2 The Characters

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Othello

2. THE CHARACTERS
The Difficulty of Judging the Characters in Othello

The Characters

How can we learn the truth about a character in a play? How can we discover his or her most private thoughts and motivations? This kind of truth may lie in the soliloquies, where the character is alone on the stage and speaks the truth, as he sees it. But the only character in Othello who addresses the audience alone on stage is lago in the first part of the play. This heightens the dramatic irony for us in that we alone know that lago is a villain and we have to suffer the knowledge as we watch Othello being drawn into the net. Yet even in soliloquy we may not be shown the truth about lago. We ought, therefore, to be suspicious of everything that lago says to another person, unless it is afterwards corroborated, and to accept what he says in soliloquy, not, of course, as true but as the expression of his actual feelings.' (Kenneth Muir) The phrase in bold is important. Does lago even know the truth about himself? Take, for example, his suspicions that Othello has done his office twixt his sheets and that Cassio has worn his nightcap. The charges are absurd. Are they simply self-justifications for his plotting? We may well ask with Othello at the end of the play: Will you, pray, demand that demi-devil Why he hath thus ensnared my soul and body?' There may be clearer clues to lago's motivation in such phrases as the simple I hate the Moor' - the hatred may spring from the same source as his hatred for the daily beauty' in the life of Cassio that makes his own seem ugly. lago's soliloquies give us a strong impression of a man full of resentment and hate, quick to feel slighted, with a mind fixed on, and taking delight in, elaborate plotting. But they do not, as the soliloquies of characters such as Antony, Hamlet and Macbeth, give us clear motivation - so we are left to guess. Neither is the insight of the soliloquy much use to us in drawing definite conclusions about the mind of Othello, because Othello has only one soliloquy (Act 5, Scene 2, lines 1-22). This is, nevertheless, important in revealing his motives for killing Desdemona, and the tension between his feelings of love for her and his conviction that it is his duty to carry out an act of justice. So in Othello, perhaps more than any other Shakespearean tragedy, we are denied the insight of the soliloquy and are left to make our judgements of character from four sources: what he says; what others say about him; what he does; and what others do to him. Some sources are more reliable than others. What a person does, for example, is usually a truer indication of character than what he says. That is what lago perhaps means when he replies to Othello's question: Demand me nothing; what you know, you know.' You will need to use your judgement. For example, peoples opinion of lago as honest and trustworthy seems to tell us nothing about lago. Yet, since we know he is a villain, it tells us in fact that he can put on the appearance of goodness with sufficient skill to deceive everyone - he is an actor. So any conclusions we draw on character will be tentative. The views of the critics show considerable diversity of opinion, particularly about lago, Othello and Desdemona.

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Othello

The Characters

Is Othello the noble hero, the great adventurer whom Desdemona loves for the dangers he has endured? Or is he a complacent fool, innocent of women and the world? Or is he a mixture of both? Your answers to these questions will affect your view of lago, since no character can be seen in isolation from the rest of the characters in the play. Is lago a spiteful prankster with a good deal of low cunning who can easily deceive the gullible Moor? Or is he a fiendish villain who could convince anyone, even a man as good and noble as Othello? Is Othello jealous by nature or is he, in his own words, not easily jealous but, being wrought, perplexed in the extreme'? Does lago understand jealousy because he is jealous by nature? 1. To illustrate how difficult it is to draw definite conclusions about the characters, choose adjectives from the list below that you think apply to Othello and lago. You may find that you have chosen contradictory adjectives for each. They show different qualities in different parts of the play. authoritative bluff boastful clever complacent courageous cunning deceptive decisive degraded dignified diplomatic envious honest honourable imaginative jealous loving loyal lying magnanimous noble perceptive proud quick-tempered reflective respected self-deceiving self-dramatising self-righteous self-pitying sensitive sentimental soldierly treacherous vicious violent worldly

