). Iago also mentions that he is attracted to Desdemona himself: “I do love her too” (2.1.)., Neither of these reasons seem totally sufficient for just how much Iago hates Othello, and notably, he, declines to answer when Othello asks him his motivation at the end of the play, saying only “Demand me, nothing. What you know, you know” (5.2.). The lack of clear reason for Iago’s destructive hatred is part of, what makes him such a chilling and effective villain, since in part he seems to take pleasure in destruction, for destruction’s sake., 2) How does Emilia help Iago?, Emilia gives Desdemona’s handkerchief to Iago, explaining that after Desdemona dropped it, she “being, here, took’t up” (3.3.). Because Emilia steals the handkerchief, Desdemona is unable to produce it when, Othello asks her to show it to him, leading him to become even more convinced that she is guilty of, adultery. Because this belief, and his resulting jealous rage, lead him to kill Desdemona, Emilia does have, some connection to the murder. However, Emilia is clearly horrified and distraught when she learns that, her mistress is dead, lamenting “thou hast killed the sweetest innocent / That ere did lift up eye” (5.2.). She, also insists on uncovering the story of what really happened and demonstrating Iago’s guilt, even when this, endangers her, explaining that “Let heaven and men and devils, let them all / All, all cry shame against me,, yet I’ll speak”, 3) Why does Othello care about Desdemona’s handkerchief?, Othello first explains that he has a sentimental attachment to Desdemona’s handkerchief because it was the, first gift he ever gave to Desdemona: “I gave her such a one; ’twas my first gift” (3.3). He later elaborates, on the family history of the handkerchief, telling Desdemona that it was a gift from his mother, who had, used it as a charm to maintain his father’s love. He explains “There’s magic in the web of it”(3.4.), leaving, Desdemona unsure of whether or not to believe him. Because of Othello’s strong attachment to the, handkerchief, he is particularly upset that Desdemona cannot find it, and horrified that she might have, 10 of, 2

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given it away to another man. Iago’s scheme to make it appear as though Cassio then gave the, handkerchief to Bianca further disrespects the family heirloom, making it appear as something that can, simply be passed around in a cycle of sexual exchange., 4) How does Iago manipulate Desdemona?, After Cassio falls from Othello’s favor, Iago exploits Desdemona’s eagerness to bring the two men back, together : “So will I turn her virtue into pitch / And out of her own goodness make the net” (2.3.). Iago, plants the idea to Othello that something inappropriate may be happening between Cassio and Desdemona,, and encourages Othello to pay attention to whether “your lady strain his entertainment / With any strong or, vehement importunity” (3.3.). As a result, when Desdemona does intercede on Cassio’s behalf, Othello, becomes very jealous and suspicious. Her innocent hopes that “let Cassio be received again” (3.4.), combine with other fears Iago has planted, and drive Othello almost mad with jealousy., 5) How does Iago use Bianca to trick Othello?, Iago tricks Cassio into speaking about Bianca, a woman he is having an affair with, while leading Othello, to believe Cassio is describing Desdemona. As a result, Cassio’s comments, such as “She is persuaded I, will marry her / Out of her own love and flattery, not out of my promise” (4.1.) sound to Othello like, Cassio is admitting to sleeping with Desdemona. The confusion between Desdemona and Bianca is, significant because Bianca’s status as a prostitute means Cassio does not respect her. Iago points out that, “He, when he hears of her, cannot restrain / From the excess of laughter” (4.1.). Othello is enraged because, he believes he is hearing his wife being joked about and described like a prostitute, but he also can’t help, seeing her in that light. Othello goes on to refer to Desdemona as a whore a number of times, presumably, because of the way he believes she has been treated by other men., 6) Why does Othello go to Cyprus?, Othello goes to Cyprus per orders of the Duke of Venice. The Turks are sailing to attack Cyprus and, as, Othello is known to be a superior commander, the Duke sends him to Cyprus to take command of the, soldiers there and protect the island. Othello proudly accepts the post but makes one request: As, Desdemona is no longer welcome in her father’s home, he asks that she be allowed to join him in Cyprus., , 7) Does Othello kill Desdemona?, Act 5, scene 2 opens with Othello entering his bedroom to wake a sleeping Desdemona. He tells her to, pray to ensure she leaves no “crime unreconciled as yet to heaven and grace,” and then he confronts her, about her giving her handkerchief to Cassio, accusing her of having an affair with Cassio. Despite her, passionate denials and her declarations of love for and loyalty to him, Othello smothers her in their bed., 8) Does Othello die?, Upon realizing that he murdered an innocent Desdemona, Othello admits he killed the most precious thing, in his life. He asks his men to remember him as “[n]othing extenuate, / Nor set down ought in malice.”, And as “one that loved not wisely, but too well. / Of one not easily jealous, but being wrought, / Perplexed, in the extreme.” He then uses a weapon he had previously hidden in his bedroom to stab himself., , 11 of, 2