It is important to be cautious when drawing conclusions about character. Shakespeare never intended us to draw firm conclusions. The actor (or the director) has been left to decide. What people say about Othello needs to be carefully balanced and weighed. For example, what weight do we give to lago's description of Othello as 'loving his own pride and purposes' and speaking bombastically when we know that he is trying to convince Roderigo that he hates Othello? Does Cassio's Dear General, I never gave you cause at the end tell us something about Othello, about Cassio or about both of them? It becomes clear that no easy judgements can be made about the characters - and here lies the interest. Desdemona is described by Brabantio as: of spirit so still and quiet that her motion blushed at herself Yet we see her standing before the senators - all men - demanding to be allowed to follow her husband to the wars. You, as the reader (and the examination candidate), do not have to make up your mind about the characters; you only have to show that you are aware of the possibilities. The following worksheets consist of a variety of quotations from which you can draw tentative conclusions. More importantly, each quotation is related to others, which confirm or contradict its validity. When definite judgement is difficult, the cross-referencing and connecting process is the best way of collecting the variety of evidence needed to write about the characters.

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Othello
OTHELLO
His Attitude to His Profession

The Characters

Othello's occupation's gone (his despairing remarks when he is convinced Desdemona is unfaithful). 1. I have done the state some service, and they know't. (V.ii.340) a) b) c) What is the tone of this line? What clue does this provide to Othello's character? Compare Act 1, Scene 1, line 12: loving his own pride and purposes. Is there any evidence for lago's disparaging comment? Is Othello in love with himself? Compare Act 1, Scene 2, lines 17-24: Let him (Brabantio) do his spite; My services, which I have done the signiory (rulers of Venice), Shall out-tongue his complaints; - I fetch my life and being From men of royal siege, and my demerits May speak, unbonneted to as proud a fortune As this that I have reach'd. What is the tone of the lines? Is Othello proud, boastful, angry? d) Compare: you have been hotly call'd for, When, being not at your lodging to be found, The senate hath sent about three several quests To search you out.' (I.ii.44-4) Valiant Othello, we must straight employ you, Against the general enemy Ottoman. (I.iii.48-9) How do these references justify Othello's opinion of himself? 2. Farewell the plumed troops and the big wars That make ambition virtue - 0, 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.355-60) a) What picture of war are we given here? (Realistic, dramatic or romantic?). What does this tell us about Othello?

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Othello
b) Compare: For since these arms of mine had seven years' pith, Till now some nine moons wasted, they have us'd Their dearest action in the tented field, And little of this great world can I speak, More than pertains to feats of broil, and battle, (I.iii.83-7)

The Characters

Why does Othello mention his experience as a soldier at this point? What limitation does his life as a soldier have on him? Does the innocence of the world he refers to here in some way explain his tragedy?

Othello's Passion
1. Now, by heaven, My blood begins my safer guides to rule, And passion, having my best judgement called, Assays to lead the way.' (II.iii.195-8) a) Outline all the circumstances that have led Othello to this outbreak of anger. He claims to have almost lost control; to what extent do you think his loss of control is justified or right in the circumstances? How does Othello react in such circumstances? See Act 2, Scene 3, lines 239-40: Cassio, I love thee, But never more be officer of mine.' Is this too sudden a dismissal? c) Compare his reaction to lago's insinuations and suggestions in Act 3, Scene 3, lines 183-184: No, to be once in doubt Is once to be resolv'd' and Act 3, Scene 3, line 365: Villain, be sure thou prove my love a whore! In which area is Othello decisive and confident? Where is he hesitant and fearful? d) Compare his reaction to Brabantio's accusations in Act 1, Scene 2, line 59: Keep up your bright swords, for the dew will rust em and Act 1, Scene 3, lines 117-20: If you do find me foul in her report, The trust, the office, I do hold of you, Not only take away, but let your sentence Even fall upon my life.' Why is Othello able to keep calm in these circumstances?

b)

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Othello
e) Compare: Can he be angry? I have seen the cannon, When it hath blown his ranks into the air; And (like the devil) from his very arm Puff'd his own brother, and can he be angry?' (III.iv.131-4) and Is this the noble Moor, whom our full senate Call all-in-all sufficient? Is this the nature, Whom passion could not shake? (IV.i.260-2)

The Characters

What significance do these comments have for our understanding of Othello's passions? f) I see, sir, you are eaten up with passion (III.iii.397). What is particularly eating at Othello? See Act 3, Scene 3, lines 390-1: I think my wife be honest, and think she is not, I think that thou art just, and think thou art not. g) Compare: It is the cause, it is the cause, my soul, Let me not name it to you, you chaste stars: It is the cause, yet I'll not shed her blood, Nor scar that whiter skin others than snow, And smooth as monumental alabaster; Yet she must die, else she'll betray more men. (V.ii.1-6) Is Othello in control of himself here? Is it a different kind of control from that shown at the beginning of the play?

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Othello
Othello's Love and Jealousy
But that I love the gentle Desdemona I would not my unhoused free condition Put into circumscription and confine For the seas' worth.' (I.ii.25-8) 1. Compare: My life upon her faith (I.iii.294) Excellent wretch, perdition catch my soul, But I do love thee, and when I love thee not Chaos is come again. (III.iii.91-3) If she be false, 0, then heaven mocks itself! I'll not believe it. (III.iii.282-3)

The Characters

Why is Desdemona's love and faithfulness so necessary for Othello's peace of mind? Does this tell us anything about his weaknesses? 2. 3. Compare Othello's account of his courtship (I.iii.127-69). What does it tell us about the basis of his love for Desdemona? If it were now to die, 'Twere now to be most happy; for I fear My soul hath her content so absolute That not another comfort like to this Succeeds in unknown fate. (II.i.189-93) Compare: and then for her To win the Moor, were't to renounce his baptism, All seals and symbols of redeemed sin, His soul is so infetter'd to her love, That she may make, unmake, do what she list, Even as her appetite shall play the god With his weak function. (II.iii.333-9) To what extent is Othello's overpowering love a strength or a weakness? 4. But jealous souls will not be answer'd so; They are not ever jealous for the cause, But jealous for they are jealous. (III.iv.157-9) Does Othello's jealousy have any rational basis? To what extent is he 'jealous for he's jealous'?

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Othello
5. Compare: I think the sun where he was born Drew all such humours from him. (III.iv.26-7) How does it leave Othello vulnerable?

The Characters

Othello as Foreigner and Outsider


I fetch my life and being From men of royal siege, and my demerits May speak, unbonneted to as proud a fortune As this that I have reach'd. 1. 2. Compare Othello's account of the story of his life (I.iii.129-45). How do his adventures make him an outsider in the Venetian society of businessmen and politicians? Even now, very now, an old black ram Is tupping your white ewe; arise, arise, Awake the snorting citizens with the bell, Or else the devil will make a grandsire of you. (I.i.88-91) Compare Brabantio's angry outburst against Othello (I.ii.62-81). What does it reveal of his assumptions about black people? 3. lago can make much use of Venetian prejudice in weakening Othello's confidence in Desdemona's love. Compare: Look to her Moor, have a quick eye to see: She has deceiv'd her father, may do thee. (I.iii.292-3) with: She did deceive her father, marrying you; And when she seem'd to shake and fear your looks, She lov'd them most. (III.iii.210-2)

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Othello
Othello's Image of Himself
I saw Othello's visage in his mind

The Characters

Does Othello come to a tragic end because he lacks self-knowledge and the ability to reflect? 1. loving his own pride and purposes (I.i.12) The Moor has a free and open nature, too, That thinks men honest that but seem to be so: And will as tenderly be led by the nose As asses are. (I.iii.397-400) Mark me, with what violence she first lov'd the Moor, but for bragging and telling her fantastical lies; and will she love him still for prating? (II.i.221-3) What weight do we give Iagos comments on Othello? How does each provide an alternative for Othello's view of himself? 2. Consider these references. Is Othello deceiving himself? What image does he have of himself? Yet she must die, else she'll betray more men. (V.ii.6) Thou dost stone my heart And makest me call what I intend to do A murder, which I thought a sacrifice. (V.ii.64-7) I that am cruel, am yet merciful. (V.ii.88) ... one whose hand, Like the base Indian, threw a pearl away, Richer than all his tribe. (V.ii.347-94)

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Othello
3.

The Characters

Compare the photographs below of seven different actors playing Othello. What aspects of Othello's character does each illustrate? For example, is he proud, thoughtful, frightened, warlike or anxious? You may use the same adjective for more than one photograph.

Edmund Kean Drury Lane, 1814

Salvini Drury Lane, 1875

Paul Robeson Savoy Theatre, 1930

Frederick Valk, 1942

John Gielgud Royal Shakespeare Theatre, 1948

Orson Welles St James Theatre, 1951

Godfrey Tearle Royal Shakespeare Theatre, 1961

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Othello
IAGO
His Motivation

The Characters

What is lago's motive in destroying Othello? Is it jealousy, envy, thwarted ambition, an urge to destroy, a hatred of good and beauty? The answer will provide an insight into lago's character. 1. 2. 3. The obvious explanation of Iagos hatred of Othello comes in the first 32 lines of the play. Explain why Iago is so angry. Why do you think Othello has rejected Iago in favour of Cassio? Is it more to do with social class than ability? Do the words below suggest Iago knows this? If Cassio do remain, He hath a daily beauty in his life, That makes me ugly. (V.i.18-20) Compare: So will I turn her virtue into pitch, And out of her own goodness make the net That shall enmesh 'em all. (II.iii.351-3) a) b) What do these remarks tell us about lago and his reasons for doing what he does? Compare: 0, you are well tun'd now, But I'll set down the pegs that make this music, As honest as I am. (II.i.199-201) What is the tone? Again, what do the lines tell us about why lago ensnares Othello? How is Iago sneering at Othello and Desdemona by saying as honest as I am? 4. Now sir, be judge yourself, Whether I in any just term am affin'd To love the Moor (I.i.38-40) a) What reason does lago give for not loving Othello? What weight do we give this reason? (Remember that lago is concerned to assure Roderigo that he is still pursuing his interest in Desdemona). Does lago mention this motive again? Compare: I hate the Moor, And it is thought abroad, that 'twixt my sheets He's done my office. (I.iii.384-6) Is this likely to be true? Do you think Iago needs to make up a motive to explain to himself his hatred of Othello?

b)

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Othello
c)

The Characters

Compare Act 2, Scene 2, line 286: Now I do love her too and Act 2, Scene 1, line 302: For I fear Cassio with my night-cap too. What two new motives does lago introduce here? What do these lines tell us about lago's state of mind? Compare: Some such squire he was, That turn'd your wit, the seamy side without, And made you to suspect me with the Moor. (IV.ii.147-9) Does this confirm what lago has said? What does it suggest about lago's view of himself as man and husband?

d)

5.

Demand me nothing, what you know, you know, From this time forth I never will speak word.' (V.ii.304-5) What does this final statement reveal about lago?

Iago's Public Face


lago is constantly referred to as 'honest' in the play. This is a tribute to his skill as an actor. In his own words: I am not what I am. (I.i.65). 1. For when my outward action doth demonstrate The native act and figure of my heart, In complement extern, 'tis not long after, But I will wear my heart upon my sleeve, For doves to peck at. (I.i.61-5) a) b) Iago is saying he would have contempt for himself if he ever by outward action revealed his real feelings. How does this show him to be a lonely and isolated figure? What importance does this speech have for our understanding of lago? See also I.i.49-55: Others there are, Who, trimm'd in forms and visages of duty, Keep yet their hearts attending on themselves, And throwing but shows of service on their lords, Do well thrive by 'em, and when they have lin'd their coats, Do themselves homage; those fellows have some soul, And such a one do I profess myself. Explain what kinds of people Iago is admiring here?

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Othello
2.

The Characters

Having made his double-dealing clear only to the audience and Roderigo, lago takes every opportunity to reinforce his image as loyal friend and bluff, honest soldier: I had rather ha'e this tongue cut from my mouth, Than it should do offence to Michael Cassio. (II.iii.212-3) Compare also: My lord, you know I love you. (III.iii.121) I hope you will consider what is spoke Comes from my love. (III.iii.220-1) Cassio's my trusty friend. (III.iii.227) 0 wretched fool, That livest to make thine honesty a vice! 0 monstrous world, take note, take note, 0 world, To be direct and honest, is not safe, I thank you for this profit, and from hence I'll love no friend, since love breeds such offence. (III.iii.381-6) This is the self-pitying role Iago puts on. He is acting the part of the honest friend whose love has bought him only trouble. It is not honesty in me to speak, What I have seen and known. (IV.i.273-4) 0, my lieutenant! What villains have done this? (V.i.56) What impression is lago trying to give of himself in each case and what is the effect on the person he is speaking to?

3.

This fellow's of exceeding honesty, And knows all qualities, with a learned spirit, Of human dealing. (III.iii.262-5) a) Our interpretation of comments such as this is crucial. Is Othello simply a gullible fool too easily persuaded by lago, or is lago's disguise so effective that he deceives everyone - not just Othello? (Remember that lago established himself as Othello's loyal ancient before the play started).

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Othello
b) Compare: A man he is of honesty and trust, To his conveyance I assign my wife. (I.iii.284-5) I know, lago, Thy honesty and love doth mince this matter, Making it light to Cassio. (II.iii.237-9) And for I know thou art full of love and honesty And weighest thy words, before thou give 'em breath, ???? 0 good lago, What shall I do to win my lord again? Good friend, go to him, for, by this light of heaven, I know not how I lost him. (IV.ii.150-4) How is each speaker indicating his/her trust in lago?

The Characters

Iago as Opportunist
lago has the cunning and quick thinking to turn every situation to his own advantage. His cynical view of humanity enables him to exploit human weakness. 1. What weakness does he exploit in the characters he is speaking to or about in each of these references? Thus do I ever make my fool my purse. (I.iii.381) as little a web as this will ensnare as great a fly as Cassio. (II.i.168-9) If I can fasten but one cup upon him, With that which he hath drunk tonight already, He'll be as full of quarrel and offence As my young mistress' dog. (II.iii.44-7) So will I turn her virtue into pitch, And out of her own goodness make the net That shall enmesh 'em all. (II.iii.351-3) lago: Ha, I like not that. Othello: What dost thou say? lago: Nothing, my lord, or if - I know not what. (III.iii.35-7) I know our country disposition well. (III.iii.205)

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Othello
Note if your lady strain his entertainment With any strong or vehement importunity, Much will be seen in that. (III.iii.254-6) I will in Cassio's lodging lose this napkin, And let him find it: trifles light as air Are to the jealous, confirmations strong As proofs of holy writ. (III.iii.326-9) I have rubb'd this young quat almost to the sense, And he grows angry now: whether he kill Cassio, Or Cassio him, or each do kill the other, Every way makes my game. (V.i.11-4) Gentlemen all, I do suspect this trash To bear a part in this; (V.i.85-6) 2. 3.

The Characters

Look at Emilia's denouncement of her husband in the face of his threats (V.ii.168-232). What has lago's cynical view of humanity failed to take account of? How does this bring about his downfall? Tis here, but yet confus'd: Knavery's plain face is never seen till us'd. (II.i.306-7) What does this tell you about lago's methods of working? Compare: Ay, that's the way, Dull not device by coldness and delay. (II.iii.376-7) and: This is the night That either makes me, or fordoes me quite. (V.i.127-9)

Iago's Philosophy
1. tis in ourselves that we are thus, or thus: our bodies are gardens, to the which our wills are gardeners. (I.iii.319-21) a) b) What view of man is lago presenting? What are the strengths and limitations of such a view?

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Othello
2. In following him, I follow but myself. (I.i.58) I follow him to serve my turn upon him: We cannot be all masters, nor all masters Cannot be truly follow'd. (I.i.42-4) a) b) c) 3. What is lago's view of human relationships? What are the strengths and limitations of such a view?

The Characters

What examples are there in the play which present the opposite view of human relationships?

Iago thinks love is merely a lust of the blood, and a permission of the will. (I.iii.335-6) a) b) c) What evidence is there in the play to support lago's view of love? What evidence to the contrary is there in the play? What impression of love comes across from the play as a whole? Does the play vindicate or contradict lago's view of love?

Iago and the Audience


Many audiences express a sneaking sympathy for lago. Is this because we find goodness tedious and villainy interesting? Or because lago is given so much opportunity to talk to the audience and therefore we feel that we are in touch with his private thoughts? Do we all have a little of lago's desire to destroy what is noble and happy? 1. And what's he then, that says I play the villain, When this advice is free I give, and honest, Probal to thinking, and indeed the course To win the Moor again? (II.iii.326-9) a) b) c) Do you think he has given good advice to Cassio? lago here counters any charge that he is a villain. Do you think he succeeds? Compare: He has a person and a smooth dispose, To be suspected, framd to make women false: The Moor a free and open nature, too, That thinks men honest that but seem to be so: And will as tenderly be led by the nose As asses are. Is Iagos understanding of human nature superior to that of other characters? Is this a quality with which we are in sympathy?

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Othello
2. by the mass tis morning; Pleasure, and action, makes the hours seem short: (II.iii.368-9) a) b) Do you find Iagos energy attractive or repellent?

The Characters

Much of Iagos energy is only apparent in a stage production. Trace his movements when he is arranging Cassios drunken brawl (II.iii.131-7) and Cassios death (V.i.50-90) and comment on the energy he shows in controlling these situations.

Iago's Relationship with Othello


1. Iago leads Othello 'tenderly by the nose' in stages so skilfully that Othello is never aware that he is being manipulated. What response does he hope to provoke in Othello in making each of these remarks? Ha, I like not that. (III.iii.35) Sneak away so guilty-like (III.iii.40) My noble lord (III.iii.93) Indeed? (III.iii.102) It were not for your quiet, nor your good, Nor for my manhood, honesty, or wisdom, To let you know my thoughts. (III.iii.156-8) 0, beware jealousy (III.iii.169) I know our country disposition well. (III.iii.205) Why is Othello particularly vulnerable to this? Ay, there's the point (III.iii.232) My lord, I would I might entreat your honour To scan this thing no further. (III.iii.247-8) Is't possible, my lord? (III.iii.364) Would you, the supervisor, grossly gape on (III.iii.481) But let her live (III.iii.485)
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Othello
DESDEMONA
Her Love for Othello
Shakespeare finds many opportunities to stress Desdemona's loyalty and love for Othello.

The Characters

If we had any doubt of her faithfulness, it would diminish the play and make lago's cunning seem less fiendish. 1. That I did love the Moor, to live with him, My downright violence, and scorn of fortunes, May trumpet to the world.' (I.iii.248-50) What does this tell us about the nature of Desdemona's love for Othello? 2. She lov'd me for the dangers I had pass'd. (I.iii.167) I saw Othello's visage in his mind. (I.iii.252) What do these quotations reveal about the basis of Desdemona's love?

Desdemona's Generosity and Innocence


1. the sweetest innocent That e'er did lift up eye (V.ii.200-1) Moor, she was chaste, she lov'd thee, cruel Moor. (V.ii.250) a) How much does Desdemona's innocence contribute to her downfall? Consider: And by how much she strives to do him (Cassio) good, She shall undo her credit with the Moor; So will I turn her virtue into pitch, And out of her own goodness make the net That shall enmesh 'em all. (II.iii.349-53) and: She is so free, so kind, so apt, so blessed a disposition that she holds it a vice in her goodness not to do more than she is requested. (II.iii.310-2) Consider also: Othello: Desdemona: (III.iv.83-6) Fetch't: let me see't. Why, so I can, sir; but I will not now, This is a trick, to put me from my suit, I pray let Cassio be receiv'd again.

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Othello
b) 2.

The Characters

How much does her innocence inspire our sympathy? Consider her conversation with Emilia in Act 4, Scene 3.

If I do vow a friendship, I'll perform it To the last article; my lord shall never rest. (III.iii.21-2) a) Trace how unconsciously she fuels Othello's suspicions when she defends Cassio (Act 3, Scene 3, lines 41-76) and when she lies about the handkerchief (Act 3, Scene 4, lines 48-94). Pick out Desdemona's words that would particularly arouse his jealousy and Othello's words that reveal his jealousy. Using the above passages as evidence, judge how well she knows and understands her husband.

b)

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Othello
EMILIA

The Characters

Emilia, with her worldly-wise comments, acts as foil to Desdemona's innocence. Her loveless marriage has made her cynical but she has the courage to testify to the virtue she has seen in Desdemona. 1. I am glad I have found this napkin; This was her first remembrance from the Moor, My wayward husband hath a hundred times Woo'd me to steal it, but she so loves the token, For he conjur'd her she should ever keep it, That she reserves it evermore about her, To kiss, and talk to; I'll ha' the work ta'en out, And give't lago: what he'll do with it Heaven knows, not I, I nothing know, but for his fantasy.' (III.iii.294-304) a) b) What does this extract reveal about Emilia's relationship with lago? Is there any evidence that although Emilia's marriage is loveless, even she does not realise lago's capacity for evil? See, for example: Disprove this villain, if thou be'st a man; He says thou told'st him that his wife was false, I know thou didst not, thou art not such a villain.' (V.ii.173-5)

Emilia as Foil for Desdemona


1. Look at the dispute between Desdemona and Emilia in Act 4, Scene 3 line 61 onwards. a) b) c) 2. Why does Shakespeare choose to have someone present the worldly point of view in this particular scene? How does Emilia argue her point of view logically? Does Desdemona show her innocence here?

Both women tell a lie about the handkerchief. See: It is not lost, but what an if it were? (III.iv.81) Desdemona: Emilia: (III.iv.19-20) Where should I lose that handkerchief, Emilia? I know not, madam.

Pray heaven it be state matters, (the cause of Othellos anger) as you think, And no conception, nor no jealous toy Concerning you.' (III.iv.153-5) a) b) What causes each lie? Is there any difference in the nature of the lies? Since Emilia does love Desdemona, what does her lie tell us about her and Iago?

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Othello
Emilia's Love for Desdemona
1.

The Characters

Emilia's main function in the play emerges in the last act when she loses her life in defending her mistress's virtue. What function have these lines earlier in the play in helping towards that? I durst, my lord, to wager she is honest, Lay down my soul at stake. (IV.ii.12-3)

2.

Look at Emilias denunciation of Othello and Iago in Act 5 scene 2, lines 150-65. What do these lines show about Emilias feelings for Desdemona. (Remember she has good cause to be frightened of both men).

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Othello
CASSIO
His Relationship with Women

The Characters

Cassio - like Emilia - is a subordinate character. We only need to know things about him that are important to the plot. He is intensely loyal to Othello and admires Desdemona, but he is enough of a lady's man for lago to be able to exploit this. lago also exploits his weakness concerning drink. 1. ... he hath achiev'd a maid That paragons description and wild fame. (II.i.61-2) 'The divine Desdemona (II.i.73) You men of Cyprus, let her have your knees: Hail to thee, lady! (II.i.84-5) a) What do these quotations reveal about Cassio's attitude towards Desdemona? What is the tone? See also Act 3, Scene 4, line 166 I humbly thank your ladyship. How could you use this as evidence that Cassio is not having an affair with Desdemona? Compare his attitude to Bianca when she accosts him about his absences from her (III.iv.167-98) and when he talks about her to lago in Othello's hearing (IV.108-42). Why is Cassio's attitude to each woman so different? How does lago exploit this?

b)

2.

tis my breeding That gives me this bold show of courtesy. (II.i.98-9) you may relish him more in the soldier than in the scholar (II.i.165-6) a) b) What do these lines reveal about Cassio? How much of lago's opinion do they confirm?

Cassio and Othello


1. Thanks to the valiant of this worthy isle, That so approve the Moor (II.i.43-4) so good a commander Dear General, I never gave you cause (V.ii.300) What do each of these lines indicate about Cassio's attitude to Othello? (Remember also that Othello promoted Cassio to be his lieutenant). What is the tone of each line?

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Othello
2.

The Characters

Othello at first calls Cassio Michael. At what point does he stop calling him Michael? What evidence is there that they were close friends? Why did Othello promote Cassio? Do you think Iago has a just complaint when he says: Preferment goes by letter and affection, Not by the old gradation (I.i.36-7)

3.

If you were directing Othello, at what point would you suggest that Othello's jealousy of Cassio begins?

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Othello
RODERIGO

The Characters

Roderigo is a simpler character. He allows lago to voice his thoughts and he is used three times by lago in his plot. 1. Thus do I ever make my fool my purse (I.iii.381) a) b) 2. Is Roderigo aware that he is being exploited by lago? Why is it important that Roderigo is a fool?

I have told thee often, and I tell thee again, and again, I hate the Moor. (I.iii.364-6) To what extent does lago say what he really believes to Roderigo, and to what extent is he simply manipulating Roderigo?

3.

O damnd Iago! O inhuman dog (V.i.63) Do you feel sympathy for Roderigo at his death? What nasty side of his own character has contributed to his downfall?

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